2023, officially started, with ALL of the bang, and a welcome lack of whimper. (“The exact, polar opposite to the night I lost my virginity to be fair!”, he laughs, as a single tear rolls down his cheek). I digress; we are in-fact talking about everyone’s favourite darkly romantic, albeit positively bleak, modern-day Goth daddy VILLE VALO. The former HIM front man got Heartagram’s breaking on the bands 2017 farewell tour, but, in the years since, through a rollercoaster of feelings and emotions, ranging all the way from equanimity to intrigue and anxiousness, he got them racing once more this January, when he released the sonic defibrillator that is “Neon Noir”.  

Now, the admittedly stunning solo record, was covered quite extensively within the alternative music press as it is, as it charted well around Europe (Including a UK Top 30 slot in the vinyl charts), and with his European tour currently in full swing, we must satiate our rejuvenated musical lusting's, with all things love-metal inspired, and get right back into the thick of it, which brings us to today's band; FLOVER.  

You may remember Flover from my 2020 review of “Songs Of Our Broken Hearts”, from which we played a tongue-in-cheek game of HIM Bingo, as the sweet rockers had zero shame in wearing their Heartagram’s on their sleeves, being influenced by Finland’s finest. 2023 finds the fan boys on fine form, as they release their latest album “Love’s Poetry & Dead Melodies”. Eyes down folks, it’s time for another round, but, in this year of thee and me, are we talking two little ducks, or giving too little fucks? Let’s find out... 

Now before we proceed, the whole HIM-Bingo game itself is FAIRLY loose in terms of rules and such; we’re essentially just looking for similarities and parodies, cheeky nods to other songs if you will. Imitation IS the sincerest form of flattery after all. So, with that in mind, we open up with (According to their Bandcamp at least) “Requiem Of Love”, which is an immediate Bingo-card crossed off, as it references “Love Metal” and the bonus track “Love’s Requiem”. The track starts with some incredibly gentle synths, and houses all of the typically slow-chugging riffs you’d expect from a HIM track. Vocally too it’s an ode to Ville, with the similarities in baritone drawl, soaring moments and hushed subtlety. It’s absolutely fine as a track, and could easily pass as a HIM demo, without implying any negativity. 

Next up we have “Suffering” and this one initially has a brief whiff of “Dark Light” regarding the synth delivery and tone here. Again, it’s only subtle, but HIM fans will easily pick up and appreciate the recognition. It’s got ample chorus melody and transitions, and they even deep dive into Ville’s own tastes as there’s a cheeky nod to “Crazy Train” by OZZY OSBOURNE thrown into the mix occasionally on guitar. “Just Our Autumn” has “Razorblade Romance” levels of production all over it, and it reeks of “Join Me (In Death)” but, let’s be honest, that’s never a bad thing. The throwback nostalgia this induces is sweeter than any number of sixes. 

The fun doesn’t stop there either, folks, as “Wonderland”, or it’s chorus structure at the very least is very unashamedly “Salt In Our Wounds” from “Deep Shadows & Brilliant Highlights”. It’s uncanny by this point, that you could quite easily state that Flover were HIM from an alternate dimension and do you know what? I don’t think anyone would call you a liar. “Dance With Me” then steps it up a gear in terms of grit and attitude, with the guitars oozing hard rock swagger, but, what’s this? This too is familiar? Of course, it is, there are more than enough nods to “Soul On Fire” here in the instrumentation, it’s just not AS aggressive, fast-paced or intense.  

“Agony In Your Eyes” then, tonally finds itself somewhere between “And Love Said No” and the gloomier aspects of 2007’s “Venus Doom”, before we eventually get the abbreviated “L.Y.L.I.C.”, which couldn’t possibly be in reference to “Tears On Tape” and “W.L.S.T.D.” could it? Surely not? An abbreviation of “Love You Like I Can”, it actually serves as a 2-in-1, as we could argue it also references “Love You Like I Do”, especially as it’s a deep rock ballad with a slow tempo and impassioned vocals.  

All in all, if you are reading this, you could easily think, Gav, why are you picking so many holes here? Can’t they just enjoy what they create in honour of something they care so very much about? Well, they absolutely can, and on this, their 3rd full-length album, they haven’t disappointed. Sure, it looks like I’m calling them rip-off merchants with a near copy-and-paste formula that’s bordering on identity theft, but that’s admittedly part of the appeal. As a HIM fan, while it is genuinely appreciated that a band has taken it upon themselves to continue HIM’s niche style and sound, you can’t help but have a chuckle and a bit of banter when some of these things are so blatantly obvious.  

Be it a riff, a lyrical likeness, a melody, a vocal delivery; some of these similarities we’ll say, are plain to see, and with Flover, that’s a key contributing factor of what makes them such an enjoyable listen. I respect what they are, and legitimately recommend checking them out. Not a fan of HIM but just generally enjoy Gothic-tinged melodic rock? Here’s a new band for you to check out. You ARE a HIM fan and still miss HIM, even though VV is currently active? Maybe you couldn’t get tickets for VV’s European tour and need cheering up? Get your fix here, without taking life too seriously. It’s a win/win really. [7]  

OK so Summertime is upon us, or, is at least around the corner...perhaps. It’s hard to tell in Wales sometimes to be honest, seriously; it’s Wales, not ‘whales’, we don’t require this much water so regularly so can you please stop raining? I jest it’s been pretty decent recently, and that is quite possibly because I’ve been privately praying to today’s band; CVLT OV THE SVN. No, I haven’t had a stroke, that’s how it’s presented (Obviously it’s Cult Of The Sun) and I will say right now that they are personally, one of my favourite discoveries in recent memory. 

Hailing from Finland, because of course they do...all my favourite bands do...it’s a project shrouded in a sense of mystique and intrigue, as the ensemble wishes to explore the darkness with a sense of macabre, theatrical flair on their debut album “We Are The Dragon”. Released on NAPALM RECORDS, let's see just how these darkest of stars can brighten up your summer playlists. 

​The album appropriately kicks off with the title track and we’re met with a surprisingly up-beat, jovial guitar tone...this is a lot more melodic than expected but there are zero complaints with that. I had a similar experience with GHOST’s debut album; expecting some brutally dark doom metal but getting some kind of deeper, BLUE OYSTER CULT type effort. Seriously the song structure here revels in its simplicity but it’s an effective hook, which is in turn countered by the sinister, snarling vocals. Honestly, it's like the DANHAUSEN of rock songs; very nice...very evil. It meanders pleasantly enough and gets the album underway in an interesting and unexpected manner, but it’s all good. 

Follow up track “My Venom” takes things down an admittedly darker path...the initially twangy guitar leads into some seriously atmospheric, intense instrumentation, before we blend elements of thrashy punk with chilling alt-rock. We soon realise that the vocals here don’t necessarily have a lot of range or depth, as we find ourselves sticking fast to a husky, raspy delivery. While it would be fine to chastise the lack of diversity, the style is effective enough to carry the tracks, and it gives them and in turn this entire album, it’s character. 

Having established the general approach for the record, we can easily appreciate that from here on it just goes from strength to strength, with several notable highlights. “Luna In The Sky Forever” in ways reminds me of the aforementioned Ghost with its catchy electronic-tinged bassline and simple, synth-laden groove. “Don’t Be Tender Love Me Cruel” has a slower, more methodical pace that allows emphasis on the emotive guitar tones, which, coupled with the self-depreciative lyrical drawl, creates a sultry, almost masochistic offering. 

If it’s up-tempo you want then this bunch of cvlts have you covered too, as album highlight “Twilight” luckily has absolutely nothing to do with Stephanie Meyer. Nary a sparkling vampire in sight, we get a fantastically infectious dose of punk-tinged hard rock with more hooks than Leatherface’s lady-pantry. At its core, the up-tempo bass riff and simplistic chugging could be mistaken for something by, RISE AGAINST or BAD RELIGION, before the darker characteristics kick in. This is a great track. “Hellbound” keeps things nice and intense with some initially pummelling percussion and another dose of deeply self-depreciating lyrics... ”My mind is an endless well of negative thoughts...in its prime; shows me no remorse”. Relatable fam. “Whore Of Babylon” is then equally relatable (Can I get a H’oooohhhhhhhh Yeahhh from all my fellow sluts? I’m kidding...I’m KIDDING!) but the blackened metal flurry can’t help but raise more than a few horns. 

In terms of alternative music, Cvlt Ov The Svn have seemingly cherry picked some quality influences stylistically for this debut. There’s a sprinkle of black metal and gothic imagery, there’s a brilliantly fun, punk-esque hard rock quality to a lot of the instrumentation, there are almost doom inspired atmospherics and it’s all wrapped up with an almost pop music production quality, and it works perfectly! These Finns have dropped what is personally, a contender for the album of the year in my eyes and ears...believe me, I am a dragon too, and I’ve got one on my flag to fucking prove it! [9]​

What is there to say about 2020, that hasn't already been said? Within these reviews over the past nine months I've light-heartedly made reference to issues like Covid-19 and such, but let's not detract from the seriousness of the whole situation. As a calendar year, 2020 was one of the most difficult, frustrating, upsetting and confusing in recent history, and this isn't strictly down to Coronavirus...this time last year we were on the brink of World War 3! Politics has been a shambles, social injustice has been rife, the divide in both community spirit and the classes seemingly continues to grow, and generally speaking, the world is a complete mess. Luckily we've had music to keep us going, if not to keep us sane, and for that at least I am grateful. The images above showcase my personal highlights of 2020, grouped in categories covering pop, metal, EP's and general favourites, and it shows that, despite the state of the world, music flourishes. Music and the arts are SO important, as many of us learned during national lockdown, and we need to appreciate the people who dedicated their lives to creating that art SO much, because times like these prove we'd be lost without them. 

I mean, just looking at the cover art above, it's been as diverse a year as any. MILEY CYRUS embraced her inner rocker on her new album, having collaborated with the likes of BILLY IDOL and JOAN JETT. Groups like STEPS made an unexpected comeback showing they've still got it in an ever changing pop industry, as did MELANIE C. From a metal standpoint, PARADISE LOST prove they just get better with age, as they not only released one of the albums of their career, they also found themselves in the UK Top 40! Imagine that! Goth metal on Radio 1! It gives hope to newer acts like SOUTH OF SALEM who delivered a truly stunning debut album, and certify themselves as ones to watch for sure. There have also been plenty of superb EP's released over the past twelve months...especially VV. Ville Valo surprised everyone with his 3-track EP and HIM fans rejoiced at the new material, I for one certainly cannot wait to hear more from him. CHRISTINE AND THE QUEENS put emphasis on the art as their whole EP was turned into one big choreographed music video which was impressive, while I personally made some brilliant discoveries in the form of LUCIA & THE BEST BOYS and JACKIE. 

Finally then, my official albums of the year, and I was spoiled for choice to be fair. THE BIRTHDAY MASSACRE always deliver, they never release a bad album and I'm looking forward to catching up with Chibi on the rescheduled tour dates. MARILYN MANSON dropped his best album in years much to my delight, having found his last couple a little bit boring (Sorry Mazza!), GREY DAZE tugged at the heartstrings with a touching tribute to the late Chester Bennington, releasing unheard material from his pre-LINKIN PARK days, reminding us all how much we'll miss such a talented, brilliant human being. NINJA SEX PARTY on the other hand proved they remain one of the funniest groups around with their bonkers writing style, comedic lyricism and story-telling and wholesome attitude. Yes, 2020 has been a bit of a mess to say the least, but we've still got music, and as fans of that music, we've still got one another, and as a community, we need to hold on to that. With that said, below, is my official GTGC Spotify playlist of 2020, with 40 hand-picked tracks spanning the above records, and it is dedicated to my very good friend Scot 'JD' Rees, who is sadly no longer with us in body, but will forever be with us in heart and spirit. Whether he had a Jack & Coke in his hand, or his guitar, he was always laughing at something, and his energy for enjoyment was infectious. I will miss you Scot, and this compilation is for you. X

Remember the phenomenon that was ‘Chuck Norris Facts’? The man / minor deity can do so many astonishing yet equally absurd things, like, being able to make fire by rubbing ice cubes, or, being the only person able to kick you in the back of the face, or even being able to speak French…in Russian. I could go on (Literally I can read them for hours and laugh to myself quite contently) but it’s that last one that tediously links me to today’s band because I am unable to just, review things normally. Yes, allow me to introduce you to today’s band; L’HOMME ABSURDE.

Hailing from Moscow, Russia, yet with a French name that translates as ‘The Absurd Human’, L’Homme Absurde are a progressive post-hardcore five-piece, consisting of vocalist Alexey Slavin, guitarists Alexandr Safronov & Roman Savenkov, bassist Pavel Gorshkov and drummer Evgeny Loboda, and they’ve been gradually building their reputation since their formation in 2016. With their fusion of metalcore and melodic black metal, they hope to continue to spread their absurdity across Europe with their newest album “Belong”…but do they belong in my ears? Noob Heavy PR asked me to check it out…

The album opens up with “0” which is pretty appropriate given the way this album kicks off…it’s all about momentum, all is still as we get nothing but relaxed percussion and some semi-dreamscape acoustic instrumentation while the record comes to life, as it’s pulse strengthens,  but we suddenly find ourselves enveloped in a blanket of brutally tortured vocals and a more metallic approach in tone, despite its melodic retention. It gives us a sense of artistic drive and direction early on, for sure. First track proper then “Rot” capitalises on the surging blackened metal tendencies the band have by pummelling the listener with a barrage of semi-psychotic instrumentation. Equally melodic yet mauling; it summarises the bands sounds wonderfully.

This can be said of album highlight “Separation” too which takes an almost early post-punk direction with the initial guitars, before we break into more snarled vocals and post-hardcore riff work; this is arguably as catchy as things get over the course of these eight tracks, finding it’s home between the likes of KVELERTAK and MAN THE MACHETES. It’s up-beat and rocking, all the while groove rich and melodic, and a superb piece of modern metal. Elsewhere “Burn” and “Forsaken” continue this approach of searing blackened melodies while incorporating subtle doom atmospherics into the more traditional metal guitar work, before we eventually finish up on ”Sanctuary”. The semi-acoustic opening and soft vocals allowing for a sense of closure and finality to wind the mood down somewhat…or so we thought, as this too erupts into a visceral barrage of pained vocals at the tracks midway point, peaking with a final flurry, before the low-key instrumentation transitions right back into “0” and we appropriately come full circle, as the album essentially loops, which is cleverly done.

Overall, while Russia isn’t exactly prominent in the world metal scene in terms of household names, L’Homme Absurde are clearly equipped to throw down with some of their more established Scandinavian neighbours. Blackened metalcore may sound a touch niche on paper but there’s enough here in terms of subtle variety to at least warrant checking this out for most fans of alternative heavy music. It’s a solid album and one that could potentially find them larger audiences across Europe, and to suggest otherwise would be, well, absurd. [6]

You know when I say that I’m hopeless at keeping on top of my emails and submissions? Well ladies and gentlemen, this review is about to absolutely confirm that. Back in motherfucking JANUARY I was sent an email by the team over at Noob Heavy PR, and they brought to my attention a Canadian group called PURVEYORS OF SONIC DOOM. Now the name is pretty self-explanatory, but the email in question was to inform me that they were dropping a new double EP set; “Eyeless Void” and “Entombed Black Earth” respectively…

Given some of the artists and releases I’ve seen over the past year or so, I made an educated guess and thought to myself…I COULD cover the EP’s now, BUT, odds on the tracks will be bundled into a full length album of some sort somewhere down the line, so I’ll save myself the hassle and wait for the album. This…was a mistake. Having checked up on the duo (Consisting of guitarist/vocalist Ted Gloom and drummer/vocalist Nick Tooms) I find that no…they have not bundled things into one album…oh no…they have in fact now got fucking FOUR EP’s on the go. They keep this up and I’m going to be taken over by some sort of sludge metal mitosis…so let’s get this out of the way.

We’ll start off with “Eyeless Void” and its title track, and it’s got about as much momentum as a set of church bells before a minute’s silence. I actually thought the track was stuck on a loop, until it eventually shifts up a gear…though by that I mean it just, does the same with a couple more BPM. This is such a monotonous, deep chugging affair; it’s actually more of a pointless void. If you manage to sit through it mind at the five and half minute mark it does actually come to life a bit, but by then, really, who cares? “Rot Covered Gold” if anything is inaccurate because gold doesn't rot in the conventional sense, so there’s that…and the song itself is more of the same, thought at least we have vocals this time. Sparse, but they are there; echoed and torn in anguish like they too are lost in this void. “Flayed One” seems to showcase more urgency with the more continuous riff work and suspenseful key changes, though it ultimately slows down to more of the same, before we round off with a cover of HELL HAMMER’s “Third Of Storms” from 1983’s “Satanic Rites”. Naturally, nearly four decades on, the production will sound better…but the fuzzy, distorted barrage of sludge detracts from the rawness of the early black metal, and the slower tempo does nothing for it…

Next up we have the “Entombed Black Earth” EP and we kick off with “Sea Farers Lament” and while the intro suggests we’re going to have some cleaner, or smoother production quality, we’re soon back to normal with the same sludge-thick riffs and more of the almost vacuous vocals that sound, again, lost…or maybe appropriately entombed. It sounds like he’s singing into one of those old children’s toy microphones that make your voice all warbly and echoed for a while. “Mongrel Dog”, has certain atmospheric elements, giving off a cold, icy tone, while the title track, “Astral Witch”  and “Titan Blood” all share similar tropes and qualities, and very little differentiates either from the other. Here is where I realise, after fifty minutes of music, I should have run the review back when I was first aware of these two EP’s…now I have two more…please improve.

The third EP is “Mankind Is Unkind” and given the current state of the world with the events that are unfolding, that statement couldn’t possibly be any truer. “Old Lore” gets us underway here and there’s a brief spoken word segment about flipping over to side B, so maybe I was meant to listen to this last? I don’t know…but it doesn’t take long for those sluggish, chugging, doom-inspired riffs to take command of the track. They have perked up a LITTLE bit however, as proven towards the climax of “Bachanalian”, where they up the ante in terms of the thrashier aspects of their metal, and it’s here a pattern is clearer. Slow, lethargic sludge thick metal, quick bursts of blackened thrash and then back to the dolorous doom rich riffs. It’s practically copy and paste…speaking of which, we have the “Sonic Colossus” EP. It’s essentially just the “Entombed…” EP remastered, but they’ve replaced “Mongrel…” with a new title track…that’s all it is. That track itself has another lengthy, drawn out intro, before we randomly have a sound bite from the famous “Daddy Chill” video, where the old dude demands “What the hell is even that?!”…and that right there perfectly summarises this series of EP’s for me.

​While there are glimmers of hope and interest scattered across these four EP’s, like the switches in tonality here and there that allow some of the riffs to sound more varied, and where the blackened thrash aspects work best despite being underutilised, the vast majority of the recordings here follow too much of the same formula, let alone the recycled tracks. Yes I know that, any doom-inspired audio is going to run the risk of being slow, labouring and monotonous, but this level of rinse and repeat is the sludge metal equivalent of ED SHEERAN…now if you’ll excuse me, I’m off to have my ears syringed with a use heroin needle. [3]

As I type this, the UK currently remains on lock-down (I use that term loosely mind you, we have a population of idiots that can’t grasp that)…social distancing is still in place as we still run the risk of infection from Covid-19. Worse, the weather has been beautiful throughout this, and life is generally frustrating, confusing and to a degree depressing in isolation…but do you know what will cheer you up? Doom metal…

While, yes, I said that with more than a pinch of sarcasm, today’s album is one I’ve genuinely been looking forward to all year, regardless of the events that have unfolded outside my front door, and that album is “Obsidian” by PARADISE LOST.  The Halifax based godfathers of Gothic doom metal have had an illustrious and influential career that in my opinion, hasn’t been fairly applauded. From their 1990 debut, they helped lay the very foundations for the Gothic metal genre and have an incredible discography that easily cements their status. Don’t just take my word for it however, as the 30-year veterans seem to be aging like a fine wine, having released a series of stunning albums in succession from “Faith Divides Us…” all the way through to the most recent release “Medusa”…can they keep it up however? Let’s find out…

The album opens up with “Darker Thoughts” and it’s the perfect intro in all fairness…the gently plucked acoustic guitars allowing for a misleading direction in tone, with its softer vocals and emotive string elements; it borders on medieval folk, before it erupts with a barrage of visceral snarls and it balances out perfectly. The contrast here is ideal and while not necessarily brutal, the initial disparity in these tones within one track shows great character, and it’s a beautiful opener. “Fall From Grace” follows up and as the lead single from the album it ticks all the expected boxes; it’s got the guttural growls, the methodical chugging guitars and it’s textbook Paradise Lost; bridging the slower doom elements of recent releases with the darker, tortured sound of their early Peaceville years, highlighting the bands consistency.

What’s consistency though without quality right? Well the album has plenty of that, in particular the tracks “Ghosts” and “Forsaken”. The former, getting underway with a solid, yet simple, commanding drum beat over a groove-heavy bass riff. It builds on its layers wonderfully, gradually incorporating chilling guitar notes with Nick Holmes’ deep vocal drawl, before we burst into life with some slick, hook laden melodic metal; this is wonderful stuff. If you thought that was good however, the latter embraces a truly angelic, beautifully haunting opening; setting a rich tone that oozes Gothic splendour. Greg Mackintosh delivers the goods with an impassioned solo too, which coupled with the subtle backing piano, makes for top drawer Paradise Lost.

The remainder of the album does however hit a certain plateau, but the standards are already set impressively high. “Serenity” is a no-nonsense barrage of deep growls and Gothic-laced metal, “Endless Days” then is a slower, more sombre offering with more emphasis on mood, before we eventually finish up on “Ravenghast”, another slow burner of a track, allowing the album to naturally come to a close with a warm down; letting the listener catch their breath and unwind. Obsidian really is a perfect fit in regards to the album’s title…the mineral, a naturally forming dark, volcanic crystal, balancing the destructive force of the lava it’s formed out of, with its own fragile beauty, sums up this record perfectly. Scorching and intense where warranted, harmonious an elegant where it matters…Paradise Lost have delivered yet again. [9]

For a blog with a name like GavTheGothicChav…you’d think I had my finger firmly on the pulse when it comes to Goth rock, but truth be told, I continue to miss a lot of what’s going on in underground Gothic circles. Some of my favourite new bands, like HER DESPAIR and THE WRAITH have fallen into my lap courtesy of other publications I’ve contributed to (Shout out to Astral Noize), but other than that, I’m more Chav than Goth these days, and that’s upsetting. Luckily I got a friend request on the old Facebook recently by a gentleman by the name of Alex, who thought that my blog would be a great place for his band; THE BLACK CAPES. Firstly, thank you for getting in touch Alex…and secondly, his band abso-fucking-lutely belong on this blog! Follow me! (Makes mysterious whooshing gesture with my cape and runs into the shadows)

Hailing from Athens, Greece, The Black Capes (Consisting of vocalist Alex S Wamp, guitarist Thanos Jan, bassist Dorian Gates and drummer Christos Grekas) originally formed in 2016 yet despite their relatively short existence thus far they’ve achieved a fair bit! Their debut album “All These Monsters” was produced by the people behind PARKWAY DRIVE and FALLING IN REVERSE…and they’ve done some solid European touring; establishing themselves in strong alternative markets such as Germany. Now in 2020 they aim to push things further with their sophomore album “Lullabies For The Dead”, due out April 10th via Dark Tunes Records. Let’s check it out…

We open up with the promotional track “And I Wait” but we don’t have to wait long AT ALL to hear some wonderfully hard rocking, bass-driven riffs. We surge right into it here to be fair and the up-beat barrage of guitar is the perfect counter for Alex’s deep vocal drawl, which is a classic trope for such Goth rock, but that’s not detrimental. The gruffness to the vocals likens The Black Capes to fellow Greek Goths SADDOLLS in ways, allowing for a rough around the edges sense of character, while maintaining all of the hooks (Including that smooth guitar solo) and this is a good start. This is emphasised on album highlight “Rain” which amps up the melody wonderfully. The deep emotive baritone takes on more of a croon, which allows for a sound more akin to THE 69 EYES when they first started dabbling in the dark arts, think “Wasting The Dawn” era…but the track picks up towards the end for a feisty little crescendo and it’s a great track this.

Influences don’t stop there either, as proven on tracks such as “The Blood Is The Life”, which incorporates an almost middle-eastern sense of string instrumentation, something the likes of TIAMAT have dabbled in in the past, while “From Beyond The Grave” tips the hat to bands such as A PALE HORSE NAMED DEATH with its slow, deep, methodical chugging riff work, before “Gotham” delivers a tighter guitar sound, channelling the likes of PARADISE LOST to great effect towards the tracks climax. The haunting background moans providing a sense of atmosphere too, so too with the piano and synths on “The Gun Of Love”, allowing for a chilling listen. We eventually finish up on “War Is Where You Make It” and if anything it’s sadly the weakest track on the album…the incredibly lethargic doom-inspired chugging of the riffs coupled with the deeper, depressed tone of Alex’s gravelled vocals resembles proto-Goth outfits such as FIELDS OF THE NEPHILIM, and while that’s not at all a bad thing, it brings the mood down entirely after such a solid, bold sounding album.

As oxymoronic as that last statement sounds for a Gothic rock album however, “Lullabies For The Dead” is a superb collection of grandiose Goth that spans multiple eras, allowing for multiple influences to shape a noticeable variety in styles within just ten tracks. And to think, they said not all heroes wear capes? Looks like Batman has some competition…[8]

​Back in 2017, the gothic rock community found itself in an official state of mourning. You might think, well, nothing fucking new by there? But, we had a legitimate excuse for our smudged eye liner. You see, everyone’s favourite romantic-rockers HIM, were officially no more. Yes following the departure of long-time drummer Mika Karppinen (Gas) and the appointment of Jukka Kröger (Kosmo), plus the fairly lukewarm reception of “Tears On Tape”…there were a lot of mixed feelings within the HIM camp…and a lot of uncertainty. Over this period, one thing eventually led to another, and after a series of farewell shows, the Heartagram had seemingly stopped beating. Tears were no longer merely on tape, they were on the cheeks of thousands of distraught fans across the globe…and it hurt.

Granted there were other projects that trickled out from certain members of the band…we got a fantastic 3rd installment from DANIEL LIONEYE courtesy of guitarist Mikko Lindström…as well as a couple of the guys forming FLAT EARTH, but it just wasn’t the same. What was Ville Valo up to? As the voice of HIM, he naturally carried the most intrigue, and while he did tease some activity with the release of the Finnish language single "Olet mun kaikuluotain", as well as reuniting with former collaborators THE AGENTS for some more traditional Finnish classics…he’s been incredibly quiet, almost suspiciously quiet…until now. On March 20th, 2020, Ville, under the new moniker of VV, surprised everyone by dropping three new tracks on an EP entitled “Gothica Fennica Vol.1”. With a modified Heartagram on the cover…was this what HIM fans had been craving for so long? Tissues at the ready folks, this might get emotional.

We get underway with ”Salute The Sanguine” and as the soft, near synthetic guitar melodies meander through your speakers, you can’t help but feel overwhelmed with, dear I say it…a foreboding sense of impending happiness. This is in its own right fitting as the delicate tones of not only the instrumentation but Ville’s voice hark back to albums such as “Screamworks…” and “Dark Light”; there’s a vulnerability to his voice that adds heaps of sentiment. Conceptually an interesting one, as sanguine is essentially a colour, or pigment used in a lot of centuries old artwork and self-portraits, resembling the shade of dried blood. It’s as if he’s looking back fondly on his career as if it had been dusted off having been locked away, appreciating the memories and what they gave him, with each scar a story, but knowing too that he isn’t the same man as before. This ties in nicely to the modified Heartagram…for like the music accompanying it; it’s a little HIM, but it isn’t, though it’s still beautiful.

Next up we have “Run Away From The Sun” and again here we’re immediately met with Ville’s gentle croon over more soft rock guitars and mellow acoustics. Another smooth and melodic offering, this is accessible as any of HIM’s lightest works as though Ville has embraced more of an indie-pop aesthetic, while retaining his core, lyrically melancholic writing style, allowing for those distinct HIM tropes. Speaking of, closing track “Saturnine Saturnalia” is the most HIM-sounding of the three tracks presented here and while not specifically raucous or rocking, it carries with it a distinct aura of hurt and emotional torment, mixing Ville’s honey coated vocals with a more sombre dose of doom and gothic stylistics. It’s got more prominent riff work and sounds like it could have come from one of the old “Venus Doom” demo sessions, fitting in with the likes of “Cyanide Sun” aesthetically, allowing for a deeper, ever so slightly darker listen.

If I may come across as selfish for a moment, sadly, these are the only three tracks presented here but while naturally wanting more, we have to be grateful of a couple of key things. To start, Ville is once again releasing music in any capacity, that’s the main thing, but the fact that the Heartagram has returned and his music is more akin to the styles and sounds of old is not only heart-warming, but brings with it hope. He’s clearly finding his feet again, and despite being only three tracks long, having been away for three years now, “Gothica…” is an effortlessly good start. The fact too that it’s merely volume one hints at more music down the line, and if these three tracks are anything to go by, we’re in for a fucking treat. Never mind the sanguine, Ville Valo, we salute you and welcome back sir! [10]

The last time we caught up with DEMOCRATUS, the South Wales metal conglomerate (Consisting of vocalist Steve Jenkins, guitarists Joey Watkins and Rich Rees, bassist Stu Rake and drummer Zak Skane) had just released their 2018 debut EP “Starting Again”…and it was in all fairness rather apropos. Having formed out of the ashes of their previous collective bands such as COUNTERHOLD and CANNIBAL GOD, the five-piece really were starting again, and truth be told it did them the world of good, as 2018 saw them off to a frankly superb start.

Not only was the EP received well but they managed to bag themselves a slot at Bloodstock Festival courtesy of their coveted Metal To The Masses competition, cementing their status as one’s to watch on the unsigned metal scene (Aided by some determined self-promotion). With their profile rising and with the band finding themselves expanding their live audience venue by venue, it’s perfect timing for them to drop their 2nd EP “Damnation”, to really strike while the iron is hot. The band recently asked me to check it out ahead of its release this December, and I’ll be damned if I don’t!

The EP opens up with “Is This Fear” and immediately we’re swept up in this surging yet harmonious, grand cinematic instrumental intro; we’re literally seconds in and already we find the band’s sound has evolved as they experiment with their approach. It doesn’t take long however before the metal kicks in and once again you can hear a diverse array of influences in their style, ranging from classic melodic metal, to thrash to death-infused, polyrhythmic brutality. It yo-yo’s between the calm and almost carnivorous quite well and the song is well-balanced, kicking this EP off nicely.

Follow up track “BTK” however slows things RIGHT down and the transition is almost jarring. The subdued plucking of guitar strings and restrained percussion is almost creepy as it sets a foreboding tone, until the track comes to life with a more regimented style of death metal. The riffs are semi-sluggish as they chug along with a doom-like sensibility, while the vocal delivery is almost bullet pointed. A totally different approach to our opener but while not as entertaining, it does highlight that diversity in their influences all the more. The title track returns to a more traditional metal approach instrumentally, though retaining a distinct heaviness, while the bulk of the vocals stick to guttural growling, chorus aside (Especially that impressive note Steve hits at the tracks climax), and you can hear the bands admiration for the likes of AMON AMARTH and INSOMNIUM. Finally then, closing track “Dead Without Dying” rounds things up with another weighted, borderline somnolent display of riffs that’s sadly more than a little anti-climactic.

What’s clear is that the band are unafraid to try to concoct their own brand of melodic death metal, still dabbling in an array of genres, still finding room to experiment a little more. The trouble however in doing that is Democratus are still seemingly trying to find their identity. There ARE more signs here that they are in fact heading more down the route of heavier, death-inspired metal; this EP seems angrier in presentation and delivery, but they aren’t 100% there yet. As with their debut, the weakest aspects really are the cleaner vocals and to be fair they’ve restricted that aspect of their sound here, with less power metal vocalisation, and really that suits them a lot more. With the bands profile growing show by show, coupled with the bands passion and determination, Democratus are absolutely on the right path and making all the right steps, but this path is a long and winding one, and their journey has only just begun. [6]

Gothic music has for the most part; got a bit of stigma or, a reputation from the non-initiated…many simply view it as maybe just a tad miserable or, maybe even slightly suicidal, and to be fair these CAN be traits of the genre. There are of course those however more acquainted to this, misunderstood style and its nuances, that find the beauty amidst the often bleak poetic content, but most people simply think “Fuck me this is depressing!”… Today’s band doesn’t particularly help things in that sense…let’s talk about LACRIMAS PROFUNDERE.

The German outfit (Now consisting of vocalist Julian Larre, guitarist Oliver Nikolas Schmid and drummer Dominik Scholz) have a name that translated from Latin, literally means ‘To Shed Tears’…so we’re practically crying before we even press play, fucking amazing start! I digress…while the bands origins in the early 90’s harboured more of a progressive doom aesthetic, they over time switched up their sound to the more iconic Gothic / dark rock style we know and love today, but that doesn’t mean we’re alleviated from the doom and gloom…au contraire, there’s just marginally less doom! 2019 finds the band releasing their 12th studio album; “Bleeding The Stars”…so, Kleenex at the ready then folks; but will we be shedding happy tears in the end? Let’s find out…

The album opens up with “I Knew And Will Forever Know” and in all honesty it’s a pretty slow, lumbering start. The initial guitars seem to drag alongside Larre’s vocal drawl as if they’ve already given up the ghost so to speak, such is the level of sonic misery. We do get a little more lively for the chorus mind you, as the percussion picks up, accompanying heavier, more tortured vocals; really walking a fine line between their doom-metal back ground and a more melodic, melancholy. This is for the most part a reoccurring theme throughout this ten-track album…”Mother Of Doom” being a prime example (The clue is in the name to be honest). Although to be fair, as dreary as it is superficially, it’s the deep baritone croon of Larre that allows this track to connect with the listener. It’s low-key, low tempo and generally minimalistic but it’s the mood and atmosphere that carries this…it’s actually incredibly well delivered and while it isn’t about to kick start any parties, it has to be applauded.

While a lot of this album is a touch bleak, there are some enjoyable highlights that twinkle in the darkness; flashes of brilliance from this dying star if you will. “After All Those Infinities” for example really ramps up the tempo and for its brief run time it manages to deliver a boisterous, albeit brief melodic hard rock number; the kind of track that leaves you wanting more. “Father Of Fate”, unlike the preceding mother, is far more upbeat…perhaps he’s won some brutal custody battle? Who knows? Regardless, its hook-laden synth-driven style, coupled with the well balanced dual vocal approach of deep crooning and pissed-off snarling, makes for an entertaining listen. The real stand-out however comes in the form of “Celestite Woman”…the simplicity of the chugging bass, the lyricism and overall song structure coupled with the abundance of melody; this easily lives up to previous gems such as “The Shadow I Once Kissed” and “My Velvet Little Darkness” as an individual highlight, and it’s Lacrimas at their brilliantly bleakest best. This album though as a whole may not live up to some previous standards, 2004 to 2010 was a superb timeline in all honesty, but this is a solid Gothic rock album that hits most of the right filthy notes, in spite of how low they are. [7]

Black metal; arguably the most perceived to be evil of all the extreme metal sub-genres, and a genre that’s been the subject of A LOT of controversy over the years…while its origins may lie in England thanks to VENOM and the album that practically named the entire movement; “Black Metal”, the bulk of it can be found in (You guessed it) Scandinavia etc. It’s here that the genre picked up its notoriety with cases of band mates murdering each other as well as convictions for hate crime, bands using ACTUAL images of suicide victims on album covers (See MAYHEM’s “Dawn Of The Black Hearts”) and if that wasn’t enough, several churches have legitimately been burned down!

But, let’s not dwell on those crazy Scandinavian bastards for now, as black metal reaches further afield than that, and one of the genre’s most prominent bands can actually be found in Greece. Yes, today we’re going to be focusing on ROTTING CHRIST. Formed in the late 80’s, they were one of the first black metal bands to form out of the Mediterranean region and have been an iconic and influential force for many an underground band ever since, and 2019 sees them release their brand new studio album “The Heretics”, Their first in three years. Let’s all skip church together and find out what the Greek’s have got in store on album number thirteen…no I said SKIP church not set fire to….never mind…

The album opens up with “In The Name Of God” and its spoken word intro is incredibly damning and profound, pointing out the overall hypocrisy of mankind. While many of us today denounce the idea of any religion, the very concept seems archaic while we create our own miracles; yet we still are able to pick and choose our own deities as they suit us…war and death in the name of God not out of true belief, but out of convenience. Musically the track has a rigid, militant tone which suits the aura of the track completely and it’s an intense start. The album then to its credit just keeps getting better and better…”Vetry Zlye” manages to balance pummeling percussion and Sakis scorching metal vocals with some beautifully melodic guitar, along with the sweet, cleaner vocal notes of Russian singer Irena Zybina. The two complement each other brilliantly and it’s an infectious piece of metal! Speaking of infectious, “Heaven And Hell And Fire”, despite it’s obvious metal aesthetics carries a great guitar hook layered within another up-tempo melodic metal offering, this is all very good stuff!

This is further backed up by album highlights “Fire God And Fear” and “The Sons Of Hell”…the former starts with another spoken word piece amidst the quaint chirping of birds, like it’s the introduction to one of the levels on “Dungeon Keeper”, but swiftly descends into a wall of blackened metal riffage, and THAT solo? It’s superbly executed and slicker than a bowl of extra virgin olive oil! The latter embraces a more traditional heavy metal style, evident in the wailing guitar notes and more methodical approach instrumentally, before “The Raven” utilises more soaring guitar harmonies while Sakis recites the works of Edgar Allan Poe.

There are some minor hiccups mid-album…such as “I Believe”, which combines a spoken-word Greek monologue with an unrelenting wall of noise as the frantic guitars are played on loop in the background, and it gives you a little bit of a headache before it fades out, while “Hallowed Be Thy Name”, although commanding and ominous in tone, does suffer from a case of repetition. Although to be fair, these flaws are minor in the grand scheme of things. “The Heretics” has showcased Rotting Christ’s ability to incorporate melody and an accessibility into their otherwise crushing sound, something which was lacking on “Rituals”, resulting in a wonderfully smooth listen. Putting aside the gimmicked elements of early Catholicism with the ritualistic or ceremonial chanting emitting from the backing vocal samples, this is a really strong blackened metal concept album and if you’re unsure of making the jump from traditional metal into something more dramatic and intense, then this is actually a brilliant segue record. It’s as easy-listening as extreme metal can get but it loses none of its credibility. Forget rotting, Christ sounds fresher than ever. [8]

I’d like to take a minute to just talk about collaborations and the idea of the ‘Supergroup’. I know I’ve covered some examples in the past; just look up my reviews on artists such as THE 69 CATS and FLAT EARTH etc…but the very idea of the ‘Supergroup’ has lost a lot of its charm and appeal in recent years, and that’s mainly down to the current chart trends. Over 25% of the current UK singles chart contains a feature or collaboration, and the idea of artists working together on records isn’t really that much of a big deal anymore. While we may have had MCBUSTED recently…gone are the days of THE HIGHWAYMEN or, VELVET REVOLVER. But today’s artist hopes to restore faith in the entire concept; let me introduce you to EVI VINE.

The London-based, soundscape weaving, progressive post-rock doom outfit, which are fronted by Evi herself (But also includes bassist Matt Tye, drummer David ‘GB’ Smith and Korg/synth operator Steven Hill) have recently released their newest album, “Black // White // Light // Dark”, through Solemn Wave Records. Nothing special you’re thinking thus far, however, the album was recorded live in the studio with an assortment of guest musicians that really do peak your interest. With members of THE CURE, FIELDS OF THE NEPHILIM, FAUST and GOLDFRAPP all contributing to the record…this truly is an alt. rock ‘Supergroup’ project! Let’s check it out…

The six-track mini-album opens up with “I Am The Waves” and after some brief guitar fuzz we’re slowly dipped into a mire of miserably depressing instrumentation. The doom influences are beyond evident as this is so dense and bleak, though not heavy; the musical equivalent of a black hole absorbing all light around it. Vocally hushed, almost whispered in parts…singing “I am the waves; I am the ocean”…hopefully acting as a calm before the storm, as this body of water lays still, waiting to surge and crash around you. We follow this up with “Afterlight” and while initially more up-tempo with more groove and rhythm, the percussion and guitar’s take on more of that progressive influence. The beat and majority of the structural melody is off-kilter and disjointed, resulting in a somewhat trippy little track, though vocally there’s hardly any change.

Despite being a short album in terms of track listing, they make up for it in track length with “Sabbath” and “Sad Song No.9”…the former does, to its credit, give us our first taste of a proper riff and you hope that despite it’s near ten-minute run time, it’s finally waking up…though those hopes are dashed soon afterwards as once again we descend into a bleak, abyssal depth of damning boredom. When the guitars pick up, the intensity breathes SO much life into the instrumentation and you can’t help but be left wondering why couldn’t they maintain those heavier doom qualities? The instrumental climax is energetic and enjoyable but frankly it’s too little too late, while the latter then, being over eleven minutes long feels like the equivalent of watching a sloth complete the London marathon in real-time…congratulations are in order but I never want to have to watch that ever again.

The other remaining tracks “My Only Son” and “We Are Made Of Stars” sadly do nothing to balance the mood whatsoever and while there are sweet vocal displays and elegant string sections in the former, as Evi sings from the heart about a close friends suicide, it doesn’t rescue this record from its own pit of despair. With the talent surrounding this album, while not intending to have certain expectations or, typecast anyone creatively, you’d at least HOPE that here you’d find a decent to good alternative rock album with diverse ideas ranging from original post-punk to modern Goth-pop aesthetics…couple that with the progressive doom elements, and you allow for a really dynamic and interesting listen. Sadly what you DO get is comparable to a narcotics prescription; as you’ll likely find yourself bored into a deep slumber instead. It’s ambitious, it’s artsy and it’s atmospheric I’ll give it that, but from getting excited at the list of personnel, to listening to the finished product, it really is a case of day and night. Maybe the album’s title itself was trolling me all along? Speaking of, the album is that dull it practically used the same artwork as one of ARCHITECTS previous records; I mean they couldn’t even make an effort with THAT it would appear! All in all a disappointingly boring listen. [2]

Despite the gimmicky premise of this blog, I sadly don’t cover a great deal of Gothic artists within these pages. The odd black gem, or, lump of coal if you prefer, will pop up, like A PALE HORSE NAMED DEATH earlier this year for instance, but Goth bands that I DO come across, new ones at least, are few and far between. Luckily however, as it happens, while covering a compilation piece for DEWAR PR just recently, I stumbled across today’s band; let me introduce you to HER DESPAIR.

The five-piece (Consisting of vocalist J, guitarists Dan and Jord, bassist Vikki and drummer Lee) hail from Berkshire, and have been building a name for themselves on the UK alt. rock circuit since their 2015 debut album “Hymns For The Hopeless”. With their penchant for mixing modern melancholia with traditional post-punk aesthetics they’ve quickly grown an impressive underground following. Just last year they released the much anticipated follow up to their debut; a new EP by the brilliant name of “Mournography”…let’s see if we get a kick out of this cadaver…

The EP opens up with “Blaspheme With Me” and right away we’re greeted with a blend of melodic guitar and surging yet sensual riffage…vocally J has a depth to his drawl but it doesn’t go as far as complete baritone like other Gothic rock and metal artists. The two aspects combine well and in ways it can be said it combines the likes of ENTWINE and THE CRUXSHADOWS… a lengthy opener at five minutes but it’s still a great start. “Valentine’s Mourning” continues along the same vein but is a touch more up-tempo and has more of a pop aesthetic with its hooks and overall rhythm. Lyrically steeped in sadness and loss but musically it’s such an uplifting track, a typical yet welcome oxymoron, really fun track this.

We slow things down next for “Within Tragedy” and it takes on a far more elegant tone; the sweeping orchestral elements of the synths really set the mood here while the rock aspects of the track chug along casually, giving it weight and carrying the track forward. If you are all about the slow burn and the melancholy then look no further than closing track “In The Arms Of A Sadist”…at seven minutes plus it embraces a clear doom influence from the likes of MY DYING BRIDE and simply oozes despair, which is very fitting given their name it has to be said, though it’s countered by the previous track “Damnation Tonight” which incorporates more harmonious keys and more groove-heavy goth ‘n’ roll, balancing out the EP perfectly.

Essentially what Her Despair do here is bridge eras in Gothic music; sounding crisp and fresh with their song writing and production, while also channeling the original bleak charm and quality of the likes of Goth godfathers  SISTERS OF MERCY and BAUHAUS. This, alongside their debut confirm that they are one of the brightest (Or should that be darkest?) rising talents on the Goth scene. If you’ve been wanting some quality Goth, stock up on the Kleenex because you’ll be getting off to “Mournography”. [8]

DEWAR PR is a PR company based out of Ontario, Canada, run by CEO Curtis Dewar. Specialising in all that is hard and heavy within the music industry, Dewar champions all of the underground genres such as sludge, stoner rock and other sub-divisions of heavy metal, allowing them the platform and opportunity to reach out to new set of ears worldwide. You may already be familiar with a couple of their clients through my recent 'My Wreckord Collection feature', but if you really want a taste of what Dewar has to offer, then look no further.

“Dewar PR Presents” is a brand new, FREE TO DOWNLOAD sampler compilation album, consisting of seventeen tracks by seventeen different artists, showcasing the variety of metal you can find within their catalogue of bands. Whether you like the groove-heavy hypnotic drones of sludge lords FALSE GODS….the traditional sound of old school thrashers TOMMY CONCRETE, the classic, sensual darkness of Gothic rockers HER DESPAIR, or even the sweet vocal harmonies of DUST PROPHET, there is sure to be something for you over the course of this record. Curtis himself says;

“I’m pleased to release the latest in our series of compilations! This is the fifth year of Dewar PR being in operation and I’m excited to have the chance to work with great new bands.  Download the compilation and support (with money) any of the bands that you enjoy! If you’d like more information on promoting your next release with Dewar PR, please email me at dewarpr@gmail.com!”

Follow the link below to download the sampler…did I mention it’s fucking FREE?!?! Get on it!

Track List:
1] FALSE GODS – “They Who Speak To The Lost”
2] OWL MAKER – “Witches”
3] TOMMY CONCRETE –“Leith Punk Flat”
4] HER DESPAIR – “Blaspheme With Me”
5] GORM – “Beyond Black Rainbow”
6] CHAOS SYNOPSIS – “Sixteen Scourges”
7] ALICEISSLEEPING – “Scary Mary”
8] RITUAL EARTH – “Solar Ecstasy”
9] DEATH ON FIRE – “Witch Hunter (Remix)”
10] VESSEL – “The Dreaming”
11] BLESSED BLACK – “Stormbringer”
12] STUMP TAIL DOLLY – “Regret”
13] ALLFATHER – “By Sword By Famine By Plague”
14] DUST PROPHET – “The Big Lie”
15] ARCHARUS – “Erebor”
16] RIFT – “Lift To Ash”
17] DESERT KINGDOM – “Unleash All Hell”

Courtesy of Dewar PR, we’re going to be having a slightly different take on the Wreckord Collection this week, as we talk to Tommy Stewart; bassist and vocalist of Atlanta-based doom/sludge trio NEGATIVE WALL. Having formed in 2018 as an amalgamation of members from other bands including BLACKLIGHT MIDNIGHT and BLUDY GYRES, they will be releasing their debut album “Gammagelu”, after only a handful of writing rehearsals mind you, on February 8th through Black Doomba Records. Check out the advance-track "Hybrid Genus Serpentis" via the Bandcamp link below! Here Tommy discusses why it is that he prefers to listen to vinyl and how it helps him as a producer… 

“I love talking about my record collection! I have a few years on me so most of the records I have were bought when they came out. So when I say I bought DEEP PURPLE 'Machine Head', I LITERALLY mean the year it came out, and it's the quadrophonic version! I had little interest in anything else so listening was and still IS a very intimately focused experience. I've had many albums on cassette, 8-track, vinyl, and CD, but I still think that vinyl is best because of its presentation. I like that the art and photos are larger for one thing. It's my habit to buy a vinyl, then sit and listen with focus and not while doing something else. I read the lyrics and follow the journey the album takes me on. Sometimes, as I revisit the album, I may follow just one instrument through its own journey. I was quite inspired by English rock and metal. I've tried to figure it out and it looks like about 60% of my life long listening came from a 178 square mile area of mainly England. If you have that in mind when you're listening to albums I'm known for, such as Bludy Gyres' 'Echoes of a Distant Scream', or Negative Wall's 'Gammagelu', you can certainly hear the Crimson and Sabbath influence. There's no doubt that HALLOWS EVE's 'Tales of Terror' was influenced by IRON MAIDEN and MOTORHEAD.

This laser focused listening habit inspired me to develop into the person I am today, who not only plays on albums, but also produces them! Just listening in such an attentive way since I was a wee lad of 6 years old pretty much trained me for recording myself and other artists. It's amusing to watch the bands come in the studio very pumped up, and I try to make it comfortable for them, but as I start mixing, they usually glaze over, begin to sleep here and there, and I even get asked how do I listen to the same passages for hours. I enjoy it!

The artists I have the most records of are BLACK SABBATH, JETHRO TULL, PINK FLOYD. And you thought I'd say METALLICA, I bet. I have those and a variety of metal styles on albums…I do a wide variety of listening. If I'm asked if I own anything embarrassing. Some closet classics I like when I'm all alone? I have a pretty fair collection of 7" singles that are mostly 60's pop and some 50's hits; from THE BEATLES, to NANCY SINATRA, to JERRY LEE LEWIS. In the middle of all that there is a Vertigo copy of "Evil Woman" by Sabbath, but it's all alone in that stack.”

Back in 2010, Gothic music, no, ALL of music, lost someone truly gifted and remarkable. Yes, on that April 14th, the not-so jolly green giant Pete Steele of TYPE-O-NEGATIVE passed away, somewhat ironically, due to heart failure aged just 48. Initially we had to double check, as not only was their previous (And as it turns out final album) entitled “Dead Again”…the album itself was brought to everyone’s attention through a hoax, suggesting Pete’s passing on their website, via a macabre but not unexpected marketing ploy by the band. Sadly this time wasn’t to be a dark humoured joke tying into a promotion, this time it was for real…Type-O-Negative were no more.

Luckily for fans, and in loving memory of Pete Steele, original Type-O drummer  Sal Abruscato (Up until 1993) wasn’t long in allowing this new source of mourning and melancholia to fuel his creative juices once more, and stepping aside from his other band LIFE OF AGONY, he formed A PALE HORSE NAMED DEATH in 2011. With their first two albums (“And Hell Will Follow Me” and “Lay My Soul To Waste”) receiving praise and critical acclaim, it’s only natural we get excited to know that the third, despite the five year gap, was still on the way. In early 2019, they returned with “When The World Becomes Undone”…let’s see what Sal and co have been sitting on all this time…

The album begins rather fittingly with “As It Begins” and really it’s just a brief intro piece; the church bells, the weeping woman, a continuous, haunting drone…it’s really quite ominous as it seemingly sets you up for a  ritual, or, something far worse and sinister, but the transition into the title track is a little disjointed. It lacks a clean flow as it switches up into this, chilling piano led piece, while Sal’s lyrical delivery and vocal tone hints at a disturbing, nursery rhyme-inspired track. The percussion initially seems stuck on a loop, with little in the way of tonal progression, like the CD was skipping, if it wasn’t for the subtlety of the bass, before we eventually get underway with some classic sounding, deep, dragging riffs. At near seven minutes it keeps in tradition with the drawn-out doom metal influences, but there are a few tempo and key changes to keep it ticking over, improving as it progresses.

It’s not all ENTIRELY doom and gloom mind you, as there’s still room for a tune or two amidst the misery. “Love The Ones You Hate” being a prime example…the classic guitar slides, the almost “My Girlfriends Girlfriend”-esque delivery harking back to classic Type-O, adding both hooks and tempo to proceedings. While not the most melodic of vocalists, the whole thing takes on an almost grunge-like yet, hypnotic tone, thanks to Sal’s musical direction, and it makes for a clear album highlight. The same can be said for “Lay With The Wicked”, “Fell In My Hole” and “We All Break Down”…the former with its darkly sensual opening, embracing the seductive yet, again, haunting aesthetics of the deep harmonies. A slick guitar solo makes for an even more emotive listen and it reeks of gothic lust, while the latter maintains the low-tempo, dreary appeal of classic doom-inspired goth, with more subtle nods to “October Rust” musically as we head towards the tracks climax.

Granted, it’s not a perfect album…”Succumbing To The Event Horizon” is only marginally longer than its own name; no more than a brief instrumental interlude in the loosest possible sense, while “The Woods”, which despite being longer, doesn’t have much more of a point, though conceptually you could say it harks back to the tribal tones of “Fay Wray Come Out And Play”, before closing track “Closure” returns to the church bells, weeping and organ music as the album goes full circle. All in all, we have to accept that there’s only so much you can get from a doom-based record in terms of appeal, and in a world without Pete Steele this will always have to be your next best choice. Both sonically and aesthetically on point, APHND and Sal deliver a fine slab of sadness here as they’ve clearly found themselves musically; this is more polished, crisp and cathartic too as it provides respectful throwbacks to Sal’s formative years with Type-O-Negative. In a world of post-metalcore, mumble-rap and grime, it’s refreshing (Or should that ironically be rotten?) to find there’s still a place for such wonderfully presented woe…a great gothic-metal album and a great start to 2019. [8]

With the odd couple of exceptions, generally you’ll find that bands who have been together for a lengthy period of time usually start to mellow out at some stage in their career. Only recently I was saying this about the MANIC STREET PREACHERS who have lost some of their original punk-rock attitude in middle age…and this can be said too for artists such as ANATHEMA for example; originally a Gothic / doom metal outfit, over the years they evolved into the ambient, progressive band they are today (Check out “The Optimist” if you haven’t already). Well this can also be said about today’s band; let me introduce you to MANES. Formed in Trondheim, Norway back in 1992, they were originally part of the 90’s black metal scene alongside the likes of SATYRICON and IMMORTAL but over the years they’ve toned down into what’s been described as a bastardisation of rock, electronica and progressive jazz. The last time we heard from them was back in 2011 with what WAS to be their final album; “Be All End All”…but 2018 sees them return with the brand new album “Slow Motion Death Sequence”. Available through Debemur Morti Productions from August 24th…lets check it out…

We open up with “Endetidstegn” which more or less translates as ‘end-time signs’ and thematically kicks off the start of this death sequence on a dark, apocalyptic note. It’s slow and dramatic with minimal electronica and percussion, with vocals soaked in melancholy, though it picks up with some intense, dramatic, looming power chords and double kick drums, and the track develops a serious sense of foreboding…this album isn’t going to be a walk in the park let me tell you…and if it were, it would be at night in the middle of The Purge whilst you’re stalked by sociopaths. “Scion” follows up and it’s more of the slow, cold synths, with vocalist Asgeir Hatlen here giving it an 80’s alternative indie vibe; however its slow tempo makes the track feel like it lasts an eternity, with the repetition not helping one iota.

The album overall is fairly consistent in tone and approach, rarely veering from its path but it does have its few interesting points; “Therapism” utilises a moody, almost darkwave inspired tone…the creeping electronica occasionally pierced by assertive guitars, the use of single chords is simple yet effective and though while it does have a feeling of gradual build it never really puts it’s foot down, while “Building The Ship Of Theseus” returns to that almost post-punk, alternative 80’s vibe, aesthetically in ways slotting in between the likes of  BAUHAUS and NICK CAVE…but sadly the rest of the record struggles to capture much attention. At seven and a half minutes, “Last Resort” sums itself up nicely, as a long-winded dreary acoustic-led piece and I really would only consider listening to this as a last resort…oh how I wished this was a PAPA ROACH cover...wouldn't that be fun...“Ater” then closes the album on what is essentially an avant-garde instrumental bar some minimal lyricism, and it’s a despairingly slow one at that, the last breath of this album escaping into the ether. Conceptually, as a listener I have to agree with the album’s title here because this truly is a slow motion death sequence…for generally it’s such a dull, miserable album…imagine yourself or, someone, anyone, in a time-lapse montage, just sat there, motionless, going from young adult, to being frail and elderly, before just succumbing to time and death itself; that’s what this album sounds like and it would perfectly accompany that montage in tone, for both conceptually are as equally sad and boring as the other. [3]

When they initially formed in the early 80’s, North Carolina’s Raleigh rockers CORROSION OF CONFORMITY were very much influenced by the big hitters in the hardcore punk scene, with the likes of BLACK FLAG and MINOR THREAT being among the bands that inspired them, but over the years, they’ve somewhat mellowed into a more stoner based syndicate as they’ve gotten older, and despite their seemingly revolving door policy for members, the original core line up of Woody Weatherman, Mike Dean, Reed Mullin and a returning Pepper Keenan have come together once again in early 2018 to deliver “No Cross No Crown”, their tenth studio album…having accepted these terms and conditions, let’s check it out.

The album gets underway with “Novus Deus” which roughly translates as “Revived God” which ties in nicely with the album title conceptually…the track itself is merely an intro at just under a minute and a half but it’s sludgy, doom-inspired tones echo early BLACK SABBATH efforts…there’s a coarseness to it and it builds up nice and slowly to first track proper “The Luddite”. The transition is a smooth one as it blends in almost immediately, picking up the pace considerably; the southern metal style prominent throughout, rich in groove but it’s got a heaviness to it within its riffs that sets it apart from most southern inspired bands. Lead single “Cast The First Stone” is much more energetic slab of music it has to be said…with its thrashing, up-tempo approach it’s a lot more comparable to their earlier work, with its ballsy, no fucks given attitude, in ways fans of GWAR could easily appreciate this one, an album highlight.

Speaking of highlights, we can’t ignore the similarly up-beat rip-ride of a track “Forgive Me”…with the stoner influences shining through a fine dose of hard rock, coupled with some truly infectious hooks and guitar licks, it’s a wonderfully enjoyable track and provides the albums peak. Highlights don’t necessarily mean bouncy and energetic mind you, as the band prove on the title track…a chilling slab of doom-inspired despair with a social/political pot-shot at the west, while “Nothing Left To Say” incorporates an emotive, soul-based tone, fully embracing southern blues heritage. The main faults with this album, if any really, are interludes…there are three of them, taking the whole track listing up to fifteen in total and, really there’s absolutely no need. “No Cross” comes across as filler from a low-budget horror movie score, “Matre’s Diem” or, “Mother’s Day” is a random little acoustic instrumental and “Sacred Isolation” is again, no more than filler. Overall though the rest of the tracks make up a decent stoner-rock record, and COC are showing no signs of corrosion after all this time. [7]

Picking up from where we left things last time, HIM were taking over the world; BAM MARGERA had helped them break out of mainland Europe into the UK and America, by introducing them to the MTV generation…their sales and fan base were on the rise, they were playing bigger stages at festivals, they were all over the charts internationally, Valo even won Metal Hammer’s prestigious Golden God award, and pandemonium couldn’t be sweeter…his infernal majesty had finally taken his rightful place upon the throne…but there’s an old saying; what goes up must come down and sadly, this began to happen sooner rather than later for HIM and it all came around the time of their next album…

In the September of 2007, two years after they hit their commercial peak, the band did a dramatic U-turn, ditched the radio-friendly pop-rock of “Dark Light” and opened up the gates of hell with their follow up “Venus Doom”…praised by critics for its experimentation and total change of direction, the band had embraced a new found sense of heaviness, channelling the likes of PARADISE LOST, with Ville reacquainting us all with his love of all things doom metal (As if the title wasn’t a clue already)…musically it was far heavier than anything they had ever done before, even their earliest work…the riffs, bass and percussion were all full of aggression and suffering…the deep tones of the album allowed Valo to truly hypnotise the listener with his impressive baritone vocal range, on times sounding truly demonic and chilling like on the title track, the lead single “Kiss Of Dawn”, also on the hauntingly beautiful prog-metal journey of “Sleepwalking Past Hope”…but no matter how harsh the band gets musically there’s always a delicately balanced track listing and this album was no different. From the brief, acoustic campfire ballad “Song Or Suicide” to the tortured lamenting of “Cyanide Sun”…this was Adams Family level Gothic romance and it was stunning…their rise in popularity even found the song “Passions Killing Floor” used for the original “Transformers” soundtrack! Despite the change in direction, they were still big, still in the charts, even getting Grammy Award nominations…but the fame came at a price…Valo had developed worsening alcohol problems which over time became more and more of an issue…plagued by exhaustion from the pressures of success, plus problems in his personal life, the writing and recording process took its toll on Valo and he damn near drank himself to death…until he was admitted to rehab. With the blurry oil painting depicting Venus, the goddess of love, now forever a reminder that in nearly dooming himself to drown in a bottle, Valo unwittingly perfectly encapsulated HIM's marriage of love and death, even if he was looking at her through beer goggles...I’m sure he appreciates the irony looking back [8]

Their success in America and mainstream popularity up to that point led the band to release their first and only (The bonus 6-track DVD footage with “And Love Said No” doesn’t count) live album; “Digital Versatile Doom”…released not long after “Venus Doom”, it was recorded as part of their rescheduled American tour at the Orpheum Theater in Los Angeles. The tour and resulting live album was heavy on Venus Doom content but also featured several of the bands biggest singles to date, acting as an updated (Albeit live) version of their greatest hits…for those who were never fortunate enough to see the band live in person for whatever reason, this is essential, especially as it came with a DVD of the performance recorded as part of a 2-disk package…here you can get a real feel for the band; how tight they are as performers and how emotional the songs truly are on the raw environment of the live stage…not to mention Valo’s cheeky sense of humour mocking Linde for the amount of solo’s he has to play…[8]

The trouble HIM faced for their follow up album was quite simply a matter of, where the hell do they go from here? They’ve just dropped the heaviest album of their career and Valo nearly did a George Best and put his liver through unthinkable punishment which nearly killed him…the answer? Another U-turn…yes this is where the band lost a lot of fans, as they began to yo-yo in style and lost a sense of credibility among the rock and metal community. In 2010 they released “Screamworks: Love In Theory In Practice, Chapters 1-13” (It just rolls off the tongue doesn’t it) and Valo, again in his self-depreciating mentality dubbed it their DEPECHE MODE album…gone was the bleak bombardment of gloomy, doom metal…gone were the tortured wails of Linde’s guitar…in their place were gentle melodies and enough pop hooks to give Simon Cowell the horn…written and arranged with far, far more emphasis on Burton’s keyboard playing and a much softer song writing approach, HIM found themselves facing a lot of uncertainty…critics were again, generally in favour, praising experimentation once more and championing Valo’s song writing, but a lot of fans weren’t impressed. Many were confused at the direction and while though it retained plenty of HIM’s trademark melancholy, it lacked the bands usual depth and came across as all too synthetic. Even Valo had convinced himself that it was a failure upon release, but in honesty, it’s merely by their own already high standards…lead single “Heartkiller” was undeniably infectious and the majority of the tracks on the album followed suit; “Scared To Death” is quite possibly the sweetest thing the band have written since “Join Me”…while “Acoustic Funeral (For Love In Limbo)” does have a slight emo influence, which people were already moving away from. There were naturally tracks with a bit of attitude however, with the likes of “Shatter Me With Hope” and “Like St. Valentine” having the most bite, but they were a far cry from what had preceded them…before the album closed on the synth-heavy “The Foreboding Sense Of Impending Happiness”…possibly the lease HIM song HIM have ever written, but far from terrible. Ultimately this was a solid collection of commercially heavy pop-inspired alt. rock that sadly got lost in the shuffle…wrong place, wrong time with the wrong sound…from here on out things would slowly go downhill. [7]

“When love starts to die it begins with a kiss; violently soothing and warm”…beautifully morose, melancholy has always played a major part in the lyrical style of Ville Valo and it’s that tortured feeling of love-lost that catapulted HIM into the hearts of legions of fans around the world. With a whole tongue-in-cheek genre of their own in Love Metal and with a logo reaching semi-religious status (The Heartagram is arguably the McDonald’s M of rock music) they steadily took over the world, branching out of their native Finland into mainland Europe, the UK and then beyond to the US, selling millions of albums worldwide and becoming Finland’s most successful musical export. On New Year’s Eve…Valo and co put those words into practice at their final performance at Tavastia, Finland for the last ever Helldone…calling time on their 20+ year career and kissing goodbye to a sold out teary-eyed crowd. With a rich back catalogue of albums and compilations, right now I’d like to pay respects to the band by taking a retrospective look at each of their albums and remind the world that, we’ve just lost something truly special in HIM, and the pleasure was all ours.

The bands journey started way back in 1991 when Valo and Mige originally came together playing covers but it wasn’t until the release of 1996’s now infamous “666 Ways To Love: Prologue” EP that the ball truly started rolling…with only 1,000 copies originally made, it’s considered by many to be the holy grail of HIM memorabilia, just short of kidnapping Valo himself…and it’s this little 4-track EP that started it all. From the opening screams of “Stigmata Diaboli” we soon get a taste of the hard rock inspired gothic tones the Finn’s would quickly master…Valo’s baritone vocal accompanied by the raw riff-heavy approach of Linde gave them a distinction that would before long have us eating out of the palm of their hands. The song that put them on the map however, was THAT cover of sombre CHRIS ISAAK ballad “Wicked Game” and here we have the bands earliest recorded version…again, raw, but it was impossible to ignore the potential in these Finn’s and as far as covers go, it was original. “Dark Sekret Love”, a far drearier affair highlighted Valo’s love of doom metal with its bleak, methodical style and an early, rough rendition of “The Heartless” rounds things off nicely. Early days but plenty to be inspired by…his infernal majesty wasn’t quite ready for his throne. [5]

Just a year later they were back and the world finally got HIM’s debut full length album…”Greatest Love Songs Vol. 666”…and here we got a much better sense of direction from the band. Despite being a touch more polished with slightly better production quality courtesy of Hiili Hiilesmaa, you can still sense the raw, garage rock feeling the band used to deliver their intertwined messages of love and death. Housing some of their darkest and grittiest pieces of music; tracks like “The Beginning Of The End” and “Our Diabolikal Rapture” really embraced the gloom and channeled the influence of the likes of TYPE-O-NEGATIVE and CATHEDRAL…the beautifully bleak “When Love And Death Embrace” became a trusted fan favourite, a song the band would later rely on as a solid encore, and another cover in the form of “Don’t Fear The Reaper”…the BLUE OYSTER CULT classic getting it’s wrists slit to be bled out on a bed of roses…dark and romantic…HIM were here to violate us in the most sensual ways…[6]

The next album wouldn’t follow for another three years but to say it was definitely worth the wait is by far an understatement…in 2000, after coming to Wales to record in Rockfield Studios, they dropped not only the album of their career…but arguably the greatest Gothic rock album for generations; “Razorblade Romance”. With its bright pink cover art acting as a middle finger to stereotypes and super slick production it saw the band rise to heights they’d never have expected in their own humble self-depreciating humour. With tracks like “Join Me In Death” hitting the top of the charts in both Finland and Germany, HIM could do no wrong and no wrong they did…with an album literally full of top tunes, they exploded onto the scene with tracks like “Right Here In My Arms” and “Razorblade Kiss”...and not forgetting that cover of “Wicked Game”…re-recorded here again but SO much smoother, it’s here the band claimed the song as their own, creating a modern Gothic rock anthem in the process. The newly found sense of melody also saw the band embracing their softer side too, adding a depth to their song writing and playing on their romantic rock style…songs like “Heaven Tonight” and “Gone With The Sin” helped balance the chugging with the charming and quintessentially, the record was a masterpiece. No…the record IS a masterpiece to this day…and HIM will forever be pretty in pink. Goth rock was sexy again. [10]

HIM’s next album wasn’t far behind as the band didn’t take long writing new material, but the huge success found with the preceding record had made the record companies aware that there was money to be made with these Finn’s…and a lot of pressure was put upon the band to release a record equal in commercial acclaim; the result was “Deep Shadows And Brilliant Highlights”. Aided by producer Kevin Shirley, the band found themselves embracing (albeit reluctantly) a far sleeker sound leaning more towards pop music, stripped away was the grit and vigour of their established style and in its place, was even more emphasis on melody and mass-marketing. While it raised questions from long term fans, it still had the strength of Valo’s song-writing backing it up and despite the criticism, songs such “Heartache Every Moment” and “Pretending” were still huge…Linde is allowed to perform some tight guitar solos and the lighter musical approach allowed Burton to shine on the keyboard. “In Love And Lonely”, “You Are The One” and “Please Don’t Let It Go” all highlight the beauty of not only Valo’s song-writing ability but the capability of the band too, to diversify and pull it off with ease. Deep Shadows behind the scenes, but brilliant highlights on record…and frankly an under-appreciated album. [8]

Transylvania…while it did indeed exist as a region (we just call it central Romania these days), when you hear the word, the first thing you conjure up is the image of Count Dracula in his castle in the Carpathian mountains…moonlight, creepy forestry, bats…the traditional vampire lore and all of its clichés…so when a band by the name of BLOODY HAMMERS forms out of Transylvania County, North Carolina in the United States, it’s absolutely no surprise to learn where a lot of their influence is derived. With a lot of their album art influenced by old-school horror movie posters, and music inspired by the likes of BLACK SABBATH and NICK CAVE, you can tell right away we’re in for a gloomy treat and just recently they dropped a brand new EP by the name of “The Horrific Case Of The Bloody Hammers”…Have they come to suck your blood or, do they just suck? Let’s find out…

We rather appropriately open up at the “Gates Of Hell” and it gives the listener a pretty good idea as to where this EP is heading thematically. Musically we’re treated to a classic surge of hard rock riffs and chugging bass, while front-man Anders Manga’s deep vocals add character and a sense of dread...add to that a spooky yet catchy organ fill, it’s a decent opener…the organ provides us with the introduction on follow up track “Blood” too and it’s clear the band are very much in gimmick, though I don’t mean that in a derogatory sense…although generally slower than our opener, its tone is very brooding, bass-driven until the chorus comes to life with another surge of hard rock…seriously if Dracula had his own in-house band it’d probably be these guys…you can imagine Bela Lugosi hanging there, upside down, head-banging away…

“The Beyond” shifts in tone entirely and here we have an even slower, morose, otherworldly rock ballad…it’s very dreary as Anders sings of an inhuman being, avoiding contact with humanity, awaiting his journey home for he knows they don’t understand, they fear what they can’t comprehend and will kill him and you can’t help but feel guilty, as it resonates to a degree in today’s climate…a lack of understanding culturally, religiously, racially; alienation…and it’s quite a powerful track. “The Blood Sucker Leads The Dance” is similar in its tone and delivers a really dark, haunting track that easily channels the influence of Nick Cave, the melancholic poetry providing one of the EP’s clear highlights, before we finish up on “All The Colours Of The Dark”…a really trippy, synth driven piece, from the perspective of (from what I can gather) a would-be bride of Dracula…he’s watched her, he’s chosen her, he’s taken her and imprisoned her, she longs to see the light of day again but she’s helpless, and he waits for her inevitable submission, there’s a good story behind this track and it closes the EP well. I feel the balance between the classic rock and almost stoner-inspired gothic elements is just right here and it suits the theme and concept perfectly…there’s nothing horrific about this EP at all, it’s actually an enjoyable listen…those bloody hammers…why do you turn this blog into a house of lies? [7]

It has to be said, I like the simple things in life; you know like, irony…I have a thing for irony, I’m easily amused! The concept of being run over by an ambulance for example tickles me, or a vegan with aggressive hay fever (even the plants are fed up of you..) so when an intense, post-hardcore black metal band called HEXIS comes along, I had to chuckle…Hexis if you didn’t know derives from a Latin term meaning stable disposition…so the two naturally go hand in hand… (I’m calm…I’m calm…I’m calm…I’M GOING TO BURN DOWN THAT FUCKING CHURCH!) But all jokes aside, since their formation in Copenhagen in 2010, they’ve been pretty busy! They’ve already released 4 split singles, 2 full length albums and this; “XII” (featuring Filip Andersen on vocals, Victor on both bass and guitar, and Tommaso on drums) is their 4th EP…not bad for seven years! Let’s compose ourselves and check it out…

We open up with the brutally brief “Derelictus” and as its name suggests it lays waste to all before it with little to no remorse…leaving the listener a hollow, abandoned shell, empty of reason. A real bullet point of a track at just over a minute in length, it hits hard and fast with a flurry of furious riffs coupled with raspy, hellish vocals and pummelling percussion and, just like the onslaught of a winter storm, it’s over as soon as it starts, a ferocious introduction  this…we follow up with “Nefarius” and it utilises a slower introduction, allowing the listener to compose themselves if only momentarily…it’s brooding and really rather wicked in tone which again, befits its name, before we’re subject to yet more horrifyingly fast black-metal riffs and percussion…

The rest of the EP continues in a similar fashion pretty much…”Famelicus” slots directly in behind and plays with a morbid sense of desperation…equally unrelenting, and with the cries of “Nothing is sacred”…you feel there is a hunger for purpose…it hammers home a sense of suffering, while “Miseria” flows through with smooth continuation…another short one at two minutes, it soon bursts into life with pent up demonic rage, before closing track “Sacrificium” ends things on a very dramatic, almost cinematic note…the whole track comes across as grand, epic and climatic and rounds things off very well…inspired by the likes of CELESTE and THOU…you can hear where the influences of sludge and hardcore have combined with their Danish/Scandinavian black metal roots and it’s created a wall of noise that’s certainly not to be scoffed at…at just five tracks, it’s worth enduring the intensity to get through this beastly little EP…which gives you just over a quarter of an hour to go burn down that church. [5]

If you listen to rock or metal, or, hell ANY genre in some capacity then, odds on you’ve heard the word elitist thrown around, often as a derogatory term…you probably know one (there’s always one)…proclaiming that, so-and-so’s original material was FAR superior to their recent stuff or, generally just living in the past like a Liverpool fan and telling everyone everything was better back in the day…sounding familiar? I’m looking at you METALLICA fans...the reaction from bands however can vary. Take LINKIN PARK for example…a real case of not giving a single fuck about the fans that kept pining for “Hybrid Theory” 2.0 by doing what they wanted each and every time, evolving with each new album…sadly, following on from their controversial last release, Chester Bennington is no longer with us and we have to live with our harsh words forever…other bands mind you go back to the drawing board…bands like PARADISE LOST.

When they started out back in the late 80’s, they were pioneering in the doom metal genre, perfectly combining thrash-driven underground metal with deep, dark, gothic morbidity for a truly despairing sound and they paved the way for so many artists over the years…but like all bands, they dabbled and over a brief period towards the late 90’s, they went softer, more electronic and to be honest, while never truly flopping critically, they pissed a lot of fans off…ever since though, they’ve been on an on-going journey to return to that dark past, to dig up those roots and rediscover themselves and oh boy have they found some treasure here. 2017 see’s the Yorkshire metal veterans continue on a fine run of form following on from 2015’s “The Plague Within” with their brand new album “Medusa”…let’s hope we don’t turn to stone…

We open up with “Fearless Sky” and we’re met with a genuinely menacing introduction…the soft but haunting sound of the organ gives the track a sense of grandiose horror, it’s chilling and really sets a dark tone going forward, before Gregor Mackintosh enters the fray with his trademark, evil guitar sound; slow deep riffs and ear piercing wails…while vocalist Nick Holmes unleashing his hellish, unforgiving growls, commands your attention like few other front-men. With a few key-changes over the tracks 8-minute+ run-time including a hard-rock climatic flurry, its one hell of a re-acquaintance and gets this album underway nothing short of perfectly. “Gods Of Ancient” and “The Longest Winter” continue this nostalgic happiness effortlessly…with the former harking back to their early days of sludgy, doom-laden riffs and an overall darkness in its presentation, while the latter taking a note from BLACK SABBATH starts with rainfall, a ravens call…there’s an echo to the guitar here and Holmes’ softer vocals coupled with the slow gothic-metal approach would please fans of TYPE-O-NEGATIVE…wonderful stuff…

They aren’t always gloomy however, as “Blood And Chaos” proves brilliantly…the up-tempo offering despite it’s obvious aggression utilises some genuinely catchy hooks and has a really infectious rhythm, it’s really accessible and being one of the shorter tracks, it’s very easy listening, providing a clear album highlight with its contrast, likewise with “Shrines”; using more groove and a more delicate guitar, it’s got a more sultry, morose gothic feel…there’s a feeling of sorrow and mourning here and it’s beautiful in its own despairing way, before we finish up on “Symbolic Virtue”…classic as it comes with Mackintosh counteracting a sweet layer of piano with his strong gloomy riffs and the result is sinister yet harmonic, closing proceedings very well. Nearly 30 years into their career, Paradise Lost are still proving few can touch them when it comes to brutal, gothic misery, they really are masters of their craft…not even Perseus could top this one…[8]