Death-Doom Metal

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Death doom as the name suggests is an extreme metal sub-genre that incorporates elements of death metal into doom. It typically incorporates death growl vocals and aggressive down-tuned guitar parts into slower doom tempos though double kick drum patterns may be used. Its roots can be traced back to the eighties when thrash and early death metal bands started to incorporate doom into their sound. Dream Death are an early example which can be heard on their debut album Journey Into Mystery from 1987 along with bands such as My Dying Bride, Paradise Lost and Autopsy.

Death doom also had an influence on Gothic metal and played a large part in establishing the funeral doom sub-genre in the nineties.

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death-doom metal top albums

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THE RUINS OF BEVERAST Exuvia Album Cover Exuvia
THE RUINS OF BEVERAST
4.50 | 11 ratings
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PARADISE LOST Medusa Album Cover Medusa
PARADISE LOST
4.38 | 21 ratings
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MY DYING BRIDE The Dreadful Hours Album Cover The Dreadful Hours
MY DYING BRIDE
4.34 | 28 ratings
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MY DYING BRIDE Songs of Darkness, Words of Light Album Cover Songs of Darkness, Words of Light
MY DYING BRIDE
4.25 | 21 ratings
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NOVEMBERS DOOM The Knowing Album Cover The Knowing
NOVEMBERS DOOM
4.38 | 8 ratings
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MY DYING BRIDE Turn Loose the Swans Album Cover Turn Loose the Swans
MY DYING BRIDE
4.21 | 33 ratings
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PARADISE LOST Gothic Album Cover Gothic
PARADISE LOST
4.11 | 33 ratings
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KATATONIA Brave Murder Day Album Cover Brave Murder Day
KATATONIA
4.10 | 35 ratings
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SEPTICFLESH Esoptron Album Cover Esoptron
SEPTICFLESH
4.25 | 6 ratings
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THE 11TH HOUR Lacrima Mortis Album Cover Lacrima Mortis
THE 11TH HOUR
4.20 | 6 ratings
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NOVEMBERS DOOM The Pale Haunt Departure Album Cover The Pale Haunt Departure
NOVEMBERS DOOM
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NOVEMBERS DOOM The Novella Reservoir Album Cover The Novella Reservoir
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death-doom metal online videos

death-doom metal New Releases

.. Album Cover
Gothic - Live At Roadburn 2016
Live album
PARADISE LOST
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.. Album Cover
The Thule Grimoires
Album
THE RUINS OF BEVERAST
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death-doom metal Music Reviews

THE RUINS OF BEVERAST The Thule Grimoires

Album · 2021 · Death-Doom Metal
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siLLy puPPy
It’s been four years since the one-man act Alexander von Meilenwald has released anything under his THE RUINS OF BEVERAST project but a four year gap is pretty much the norm as Mellenwald clearly favors quality over quantity of material not to mention the two splits that emerged in 2020 with Mourning Beloveth and Almyrkvi. THE THULE GRIMOIRES is the sixth full album experience from the mighty BEVERAST which has consistently cranked out a slew of highly sophisticated and enticing examples of extreme metal that continue to defy classification. Is it atmospheric black metal? Is it death-doom? Or is it avant-garde progressive? Well, throw in all of the aforementioned and a healthy dose of dark ambient in the proper doses doused with the fertile creative mind of a dedicated musician and voila, you have the recipe for some highly innovative 21st century metal in the making.

THULE refers to the location farthest north in ancient Greek and Roman world but with the advent of the concept ultima THULE acquired a metaphorical extensional meaning of any place beyond the borders of the known world, a perfect concept for the murky blackened sonic storm of sound to wrap themselves around especially when paired with the term GRIMOIRE which is a textbook of magic and serves as an instructional guide on how to create magical objects such as talismans, amulets as well as a guide for casting spells and summoning supernatural entitles ranging from diving angels to hellish demons. THE TULE GRIMOIRES as a concept offers a glimpse into a terrifying world beyond our comprehension where demonic wizardry and the realities of the hellish underworld provide the inspiration for this collection of seven sprawling tracks that collectively exceed the 69 minute mark.

THE RUINS OF BEVERAST albums are notorious for being lengthy atmospheric compositions that embark on darkened journeys and employ the sounds of various metal styles as well as ambient sounds to craft an otherworldly soundscape that perfectly synchronizes with the subject matter at hand. THE THULE GRIMOIRES is no exception in continuing this tradition however the beauty of this project is that Mellenwald never relies on the copy and paste method for crafting new music magic. THE THULE GRIMOIRES features the recognizable black metal guitar fuzz, the sprawling ten minute plus compositions teased out into meandering musical form as well as the expected extreme metal vocal style of previous BEVERAST offerings. This album however adopts more of a gothic metal approach with clean ghoulish vocals often replacing the raspy growls and calm icy slow tempos inching the album along in death-doom procession.

With less emphasis on the overall metal elements of THE THULE GRIMOIRES, Mellenwald casts his gaze on the potentials of a production job that amplifies the grimness value with oscillating guitar distortion, engaging atmospheric contrapuntal sound swarms as well as placing the focus on the flow of the album and the overarching psychological effects rather than on any particular track. The album is technically demarcated by the chapters Aurora, Than and Sad Chapel and is noticeable less bombastic than previous albums and in many ways sounds like a more experimental version of Type O Negative during the gothic excursions to Transylvania and back. Despite the black metal tag awarded, THE THULE GRIMOIRES feels the least black metal of the entire BEVERAST canon as blastbeats are for the most part tamped down in favor of a plodding procession into the darkness with guitar chords sustained in glacial drone metal perpetuity.

While i cannot honestly declare THE THULE GRIMOIRES to be the most exuberant or compelling chapter of THE RUINS OF BEVERAST canon, i can definitely appreciate that Mellenwald doesn’t simply rest on his laurels and continuously crafts a completely differing musical experience from one album to the next, a talent he has showcased ever since his Nagelfar days. As with all BEVERAST releases, this is not one to rush through and to expect it to sink in immediately. This dense package of sounds is so intricately designed that you could probably drive yourself crazy analyzing the minutia but despite the lack of the desired bombast of yore, still comes off as an interesting and unique excursion into the gothened RUINS OF BEVERAST universe and one that is worthy of attention for those who love the more modern high brow compositional fortitude of experimental metal.

SEMPITERNAL DEATHREIGN The Spooky Gloom

Album · 1989 · Death-Doom Metal
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siLLy puPPy
Formed in 1986 in the southern city of Gouda in the Netherlands, the band SEMPITERNAL DEATHREIGN was formed by the three cousins Frank Faase (vocals, guitar), Victor van Drie (bass) and Misha Hak (drums) who started out playing extreme thrash metal influenced by early 80s bands like Venom, Exodus, Metallica and Slayer but also took a liking to the Teutonic thrash scene fronted by Destruction, Kreator and Sodom.

Having taken an interest in the slower more plodding styles of doom metal from bands such as Trouble, the band adopted those slower sounds to their style while taking their thrash skills into the nascent recently birthed world of death metal making SEMPITERNAL DEATHREIGN one of the very first death-doom metal bands and the first to release a full album of this style with its 1989 release THE SPOOKY GLOOM. A few other bands were flirting with this style two and did release some demos before though.

This band only existed for four years and disbanded in 1990 leaving this sole album as its mark on the metal history timeline. Unfortunately drummer Misha Hak left before this album was recorded and the band was reduced to a duo but session musician Remo van Arnhem sat in to contribute the percussion parts. Van Drie also adds a few barely audible piano parts here and there but basically this album featured a mix of rampant death metal bombast which alternated with slower plodding doom metal motifs.

The album featured six tracks with a running time of 35 plus minutes and featured the earliest example of lengthy sprawling doom metal tracks with “Devastating Empire Towards Humanity” which was just shy of the eleven mark, a playing time which was still somewhat rare for metal but with Metallica’s “And Justice For All” opening the doors for lengthier metal tracks, by the end of the 80s it was becoming more acceptable to experiment with such drawn out composiitons.

While considered among the first death-doom metal acts, unfortunately the quality of THE SPOOKY GLOOM didn’t result in the best the sub-genre has to offer with many more skilled bands such as diSEMBOWELMENT, My Dying Bride, Katatonia and Evoken taking the stylistic hybrid to more interesting heights in the 90s and beyond but nevertheless SEMPITERNAL DEATHREIGN successfully cross-pollinated the two metal styles fairly successfully.

This was a decent beginning for death-doom but THE SPOOKY GLOOM was marred by a shoddy production job as well as a somewhat amateurish attempt of delivery and although this Dutch band was fairly crafty at alternating the faster death metal moments with slower chugging doom metal, the two styles hadn’t quite gelled together seamlessly yet and the vocal style of Frank Faase (i believe) is a bit goofy reminding me of Exodus’ first singer Paul Baloff who sounded like a tortured clown. Not a bad beginning and well worth the time to check it out but unfortunately in the case of death-doom metal, first doesn’t come close to most interesting.

ATAVIST III: Absolution

Album · 2020 · Death-Doom Metal
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Kev Rowland
Atavist features Winterfylleth guitarist and vocalist, Chris Naughton, along with bassist Shane Ryan, drummer Callum Cox and vocalist Toby Bradshaw. They went on an extended hiatus after their second album, 2007’s ‘II: Ruined’, and it is only now that they have returned with their third, keeping the same line-up. They have been associated with many of the slower genres, and they are following the same musical path which will find people referring to this as doom, sludge, or drone, with all of them being correct at different times. This would give the impression that this is incredibly heavy, and while that is true there is also plenty of lightness and atmosphere. This has been enabled in no small part by the use of guest musicians Jo Quail on cello (Mono/My Dying Bride), Bianca Blezard on viola and violin (Winterfylleth) long with ARD keyboard player Mark Deeks (Winterfylleth).

There may be quite a few Winterfylleth musicians involved, but this is a very different musical beast indeed, although it still manages to capture much of the atmosphere that group is renowned for. This is dramatic, taking the listener on a journey in a drab, grey, fog-ridden world where all hope is lost, and melancholy is pervasive. The weight on the listener’s shoulders is immense, as we carry the load and trudge through the wilderness, surviving but not living. Yet there are times when the strings come through and add a lightness like a ray of sunlight, lifting the spirits and providing hope, only for them to be dashed again. It is the use of contrast which really makes this album stand out and give it real presence, with a cello both mournful and joyous, light yet heavy, strident yet soothing. Extreme experimental music will always be more confrontational and deliberately out of the mainstream, and those who don’t like to follow the well-trodden path of so many others yet look for new routes would do well to seek this out.

PARADISE LOST Medusa

Album · 2017 · Death-Doom Metal
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poslednijat_colobar
The ultimate and classic death-doom release by Paradise Lost

Medusa makes the hardest fans of death-doom metal and Paradise Lost in particular to exclaim. This exceptional album consists of long, dark, slow and elaborate works and makes the metalheads' blood to boil. There are not any sterile, boring or unnecessary parts on the album, as well as any production problems which used to be presented on the early heavier releases by the band. The inclusion of keyboards is very skillful and enchanting, while inserting additional volume and style to the album. Real masterpiece by Paradise Lost this time without exceptions and excuses and a strong candidate for best album of the band to date.

PARADISE LOST Gothic

Album · 1991 · Death-Doom Metal
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poslednijat_colobar
Gothic is the second album by the Godfathers of death / doom / gothic metal. Being definitely rather influential record for the genre it contains a lot of early Paradise Lost anthems. The style in harsh and slow, as do the vocals. The production of the album is quite mediocre and the musicians were still looking their shape. Gothic as a name gave the direction of the band for long years to come, but it is not a gothic album itself. Recommended for all fans of the band and genre, and yet do not expect miracles from this unpolished studio record.

death-doom metal movie reviews

PARADISE LOST Live Death

Movie · 2004 · Death-Doom Metal
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martindavey87
Considering this was actually released on VHS in 1990, Paradise Lost must surely overestimate the passion and loyalty of their fan club. Filmed in Bradford in 1989 to coincide with the band’s debut album, this is a 30-minute video of the band playing on stage. They barely move around, you barely see glimpses of the crowd, and in fact, you barely see vocalist Nick Holmes’ face due to his shaggy hair constantly covering it.

I’m not really a fan of their earlier, death metal growly material anyway, but even if I was, this video isn’t enjoyable or interesting to watch at all. Re-released in 2004 on DVD, this isn’t worth the 50p I spent on it if not for the fact that I do, in fact, actually like this band, and have a compulsive obsession to own everything a band puts out.

Artists with Death-Doom Metal release(s)

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