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
4.68 | 12 ratings
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TRIPTYKON Melana Chasmata Album Cover Melana Chasmata
TRIPTYKON
4.53 | 16 ratings
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MY DYING BRIDE The Dreadful Hours Album Cover The Dreadful Hours
MY DYING BRIDE
4.45 | 33 ratings
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SPECTRAL VOICE Eroded Corridors of Unbeing Album Cover Eroded Corridors of Unbeing
SPECTRAL VOICE
4.61 | 10 ratings
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THE RUINS OF BEVERAST Exuvia Album Cover Exuvia
THE RUINS OF BEVERAST
4.52 | 13 ratings
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TROUBLE Run to the Light Album Cover Run to the Light
TROUBLE
4.50 | 13 ratings
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PENTAGRAM Review Your Choices Album Cover Review Your Choices
PENTAGRAM
4.59 | 8 ratings
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KHEMMIS Hunted Album Cover Hunted
KHEMMIS
4.72 | 5 ratings
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PARADISE LOST Medusa Album Cover Medusa
PARADISE LOST
4.37 | 25 ratings
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CELTIC FROST Monotheist Album Cover Monotheist
CELTIC FROST
4.32 | 43 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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WARNING Watching From a Distance Album Cover Watching From a Distance
WARNING
4.45 | 11 ratings
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God Is Silent
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doom metal Music Reviews

KAUAN Lumikuuro

Album · 2007 · Doom Metal
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siLLy puPPy
KAUAN is a fairly strange band and not only due to the fact that band formed in the heart of Siberian Russia in the city of Chelyabinsk and adopted the Finnish language as its form of lyrical expression but also in the fact that the band began as a bizarre mix of doom / black / folk / post-metal along with dark folk and post-rock and then dropped the metal altogether only to revive it. The band’s name means “For A Long Time” in the Finnish language and this debut album LUMIKUURO translates as “Snow shed” which doesn’t bring much metal to mind does it?

Well truth be told, KAUAN isn’t a regular metal band at all. In fact i would call it a post-rock / dark ambient band that just HAPPENS to incorporate doom and black metal to the mix. The band was inspired by Agalloch’s “The Mantle” and that is exactly what you can expect on LUMIKUURO, namely a Finno-Russian take on that classic album only set to a much mellower pace with pianos as the main metal instrument leading the melodic way. At this stage the band was a mere trio consisting of Anton Belov, the founder on guitar, vocals and keyboards. Also on board is Lubov Mushnikova on violin and Alexander Borovikh on guitar on backing vocals.

So what’s up with Finnish as the language of choice in the heart of Siberia? Well, it wasn’t because any of the members were from Finland! On the contrary Belov was enchanted by the lyrical delivery of Finnish metal bands which focused more on vowel sounds rather than the consonant harshness of Russian but also deemed that the scarcity of Finnish speakers would enshroud the band’s lyrical delivery in a mysticism in virtually every part of the globe except for the world of Finland of course! Overall a pretty unique approach and having studied the Finnish language myself for a few months, i have to say that i’m impressed at the effort in taking on this Finno-Ugric language of a mere 6 million or so speakers.

Musically i would say that LUMIKUURO is mostly like the softer parts of Agalloch’s “The Mantle” and that’s not to say it’s a clone in any way. This band at this stage somehow amalgamated Finnish and Russian folk with aspects of doom metal, black metal and dark ambient but there is always a piano to lead in the main melody before the rest of the eclectic mix plays off of it. The album has eight tracks and mostly soars in the gloomy doomy section of the metal universe when it turns up the distortion. Sort of like a piano-led My Dying Bride with a stealthy violin presence with black metal vocals and a heavy dose of atmospheric dynamics. The album is more atmospheric than rocking and is basically a post-rock album with metal accouterments so no head banging on this one.

Given the band’s Finno-Urgric fascination, KAUAN has relocated to Estonia in the present day and continues the shtick laid down on LUMIKUURO. This is by all means an art metal sorta album and mostly non-metal to be honest as the metal moments are fleeting yet effective as a point of contrast. These are hauntingly beautiful melodies that pierce the soul as they are mined from centuries old traditions of folk music. The members of KAUAN have the gift of bringing these sounds to the modern age and adapting them to the modern world. Once again when i say LUMIKUURO is influence by “The Mantle” that is a good thing. Despite the overall comparisons, this album actually sounds fairly unique from my experience. Doomy, gloomy but in a way that makes you realize there’s light at the end of the tunnel. Interesting band for sure

CONAN Evidence of Immortality

Album · 2022 · Doom Metal
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BitterJalapeno
Orogenic processes fast-forwarded while the stricken lay dying...

The fifth full-length offering from Liverpudlian doom metal machine Conan shows no sign of deviating from spirit-crushing, despair-filled doom metal of the most ferocious degree. Clocking in at over 50 minutes, Conan’s latest is their longest album to date and is somewhat a return to their older style, centring the structure around lengthier cuts as opposed to the shorter, punchier tracks featured on 2018’s impressive Existential Void Guardian. However, there are still pockets of aggressive sludge here – such as the punk-tinged “Ritual of Anonymity” which contains some of the album's faster-paced sections. The aggression in the middle is bookended by two epochs of slow-moving, catastrophic doom which despite their length, do not outstay their welcome and are the strongest portions of music on offer here.

There are two things that Conan’s music always brings to mind: barbaric battles and geological processes. Opening track “A Cleaved Head No Longer Plots” is so destructively heavy and dense that it manages to replicate how I imagine the collision of continents would sound if occurring in 10 minutes rather than over a period of millions of years. The usual pulverising doom riffs are nuanced with some nice touches of post-metal adding stylistic diversity. Conjured in the mind are images of thick, slow-moving lava snaking its way down the side of a volcano as pyroclastic bombs descend from the ash-obscured sky above, reducing everything in their path to cinders.

In addition to the strong structure, the album impresses from a production perspective. The viscosity of the guitar and bass tone is unfathomable while still allowing the drums to shine through with crystal clarity. It’s obvious that Conan has lost none of its forbidding atmospheric quality and on Evidence of Immortality, some additional features develop this further. Organs are utilised to great effect in the funeral doom closer “Grief Sequence”, providing another layer of ominous atmosphere as the brooding, monolithic guitar chords gradually edge the listener towards their impending death following the aftermath of a medieval bloodbath. The sinister atmosphere intensifies as the song (and album) crawls to an end, assisted by the inclusion of warping flange techniques on the organs, delivering a fever dream-like sound as if the stricken listener is slipping into a delusional state as their life approaches its inevitable terminus.

Conan has delivered yet another high-quality lump of barbarically heavy doom metal and have once again re-cemented themselves as a prime act of the genre by adding another pillar to their legacy – one with the utmost consistency in quality, and undoubtedly, longevity.

MY DYING BRIDE The Manuscript

EP · 2013 · Doom Metal
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Warthur
Later paired with The Barghest o' Whitby on the compilation The Vaulted Shadows, whereas the Barghest EP consisted of only one long track, this consists of a clutch of (comparatively) shorter songs which didn't quite make the cut for A Map of All Our Favours. With Shaun Macgowan's violin cutting a particularly haunting and beautiful air on the title track, this is an EP which finds the band deep in the gothic death-doom realm they defined with their early work and have further refined ever since, and refine further here. The quiet section at the end of the title track, in particular, feels like it's influenced somewhat by early Opeth, which feels new in My Dying Bride's sound.

I can only assume there was some thematic reason why they weren't included on Map of All Our Failures, because goodness knows the quality here is very solid - if not even stronger than that album.

MY DYING BRIDE The Barghest O' Whitby

EP · 2011 · Death-Doom Metal
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Warthur
This EP, consisting of a single 27-minute epic track, finds My Dying Bride deep in the death-doom style they pioneered, and makes sure to include prominent keyboard and violin parts to introduce new member Shaun Macgowan to the fanbase. Shaun Steels, former member, comes back on a guest session musician basis to provide drums, so between a new member coming in and a post in the drummer's stool still unfilled this is clearly catching My Dying Bride in a bit of a transitional period between lineups, but it's still an interesting release.

Aaron Stainthorpe seems to be trying out a new lyrical approach here, going in for more harsh, sharp snarls than the deep guttural roars usually associated with death-doom. In the latter half of the song he slips back into the stentorian style of clean vocals which has so often been his trademark. Musically speaking, you know what you are getting with My Dying Bride, and you get about 27 minutes of it here. It's good, and I like the experimentation with longer song lengths, but I wouldn't say it's genre-redefining or absolutely essential.

WINTER Eternal Frost

EP · 1994 · Death-Doom Metal
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UMUR
"Eternal Frost" is an EP release by US, New York/Long Island based death/doom metal act Winter. The EP was released through Nuclear Blast Records in 1994. "Eternal Frost" is a reissue of the material from Winter´s 1989 eponymously titled demo tape plus the addtional track "Manifestations I". Although the droning/ambient noise of "Manifestations I" isn´t exactly worth the price of admission, a reissue of the 1989 demo makes a lot more sense, as the original cassette tape demo was limited to 200 copies, and was at this point in time a sought after object by fans of the band´s 1990 debut album "Into Darkness". Other than the addition of "Manifestations I" one other change has been made to the original demo material from 1989, as the track "Hour of Doom" has been given the new title "Blackwhole". Otherwise nothing has been changed.

Stylistically Winter play an early example of death/doom metal. It´s predominantly bass, heavy guitar riffs, drums, and intelligible growling vocals, and only occasionally lead guitars provide some atmosphere. The heavy organic grooves and the memorable songwriting keep the music flowing and interesting throughout and the fact that not all tracks are ultra heavy doom dirges also provide the EP with some variation. A track like "Servants of the Warsmen" is for example a mid-paced death metal affair, rather than a death/doom metal track.

"Eternal Frost" is a well sounding and very well produced EP, and the fact that most of the material is culled directly from a 1989 demo makes it even more impressive that Winter have managed to produce such a well sounding release. "Eternal Frost" is upon conclusion a good quality death/doom metal release, featuring a relatively unique sound (although the Celtic Frost influences shine through) and a 3.5 star (70%) rating is deserved. If you can´t find neither the demo nor the 1994 EP... despair not...as the material is included on the reissue versions of "Into Darkness" (1990).

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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