#Epic Doom

[cavedwellermusic]

A Brief History of Doom Metal

Four our latest Monster Riff republication, Patrick Schober takes a deep dive in to the history of one of metal's most widely enjoyed and influential genres, doom metal. He looks at the progression and expansion of the genre from 1970 to today, examining everything from Blue Cheer, Black Sabbath and Saint Vitus, to Candlemass, SLEEP, Electric Wizard, My Dying Bride, YOB and more. So if you want something heavy to listen to today why not explore this brief history lesson.

[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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[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

[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…

[poorly-drawn-mdzs]

How much longer 'til your luck runs out?

[First] Prev <–-> Next

[scurvyboy]

continuation of the challengers kiss because it's really funny

extra kind of suggestive picture under the cut

[kaahmbem]

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

[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:

[venominomenon]

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

[letsplaythermalnuclearwar]

Homer!Odysseus and Epic!Odysseus would try to kill each other if they ever met

[gabichanwrites]

I think that way too many people gloss over the reason why exactly those 6 men were such a big deal and a last straw for the crew and Eurylychous. Up to this point Odysseus made mistakes, yes, and people died because of them but never before has Odysseus made such a deliberate sacrifice.

Before this, he was still their Capitan - a bit arrogant, too prone to playing into Gods' Games and with a damnation right on his heels - but still on their side. Not to mention that this saga happens SO soon after Circe Saga, where he CAME BACK for them, put himself in grave danger and risked his return home to save THEM. Since the wind bag fuck up, this crew must have regained so much trust in him, Eurylychous must have felt so indebted and plagued by his own guilt because of his actions in Ocean Saga and Circe Saga. Because despite their doubts and question of How Much Longer Till His Luck Runs Out, their Capitan still came and saved them.

And then the Different Beast happens and it's ruthless and cruel but it's against their enemies, it feels like protection, no doubt. It's their Capitan making sure that they can make it home, that no other monster will follow them and make it impossible.

But then the Scylla happens and it never has been more clearer than there. Eurylychous would not be that furious if he didn't realize and he IS a second-in-command, he is not stupid. Six men who held the torches died and it was by Odysseus' order. This is no longer slaying every foe on the way home, this is Odysseus willing to sacrifice even them. Is it the same capitan who came back for them on Circe's island, is the same who always did everything he could to make sure they all made it back? How Are They Supposed To Trust Him Now?

This situation is so fucked and both sides have their point, I'm so sick of seeing posts putting the full blame on either side. They are all human and stressed and they don't know what to trust, what to do to come back home - and the worst part of it all, they probably never stood a chance.

After all, Zeus has already said they The Blood On Your Hands Is Something You Can't Lose, All You Can Choose Is Whose.

[doomedandstoned]

DIE LIKE GENTLEMEN Return with Fiery Double Album ‘Hard Truths’

~Doomed & Stoned Debuts~

By Billy Goate

“Ocean at Night with Burning Ship” by Marcus Larson

DIE LIKE GENTLEMEN have always represented to me the ideal fusion of rock and metal. Drawing on their sludgey roots, the Portland, Oregon quartet adopts progressive and dramatic elements for a punchy sound that is, in the band's words, "new and original, yet familiar." This is no less true on their fifth album, 'Hard Truths' (2021).

In the opener "Guts of a Beggar," a homeless man proclaims: "How can you just step over me? I'm still a man. Even stewing in my own filth, I’m still a man." It is sung with lusty aplomb by the throaty vocals of frontman Adam Alexander. High drama at its best, the first chapter of what feels like an epic adventure as the record spins along.

This takes us to the apocalyptic, "Last Night On Earth," which bemoans our blithe attitude towards this place we call home, as we tear it away little by little.

We’ll pay by degrees plastic tides recede mountains of debris

"Whipping Boy" begins with a chugging gallop and vocals that reach levels of epic doom, mingled with elements of the New Wave of British Heavy Metal. The verses and choruses here are hearty and robust, something that's become a Die Like Gentlemen trademark.

whatever crimes the kings devise the whipping boy will pay the price

"Letting in the Rain" is another standout track, coming later in the album. It captures the gloom, uncertainty, and paranoia of isolation during a long Northwest winter ("Did I leave these footprints on my floor? Did I unlock this door?").

There is sardonic humor on the record, too, as on "Bury Me." If you've ever wanted to watch the world burn, then perhaps you can relate to this dying man's plea:

Bury me but only up to my eyes so I can see the world and watch the spool unfurl

Bury me but only up to my nose so I can smell the smoke and hear the living choke

Lyrics seem to touch upon matters relatable to our time, yet strangely removed from it, as if coming from the realm of dreams. It's like a Dr. Suess poem full of odd characters, unusual turns of a phrase, and whimsical illusions. Not quite a Neil Fallon word salad (Clutch) or a Serge Tankian spittoon (System of a Down), Die Like Gentlemen nevertheless traffic in the urgent, carnal, and bizarre.

The music itself seems to pull you right out to sea in an undertow of brash vocals, bold tonal choices, progressive stylings, and frenetic unease. When I search for the nearest anchoring point, I compare it with Mastodon's Leviathan.

In the end, vocalist/guitarist Adam Alexander comments:

We just write what we write. We all share a lot of influences – classic rock, death metal, doom, grunge. I guess it’s where we feel most comfortable: darkness, anger, anxiety, depression and doom. We’re not the first band to find freedom in dwelling on darker aspects but we’re always following different inspirations to keep things interesting.

Hard Truths is Die Like Gentlemen's most robust effort to date. It releases March 17th and will be issued on CD and 2xLP in addition to digital via Drink This Music (pre-order here). For fans of Mastodon, The Lord Weird Slough Feg, and Melvins.

Give ear...

Hard Truths by Die Like Gentlemen

SOME BUZZ

It’s remarkable to think that almost ten years on from the release of their 2013 debut, 'Romantic Delusions of Hell,' venerable cult rockers Die Like Gentlemen remain one of Portland Underground’s best kept secrets.

Born into the city’s heavy music scene; distinguished, eloquent and steeped in the spirit of Priest and Sabbath, for too long the Pacific Northwest’s gain has very much been the wider world’s loss.

However, this year all that should change. The band makes a thunderous return and with it bring their progressive rock leanings, deft song writing, heavy metal riffs, and well-warranted self-confidence on 'Hard Truths' (2023), their fifth studio album and most ambitious and cohesive work yet.

Photograph by Stephanie Savenkoff

The last few years have been a challenge for everyone in our little town of Portland: the politics, the pandemic, the isolation, the wildfires, the protests, the crime, the poverty, the addicted, and the toll of all this upon our collective mental well-being.

This album, years in the making, was written against this backdrop of turmoil, always keeping in mind that we cannot defeat our demons without first staring them in the face and acknowledging them for what they are: an aspect of ourselves.

'Hard Truths' is a swirling tempest of heavy metal and classic rock, in keeping with the band’s Odysseus-like approach to exploration, rocking hard against prevailing winds of change. A full hour of twists and turns, wails and screams, passion and precision, and through it all, grappling with some very hard truths about ourselves and the world.

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[lazy-indigo]

What? Thought I’d alwaysss let these two be happy? Nope >:,3 Doomed yaoi my fav /j

Also yes this takes place during war. Hence Polites’ seemingly distant personality.

[quinxlt]

im still thinking abt how eurylochus was the only voice who changed tempo/speed DRASTICALLY in love in paradise..

and he’s the only one who got cut off? polites finished his whole verse and anticlea is singing one word so 😭😭 but eurylochus still had the “and people die on it, woah ohh”

is it bc his words affected odysseus the most? bc eurylochus’ words were the truth and nothing but the truth? polites is giving odysseus an ideology that got him and most of the crew killed, if odysseus held onto it then he would die anyway as well.

but eurylochus chimes in and keeps him grounded. odysseus tries to fight his voice the most, but he can’t fight the truth, and that’s why every time he goes “HOW” it breaks through the other voices then fades back again.

each word is dragged out as if they cling onto odysseus’ mind, knowing that eurylochus was right the whole time, yet he still refuses to fully acknowledge it.

odysseus then cuts eurylochus off right before he says “and people die on it.” bc, well, does that need to be said? it’s the blatant truth and odysseus finally realises that as he calls out to his immortal friend - his only friend that can’t die on him.