Reviews of metal albums released June 27 – July 03
Who would have thought that doom would step up and dominate the height of summer?
Dominum – Night Is Calling
Genre: Power/pop metal
Subjective rating: 2.5/5
Objective rating: 3/5
Review: Once again starting the week with a big, bombastic album from the melodic-est and accessible-est corner of metaldom, this time featuring Germany’s DOMINUM, which as far as I’m concerned have exploded out of obscurity and onto the big stage. This is massively arena-oriented, rhythmic and pop-melodic power metal in the vein of such acts as Feuerschwanz (and a dozen others of their ilk), dressed up in horror-themed, circus-theatrical garb and makeup. Apart from a few superficial atmospheric elements, this is just as bright as anything of the genre, with a very slight freakshow twist to it. It’s quite entertaining in bits, but a good deal of over-serious songs, clichéd lyrics and a terrible “Thriller” cover weigh down the overall experience.
Metaladian – Deaditation
Genre: Progressive death/black metal
Subjective rating: 1/5
Objective rating: 1.5/5
Review: Just including this one as a curiosity, not because I enjoy picking on obscure underground bands, but because if this stuff gets labeled as some great, pioneering work of genius later on, I’d like to be on record as one of the reviewers who panned it. In which case I would encourage anyone, and the band members in particular, to shove it in my face.
But my honest opinion of it here and now is that it’s nigh on unlistenable ear torture, taking the harshest elements of Meshuggah, stripping away all the driving rhythm elements and replacing it with a seemingly random, doom-styled progression, blackened atmosphere and a crap ton of ugly dissonance and feedback squeals. It would be kind of fascinating if it wasn’t both painful and boring to listen to at the same time. So… well done, I guess?
Moonspell – Far From God
Genre: Gothic metal
Subjective rating: 3.5/5
Objective rating: 4/5
Review: This is one for those sweaty summer evenings, hiding from the sun and working up a buzz on “refreshments”. On their 13th full-length, Portugese band Moonspell strip down their sound to the shady essentials, going full-on Peter Steele seductive, abandoned-manor-dwelling, leather-clad goth. It’s not the sunglasses-donning retro-stunt that Tribulation pulled not long ago either, but something far more doom-oriented and straight-faced.
Luckily, the gloomy veterans manage to pull it off by relying on well-practiced commitment to the style. The songs set a mood early on, and then slowly build to slightly understated, but still satisfying highs of instrumental involvement. I’m not a huge fan of Fernando Ribeiro’s cleans, and he certainly doesn’t win me over this time around, but the more spoken-word and growly parts make up for it, and the conviction behind his performance can not be faulted. It’s one for the romantics, this one, with some memorable songwriting, perfectly honed mood and outstanding, melodic solos making up for a certain lack of overall energy and urgency.
Highlights: “Far From God” and “Reconquista”
Mortem – Mørketid
Genre: Black metal
Subjective rating: 3.5/5
Objective rating: 3.5/5
Review: These days to be considered a bit of a Norwegian black metal supergroup, Mortem actually predates many of the projects that have since made its members famous (Arcturus, 1349, Thorns). The band was mostly inactive (at least in terms of releases) post 1990, before officially reforming in 2018, and “Mørketid” is their second full-length since then. It basically sounds like straight, old school black metal, but with a gothic-symphonic boost to it, and its frigid aggression harnessed by rhythmic control.
Just when you think the album has settled on the high-intensity, attack approach, it settles into doom-style spooky-morbid storytelling mode. The transitions in and out of these aren’t always quite as seamless, and while they’re clearly going for a certain degree of melodic memorability, it only feels like a half-commitment, which lands several of the songs falling short of their full potential. In the end it’s a satisfyingly dark and focused kind of album that comes up a bit short on lasting greatness.
Highlight: “The Mighty Odious”
Solace – Fading Failing Ruin
Genre: Stoner metal
Subjective rating: 2/5
Objective rating: 3/5
Review: Solace is one of those long-going bands that have simply passed me by completely. And if this album is to be considered representative of their style of stoner metal, I don’t at all mind staying ignorant. There are two major reasons for this. The off-key vocal style, and the mind-numbing bloatedness of the thing. It’s just so frustratingly content to settle into repetitive, stagnant patterns, that I feel like slowly sinking into quicksand, and get increasingly desperate to escape.
But that’s me. For all of my personal reservations, the band clearly has a very distinct style, and have obviously put a lot of thought into the songwriting. There’s undeniably too much material on this 1hr 7min behemoth though, which might not bother fans, but will seriously test the patience of everyone else.
TodoMal – Graveyard of Joy
Genre: Atmospheric doom metal
Subjective rating: 4/5
Objective rating: 4/5
Review: Now for something truly fresh. Calling this doom is entirely correct, but also entirely insufficient. For that there is too much going on that breaks with expectations and genre conventions, even though it should absolutely appeal to the same kind of audience that will enjoy more conventional melodic doom variants. The scope, instrumental heaviness and riff style is all there, but is expanded on with unsubtle elements of mildly proggy indie- and space rock.
At times it sounds like The Killers or Muse at their slowest and most atmospheric, but with the reassuring mass of a rumbling low end behind it, and a much darker and despair-prone tendency to it. Perhaps most importantly, it’s melodically rich and engaging, without in any way overdoing the emotional investment. It’s not exactly gloomy, and stays well clear of the extreme and aggressive realms, with some song sections and interludes perhaps veering a bit too far off the task at hand. But it’s a smooth, varied and revelatory listening experience for anyone able to open their minds beyond a fixed slit.
Highlights: “Point of Coalescence” and “Humanised Gods”
Witchsorrow – The Devil And All His Works
Genre: Doom metal
Subjective rating: 3/5
Objective rating: 3.5/5
Review: If you prefer your doom to be lurking in church ruins and among derelict gravestones, this is the album you need to turn to this week. Witchsorrow play old school doom not too far from Candlemass, but with a sharper, black ‘n’ roll kind of streak to it. It’s either quite content to creep slowly forwards in the shadows or jump out and rock out on the mausoleum roof, and these two different personalities don’t ever really join together, but stay separated by individual tracks.
The riffs and vocals sound just as spooky-evil as you could hope for, and overall it’s a pleasingly uncomplicated affair that delivers on the promise of the concept. It’s a bit up and down in terms of energy, but the extremes don’t clash as much as they stand clearly apart and provide welcome variation.
Highlight: “Hades Chains”
As always, if you think I’m completely off on an observation, unfairly dissed your favorite band, or need to give an album another shot, why not pop a comment down below?
The Metal Dispatch 