I used to not really like The Body. I never considered them a metal band, even though that was where they had more or less made their nest early on. I always perceived them as a noise band that got cool among the metal intelligentsia (read: terminally bored scene kids only semi-seriously projecting a love for the most obscure shit possible). I saw them as maybe a particularly dark, doomy, and experimental noise band, but still did not understand the hype. Continue Reading
Doom music is known to be the music that was either fueled by drugs (Sleep) or pain with drugs as a form of coping (Neurosis). It was the music of the long haired, jean jacket and battle vest wearing stoners who had an outlet that allowed them to see the music, feel the music and its intricate message, or both. Slowly but surely, as every genre of music does, it started to encompass other genres, becoming a bastardized version of what was considered pure and old school doom (Black Sabbath in my opinion) to something completely different (first band that comes to mind is Torche with pop, followed by later Neurosis and their inclusion of country), taking what it could, creating something new and exciting, much like black metal nowadays. Doom is a genre with many sub genres, and each one is different, with a hit-or-miss, trial-and-error catalog.
Following two collaborations, two solo full lengths and a plethora of EPs, splits and singles, Trumpeting Ecstasy sees harsh grind death pioneers Full Of Hell entering a new era in sound. Following in the direction of the band’s Amber Mote… EP and their subsequently released split with Nails, Full Of Hell’s latest effort again leans towards the band’s death metal roots, inching farther from yet still retaining the group’s core musical identity. Imbued with higher registers of sound, greater emphases on technicality and death metal atmospherics, Trumpeting Ecstasy is a progressive, exultant exercise in sound. It pummels with a forward driving, almost-upbeat swagger with a surprising sense of form and accessibility that speaks to the instrumental mastery, sub-genre knowledge and cohesion of the band as a unit. Continue Reading
My first exposure to the bleak, raw sounds of St. Petersburg, Florida’s Weltesser was their 2015 demo. It was a brief, yet impressive display of the band’s penchant for writing stripped down, noisy sludge that slowly erodes the listener with every repetition. Here we are a couple of years later and Weltesser has been snatched up by Prosthetic Records and produced a massive first effort for the label in the form of Crestfallen, which was released via bandcamp on 1/27/17. Continue Reading
Philly/NJ’s newest doom titans Cowardice are something of a local supergroup, comprised of members of Black Urn, Sunrot, Thera Roya, Null&Void, Inertia, Sentient Horror, and Worthless. Respectively the other bands these guys are involved in cover a wide spectrum from post-metal to death metal to sludge, grind, and beyond. Cowardice though, sits solidly in the bracket of crusty-as-fuck, sludgy doom. If you like your heavy music to come at you by way of bands like Thou and Graves at Sea, then their debut release Without Condolence is solidly up your alley.
Let’s get this out of the way; I generally don’t like sludge. I’ve heard and enjoy a lot of the “classics” like Eyehategod, Cavity, Iron Monkey, Grief, etc etc, but honestly, the formula gets very old for me very fast. There’s only so many downtuned Sabbath worship riffs under screechy or growled vocals I can take. Graves at Sea, however, have been a band I’ve loved since the second I heard their demo Documents of Grief, which is often billed as their debut album. They take the tried and true formula of sludge, but manage to make it filthier, groovier, and just plain crushing in ways that truly made them stand out for me. When I got word a few years ago that they were reuniting and releasing new music, I was ecstatic.
Let’s just get this out of the way now; Cult of Luna are, and have been for the past…a bunch of years, my absolute favorite band. This isn’t hyperbole. I have their lyrics tattooed on me, I have spent a ridiculous amount of money obtaining original pressings of their albums (mostly right before they get repressed because I have awful luck, but that’s neither here nor there…), and I have seen every American show that they’ve played, travelling states away to do so. My wife is due to give birth to a baby girl this weekend, and her middle name will be Luna. HAVE I PROVED MY FANBOYISM YET?
The Body and Full Of Hell have released “The Butcher”, the second single off of their upcoming collaboration record, One Day You Will Ache Like I Ache. The track itself is a doom-ish cover of the Leonard Cohen track of the same name, swapping acoustic folk guitar with minimal instrumentals, dueling vocals between Chip King and Dylan Walker and fluttering noise that mimics the blues progression of the original track. Stream the cover and read more about the origins of the track over at Metal Hammer here and pre-order One Day You Will Ache Like I Ache, out on CD March 25th via Neurot Recordings, here. Catch The Body and Full Of Hell supporting their upcoming record in Europe, dates and details below. Continue Reading
Ah, Funeral Doom. In a genre (metal), where accessibility is not really a consideration most of the time, Funeral Doom is an often overlooked and maligned subgenre (man I hate that word) due to the extremely long songs, and generally reallllllllllly slow pace of those same songs. However, I’m a sucker for it when it’s well done, and it is without any sense of hyperbole that I say that Lycus is by far the best current band doing it.