For the majority of their career, The Gates of Slumber
jumped back and forth between slower than molasses doom and energetic
gallop-friendly traditional metal. With the exception of the instrumental interludes
and the mid-tempo yet shred friendly “Dweller in The Deep,” a line seems to
have been drawn on 2006’s Suffer No Guilt as the songs consist of either droning
marches or Maiden-style speed runs. While
the seventy minute run time can make Suffer No Guilt an exhausting listen at
times, its open display of the Indianapolis trio’s various influences makes it
one of their most satisfying listens.
Though contemplating which tempo is more enjoyable will likely depend on a
listener’s individual preference, the faster tracks are the easiest to get
into. “Angel of Death” in particular makes for a strong start for the album as
its upbeat guitar riff leads into a rough but catchy vocal delivery. However,
the album’s most powerful moments come when the drums slow down and rung out
chords take over. “God Wills It” may be a demanding listen at twenty minutes
long, but the title track’s memorable riff and the majesty on “Riders of Doom”
make them impossible to deny.
The band members’ consistent performances also keep the various styles on the
album from sounding out of place with one another. The production job is
cleaner and Karl Simon’s vocals aren’t as rough as they were on 2004’s …The
Awakening, but his guitars have the same power and adhere to bare bones rhythms
despite the tempo. In addition, drummer Chris Gordon adjusts to the changes
well and bassist Jason McCash justifies the trio format by keeping the rhythms
flowing during the solos.
While Suffer No Guilt could probably stand to have a few song lengths edited
and an interlude or two taken out, its strong songwriting and tempo dexterity
make it one of the The Gates of Slumber’s most definitive achievements. Doom
fans are advised to go for The Wretch and traditional metal fans will likely
find Hymns of Blood and Thunder more to their liking, but this album does make
for a good go between once an overall appreciation for the band has been
established.
Highlights:
“Angel of Death”
“Suffer No Guilt”
“Riders Of Doom”
‘Dweller In The Deep”
Of Woe and Wounds, the third full-length album by Apostle of
Solitude, is the most ambitious effort that the Indianapolis doom group has put
together so far. In contrast to the experimental tracks found on Sincerest
Misery and Last Sunrise, this album makes a statement of definitive purpose and
the song structures have a stronger feeling of unity and completion. It may be
downright accessible by doom metal standards but the depths this album reaches also
make it apparent that they haven’t lightened up by any means.
While Of Woe and Wounds rarely strays from the melancholic doom template popularized
by Warning and Pallbearer, the changes in the band dynamic result in a few new
quirks being thrown into the mix. The addition of bassist Dan Davidson gives
the rhythm section a boost on “Whore’s Wings” and recruiting Devil to Pay
guitarist/vocalist Steve Janiak results in extra care being put into the album’s
vocal arrangements. His grungy timbre on “Lamentations of a Broken Man” makes
me wish he had been more prominently featured but Charles Brown’s Reagers-style
cries deliver excellent hooks on numerous occasions.
The songs themselves also manage to
cover a lot of ground in comparison to previous efforts. The pounding riffs and
forlorn vocals on “Blackest Of Times” would’ve made it one of doom’s most
brilliant openers if not for the “Distance And The Cold Heart” prelude while “Die
Vicar Die” offers a simple but catchy hook to go along with its waltzing
rhythms. Elsewhere, “Whore’s Wings” and “This Mania” aim to be the band’s
fastest songs ever, “Push Mortal Coil” brings in some swing in the vein of “The
Messenger,” and “Luna” just might be the band’s most downtrodden.
Apostle of Solitude has always been a band worth noting in the modern day doom
scene, but their third full-length is a noteworthy achievement that should be
looked into by just about any metal fan. The songwriting is much more focused
and the songs have the potential to become major staples with a little more
time and press behind them. The band will likely find ways to continue
expanding their sound in the future but here’s hoping they’ll still live up to
this standard of consistency.
Highlights:
“Blackest Of Times”
“Whore’s Wings”
“Die Vicar Die”
“Push Mortal Coil”
“Luna”
