From the very beginning of the album with the title track entering, it is clear that Leif did his miracle once again. A heavy riff just like the ones we’re used in listening in mister Edling’s albums breaks the initial agony for the result and entering Mats Leven, you get just by the first minute the feeling that you’re dealing with an album that you will listen many times in your life. Thinking that it just might be your good will to like the album, come the next two compositions to make you close your eyes and think you’re the face in the great colourfull psychedelic cover of the album (you may think you’re one of the stars also, none would mind after all), with ”The Hades Assembly” adding some more tons in the album’s ultra heaviness and ”Emily Payne (And The Black Maze)” grabbing you all of a sudden with its crawling atmosphere and violently bringing you back to reality. What you thought to be as something good, may easily prove more than special for you, as your ears experience this album from the beginning to the end.

”Small Deadly Curses” is correctly put in the middle of the album, being a little more up – tempo compared to the first three tracks, with a magical chorus that Leif’s colleagues in Candlemass would be really envious he didn’t use it in a song by them. Mats gives a theatrical and sarcastic performance on this one, proving why he’s been one of the most acknowledged singers of the last decade. If you have caught this guy live with any of the bands or musicians he’s toured (and believe me, they are a lot), you know better than I describe that we’re talking about a singer which not only can do anything he wants with his voice, but he lives and feels every moment of each song he’s taking part in, that’s why Leif Edling has always been saying the best about him. And we all know that the band’s charismatic leader is a very demanding person that isn’t used in compliments throughout his long almost three decade career.

To make matters even better, the album closes with ”The Death Farm” and ”A Place Of Crows” that add a special touch on ”He Who Sleeps Among The Stars”. It is a very important thing that an album can begin and end in such a way, because fans sometimes focus on the initial or final impression. Of course, this album has nothing to do with the pile of albums released out there, as every song can stand on its own as a great sample of what Krux is about. But without any thought, you will certainly consider that it is a much better album than its predecessor (”II”), maybe not that bitter and ”black” as a listening, but surely more ”bright” in expression and as the final feeling it leaves you is concerned. Maybe the surprise the first self-titled album created can never be substituted, but on the other hand, it’s albums like this one that establish a band and prove that a once great creation was not just a random moment of inspiration, but the show goes on and on and on…

To be honest, I left as a last statement the large track of the album ”Prince Azaar And The Invisible Pagoda” on purpose. MAYBE (I put it in capitals so no misunderstanding is caused afterwards) we’re dealing with the best song Leif Edling has written since…well, hard to think, but it’s one of the best tracks for 2011 for sure and not only can stand as equal next to the large epic ”Lunochod” from the first self-titled Krux album, but may also prove even larger as a song in the future. Knowing personally that Leif has always been a perfectionist, this should be no surprise to me. But it’s songs like this one that make a reviewer’s work much harder than you, the reader can imagine. All I can suggest is listening to this one rather carefully and make your own statement, as I really feel that words escape me this time. The album will flow like clear water for 45 minutes and you will have an extra terrestial reason to make you smile when you feel a little confused, or even lost in your thoughts. Listen to this one and all will clear, no doubt!

The band members must have taken seriously their reunion, because “Atma” is an equally good album as “The Great Cessation”. The first song “Prepare the Ground” has the usual hulking bass, which dominates the album, many “unreal” fusion elements in the guitar (they sometimes reminded me a bit of Mastodon’s music), and very flexible drums that are added to the very good compositions of the song. Also Scheidt’s vocals give to the song’s atmosphere some extraterrestrial elements. “Prepare the Ground” predisposes the listener for what is coming. One of the best songs in this album, is the title song, in my opinion. “Atma” has very chaotic riffing plus sludgy vocals. If “Atma” comes from the Sanskrit word “Atman” in Hindu philosophy, then it means the one’s true self beyond identification with phenomena. To attain salvation, a human being must acquire self-knowledge to realise experientially that one’s true self is identical with the transcendent self .That is clear, nearly in the middle of the song, where the guitar’s melody shows a higher level of music spirituality and its effect to the listener’s mentality.

The music trip to liberation doesn’t stop here. “Before We Dreamed of Two” is next, and for the first time the unreal atmosphere is clear. Once again very solid riffing, carving bass, rhythmic drums and the vocals have a depth in a point you think you listen a Buddhist or a Hindu praying. A dark atmosphere emerges from this song that travels the listener to the most mystic points of his thoughts. The fact that it has a sixteen minute duration, doesn’t make this song boring because of the trippy breakdowns. Next song is “Upon the Sight of the Other Shore”. This song is much more close to the classical Stoner music in my opinion, with all the Doom heaviness too. But it also includes psychedelic points (the guitar melody for example). In conclusion “Upon the Sight of the Other Shore” is a very continent song, it’s like the expression: Slow Down Or Die.

The album closes with “Adrift in the Oceans”. For me it’s one of the most brilliant songs, that YOB ever composed and in all that epicness, add the participation of Scott Kelly from the great Neurosis in the vocals and it gets even better. Without gabbling, the song starts with a very psychedelic guitar melody and very atmospheric ride cymbals and continues the mind trip until the end of the song with solid riffs flowing and tripping melodies plus smashing drums and breakdowns with massive guitar scarping by Aaron Reiseberg. The fact is that “Atma” leaves a very satisfactory result after its listening. YOB seem to have reformed for staying, because it’s their second very good and combatant album within two years. The album has all that a Stoner fan can ask: mind-blowing music, sick vocals and spiritual atmosphere. The truth is that, “Atma” will keep me interested for some time.

First of all I have to admit that the start of the album stands out as more than experimental and in my opinion perfectly successful. I’m refering to the track “In the woods” which a nice melancholic acoustic guitar /vocals song that beautifully brings the audience to the aqcuired mood to listen and follow the rest of the album. A very nice and smart idea indeed!!! The next 9 tracks that follow though happen to be another secret face of the band’s sound, never revealed before.

Katatonia’s Ghost dominates most of their related sound proposals, although, on this one I have to admit Ghost Brigade take their sound more seriously into the depths of extreme music paths.

Apart of its heavy tuned guitars, the perception of their sound has been lifted up in a more aggressive style and the elements that started showing up in their previous album “Isolation Songs” now have taken a lot more space in the compositions that complete “Until Fear…”.

A faster flowing tempo idea has overtaken most of the songs and some sludgy ISIS-related elements have started to overtake their mistaken “Katatonia-copy” tag…Although it’s hard not to relate them with Katatonia’s work as Manne Ikonen’s vocal approach almost makes it inevitable.Great production, stable and not so overloaded as most in our times. Great growls and more self dependent identity than in their past releases.

Although something seems to be missing from “Until fear…” to be called their magnum opus, and as their music has just started being more clear and unique, I believe that this is their first really good album, which in the future will be considered as the first that structured their own sound and hopefully all progressive atmospheric death metal audiences will be given an album worth not to be missed. Check them out because they are close to that one big step!

After two years, from the epic “Silent Ruins” and one good album with their side project, Ereb Altor, the doomsters are presenting their new full-length album. As one of the Candlemass children, the influences of the Doom Metal veterans in Isole’s music are clear. “Born From Shadows” has more Candlemass elements than its predecessors albums. But now a dilemma is created for me: Shall I write a subjective review as a Candlemass fan or shall I write an objective review where I will criticize Isole’s music in this album and I will accordingly grade it? I guess that I should do something in the middle, because it’s actually a pretty good album, but more Candlemass than Isole, in my opinion.

The first two songs, “The Lake” and “Black Hours” are clearly like Candlemass, and these songs could perfectly fit in any album under their brand. Both vocals and the guitar compositions prove that. But they are well played and Isole doesn’t drag to this. In “The Lake” for example the harsh vocals are boosted and this is the core of Isole’s Doom Metal. Although there is complex guitar composition, these two songs don’t remind so much the Isole from the past. The whole “Born From Shadows” is a very solid and one-piece album. That means that the listener doesn’t distracted easily from the heavy doom atmosphere. The four songs that I personally distinguish are the “Born From Shadows” song, “Come to Me”, “My Angel” and “Condemned”. These songs have something from the “Bliss of Solitude” and “Silent Ruins” era. In the title song we have the same epic vocals as the previous albums, heavy flowing riffs, smashing drums and the harsh vocals make it a characteristic Isole song. Also “My Angel”, “Come to Me” and “Condemned” follow the same way and the Swedes use again their heart-sickened and mourning Doom Metal. These songs are for sure slow and torturing Doom Metal that pulls the listener down to the abyss, even if “Come to Me” is near to Candlemass music, the elements of Isole’s music outweigh in this song. The album ends with the atmospheric doom track “When All Is Black”. I have to say that the track has very good and heavy riffs and very dark atmosphere but it tires from a point until the end of the song.

Summarizing, “Born From Shadows” is a well produced album with very capable music compositions. It is primarily a classic Doom Metal album. Maybe some fans would have a different opinion, but “Bliss for Solitude” and especially “Silent Ruins” ,where they transcended themselves, are far better albums than “Born From Shadows”. Isole is still a very good band and worthy successors of the Doom Metal heritage.

For those already familiar with the Penta-brand, what makes this album a Big Fucking Deal (thank you Joe Biden) is the return of founding guitarist and doom demigod Victor Griffin (Place of Skulls) who hasn’t graced a Pentagram platter since their last great effort, Be Forewarned way back in 1994. With one of the true masters of doom guitar reunited with one of the founding fathers of doom vocals Bobby Liebling, can things end up as anything other than unnaturally bad ass? No, no they can’t and Last Rites is the strongest and most consistently killer album since Be Forewarned and may even be better. From start to finish, this sounds like a fully recharged and hungry Pentagram and what makes it even better, it sounds WAY heavier and more battle ready than the recent string of releases with Joe Hasselvander playing all the instruments. This is Grade A doom with some serious attitude and it delivers a major kick to the arse. Not what you would expect from a bunch of old codgers eh?

As a long time fan of the band, I was taken aback by the straight forward intensity of lead track “Treat Me Right” and follow up “Call the Man,” Both tracks are exceptionally rough and heavy and Victor’s super distorted, fuzzed guitar sounds amazing. What’s more, Bobby sounds like a pissed off youngster again (youngster ghoul that is). Both are instantly memorable rockers and set the standard for the classic doom sounds to come. As things progress we get treated to the classically styled “Into the Ground” which could have appeared on Pentagram‘s first few albums seamlessly and then we get the album highlight and instant doom classic “8.” This one really blew my doors off with it’s dark, bleak sound, soul-weary vocals and outrageously spot-on guitar work by Victor. I’ve had this mother on replay for days and can’t seem to get enough of it. Its the musical equivalent of a black hole and by far the best Pentagram song in years. There’s more where that came from and tracks like “Everything’s Turning to Night,” “Walk in the Blue Light” and “Nothing Left” are all mammoth, hulking 70′s doom monsters. Victor even gets behind the mic for “American Dreams” to great effect. Even the oddball “Land of Windmills and Chimes” is impressive and sounds like something Cream could have written.

What always made Pentagram so great was the combination of Bobby’s creepy, serial killing frog/ghoul vocals and Victor’s enormous groove riffing. Both are back in a big way here and they penned some top flight songs in which to employ these weapons to maximum effect. Victor’s guitar work is stellar and his moody, mournful soloing takes the material to the next level. He puts on a show across all the tracks and I was left highly impressed with the emotions his playing conveys. Likewise, Bobby’s delivery is amazing and alternates between eerie and soulful. There’s not a rotten egg in the bunch here and all the tracks reek of classic 70′s doom. The production has a distinct 70′s feel and the guitar sounds massive and monolithic.

After a long period where Pentagram was hit or miss, this is a revelation and an ass whipping combined. It’s great to hear these old masters together again and finding the fountain of youth together. If you call yourself a doom fan and don’t have this and all the classic Pentagram albums, you need to review your choices. Get this, scurry to the dankest of sub-basements and crank this thing until the Day of Reckoning. Ponderous, fucking ponderous.

First of all, we have to state the fact that this is the first time they release an album so close to the previous one. It was the triumphant 2009 release of ”Vast Oceans Lachrymose” that woke many people up and made them fans of the band. Now, two years after the spark, here come the fire in the form of ”Fear Of Infinity”, their most anticipated release ever, also the shortest in duration, as it is only 37 minutes long. And I say only because after listening to the album, you feel something is missing, maybe one or two tracks more, or ten minutes of more music for example. And this happens because I can honestly say that this is the album the members of the band had in their minds since the birth of While Heaven Wept back in 1991.

This album as I stated before, is the purifying fire that will redeem many listeners around the world. The most mature release of the band from Virginia took place in a very crucial moment for them, and it is now the time to play this wild card totally having all advantages by their side. I can already say that many fans start discovering something that expresses them a lot and that this epic feeling that comes from the speakers is not because they want to play the ultimate true metal warriors, but because this is what comes from their hearts, and everybody who considers himself having a heart too, will automatically get bound to both the band and the album. We have come to a season in life where we are very suspicious of what is presented to us as being something special.

In this case, we have something from six individuals that first of all respect their legacy and they take it many steps forward. Without being commercial, this album sounds the most easy to listen compared to their previous works, where the feeling was always there, but it seemed too much for some fans. This album has the right dose of everything, gigantic riffs that built bridges so any fan will come towards them, vocals straight from paradise, like angels marching to cleanse all evil from this graveyard Earth, and above all, a great rhythm section that gets extra promoted by the great production, making their sound crystal clear and their new opus ready to make many heads roll and many more hands lift in the air to make the signal of victory of honesty and establish them as one of the strongest metal acts.

From the first seconds of ”Hour Of Reprisal” until the closing of the album with ”Finality”, many thoughts might come through your mind. Keep only one thing that’s for real: This is a release that’s open for all metal fans, despite the genres they prefer. Because it is a call to all people that support truly good music to become a part of it. There are no boundaries and there is no shame on this. Just listen to ”Destroyer Of Solace” if you really want to know what I mean. A track that in less than three minutes encloses the whole aesthetics of all metal music through the years. If this doesn’t convince you, then it is not your destiny to follow this band. For all the upcoming followers, this is the most important moment of the band, until the next one which will definitely be the next album. Things took their course. Heaven may weep no more, its children found what they deserved. And this is only the beginning…

Exploring the tracks, I can say I already found my favorite: “Doom of the Kinly Tomba”. Heavy riffing, deep and enraged notes, classic death metal foundations. What else can I ask from a band.

“Doom of Kali Maa” – Another masterpiece of this full length with the same structure

One of the most fascinating things is the samples between every song which are named by the 5 gates of a secret temple of occultists and give you the idea of what’s going to follow. Remember Morbid Angel’s ‘’Nar Mataru” Followed by “God of emptiness”? Something like that. The dark lords shall reign, and their mighty evilness will prevail. The new flesh of death metal is here.

After a successful debut back in 2007, Graveyard have attracted attention from Nuclear Blast to release their second album, entitled “Hisingen Blues”. Generally in the likes of early 70s blues rock and in a quite respective amount, in the likes of early heavy doom (aka Blue Cheer/ Black Sabbath etc.) this record rocks like a hurricane!!!

Dirty as they are in their approach, while employing a vast field of influences coming from blues to folk, Graveyard certainly knows what “trademark sound” means. They’ve got it and that’s exactly why we are here reading and listening their music.

Having a charming 60s bluesy attitude and mixing approach, they have wisely filtered Deep Purple/ Jimi Hendrix/ Blue Cheer/ Led Zeppelin/ Black Sabbath through their own free spirits, and they’ve created a chilling and easy going record, with this warm and beautiful sound!

Of course they’re not the first to do so…But it seems they’ve made it in a greater manner than others.Remnants of Wolfmother anyone? The excitement, though, is much more than their first surfacing..And I’m sure this means a lot!

If you don’t usually have the strength or the will to listen to the old lads, everyone is talking about, you can have a listen at “Hisingen Blues” and you might find yourself more intrerested, in the reasons you listen to that Hammering guitar driven music, simply called metal! Brilliant!

First of all, I would like to inform everyone that this surely isn’t a regular release of the band. Here you will NOT hear drums. You will NOT hear electric guitars nor bass. You will NOT hear brutal vocals. There’s an overall different listening approach and a rather too extremely open and experimental interpretation, of some musical themes of many old songs. Pianos and keyboards dominate this effort. Soprano vocals performed by French opera singer Lucie Roche while Aaron’s unique and passionate clean vocal performance, appears here and there in many tracks as the only recognisable MDB element. All titles are new but almost every one of those, have some riffs co-rearranged for other instruments by the band and maestro Johnny Maudling (BAL-SAGOTH).

As for the result though, apart from the curiousity someone might have, it varies. It is surely mysterious and experimental, almost chilling and cleansing , but as a big fan of the band, I have to be honest and say that some of the tracks sounded great, others just made the sandman approach me faster than expected and others really made me angry listening how they turned out. It is rather bizarre to listen some of your favourite riffs performed in a rather apathetic keyboard…By all means this is a unique way to listen your favorite Doom/Death metal band messing around with their songs and their non-metal influences…Dead can dance, Swans etc. But does it work as a beautiful way to celebrate?

For me it sounded beautiful, but I’ll have to admit, that 14 songs of experimentation and rather low tempered interpretations, was way too much to handle, even as a fan. For anyone who is a fan, maybe it would be interesting to have a few listenings and try to figure out which songs have been chosen to experiment -you know- as a game…For all the rest of you, please stay away!