#Epic Doom

[cavedwellermusic]

Crypt Sermon – The Stygian Rose (2024)

Matt Lynch takes a look at The Stygian Rose, the new album from Philadelphia epic doomsters Crypt Sermon, released on June 14th on Dark Descent Records.

Like a rewarding read, and like a positive upwards spiral producing routine, this record tells the law of diminishing returns to go f*ck itself because each revisit unfurls a little something more. If you want to get really into the weeds of it, get the lyrics out while you’re listening to it and cross check the songs like you’re reading The Sillmarillion with your two copies. You have two copies of The Silmarillion, right? For songs that are as dark as the atmosphere is, they are gorgeously written, meticulously crafted, paired in a way that compliments its predecessor and follower, and presented in a manner that exactly suits Crypt Sermon are looking to do.

Read Matt's full review and listen to and order the album at the link below:

[horrid-phantasm]

Iron Griffin

[doomedandstoned]

GÉVAUDAN Unveil Powerful Lovecraftian Journey in ‘Umbra’

~Doomed & Stoned Debuts~

By Billy Goate

Album Art by Erskine Designs

I love it when bands go for epic. With concept firm in hand, four-piece English progressive doomers GÉVAUDAN reveal a one-track 43-minute epic in 'Umbra' (2023), the band's second LP following the well-received 'Iter' (2019).

Some songs are written to get your body moving and your head banging, and so release a lot of energy in a short space of time. Other songs are written for the long-haul, supporting the unfurling narrative of a story old, grand, mysterious, and surprising.

Gévaudan's penchant for storytelling is worthy of the baffling tale of the Beast of Gévaudan itself, a puzzling corner of history three centuries past. This epic tale seems at times to characterize a carousing beast or the sorrowful cries of its victims or the brimming rage of loved ones headed into the forest to hunt the thing that is like a wolf, yet not a wolf.

Some hints of the band's intentions can be gleaned from the album title, umbra being the darkest place in a shadow. The piece begins with the unsettling scratch of dissonant guitar, like a cloud of electrified mist. Then comes the slow, deliberate thump-thump-thump of the drums. The first doom riff and sorrowful verse emerges:

I’m waiting in the dawn light, clawing, tongue like dirt Bleeding wounds that unwind, nails worn through Screaming, wordless prayer

For a voice this plaintive, you'd have to go to Rainbo from Portland, Oregon's Purification or The Wizard from the late, great Pilgrim. There is genuine mourning here, with words reminiscent of the downcast prayers of King David. Like the Psalmist, the eyes of lyricist Adam Pirmohamed seem to lift heavenward, to the invisible, esoteric realms of God and the soul.

And I slumber, in His embrace He cradles me to death And I slumber, in His faith He caresses, within my flesh

You may wonder how to take the words, just reading them at face value, but Adam has a way of convincing you of them on an intuitive level, such is the sincerity and relatability of his singing. Meanwhile, guitarist Bruce Hamilton gives release to the moment with a dazzling heavy metal solo that does some singing of its own.

When Adam returns to the mic, it is with conviction, and the vocal style becomes considerably more bold.

And I slumber, in His embrace! And I slumber, in His faith!

There follows at 12:43 a period of the sublimest peace, with the airy ambience of pleasant dreams, free from the burdens and cares of this life. In a note from the band, they reveal that the song is about battling depression, with strong Lovecraftian themes (see below).

A third section surfaces at 18:32, with the guitar strumming a triumphant theme and the rhythm section of Andy Salt (bass) and David Himbury (drums) supplying a lofty heartbeat. Adam's singing seems to embrace sunlight and blue skies following the sullen clouds of the first act. At 21:51 a whirling, climbing solo from Bruce, charged with grit and determination.

There is something vaguely Medieval about the riff we return to at 23:03, as though it were ruminating on past sins or future worries. Then at 23:40 bliss enters in the form of a psychedelic guitar set against noodling bass and the gentle tapping of drums and cymbals. The stern riff returns, though it seems to be right at home with its jazzier counterpart.

Then at 25:05 the mood shifts back to the depressive air of the start, and it might seem like defeat -- back to the status quo of gloominess and melancholy. But something has changed. There is reflection and a sense of perspective about the state of things, and an optimistic spirit rises above the morass.

I’m waiting in the dawn light Screaming, euphoria Sightless woodland Breathless blood

The presence of the synth gives it an otherworldly flare. Then at 32:52 piano, bass, and voice take us to the water's edge for a beautiful song within a song. It might have ended there, but the full band returns at 35:53 with wailing guitar and damning chords to truly finish the piece.

Standing at my hearth, I am showered with gold Strong foundations, I am king, I am known Growing inside, fearless soul of mine Brightest eyes, reflecting through mirrors

Now, as I mentioned, this is inspired by Lovecraft so there could be something stranger, more sinister afoot than I am aware of. I won't spoil those last four lines of the song (beginning at 38:21), but they may leave you questioning whatever you believed about the whole ordeal to begin with. I love the dark, droning synth that takes us into the void at the record's conclusion.

And with that, Gévaudan have created something unexpected and brilliant in Umbra. The album releases this weekend on vinyl, compact disc, and digital formats (pre-order here). Stick it on a playlist with Neurosis, Serpent Venom, Purification, Age of Taurus, and Pilgrim.

Give ear...

Umbra by Gévaudan

A Letter From The Band

We’re delighted to provide an exclusive stream of our second full-length album, Umbra, in partnership with Doomed & Stoned. This has been a while in the making, and we’re really excited to finally be releasing our most ambitious record to date, seeped in grandiose and epic doom.

Our new album, 'Umbra' (2023), evolved from the depths. Through a single 43-minute concept, it explores depression through the eyes of Eldritch horror, culminating in the unrelenting shadow that’s imparted on its sufferer -- a battle of light, stalked by darkness. As you may have come to expect from Gévaudan, this is monolithic, progressive, and highly emotive doom.

It was late 2020 when the first riffs for Umbra appeared in the studio. We felt we’d really found our niche through our debut, ‘Iter’ (2019), and made a conscious decision that our next record was going to take some of the more epic elements even further. Since our inception in 2013, we’d had a strong desire to write a concept album - something vast and atmospheric. It felt like the appropriate time to embark on the piece and see how our sound would translate onto a 40+ minute canvas for the next album.

Our writing process took on a far more live and collaborative approach. Whilst riff-master-general, Bruce, continued to bring riffs into the studio which we adopted, refined, and worked into fully formed ideas. We also took more time to jam and evolve parts, and created more in the room collaboratively. This helped to fully shape the progression and tonal shifts we wanted to achieve.

Lyricist and vocalist Adam has always taken the lead on the thematics. When thinking of concepts for the album, we wanted to take a different approach than usual. We’ve covered a lot of fantasy, history, and the occult; and whilst we didn’t want to stray too far from that, we wanted to write something with more of a personal and relatable element.

At the time, Adam was managing a bout of depression and kind of fell naturally into writing about how they were feeling -- almost an indescribable and ominous feeling, a sense of something looming. From that feeling it felt instinctive to use themes and ideas of Eldritch Horror as an allegory for depression and distress, and it was rewarding to write about a relatable topic whilst still staying true to our known themes and tones.

An important part of our evolution on this album is the introduction of piano and synth. They have extended the layers and palettes we can play with and have allowed us to explore different textures and writing approaches.

As part of the completely immersive concept approach, the cover art was another key ingredient. The impressive cover artwork has been developed by Erskine Designs. Conceptually and tonally, it’s the perfect accompaniment of the aforementioned themes.

The dynamics of our song writing have always been a key ingredient to our musical approach, and we were fortunate to have the opportunity to work with producer and engineer Mike Exeter in the studio again.

Finally, we’re really excited to be working with Meuse Music Records on this release. They have been incredibly supportive in bringing our vision to life on physical formats, and are a really great team to be collaborating with.

Please sit back, lower the lights, and crank up the volume to indulge in this epic musical journey.

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[gbhbl]

Album Review: High Council - Cruel and Unusual (Self Released)

Riff heavy, melodic metallers High Council are back with their second full length, titled Cruel and Unusual, set for release on the 11th of April. Hailing from Southern New Jersey comes High Council, an interminable force with one foot in Hell and the other crushing the throat of mediocrity. For years, High Council has been bludgeoning its loyal fans with ferocious epics of riff-fueled melodic…

[thedoorhandler]

This dream or vision occurred to me in 2012 or 2013, which was by far the most potent thing that i have ever dreamt. I didn't even know whether to post this in some conspiracy forum or find a way to re-enact this with digital video editing if i knew how. It made me question if it was really just a mere dream: I felt like my soul didn't deserve such sight. It was too mighty.

- - - - - - - - - - - - - - - - - - - - -

A sky-sized celestial body appeared above me, in the highest part of the sky above the earth. I only linked two pictures from the movie "Armageddon" for an overall reenactment of how it looked like. Not even AI can recreate this. I have to put a huge emphasis of the entire visible sky being covered with it. Look up in the night sky and imagine. This rough, God/alienlike body came down lowering itself and peeking through a layer of fog in the upper mesosphere, dizzyingly high up there. The real problem was not knowing whether this body would come crashing or was just teasing. I felt like it was teasing before it got worse. It covered the whole sky. It looked like a reversed mountaineous terrain which subsequentially lifted back up and away from the stratosphere, and out of sight, into the silence beyond the sky's fog again.

This movement had a duration of maybe 3-5 seconds (peeking in and out) and seemed more like a clear warning that the earth has just been threatened by something bigger and mightier than itself. That thing lived. I forgot to breathe and ran on this sidewalk next to a street with just very few people doing in front of me who did the same thing. We were strangers, but there was a connection through fear that would make me feel like we were a most intimate part of each other. Quiet, synchronized internal panic to a point where no one was able to scream, speak or make any noise.

The only hollywood movie that was able to put a scene like this together was Armageddon, and there is literally nothing to add to the green-blue-turqoise texture of the rocky asteroid surface. I could see each and every ridge and small debris floating under it in 100K Ultra HD. Layers of this colored fog between (and over) each and every detail in various amounts and nuances were just unexpected, sickening, epic, stomach-turning, brutal, overly mighty. It looked pretty much exactly like that, without the earth on the right:

Everything on the ground was glowing dark green. The streets, the buildings, and it was night. Very few people including me ran around aimlessly, knowing: "This is it. Once and for all." Synchronized and quiet panic, shock, speechlessness in the collective psychological climate of those who were left.

The last memory of this dream was hiding with 2-3 souls/friends i knew in a high rise building office without lights. We just stood there accepting the whole thing while all electricity was out everywhere. There were no lights in the city, other than that dark green glow. It seemed like there were only a few people alive in general.

After this "vision", i woke up stunned like never before. I didn't feel bad, drained or anything like that. I fell asleep quite comfortably beforehand. When the dream was over, i basically lifted my ass up from the bed slowly with a huge degree of mental confusion, shock, awe and disbelief as if i just came back from the actual apocalypse. Needless to say that i believe my heart was pounding, too. All my reserves for survival instincts were used up and satisfied.

I spent some time thinking how my little brain could create such high-fidelity, ultra-clear and sensationally overwhelming pictures and scenarios without me having watched any movie or media that would involve asteroids or celestial bodies like that... not even remotely. I felt blessed. I felt like a prophet who just got the full dose of a true vision. The type of shit that will make you grab the pencil like the ones who who wrote the ancient books. Maybe others would have worded this story better and with more suspense, but the words i just wrote represent what i saw to its fullest extent.

-------------------

Note: This is a real dream report and not sci-fi. All of my dream reports are real and i would explicitly state whether something is within my fantasy works or from my personal 'diary'.

[botanicallyinclinednerd]

If I had a nickel for every time Odysseus's crew experienced a mass casualty event due to killing an animal friend of a being with a powerful Godly father, and that God showing up to teach Odysseus a lesson of some kind before decimating his crew, I'd have two nickels. Which isn't a lot, but holy shit is it unfortunate for the crew that it happened twice

[kaahmbem]

legend has it that the young witch circe and the once beautiful nymph scylla shared a complicated past...

[poorly-drawn-mdzs]

How much longer 'til your luck runs out?

[First] Prev <–-> Next

[kdpartworks]

And with these, i think that chap.1 about Cloudysseus is ended. <3 NEXT CHAPTER IS ABOUT CLOUDYSEIDON FRIENDSSS But in the meantime i could also post some random minicomic too

[scurvyboy]

continuation of the challengers kiss because it's really funny

extra kind of suggestive picture under the cut

[venominomenon]

Do you think in the Underworld Eurylochus heard voices of the drowned men asking him why he opened the bag?-

[cavedwellermusic]

Malsten – Larum Single Review

James looks at Larum, the first single from the upcoming album Rites of Passage: The Haunting of Silvåkra by Swedish doom act Malsten, released December 1st, with the album out March 15th onSvart Records.

This is the first taste of a concept album that sits conceptually in the vein of King Diamond. By that I mean that this is an in-depth telling of a horror story that employs a narrative style, but through the medium of atmosphere focused funeral/epic doom metal. Personally, I can’t wait for the full album to drop, if this is just a taste then I am extremely hopeful for what’s to come.

Read James' review, listen to the single and pre-order the album at the link below:

[lunee43]

This is for everyone who requested Eurymene kissing! I’ve been drawing too much Eurymene fluff, so I changed it up >:)

[doomedandstoned]

Austrian Death-Doom Ensemble ENDONOMOS Go For Epic on 2nd LP

~Doomed & Stoned Debuts~

By Billy Goate

Just in time for the change of seasons comes Austrian death-doomers ENDONOMOS, back for a pensive second full-length following their pandemic self-titled debut two years ago. 'Endonomos II - Enlightenment' (2024) delivers six more compelling numbers, and comprising the band are singer/songwriter Lukas Haidinger (also on bass), Christoph Steinlechner (guitar), Philipp Forster (guitar), and Marius Segl (drums).

Trafficking in the terrain of Ahab, Evoken, Mournful Congregation, Katatonia, My Dying Bride, Candlemass, Swallow The Sun and Paradise Lost, the new album fills up our tank with dark, brooding doom (the strange, dirge-like opening to "Atheon Anarkhon"), featuring some wicked fingerwork (all throughout "Inversion"), contrasting murky and melodic singing that can be either brutal and caressing (as in "Entrapment"), and all of this surrounded in a mysterious, dreamlike fog that pervades the record.

Lyrics decry the brainwashing that leads to war and the oppressiveness of religious totalitarianism throughout history, imagining utopia "outside the grip of man." I couldn't help but conjure the famous image of Rodin's "The Thinker" while listening, as words often seek reconciliation with a past too tangled and labyrinthian to take fully into comprehension.

The theme that bookends "Inversion" is a powerful doom anthem that I keep turning up the volume on. There are some beautiful dual guitar harmonies on "Atheon Anarkhon" is dismal a.f. and I love it. The sequence of rhythm, riffmaking, melodic guitar antics, gruff and haunted crooning builds fantastically, like pillar of ashen smoke taking shape into a terrible Phoenix and claiming the expanse of the sky.

"Resolve" brings us rainy riffmaking that goes for Serpentine Path depths of low, with strong rhythmic architecture, dazzling guitar play, and dissonant stretches that juxtapose with vocals that come through like a ray of sunshine piercing dark clouds. The slow guitar is almost mesmerizing and the plaintive melodies touch a sorrowful place in my brain, as I contemplate the lyrics: "In time I'll resolve into the void, to blissful unconsciousness." This coupled with powerful, thudding rhythms that ground the listener to the hard, cold physical reality of the here and now.

"Entrapment" is pure winter -- one can imagine trudging through feet of snow in a landscape blanketed in white and covered by low hanging clouds. In fact, the lyrics speak of being taken "back to days of cold." There are some touching and effective guitar harmonies in league with the beautifully tragic intro/outro of Pentagram's "I Am Vengeance." And when the downtuned low-end joins in the emphatic latter moments, it's so damned heavy it shakes all around.

"Hostile" has that misty feeling from the aftermath of tears that Pallbearer fans will appreciate. Vocals are appropriately subterranean as it features the growls of Daniel Droste of Ahab fame. These are paired with clean pipes that, while forlorn, are accessible, and can also really soar.

"Kafir Qal'a" ends the record on a dismal note and has the feel of epic doom about it. Big chords, resounding soundwaves, grim arpeggios, screeching axework that hints at the extreme metal background of its handlers. The dark/light pairing of vocal styles works very well as the verses unfold, which may reference a battle fought around an ancient citadel somewhere in the first century.

Keep this one playing and really soak it in for max effect. Endonomos II - Enlightenment comes out Friday, September 27th, on compact disc and digital via Argonauta Records (get it here).

Give ear...

SOME BUZZ

Austrian epic doom metal Endonomos announces new album "Endonomos II - Enlightenment" via Argonauta Records. On their second album Endonomos refined their sound, going deeper and more eclectic in their particular vision of Doom Metal.

From the uncanny intro of dissonant chords and unsettling sounds to heavy, mean riffs and a highly melodic chorus, this one sports all the trademarks of Endonomos' distinct style, while pushing its boundaries.

The ancient Greek song title "Atheon Anarkhon" could be translated as "no god, no sovereign" and deals not only with the inseparability of atheism and anarchism, but mainly how their counterparts (theism and autocracy) contradict human nature and corrupt the human mind." - says the band.

Endonomos II - enlightenment by Endonomos

Recorded, mixed and mastered once again at DeepDeepPressure Studios, the album delivers thick riffs, epic melodies, uncanny chord progressions,

The first single "Hostile", boasting at almost 9 minutes length, is a highly melodic doom monolith, dealing with the inherently ill-disposed nature of life towards each other, and features guest vocals by Daniel Droste of German Doom Spearheads Ahab.

Endonomos is the brainchild of Austrian multi-instrumentalist, producer and session musician Lukas Haidinger, who is mostly known for playing extreme metal in bands such as Profanity, Nervecell, Distaste and many more, but as a longtime doomer, he finally brought his sinister yet melodic sound to tape.

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[gbhbl]

Album Review: Stygian Crown - Funeral For A King (Cruz Del Sur Music)

Funeral for A King is a step-forward in many ways, but none more obvious than the grandeur the record has overall.

Los Angeles epic doom crew Stygian Crown returns with their long-awaited sophomore album, ‘Funeral for A King’, out on February 23rd 2024, via Cruz Del Sur Music. Way back in 2020 we admired Stygian Crown for being a bleak and cold example of doom. One that left an impact, even if it was a drawn-out experience. Now, they return even colder, even bleaker, and even more epic sounding. Funeral for…