All posts by Matthew Cooper

Down – III: Over the Under Review

To say that a lot has happened since we last heard from Down doesn’t even begin to cover it. The years of drug addiction and recovery, debilitating health conditions, and the twin horrors of Hurricane Katrina and

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Jex Thoth – Totem Review

It has only taken a mere three tracks for Nashville’s Totem to make a name for itself as doom debutantes of enormous potential. Er, except that it seems that Totem isn’t the name to watch after all, as the band

Killing Joke – Inside Extremities, Mixes, Rehearsals, and Live Review

It’s a testament to the band’s vitality and creative development that there simply IS no definitive Killing Joke album. Ask a group of fanatics to name their favorite album, and you’re likely to get a wide variety

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Middian – Age Eternal Review

The premature death of Oregon doom dealers YOB was a serious bummer, especially as it came after the band had delivered a string of excellent albums capped off by 2004’s The Unreal Never Lived. The silver lining was that

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Earth – Hibernaculum Review

Long-running drone pioneers Earth capitalize on the critically lauded Hex: Or Printing in the Infernal Method as well as provide a supersize appetizer for their forthcoming album, The Bee Made Honey in the Lion’s Skull, with the CD/DVD combo Hibernaculum. The

Sepia Dreamer – The Sublime Review

Wow, this one took me by surprise. Pairing the instrumental expansive ebb and flow mastery of Pelican with the shoegazing reflectiveness of Katatonia, and progressive tendencies and meticulous songcrafting associated with bands like Enslaved and Opeth, Sepia Dreamer have released a wolf in

The Hidden Hand – Resurrection of Whiskey Foote Review

Folks, you’re safe as houses in ol’ Wino’s hands. The doom luminary (doominary?) has delivered the goods for years with classics from his work in Saint Vitus, The Obsessed, Place of Skulls, and Spirit Caravan. His able collaborators on The

Blut Aus Nord – Metamorphosis Of Realistic Theories (MoRT)

Over the past couple years, a lot of American critics and fans have commented on France’s recent burgeoning and impressive contributions to metal, and one of the albums that’s often cited in examples of this