Doom Metal

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Doom metal is an extreme form of heavy metal music that typically uses slower tempos, low-tuned guitars and a much 'thicker' or 'heavier' sound than other metal genres. Both the music and the lyrics intend to evoke a sense of despair, dread, and impending doom. The genre is strongly influenced by the early work of Black Sabbath, who formed a prototype for doom metal with songs such as "Black Sabbath" and "Into the Void". During the first half of the 1980s, a number of bands from England (Pagan Altar, Witchfinder General) and the United States (Pentagram, Saint Vitus, Trouble) defined doom metal as a distinct genre.

Source: http://en.wikipedia.org/wiki/Doom_metal

Sub-genre collaborators (+ child sub-genres and shared with Stoner Metal and Drone Metal):
  • Nightfly (leader)
  • MorniumGoatahl

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SAINT VITUS Die Healing Album Cover Die Healing
SAINT VITUS
4.88 | 8 ratings
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DRACONIAN Turning Season Within Album Cover Turning Season Within
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CANDLEMASS Nightfall Album Cover Nightfall
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4.44 | 43 ratings
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TRIPTYKON Melana Chasmata Album Cover Melana Chasmata
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4.52 | 12 ratings
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SAINT VITUS Lillie: F-65 Album Cover Lillie: F-65
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4.70 | 5 ratings
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4.63 | 6 ratings
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THE RUINS OF BEVERAST Exuvia Album Cover Exuvia
THE RUINS OF BEVERAST
4.56 | 8 ratings
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HAMFERÐ Tamsins Likam Album Cover Tamsins Likam
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4.77 | 4 ratings
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PENTAGRAM Last Rites Album Cover Last Rites
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PARADISE LOST Medusa Album Cover Medusa
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REVEREND BIZARRE In the Rectory of the Bizarre Reverend Album Cover In the Rectory of the Bizarre Reverend
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WARNING Watching From a Distance Album Cover Watching From a Distance
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doom metal Music Reviews

THE RUINS OF BEVERAST Exuvia

Album · 2017 · Death-Doom Metal
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Warthur
I've never explored The Ruins of Beverast before, but the notes of those who've previously delved into that particular dungeon suggest an interesting progression on the part of its architects. Records suggest that the Ruins began on a foundation of atmospheric black metal, before the Beverastian ruler Alexander von Meilenwald took a turn into death-doom territory.

Certainly, the treasure I found in the region known as Exuvia bears out this idea, because the foundations of atmospheric black metal - blast beats and ambient influences mostly - are frequently evident even amid the towering structures of death-doom, lending them a certain stark majesty which makes the Ruins stand apart from the pack.

There's also a certain tribal influence detectable - mostly in the form of distant chants; I am not particularly well-placed to judge whether these inclusions have been chosen with care to ensure an apt selection appropriate to the material being presented as well as respecting the original source, or whether it's some cheap cultural appropriation of some cool-sounding noises which von Meilenwald doesn't even understand and inadvertently renders the material hilarious if you actually knew how inappropriate the choice was... but gosh, does it sound cool.

"Exuvia" refers to the discarded shell of an arthropod - you know, crabs or spiders or insects, those kind of critters - after it's moulted, much as the Beverastian people moulted their old atmospheric black metal ways for a more experimental path. Having come away from the Ruins of Beverast bearing these intriguing samples, I think I will be exploring more of the fallen city sooner or later.

MORNE To The Night Unknown

Album · 2018 · Doom Metal
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Kev Rowland
Formed in 2005, Morne is a heavy, atmospheric band based in Boston, Massachusetts. Their style blends doom metal and classic British crust but stretches beyond those boundaries, combining a bleak lyrical style with driving riffs. They have obviously been influenced by early Neurosis, and there is a frostiness to the music which is more often associated with raw black metal. This isn’t friendly doom by any stretch of the imagination, with riffs that hammer into the brain, and solos that are sometimes so quiet that they can hardly be heard, adding tinges of funeral-like melody to proceedings.

It is some five years since their last album, but they are well and truly back with a bang. There are times when they allow the music to swell and extend, but this isn’t a dirge that seems to last forever, but instead is music with a purpose. The drums are hard and heavy, yet also have a lightness that moves the music away from the bass and guitar which dominate the lower registers. There is always the feeling of the guys being in total control of what they are undertaking, with a purpose and direction, as opposed to some of the more meandering funereal doom bands around. This is dramatic stuff, and there is no doubt that it is one of the most exciting releases from a band within the doom genre for quite some time. Miss this at your peril.

DEVIL ELECTRIC Devil Electric

Album · 2017 · Traditional Doom Metal
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Warthur
Devil Electric's debut album finds the Australian unit offering up yet another entry in the pantheon of doomy occult rock outfits. You know the sort - witchy lady on vocals, riffs borrowed from Sabbath and Led Zep, bigger dose of Satanism than the original 1970s bands they're riffing on ever actually indulged in themselves.

It's a short affair at only 36 minutes, but thankfully I think we've moved beyond that phase when people felt they'd been cheated unless an album filled the entire length of a CD (or at least broke the 1 hour mark); I'd always rather hear half an hour of an artist's best stuff than an hour padded out with filler. That said, I'm not wholly sold on Devil Electric. Maybe it's because they regularly lean closer to Zep than Sabbath in their riffage, and I never quite embraced Zeppelin to the same extent that others have, or maybe it's just because I've heard a lot of stuff like this and it takes a bit more than the basic occult doom formula to impress me these days, but I found my mind wandering well before the 36 minutes were up - and that's a bad sign.

PARADISE LOST Lost Paradise

Album · 1990 · Death-Doom Metal
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martindavey87
My introduction to doom metal legends Paradise Lost came about with albums such as 1997’s ‘One Second’ and 2007’s ‘In Requiem’. While the music itself is fairly straightforward, I found myself enjoying some of the grooving, yet melancholic, guitar riffs. With melodic and catchy vocals, along with keyboards that give the music more depth and atmosphere, this is something I could very easily get into.

Which brings me to this, 1990’s debut release, ‘Lost Paradise’. Despite being labelled as doom metal, and even death metal, I thought I’d at least give it a chance, seeing as I know what this band will evolve into, there’s no harm in at least trying, right?

But yeah, sure enough, I’m not into this at all

The death metal growls which are impossible to sing along to, the doom-laden guitar riffs that tend to plod along with about as much excitement as a root canal, and the muddy production that actually makes a lot of guitars difficult to really distinguish. Overall, this is a low-budget 1990 death metal album that sounds like a low-budget 1990 death metal album.

I do like Paradise Lost, and I know I’ll definitely be more receptive to their later albums, which seem more melody-driven, but this right here just isn’t for me.

MY DYING BRIDE A Map of All our Failures

Album · 2012 · Doom Metal
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FMOTP
A Map of All Our Failures is one of MDB"s better efforts IMHO. If you're an MDB fan, which I am without a doubt, everything they've done is at least worth a listen. I particularly like what Aaron Stainthorpe is doing lately, so A Map of All Our Failures is a 4 star album for me.

I like the way that Aaron's singing has developed over time. His bass/baritone has become more expressive and interesting. He has also pretty much done away with the growling. There is a bit of the death metal growling on "The Poorest Waltz", but I don't miss it. I think his lyrics have improved. They used to be mostly a group of violent descriptions of doom and suffering. Now there's more structure. One of my favorite tracks is "Hail Odysseus", which is clearly based on The Odyssey.

The only thing I could think of to complain about is the length of the songs. Eight songs grouped together for a little over an hour's worth of music is a bit much. However, the tempo changes in each song make them more interesting. I wouldn't put MDB's CDs on the greatest albums list, but A Map of All Our Failures is fully worthy of 4 stars.

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