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

doom metal top albums

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SAINT VITUS Die Healing Album Cover Die Healing
SAINT VITUS
4.69 | 11 ratings
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TRIPTYKON Melana Chasmata Album Cover Melana Chasmata
TRIPTYKON
4.52 | 15 ratings
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CELTIC FROST Monotheist Album Cover Monotheist
CELTIC FROST
4.35 | 38 ratings
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PENTAGRAM Review Your Choices Album Cover Review Your Choices
PENTAGRAM
4.56 | 8 ratings
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WARNING Watching From a Distance Album Cover Watching From a Distance
WARNING
4.50 | 10 ratings
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PARADISE LOST Medusa Album Cover Medusa
PARADISE LOST
4.40 | 19 ratings
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THE RUINS OF BEVERAST Exuvia Album Cover Exuvia
THE RUINS OF BEVERAST
4.52 | 9 ratings
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CANDLEMASS Nightfall Album Cover Nightfall
CANDLEMASS
4.32 | 48 ratings
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MY DYING BRIDE The Dreadful Hours Album Cover The Dreadful Hours
MY DYING BRIDE
4.35 | 26 ratings
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REVEREND BIZARRE In the Rectory of the Bizarre Reverend Album Cover In the Rectory of the Bizarre Reverend
REVEREND BIZARRE
4.44 | 12 ratings
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TROUBLE Run to the Light Album Cover Run to the Light
TROUBLE
4.46 | 10 ratings
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SKEPTICISM Stormcrowfleet Album Cover Stormcrowfleet
SKEPTICISM
4.43 | 11 ratings
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doom metal Music Reviews

EA Ea Taesse

Album · 2006 · Funeral Doom Metal
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siLLy puPPy
While the band name EA may sound like a really lame name for a metal band, it all starts to make much more sense once you discover that the term was borrowed from an ancient deity of Babylonian mythology which when taken into consideration with the lengthy dreamlike funeral doom metal that this band cranks out. EA is a band of mystery with absolutely no information to be found due to the band’s desire to remain in complete anonymity and let the music speak for itself. While there is speculation that this band is actually from Russia, on its Bandcamp site it lists Cody, Wyoming as its place of origin but it has also listed Antarctica thus adding more enigmatic uncertainty to anything about his band at all.

One can only go by what the band claims itself and it seems that EA relies on ancient sacred texts written in a dead language for inspiration and crafts a musical vision that is purportedly interpreting the voices of the ancients that have finally reached us through the centuries. Whatever the case EA formed in 2005 and released its debut EA TAESSE which is a 54 plus minute song split into three parts. The basis of this funeral doom metal like bands such as Esoteric, Shape Of Despair and others is a slow plodding display of sustaining guitar drones that take on a dirge-like procession accompanied by the punctuated beats of drums. EA is exceptionally talented at crafting an atmospheric counterpoint which is where the true diversity of the album resides.

In addition to the plodding guitar distortion, EA employs classical piano runs, synthesized ambience and choir melodies which give the overall music a melodic melancholy that goes above and beyond the duty of the average funeral doom metal band. Although this gives EA TAESSE the feeling that it is really a dark ambient album with metal accoutrements instead of a bonafide extreme metal release, it nevertheless is quite effective in crafting some of the most ethereal and surreal sounds laid out in a doom metal procession regardless of subgenre nomenclature. One could even go as far as calling this symphonic funeral doom metal and that would probably be the best description of it. Despite the extreme slow plodding of the guitar riffs that include a soaring lead as well as a bass driven chord sustain, the tempo does pick up from time to time with heavier emphasis on the bass and drums but the atmospheric river of melancholy remains steadily perched above the metal content to infuse an impending sense of dread.

Like any music of this type, you really have to be in it for the long haul and have no expectations of head banging fury or be in a hurry to rush through it. This is music that oozes into your soul and slowly coats it with an emotive cloak of atmospheric awe. While mostly instrumental, growly vocals do emerge from beneath the guitar fuzz and atmospheric ambience but overall vocals are quite rare save the incessant choir melodies that anchor the melodic constructs to the rhythmic dirges. In between the long haul of epic riffs and emotive oversoul themes are acoustic insertions, melodic guitar leads that soar like a drifting glacier as well as moments of pure ambient music and horror elements. There are also speculations that due to the fact that EA sounds similar to the Russian Melodic Death Doom act Откровения Дождя (known to non-Russian speakers as 'Revelations of Rain’), that at the very least there could possibly be some members involved in this project.

Whatever the case regarding this mysterious band’s identity and whereabouts, one thing is for sure and that is that EA delivers a satisfying 54 minutes plus of quality atmospheric funeral doom metal laced with haunting melodies and dirges of doom sounding unlike any other in the field. Although it’s tempting to lump all such funeral doom acts in the same category, it’s really the subtleties that make or break such acts as the tightrope tension walks are what make it a compelling listen or simply one that irritates to high heaven. Personally i find EA TAESSE to live up to the hype that it exudes an epic timeless feel that very well could be the voices of the ancients channeled through modern day musicians. At the very least, what a cool gimmick! EA has released so far 5 albums but this is perhaps the best as it perfectly exemplifies some strange ancient Babylonian ritual that has been all but lost in time.

CANDLEMASS Tales of Creation

Album · 1989 · Traditional Doom Metal
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SilentScream213
Tales of Creation is the last of Candlemass’ original golden era of albums, and what a fine way to conclude Messiah’s (first) run with the band. The album is a concept album of sorts, focusing on creation, loneliness, introspection and self-love. It may not have a direct overarching story, but there are call-back moments throughout that connect the dots.

Musically, it sounds rather identical to the previous two albums. Every song is strong, aside from the short segues there are no weak moments. Messiah’s voice is in top form, and Leif’s slow, melodic yet sludgy riffs are on point. You can’t expect anything new here, but you can expect another top notch Candlemass album.

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.

THERGOTHON Stream From the Heavens

Album · 1994 · Funeral Doom Metal
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siLLy puPPy
Finland’s THERGOTHON was one of the earliest pioneering funeral doom metal bands along with the Russian Вой (Voj) and Swiss Mordor by having released its debut EP “Fhtagn-nagh Yog-Sothoth” as far back as 1991 with the aforementioned two bands. THERGOTHON was formed in Kaarina, Finland in 1990 by by vocalist Niko Sirkiä, drummer Jori Sjöroos and guitarist Mikko Ruotsalainen as a death metal band but quickly switched over to doom metal followed by Sami Kaveri joining as a second guitarist. A demo titled “Dancing In The Realm Of Shades” preceded the EP.

Looking like the band was set to sail, that’s when everything went topsy turvy with Kaveri leaving the band so THERGOTHON decided to focus exclusively on recording music in the studio and not play any live shows. As the band’s doom metal sound began to evolve it grew slower and darker with elements of death metal but went beyond the mere hybridization of death-doom and crafted eerie atmospheres with the inclusion of keyboards. The band had finished recording its one and only album STREAM FROM THE HEAVENS as early as 1992 but due to significant delays but finally found a home on the Italian record label Avantgarde Music.

STREAM FROM THE HEAVENS officially was released on 15 June 1994 and is considered one of the earliest landmark albums of the funeral doom metal subgenre and remains popular in the modern era often appearing on top funeral doom metal album charts. The lineup had been significantly reduced since the band’s inception and on this album has become the mere trio of Niko “Skorpio” Sirkiä on vocals and keyboards, Mikko Ruotsalainen on guitars and Jori Sjöroos on drums and vocals. The album hosts six dirge-like tracks with some such as "Yet the Watchers Guard” and “Elemental” hovering around the nine minute mark thus showcasing a sneak preview of the standards by which funeral doom metal would evolve.

Sirkiä has explained that the music was created to express the existential fear that one experiences at the end of adolescence when one is thrust into a cruel unforgiving world and all the pent up uncertainties that go along with it. While many Scandinavian extreme metal bands were falling into either the black metal route or the death metal routes with increasing speeds, intensity and jarring characteristics, THERGOTHON seemed to exhibit a form of paralysis and went the opposite direction by slowing down tempos to a snail’s pace with doom-laden guitar riffs and a bass and drum rhythm section to follow. While this type of music can easily become boring quite quickly if not infused with an inspiring methodology of keeping things interesting, THERGOTHON added creepy keyboard crafted atmospheres that haunt the background while the thunderous guitar stomps sustain and proceed in their funeral march processions.

There are also moments of homegrown folk music creeping in as well and while the majority of vocals are evil sounding guttural death growls and also sporadic clean vocals in the style of Viking music popularized by bands like Enslaved on later releases. As far as i’m aware this was quite rare at this point in time considering Amorphis is often cited as a pioneer in adding folk elements to their death metal release “Tales From The Thousand Lakes” which also appeared in 1994 so considering STREAM FROM THE HEAVENS was finished as far back as 1992, the addition of Finnish folk elements to extreme metal may actually originate with THERGOTHON. In addition to the growls and clean vocals which include moments of liturgical chants, there are a few spoken word moments which seem to represent a sermon of some sort only not the kind your grandparents would approve of for sure.

Of the three pioneers of funeral doom metal which found THERGOTHON in third place, it’s this band that seems to have gotten the credit as most inspiring innovator of the style probably because they did it in a way that was the most accessible and in the process inspired the entire funeral doom metal subgenre with several bands such as Rigor Sardonicous, Mournful Congregations, Beneath Oblivion and Ea crafting similar sounds to this sole THERGOTHON album. While not as surreal as bands like Esoteric or as hardcore as bands like Skepticism, THERGOTHON gracefully constructed that fine line between glacial doom metal with a dungeon synth accompaniment which was utterly unique at the time and still holds up well some 26 years after its release.

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.

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 Doom Metal release(s)

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