Tag: Doom

Mournful Congregation – The Book Of Kings Review

Originally written by Rae Amitay Mournful Congregation has been a staple in funeral doom for years, and my expectations were admittedly pretty high when I signed on to review The Book of Kings. What I

Vallenfyre – A Fragile King Review

The backstory of the formation of Vallenfyre has been fairly well bandied about, but bears repeating: founding member and guitarist of Paradise Lost Gregor Mackintosh, in coping with the recent death of his father, starts

Woburn House – Sleep Summer Storm Review

For those interested in quirky experimentation, restless progression, and a decided absence of preening pretension in their heavy music, the interconnected family of bands on the roster of German label Zeitgeister Music (including, in addition

Mournful Congregation – The Unspoken Hymns Review

We’ve already seen superb releases drop from all of metal’s varied branches this year. But when the dust eventually settles, 2011’s most celebrated sub-genres will be those that give a solemn nod to a very

Esoteric – Paragon Of Dissonance Review

Funeral doom is, in most appreciable ways, a niche within a niche. Forcing the listener to bear witness to a cripplingly slow march to oblivion is not, it must be said, the easiest way to

Orthodox – Baal Review

originally written by Juho Mikkonen While modern doom metal is currently being held hostage by the occult, 70’s-worshipping reactionary movement and its retro-obsessive bootlicking mentality, the genre also hosts a sizable-yet-unsung undercurrent that flat-out refuses

Vintage Hallows – Type O Negative

Originally written by Jordan Campbell When it comes to Halloween vibes, few bands could nail ’em like Type O Negative. Nearly every one of their albums offered a nod or three to October 31, whether intentional

The Morningside – TreeLogia (The Album As It Is Not) Review

Now here’s an interesting little something that’s perfect if feeling the cold breeze and watching the leaves die excites you. The Morningside is often referred to as “Moscow’s Agalloch” for obvious aesthetical reasons, but with