Death-Doom Metal — the ultimate metal music online community, from the creators of

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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MY DYING BRIDE The Dreadful Hours Album Cover The Dreadful Hours
4.37 | 25 ratings
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THE RUINS OF BEVERAST Exuvia Album Cover Exuvia
4.56 | 8 ratings
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PARADISE LOST Medusa Album Cover Medusa
4.36 | 18 ratings
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PARADISE LOST Gothic Album Cover Gothic
4.24 | 31 ratings
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MY DYING BRIDE Songs of Darkness, Words of Light Album Cover Songs of Darkness, Words of Light
4.26 | 19 ratings
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NOVEMBERS DOOM The Knowing Album Cover The Knowing
4.41 | 7 ratings
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MY DYING BRIDE Turn Loose the Swans Album Cover Turn Loose the Swans
4.19 | 29 ratings
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KATATONIA Brave Murder Day Album Cover Brave Murder Day
4.09 | 32 ratings
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THE 11TH HOUR Lacrima Mortis Album Cover Lacrima Mortis
4.20 | 6 ratings
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NOVEMBERS DOOM The Pale Haunt Departure Album Cover The Pale Haunt Departure
4.17 | 6 ratings
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CELESTIAL SEASON Solar Lovers Album Cover Solar Lovers
4.20 | 5 ratings
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DISEMBOWELMENT Transcendence Into the Peripheral Album Cover Transcendence Into the Peripheral
4.02 | 12 ratings
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Album · 2000 · Death-Doom Metal
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Novembers Doom's debut album established them as working very much in the death-doom mode that the early work of the Peaceville Three (My Dying Bride, Paradise Lost, and Anathema), but with The Knowing they truly produce an album which can stand in the top tier of the subgenre.

In particular, it's steeped in this melancholic, romantic take on the death-doom sound which reminds me of some of the strongest moments of early My Dying Bride - the sort of death-doom metal that's not afraid to show the influence of the more serious sort of gothic metal here and there. It's rather grand.


EP · 2015 · Death-Doom Metal
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siLLy puPPy
SUMMONER’S CIRCLE isn’t your ordinary metal band for sure. This band doesn’t just play music but lives it. Having formed in Knoxville, Tennessee in 2015, this spaced-out band is something akin to the jazz-world’s Sun Ra when it comes to its knack for crafting its own cosmic mythology and with an over-the-top sense of theatrical performances. Nurturing the sci-fi themes of H.P. Lovecraft and Robert E. Howard amongst others, SUMMONER’S CIRCLE also claims to be refugees from a cosmic war on the planet Mercury and has relocated on Earth to perform its magic rituals which resemble heavy metal concerts!

The band consists of six members: Blind (vocals), Sol (keyboards), Magog (rhythm guitars), Gog (lead guitars), BG Scios (drums) and Fallen (bass). All six members have been together since the band’s inception and so far they have released two full-length albums, “Tome” and “Become None” but this EP titled FIRST SUMMONING debuted these interplanetary refugees and their eccentricities. This EP consists of only 4 tracks but perfectly displays the band’s unique mix of death doom metal with touches of other elements such as black metal and ambient atmospheres. The band has created its own comprehensive history behind its existence and the lengthy bio on its website displays the amount of effort these guys have put into their mythology, something like the progressive rock act Magma crafted several decades prior.

SUMMONER’S TALE delivers an epic sound like no other. The real journey begins on the double-album debut “Tome” so FIRST SUMMONING which doesn’t quite reach the half hour mark is somewhat of a warm up session or rather an indoctrination into the band’s idiosyncrasies which take death doom metal intro slightly progressive arenas with dramatic keyboards and dominated by Blind’s powerful vocal style. This EP begins with a two and a half minute symphonic narration which insinuates a much larger epic tale to come but seems truncated by the EPs length however in reality this EP is more like a teaser, a statement of sorts that SUMMONER’S TALE has arrived and the show will begin soon.

With death doom metal as the primary genre, this is slow plodding evil sounding metal with Blind sounding most similar to My Dying Bride’s Aaron Stainthorpe and in many ways this band resembles that band only trading in the violin for the keyboards. There are the same gothic overtones and sense of dramatic compositional flair however this sounds different enough that you wouldn’t exactly think this was a MDB release if you heard it. Blind’s vocals are much more rooted in death metal’s guttural growls however his rare clean vocals are a dead ringer for Stainthorpe. Keep in mind the lyrics are all designed to evoke a magic ritual through music and the band hams it up in concert which probably makes them a very interesting live act to follow but just judging from the recorded music, this is very competent death doom metal for sure.

This is a very cool and professional recorded slice of death doom metal that perhaps needs a bit more originality but very well composed and produced. As the band states as their Bandcamp site: Epic doom metal from the wastes of Mercury. “Let us be the soundtrack to your private Doomscape.” If that’s not masterful marketing, what is?!! Overall, SUMMONER’S CIRCLE delivers an excellent debut EP and has peaked my interest in further exploring this high drama death doom metal band from Tennessee. Nice to know Appalachia has spawned more musical diversity than the more famous acts like Dolly Parton and other country / bluegrass legends. Favorite track: the 9:12 closer “Leviathan - Lord Of The Labyrinth.”


Album · 2019 · Death-Doom Metal
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Kev Rowland
Formed back in 2010, this is the second full-length album from the Norwich-based band, following on from 2014’s ‘Ephemerality’. While doom is obviously at the heart of what there are undertaking, there are also plenty of elements of death and black metal in the overall sound, which makes for a very interesting mix indeed. The opening number, “In Darkened Slumber”, is the shortest on the album at just 7 ½ minutes long and sets an incredibly delicate atmosphere. The band change their style thereafter and become more straight doom, but they never really lose that overarching impression of something that is more than just the musical notes. There is a strength within the fragility, a sense of the ominous, of something quite dark which is hidden behind the curtain waiting to attack.

The production is simply superb, with real, clarity, which is what is required when a song commences just with delicate cymbals, a bass not being plucked and a snare being hit just once in a bar. They slow their doom right down at times, and are always in total control so that the listener is being drawn in. The only way to really appreciate this album is by playing it on good headphones, as there is the risk hat some of the nuances will be lost among ambient sound. But don’t think this is anything but a very heavy album indeed, as there are plenty of dark elements to counteract the light, as here is a band who know exactly what power they have at their disposal yet never really let loose the hounds. Overall this is an incredibly impressive atmospheric doom album which is well worth investigating.

OCTOBER TIDE In Splendor Below

Album · 2019 · Death-Doom Metal
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Kev Rowland
Formed in 1995 by Katatonia members, Jonas Renkse (Bloodbath) and Fred Norrman, October Tide released two albums before going on hiatus for eleven years. In 2009 Norrman parted ways with Katatonia, and resurrected October Tide, consolidating the band's re-emergence with a new featuring Tobias Netzell of In Mourning on vocals. Now back with their sixth album in total, the band currently comprises Fredrik Norrman, his brother and guitarist Mattias Norrman (also ex-Katatonia), vocalist Alexander Högbom (Demonical), bassist Johan Jönsegård (Letters From The Colony) and drummer Jonas Sköld (Letters From The Colony, Thenighttimeproject). Although Katatonia came out of the Swedish scene they were always a very different proposition to the rest of the bands around them (I still consider myself very fortunate to see them at No Sleep Til Auckland in 2010, one of the very few metal festivals we’ve had here in recent years). The same can be said for October Tide, as although their roots are far more obviously in the melodic death scene, they have also put in plenty of doom and considering one genre is normally very quick while the other is slow, it means they are approaching the music from a quite different area than many. The other, rather refreshing, aspect is that this band keeps getting heavier while many of their contemporaries from the Nineties seem to have forgotten what they started all those years ago.

Look past the death metal style logo, and the rather threatening cover imagery, and even some of the growls, and one quickly realises that what we have here is an incredibly heavy band who are also intensely melodic. True, this isn’t the sort of material one will hear on the radio, and the riffs during “Seconds” would make Iommi proud, but each time I play “Stars Starve Me” I find myself singing the chorus. It’s not intentional, it just happens! I don’t expect it from a band with this style of imagery, and to be honest I certainly don’t expect it from any outfit who are signed to the mighty Agonia Records (one of my favourite, and certainly one of the most consistent metal labels around), yet somehow it just happens. These guys have captured a groove and a style which is lifting them above so many others. Alexander Backlund (singer with Letters From The Colony) undertook production duties, and knowing the guys so well obviously helped as the sound he has captured it huge, while Daniel Lidén did a great job on mixing and mastering.

This isn’t an album I would have expected from either October Tide or Agonia Records, as it is so intensely melodic as well as being incredibly heavy. Certainly worthy of investigation, play it loud.

NOVEMBERS DOOM Amid Its Hallowed Mirth

Album · 1995 · Death-Doom Metal
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Novembers Doom's debut album is an unapologetic embrace of death-doom metal of the style which had previously come to prominence spearheaded by the Peaceville Three - Paradise Lost, My Dying Brand, and Anathema. However, by the mid-1990s all three of those groups were showing greater or lesser signs of exploring outside of the death-doom niche they'd established; Novembers' Doom here take the opposite approach, going deeper into the genre and carrying forward the musical ideas that its progenitors seemed to have set aside at this point in interesting new directions.

The end result is an album which will please most death-doom fans with its commitment to sickly vocals, mouldering riffs, and a general atmosphere of slow, inevitable decay.

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