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:
  • Nightfly (leader)

doom metal top albums

Showing only albums and EPs | Based on members ratings & MMA custom algorithm | 60 min. caching

ESOTERIC The Pernicious Enigma Album Cover The Pernicious Enigma
ESOTERIC
4.72 | 9 ratings
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SAINT VITUS Die Healing Album Cover Die Healing
SAINT VITUS
4.70 | 7 ratings
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CANDLEMASS Nightfall Album Cover Nightfall
CANDLEMASS
4.43 | 37 ratings
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CANDLEMASS Epicus Doomicus Metallicus Album Cover Epicus Doomicus Metallicus
CANDLEMASS
4.40 | 48 ratings
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PENTAGRAM Last Rites Album Cover Last Rites
PENTAGRAM
4.49 | 13 ratings
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CELTIC FROST Monotheist Album Cover Monotheist
CELTIC FROST
4.38 | 36 ratings
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PENTAGRAM Be Forewarned Album Cover Be Forewarned
PENTAGRAM
4.45 | 12 ratings
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CANDLEMASS Candlemass Album Cover Candlemass
CANDLEMASS
4.36 | 33 ratings
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SKEPTICISM Stormcrowfleet Album Cover Stormcrowfleet
SKEPTICISM
4.47 | 9 ratings
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ELECTRIC WIZARD Come My Fanatics... Album Cover Come My Fanatics...
ELECTRIC WIZARD
4.40 | 14 ratings
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ARGUS Boldly Stride The Doomed Album Cover Boldly Stride The Doomed
ARGUS
4.41 | 12 ratings
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TROUBLE Run to the Light Album Cover Run to the Light
TROUBLE
4.48 | 7 ratings
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This list is in progress since the site is new. We invite all logged in members to use the "quick rating" widget (stars bellow album covers) or post full reviews to increase the weight of your rating in the global average value (see FAQ for more details). Enjoy MMA!

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FUOCO FATUO
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FLESH OF THE STARS
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Of Throes and Blight
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KAUNIS KUOLEMATON
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Inside the Skull
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Apotheosis & Amber Sea
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Avesta
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The Tree of Death
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Skadi
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Into Nothingness
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Heartless
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PALLBEARER
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The Whore
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DOOM'S DAY
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Servus
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BATHSHEBA
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doom metal Music Reviews

ASUNDER A Clarion Call

Album · 2004 · Funeral Doom Metal
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Warthur
Funeral doom and death-doom are two subgenres which share a lot of DNA - both have included harsh vocals from time to time, for instance, and both are build on chunky, slow riffs. Asunder for the most part take the funeral doom metal approach, offering us a selection of epic compositions whose riffs glide over you like glaciers, but also seems happy to borrow influences from the world of death-doom. For instance, Alex Bale-Glickman's cello is an interesting addition to the ensemble deployed in a manner which reminds me of early My Dying Bride's use of violin. A solid and interesting release which scratches my funeral doom itch, this debut album tantalises with its hints at hybridising these two child genres without quite going all the way.

ANATHEMA Serenades

Album · 1993 · Death-Doom Metal
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aglasshouse
Serenades' story is an unfortunate one, mainly due to the album being unknowingly doomed from the start to be cast aside because of how much of a reputation Anathema would gain with preceding albums. I'm not the first one to say it, but it's fairly cut-and-dry that Anathema's debut does not match up in quality to nearly every other release the band had following it. This goes for not only Anathema's progressive rock material but also in terms of their doom metal albums, because they made leaps and bounds with their previously half-baked ideas with the Silent Enigma two years later. So really what makes Serenades generally thought of as bad?

Well aside from the aforementioned comparisons it gets to later material (that is usually judged to be much higher quality), Serenades is generally not very interesting. It's unnaturally melodic in unfitting places with overly loud guitars drowning out dull, growling vocals from Darren White, making for a seemingly confused doom metal album that shows a different genre within it but refuses to show it to it's full potential, in this case the progressive side of Anathema. I will admit on first listen it packs quite a punch- the double kick, crisp drumming from John Douglas really contrasts well with the very large-sounding guitar duo of the Cavanagh brothers. And then they do it again. And again. And so forth. It really is a neat concept that could use more exploring, but here it's just really maldeveloped. The melodies also get stale extremely quickly. 'Eternal Rise of the Sun''s opening hook isn't anything really special, but it is substantial. Then it gets repeated so much that it just gets annoying.

Honestly I think the biggest problem is Serenades doesn't want to be a gritty, Winter-esque album with very low production value and little eclecticism. Young Anathema wanted to be more than that, obviously, but how they show that is with an underwhelming release that can't decide whether it wants to be complex or simple. And don't even get me started on the twenty-three-and-a-half minute long pseudo-orchestral snooze-fest that is 'Dreaming: The Romance". Usually when you see a song of that length you'd assume something spectacular. Instead you get almost a half-an-hour of flat, programmed strings with very little variation, and sounding like an intro or interlude stretched out twenty minutes too long. Really it's a disappointing ending to an already disappointing album.

Serenades is an album remembered among really only fans, and not really for a good reason. It's an underdeveloped...well, I wouldn't really call it a "mess" but more along the lines of a misstep. It was corrected fairly well but it's a tangled debut with bigger aspirations than it can fit in it's tiny box.

BEASTMAKER Inside the Skull

Album · 2017 · Doom Metal
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Kev Rowland


Formed in California in 2014, this is the second full-length album from the doom/stoner trio. Now, I like doom as much as the next metalhead, and have lots of stoner in my collection, but I can’t get out of my head that this is NWOBHM-tinged doom as opposed to the real thing. Now, back in 1979 I was sweet sixteen, and fell into the genre wholeheartedly but even in the early days it was easy to see what bands were going to make it, what bands might make it, and what bands were probably just going to release one album or single and then vanish, and Beastmaker fall into the last category. They are currently touring with Zakk Sabbath, and I can imagine that they would be a great warm-up band, but never anything more than that.

This is an okay album, but there isn’t enough in the way of good songs for me to want to keep returning to it, and there is a feeling that they have a lot to do if they ever want to break out of the second division.

MY DYING BRIDE Symphonaire infernus et spera empyrium

EP · 1992 · Death-Doom Metal
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FMOTP
This EP gets a 3 1/2-star rating from me. MY DYING BRIDE is one of my favorite bands. Their music is a very interesting combination of death metal trappings with violins, keyboards, and sophisticated song structures. That being said, the Symphonaire EP is a good example of the band's music. The lyrics, like on My Dying Bride's early output generally, are far-fetched. They're gothic and violent, but they seem like scattered images without a framework.

The title track is definitely the best of the three. I especially like the bells at the end. There is some variety here, although the song overstays its 11 minutes a bit. "God is Alone" and "De Sade Soliloquay" don't have that problem. They are pretty standard death metal tracks. I'm not a big fan of death/doom metal generally; the parameters are too limited. Symphonaire is an early EP by the band, which is evident when you listen to it. They haven't fully developed the distinctive sound that makes them so listenable. However, the title track does point to the variety of instrumentation and songwriting that makes the band's later records so interesting.

ELECTRIC WIZARD Let Us Prey

Album · 2002 · Doom Metal
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UMUR
"Let Us Prey" is the 4th full-length studio album by UK doom/stoner metal act Electric Wizard. The album was released through Rise Above Records in March 2002. It´s the last album to feature the band´s original lineup of Jus Oborn (vocals, guitars), Tim Bagshaw (bass) and Mark Greening (drums), before bandleader Jus Oborn completely revamped the lineup before the recording of "We Live (2004)", leaving him the sole remaining member of the original trio. "Let Us Prey" is one of those really hard albums in a band´s discography as it was released on the heels of Electric Wizard´s most iconic release "Dopethrone (2000)". People always talk about sophomore albums being the hardest to release because of fan expectations, but releasing your first album after a massive success like "Dopethrone (2000)" is probably worse and must have been a daunting task for the band.

They´ve chosen the right path though, as they´ve opted not to make a clone of the predecessor, but instead go for a slightly more accessible phychadelic tinged doom/stoner metal sound. The vicious aggression and darkness of the predecessor have also been toned down considerably and overall "Let Us Prey" is a more warm and pleasant listening experience. But don´t misunderstand that as if Electric Wizard have gone all mellow or anything like that, because that´s certainly not the case. You´ll still find crushingly heavy beats and riffs in spades on this album, stoned guitar soloing over jam packed sections, bleak moods, and Jus Oborn´s characteristic distorted "low in the mix" vocals. The organic musicianship has to be mentioned, as it´s a real asset to the album. These guys sound like real human beings playing and not machines hell bent to deliver militant precision. Electric Wizard understand the importance of delivering this type of music with an organic "live" feel, and they succeed well in doing that on this album.

Most tracks on the 6 track, 43:51 minutes long album are doomy yet groove oriented stoner rockers, but "We, the Undead" is slightly different sounding as it features a generally faster paced tempo and a clear punk influence and "Night of the Shape" is a rather psychadelic sounding instrumental featuring violin and a piano motif. While the doomy riffs are sometimes repeated many times during the tracks, before being followed by a new riff, and the tracks are at times dragged out because of it, the repetition is a means to an end, and when the band finally change riff or something new happens, it provides the music with a powerful release effect. The repetition also works to successfully build the generally dark atmosphere of the album.

The album is packed in an organic, heavy, and fuzzed out sound production, which suits the music perfectly. "Let Us Prey" is all in all another high quality doom/stoner metal release by Electric Wizard, and while it doesn´t quite reach the incredible heights of it´s predecessor, it´s still a mandatory listen for fans of the band, and a recommended listen for fans of doom/stoner metal in general. A 4 star (80%) rating is deserved.

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