Lmst

This was always one of my favourite recordings. I was trying hard to mix heavy gothic doom metal with Smashing Pumpkins. The fuzzy, layered guitar, and me doing my best Billy Corgan impersonation at the end.

By Steel Druhm

Tribunal’s 2023 debut was one of those unheralded albums that came out of nowhere and walloped you with a warhammer, leaving you to collect thoughts and teeth in the aftermath. A brilliant take on Gothic doom, The Weight of Remembrance borrowed much from genre elders like My Dying Bride, Paradise Lost, and Draconian, but somehow managed to feel fresh and fascinating. A true labor of love from Soren Mourne and Etienne Flinn, the album balanced heaviness, beauty, mood, and melody and left you wanting MOAR. Now, after much anticipation, we get more in the form of sophomore outing, In Penitence and Ruin. The dynamic duo have brought on new members to form a complete band, and In Penitence and Ruin is a bigger, more expansive record, moving from their Gothic doom base outward toward Candlemassive-esque epic doom. It’s a grand declaration of intent, but can Tribunal rule yet again?

The headline here is that In Penitence lacks some of the sheer heaviness and the sense of dread that made the debut so captivating. In the push to expand their sound, Tribunal sacrificed weight for scope and breadth, bringing them closer to the Draconian school of Goth doom. Opener “Incarnadine” is a beautiful piece of music in line with what they did last time. Piano and understated cello combine with doom riffs, and Soren’s ethereal voice pairs perfectly with Etienne’s death roars and blackened rasps. It’s a gorgeous song with peaks and valleys of emotion, but it’s a bit too light at times, letting the orchestrations overpower the riffs. “A Wound Unhealing” brings back the oppression with a plodding journey that manages to be both theatrical and heavy as fook. Soren kills it with her impassioned vocals that almost reach the operatic stage, and the presence of harpsichord and cello doesn’t disrupt the huge doom riffage that plods all over the lot. This is what I want from Tribunal, and it’s wonderful. “The Sword of the Slain” is another highlight, blending extra blackened elements into the doom stew for a dark and powerful sound. The riffs channel primitive Bathorycore as Soren flies high above and Etienne snarls and roars for all he’s worth. This one is a grim keeper.

While the front half of In Penitence is exceptional, the back half is a touch less so. “…and the Thorn-Choked Flowers” is very good, hitting that sweet spot between Draconian and Novembers Doom, and “Amoured in Shadow” is perhaps the most memorable piece present due to big vocal hooks. On the downside, “Penitence” is a nice track, but not as enthralling as its peers. Closer “Between the Sea and Stars” is quite good, even if it sounds more like Seven Spires than Tribunal, but it lacks the heavy doom oomph I crave. At 48:21, In Penitence doesn’t feel overly long, and though not every track is a showstopper, none drag or feel expendable. The top shelf stuff is similar to what we got on the debut, and the few tracks that slip a notch are still good. The downturn in overall heaviness isn’t fatal, and the more expansive soundscape opens up new worlds for them to explore in the future.

While Soren’s vocals were often understated on the debut, she’s the beating heartbeat of the Tribunal sound here. She goes all in, too, showcasing her considerable range and power. Her wide-ranging vocals propel the compositions to great heights, sometimes reminding one of Jex Thoth, and at others, Tower’s Sarabeth Linden. If you heard the debut, you’ll be surprised by the force of her delivery. She moves from angelic to mournful to outright badass as the material demands, and she impresses at every turn. Her graceful cello work adds a layer of melancholic class to the proceedings, with it getting in the way of the riffs only occasionally. Etienne impresses playing the rampaging beast to Soren’s beauty, delivering booming death roars and scathing blackened rasps. His guitar work alongside new axe Jessica Yang yields big doom riff energy and enough weepy trilling to sell the despair. They take a minimalist approach to solos, letting the cello fill in the blanks, but it works.

This was one of the year’s more anticipated releases for yours Steely, and though it doesn’t hit with the same force as The Weight of Remembrance, In Pentience and Ruin is still a very good, and nearly great Gothic doom album. Yes, there’s a general softening as they try to expand the boundaries of their sound, but this is still compelling and heavy enough to satisfy that unsightly doom itch. Tribunal continue to impress and I’m excited to see where they go next. Hear this and get depressed in a fucking classy way.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: 20 Buck Spin
Websites: instagram.com/tribunaldoom | facebook.com/tribunaldoom
Releases Worldwide: April 18th, 2025

#20BuckSpin #2025 #35 #Apr25 #CanadianMetal #DeathMetal #DoomMetal #Draconian #GothicDoom #JexThoth #MyDyingBride #PenitenceAndRuin #Review #Reviews #TheWeightOfRemembrance #Tribunal

Lycanthia – Oligarchy
#BlackMetal #Metal #atmosphericblackmetal #atmosphericdoommetal #deathdoom #doommetal #femalevocals #gothicdeathdoom #gothicdoom #postrock #Amadora
CC BY-NC (#CreativeCommons Attribution Non Commercial) #ccmusic
https://hypnoticdirgerecords.bandcamp.com/album/oligarchy

Burial Fields by Draconian is really quite beautiful.
https://youtu.be/0tTvXTvG8aQ
https://open.qobuz.com/track/92887268 #music #doom #gothicdoom

EP / Split / Single Roundup of 2024, Part 1

By Mystikus Hugebeard

In case you’re asking yourself “Where did El Cuervo go and why has he been replaced by a handsome, bearded wizard who is also ripped and buff?” rest assured that all is well with the original EP wrangler. In what could only be described as a Christmas miracle, he has passed the privilege of organizing AMG’s yearly EP post unto myself and Dolphin WhisEPerer so that he might finally have the time to catch up on reading all the comments on his Opeth review. Let it be known that we treat this gravest of responsibilities with the utmost respect.

But enough faffing about, the most important thing is this cornucopia of EP’s, splits, singles, and demos we’ve arranged for you. Shorter-form releases like these are the patron saint of hidden gems. Rarely do they fall in the same hype cycle typically reserved for LP’s, so once a year we like to pay our respects to the oft-overlooked, unsung heroes of our metal community. They provide a necessary space for both fledgling and established bands to experiment with wild ideas that might not sustain a full release, or they can be a great outlet for bands to focus on their strongest material without weaker songs diluting the overall experience. Come, rejoice! Take a well-deserved break from the exhausting bloat of boring, regular albums, and bask in the majesty of the tighter focus and accessibility of short-form release with your bearded pal, Mystikus Hugebeard!

Make sure to return for Part II so that our Dolphin may Whisper1 to you of a whole new collection of releases!

Lathe // Hillclimber – Lathe are what you get when you mix the pedal steel and blues of country music with the atmosphere, weight and build-ups of post-metal. Hillclimber is written for a new lineup, adding an additional guitarist and a bassist, and it shows in the added density of their sound. As with their previous work, Hillclimber builds as it goes. “Weave” provides an almost spacey opening with a simple, twangy guitar melody and pedal steel embellishment. By “Blood,” trem-picked pedal steel, pounding drums and big riffs trade places with amp noise. Hillclimber isn’t revolutionary, hewing close stylistically to the post-ier, less dancy or rocky side of Tongue of Silver. But the riffs are big, the melodies pretty, and the atmosphere dense, and it says promising things about the new lineup. – Sentynel

Mammoth Grinder // Undying Spectral Resonance – Ever since the early 2010s Entombedcore wave fizzled out, I’ve longed for a band to revive that sound. With Undying Spectral Resonance, Mammoth Grinder seem to have answered the call. The band’s punky take on Swedeath has long offered Power Trip drummer Chris Ulsh a brawny way to flex his guitar and vocal abilities, but I never expected him to break Mammoth Grinder’s recording silence with something this heavy. Throughout most of these 14 minutes, Ulsh offers a hoarse roar that’s monstrous, a guitar tone that could crush boulders, and riffs that are downright punishing. “Corpse of Divinant” plows forward on muscular grooves that will have your inner hardcore kiddo dripping with arousal, while “Obsessed with Death” closes out the EP with a D-beating for the ages. Plopping an atmospheric synth interlude in the middle of a five-song tracklist was an odd choice, but at least it makes the midpaced lurch of “Decrease the Peace” sound even more massive. Let’s just hope we get more from these guys sooner rather than later. – Mark Z.

Glassbone // Deaf to Suffering – Frens of the blog know that I love me some good slam. The harder it hammers, the better. And while there were several tectonic options released this year, none hit the way latecomer EP Deaf to Suffering has. Courtesy of French buzzsaw hardcore/slam brutalists Glassbone, Deaf to Suffering springs into action with the absolutely devastating “Post Mortem Declaration” and doesn’t let up for nearly twenty minutes of high-octane, hook-laden, filthy slam. Highlight “In Your Guts” sends me into a feral state with rabid riffs that are as lethal as the disease itself. “Sanctified By the Blade” transforms my body into this musclebound mass of testosterone mountainous enough to flatten entire plots of sequoia trees. The title track even brings a certain old-school death vitriol, characterized best by a classic sounding solo, that adds substantial dynamics to Glassbone’s slam-based concoction. Every song offers its own voice while still maintaining the status quo of total demolition, and yet it feels like Deaf to Suffering elevates the slamscape past the norm and into the extraordinary. –TheKenWord

Counterparts // Heaven Let Them Die – Counterparts is renowned for their confrontational and vulnerable take on melodic hardcore and notable contributions to metalcore. Heaven Let Them Die is the Canadians’ heaviest release by far, delivering the weight of its title in its clear influence from vocalist Brendan Murphy’s time in caustic hardcore act End. With crushing riffs and breakdowns ripped at vicious speed, vocals spit with vitriol and venom, there’s a distinct weight, both aurally and existentially, that gives Heaven Let Them Die its power. From its reverb-laden plods that let the haunting leads guide the blastbeat-inclusive fury (“A Martyr Left Alive,” “Praise No Artery Intact”), to all-out assaults that abuse tempos with their punishing heft (“With Loving Arms Disfigured,” “No Lamb Was Lost”), it’s hard to believe that this is the same group that released You’re Not You Anymore or A Eulogy For Those Still Here. Punishing, vitriolic, and existentially weighty, Counterparts embarks on unforeseen journeys of blasphemy and pain. Closer “Heaven Let Them Die” exemplifies this act’s strengths, tying up the common lyrical motif screamed with throat-shredding intensity, that you’ll be howling for days: “HEAVEN… LET THEM… DIIIIIIEEEEEEEE!!!” – Dear Hollow

夢遊病者 (Sleepwalker) // Delirium Pathomutageno Adductum2 – The last outing by Russian/Japanese/American experimental, avant-garde, blackened noise outfit 夢遊病者, Noč Na Krayu Sveta, was my favorite EP of 2021. This year’s Delirium Pathomutageno Adductum is, if anything, even more unhinged. Like stepping into one of those nightmares that you don’t initially realise is a nightmare, parts of DPA are strangely soothing and delicate, wrapping you in lullaby-like melodies. But then, sometimes without you even noticing at first, warped melodies weave their way into the mix, before distorted, blackened vocals creep in, even as half-heard blast beats start to pound in the background. Shifting through their chameleonic palette, 夢遊病者 deploy bouzouki, uke, vibraphone, church organ and more, alongside more standard instrumentation, to create soundscapes worthy of the title Delirium. Tracked across three continents, this doubtless adds to the disconcerting sense of dizzying vertigo that infuses much of the EP, furthered by contributions from various gospel, Americana, and jazz guests. If you’re looking for a really weird night in, check this out, especially the closing duo of “Telepath Transport Wing” and “Aurum Iris Loop.” – Carcharodon

Entheos // An End to Everything – As Entheos continues to move into waters with increased breaks into clean, melodic refrains as peak points—a step first taken with 2023’s Time Will Take Us All—a continued adherence to their riff-led, groove-centered brand of techy death metal remains vital to their impact. Chunky riff after chunky riff after chunky riff hits first and repeatedly allows An End to Everything to crackle as the leanest both in length and pit-stirring effect of any Entheos album since 2016’s The Infinite Nothing. But more than just offering slinky slide-to-triplet rushes (“And End to Everything”) or snaking staccato beatings (“Life in Slow Motion”), Entheos offers throat-ripping breeeees, snarls, and hissing goblin assaults via Chaney Crabb’s extreme vocal commitment. Though comparable to frequent touring mates Alluvial3 in tone and tumble, Crabb delivers the necessary differentiation, complete with melodic chorus cries that stick like anthemic ear candy to an audience who patiently awaits sweet indulgence. Fit for a fifteen-minute power set, a pre-meeting energy blitz, or simply a destructive arm-throwing about your own home, An End to Everything feels both complete as a short-form work and steadfast a promise that Entheos plans to continue on a grooving path to success. – Dolphin Whisperer

Sylvaine // Eg Er Framand – Widely maligned for their ear-splitting volume and indecipherable vertical chords, pipe organs have a softer, ethereal side that often goes overlooked. Sylvaine’s gorgeous EP pits her otherworldly voice against hypnotic, shimmering high organ registrations, a duet custom-built to melt this frozen heart. Organs are designed for the spaces they inhabit,4 ensuring their resonance melds with the architecture of their home, and the descending spiral motif that bookends “Dagsens Auga Sloknar Ut” and “Tussmørke” duplicates this integration into Sylvaine’s music. There’s something of the eternal about this EP, its vibrating vocal harmonies and sustained wind tones suspending the passage of time and evoking both dusk and dawn. My 2024 opened with a death and ended with a birth; I can think of few soundtracks more fitting than Eg Er Framand. – Iceberg

Persefone // Lingua Ignota Pt. 1 – How shall I put this? What Carcharodon is to Kanonenfieber, I consider myself to Persefone. These Andorrans have always been a masterclass of blending insanely good musicianship with effortless technicality and rousing melodic movements. After longtime vocalist Marc Pia was replaced by Eternal Storm’s Daniel R. Flys, I feared that my beloved Persefone was gone, but I’m happy to say Lingua Ignota Pt. 1 dispelled my doubts. For one, it utilizes what Persefone has always done best; the music growing in intensity at the end of “Lingua Ignota” channels the iconic escalations from “Living Waves” (Aathma) and “Spiritual Migration (Spiritual Migration). However, as always, Lingua Ignota Pt. 1 is another step in Persefone’s evolution. “One Word” is one of Persefone’s most direct songs to date, with a powerful, memorable chorus betwixt tight, technical riffage, and adds a new dimension with Flys’ clean vocals joining Miguel Espinosa’s previously solo cleans. “Abyssal Communication” closes the EP with moving ambience, which Persefone has always loved to do, but follows Metanoia’s further emphasis on synth tones and is pleasantly dynamic, working well as a standalone track instead of just a send-off. It’s all fantastic, because it’s quintessentially Persefone, only now in a bite-sized and endlessly replayable size. Compact and to the point, yet still offering a wide breadth of intoxicating riffs and solos, Lingua Ignota Pt. 1 stands strong in their discography and even brings back a consistency I felt was slightly missing from 2022’s Metanoia. – Mystikus Hugebeard

Dislimn // Esmee – You never appreciate how good Bandcamp can be until a band doesn’t have one, and it has made Dislimn tragically difficult to find. I was lucky to stumble upon them in the promo sump whereupon I made a mental note to check later, but most people lack that kind of resource. Dislimn’s Esmee is a lovely piece of shimmering doomgaze with a heavy stoner edge, and I think they deserve a fair bit more attention than they’ve received. It’s a queer mix of stoner, prog, and post that lands through Dislimn’s impeccable vibes and simple but gripping songwriting. Esmee starts off gentle; the radio-friendly post-lite opener “Anxiety” is the perfect tune to float through a depressive dreamlike haze, but as time passes, the music develops some bite. The riffs in tracks like “Esmee’s Story” and “In My Mind” are straightforward, memorable, and crunchy with just the right amount of fuzz, while vocalist Alix’s dreamlike ever-soft vocals serenely soar above. “Gullfoss” is a bit of an oddball; a rockin’ and a rollin’ riffy jaunt sandwiched between emotive, brooding doomgaze is a bit of a lurch, but it grows on you. Overall, Esmee is the sort of unassuming EP that stealthily sinks its claws into you. I’ve returned to Esmee’s dreamy gloom many a time now, and I reckon you will too. – Mystikus Hugebeard

#2024 #AnEndToEverything #Beatdown #Counterparts #DeafToSuffering #DeathMetal #DeleriumPathomutagenoAdductum #Dislimn #Entheos #Esmee #Glassbone #GothicDoom #GothicRock #Hardcore #HeavenLetThemDie #Hillclimber #Lathe #LinguaIgnotaPt1 #MammothGrinder #Metalcore #Persefone #PostMetal #ProgressiveDeathMetal #ProgressiveMetal #Slam #Sleepwalker #TechnicalDeathMetal #ThingsYouMightHaveMissed #ThingsYouMightHaveMissed2024 #UndyingSpectralResonance #夢遊病者

🔥[#NOVETAT] MATER TENEBRARUM - DRAG ME INTO THE UNKNOWN

La banda de #GothicDoom liderada per Lady Morte (Trobar de Morte) va editar el passat dia 31 d'octubre nou LP amb el títol "Drag Me Into The Unknown".

https://metallnostrat.wordpress.com/2024/11/11/%f0%9f%94%a5novetat-mater-tenebrarum-drag-me-into-the-unknown/

#Doom, #gothic #HeavyMetal, #Metallmagazine

For #SlowSunday:

Remina: Cinderfall

https://song.link/hn8gbtqm0hqhk

#GothicDoom

FFO #GUHTS #ISON #Sojourner

My Silent Wake – Lost in Memories, Lost in Grief Review

By Saunders

England’s long-running doom act My Silent Wake started slinging old-timey doom tunes since forming in 2005. My Silent Wake boasts an impressively lengthy track record, culminating in their twelfth opus of sadboi gloom, Lost in Memories, Lost in Grief, complete with a side of death and Gothic romanticism. I came across the band on their solid tenth album There Was Death in 2018, dipping into the promo sump blindly and initially thinking I stumbled across a newer, untapped gem to spread the gospel. A bit of research uncovered their storied recording past. There Was Death didn’t inspire enough interest to do a deep dive, however, it left me satisfied with the rich, slab of doomy goodness, bringing modern flavorings and character to Peaceville Three influences, most prominently My Dying Bride and Paradise Lost. I missed 2020’s follow-up, Damnum per Saeculorum (an ambient, experimental excursion), now reconnecting and crossing fingers for a doom album to reach into my soul and bring the feels.

One key criticism of There Was Death related to the significant bloat present, detracting from the more solidly written and compelling material. The band continues to dabble in longer form cuts, pushing upwards of six minutes on half the eight songs present, yet the whole package runs more concisely at a manageable 43 minutes. Immediately the band’s experience and confident grasp of their well-trodden formula is apparent on opener “The Liar and the Fool.” The subdued, almost spoken word opening rolls out the Gothic drama, before kicking into a hefty mid-paced groove adorned with groovy riffs, prominent organ, and dueling vocals. Main growler Ian Arkley (also on guitars) possesses a suitably thick, hearty death growl perfectly befitting the old school death-doom style. Meanwhile, the stately, drama-fueled cleans of the organ-wielding Simon Bibby provide the epic, harmonizing melodic counterpoint, forming a potent combo.

My Silent Wake’s rich, heaving sound comes awash in gloomy atmospheres and crimson-dipped Gothic melancholy, without falling into overly bleak, depressing realms. The well-executed vocal tag team, rich mix of chunky, organ-drenched death grooves, and dreary doom dynamics lend the album an energetic, striking dynamic, backed by engaging guitar work, sorrowful melodies, and earworm hooks. Bibby’s increased role on dual lead vocals is a significant change-up, his dramatic, powerful cleans responsible for many rousing moments across the album, though at times they slightly detract from the meaty old school growls of Arkley. Listeners not down with Bibby’s style may find his increased involvement a potential sticking point. However, it’s hard to argue with some of the strikingly infectious vocal melodies and beauty vs beast harmonies scattered amidst the doom and gloom.

“Lavender Garden” supplies heroic vocal hooks and emotional weight in spades. It’s rugged grooves and sprightly pacing serve a well-constructed song that lodges itself in the brain. “When You Look Back” will please death-doom purists. Despite featuring some clean singing, the song heavily relies on Arkley’s impassioned death vox, settling into a mournful, doomy cadence, with strong results. Elsewhere, “Another Light” picks up the pace and jam packs lots of energy, deathly crunch, and bright, organ-dabbled grooves into the mix. There are no real clunkers to speak of, though album pacing is a bit off on occasions and bloat appears on a couple of lengthier later album tunes (“The Last Lullaby” and “No Time”). I could also do without the occasional spoken word moments. Thankfully, closer “The Judges” concludes the album in a compact, satisfying manner, combining a morose atmosphere with excellent dual vocal harmonies and beautifully soulful guitar work.

Surrounded by his accomplished bandmates, Arkley remains the key figure steering the doom ship. His formidable growls ground the band in deathlier territory and ensure the increased melodic tendencies do not overshadow My Silent Wake’s darker, heftier throes. Arkley’s guitar work is also top-notch, straddling death-doom lines and integrating chunky, harder-hitting riffs amidst the deft melodic touches. My Silent Wake may not be positioned at the forefront of the modern doom scene. However, from my limited exposure to their extensive catalog they are a spirited, gifted act. Proudly wearing their influences on their sleeves, My Silent Wake boast enough character and songwriting smarts to carve their own niche in the retro-minded Goth-tinged doom space. Lost in Memories, Lost in Grief is a warm, inviting and endearingly solid slab of catchy death-doom, well worth a listen.

Rating: 3.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Ardua Music
Websites: mysilentwake2.bandcamp.com | facebook.com/mysilentwake
Releases Worldwide: May 3rd, 2024

#2024 #ArduaMusic #DeathDoomMetal #DoomMetal #EnglishMetal #GothicDoom #LostInGrief #LostInMemories #May24 #MyDyingBride #MySilentWake #ParadiseLost #Review #Reviews

🌧️ Embrace the melancholy with TOMORROW'S RAIN's "Ovdan," released on April 19!

🖤 Plunge into gothic doom & support us 👉 [https://amzn.to/3UbEKcU]

#metalreleases #TomorrowsRain #GothicDoom #DoomMetal

Explore depths of sorrow and beauty by downloading our app 🤘https://www.metalreleases.com/

I was interviewed for a Canadian radio show recently. Full disclosure, the owner of Syrup Moose Records (the label my recent album was released on) is the interviewer and DJ. Warning the audio quality on my end is very choppy.

Listen here:
https://www.smithersradio.com/program-playlist/syrup-moose-radio-playlist-03052024

#radio #interview #newmusic #syrupmooserecords #harbingerofstorms #doommetal #gothicdoom #epicdoom #shadowjack #darkphotonstudio