Review of Dream Death's Dissemination

Dream Death's third full-length album isn't too far removed from 2013's Somnium Excessum, the album that brought these Pittsburgh should-have-beens back from the dead (No pun intended). The band's refusal to commit to a single genre is at full force as the songs opt for doom, thrash, or a ripping combination. Guitarist/vocalist Brian Lawrence's ever distinctive bark continues to guide the listener through the labyrinthian sludge and the production develops an atmosphere that is dark yet clear.

But while Dissemination's near forty minute run time is about the same as Dream Death's past two efforts, the album does stand out for having more songs to work with than usual. Ten tracks total with an average length of three to four minutes between them doesn't result in more accessible songwriting or bids for radio play, but it does condense them quite a bit. Several songs have a tendency to run together and there isn't as much time to really build anything up beyond the odd tempo swap. Fortunately, there are still good songs on here despite the slight format change; the title track leads the charge with a pretty upbeat riff set and "All In Vain" rides a solid plodding chug through its three minute duration.

That said, there are some attempts to preserve the past dynamic feel even if the results aren't as ominous as past staples like "Them" or "Sealed In Blood." The closing "In Perpetuum" may be the most ambitious track as its ambient intro eventually gives way to a creepy shuffling rhythm and more restrained vocals while "The Other Side" keeps its haunting tone throughout with a nice Pentagram-esque stomp to match. There are also a number of samples throughout the album that seem to be based on hypnotic suggestion and astral travel. It's hard to tell if they're indications of an overarching lyrical theme beyond the usual gloom and doom, but they don't sound out of place either.

In an ironic twist, the fact that Dream Death's third album has shorter songs may actually make it harder to get a feel for in comparison to Somnium Excessum or Journey Into Mystery. On one hand, the scope is slightly scaled back and there aren't as many soul harrowing moments as before. On the other hand, the fact that the band members stick to their guns and have their signature tropes in place keeps this from feeling an identity crisis. It may take a bit more effort to appreciate but it's still worth looking into for doom and sludge diehards.

Highlights:
"Dissemination"
"All In Vain"
"The Other Side"
"In Perpetuum"

Review of Conan's Revengeance

Things have changed quite a bit in the Conan camp since the release of 2014's Blood Eagle. Guitarist/vocalist Jon Davis is the only member left from those sessions as drummer Rich Lewis makes his debut with the UK trio and longtime producer Chris Fielding has come on for bass and backing vocal duties. The resulting studio album stays true to Conan's bludgeoning caveman doom approach but also evaluates some different takes on tempo and vocal dynamics.

When the punk beat kicks in for the opening "Throne Of Fire," it becomes clear that Revengeance will be the band's fastest effort to date. They've always placed the odd upbeat track between the longer drones of amplifier worship, but there's not been much like the driving parts or the borderline black metal blasts on the title track before. Fortunately, the massive guitar and bass chugs keep the various tempo fluctuations consistently weighted.

Faster moments aside, the slower songs remain the most dominant and boast their own variety. While "Wrath Gauntlet" stands out for its sluggish blues rhythm, the second half provides the most earth-shattering cuts. "Every Man Is An Enemy" keeps its activity to a mid-tempo level while "Earthenguard" is a meditative track that recalls classic Om and makes strong use of its near twelve minute running time.

But in a way similar to Mastodon's maturation, the vocal evolution that Revengeance demonstrates is what truly sets it apart from its predecessors. The format is still based on the guitarist and bassist yelling over the riffs but their prominent spot in the mix makes them more articulate than before. In addition, the more fleshed out lyrics make the vocal lines more elaborate than the simple battle slogans and there are more trade-offs between the two singers. I would've loved to hear how previous bassist Phil Coumbe would sound contributing his bellow to this, but there's not much here to complain about.

I may prefer Blood Eagle but Conan's third full-length album will likely leave a deeper impression. Its forays into faster tempos and more prominent vocals work well with their brand of sludgy brutality and may even enhance the ideas behind their barbaric imagery. I don't see them getting as far out there as Mastodon or Baroness, but there is more to their boneheaded formula than meets the eye.

Highlights:
"Revengeance"
"Every Man Is An Enemy"
"Earthenguard"

Review of Church of Misery's And Then There Were None

Church of Misery has spent its twenty year lifespan revolving countless lineups around bandleader bassist Tatsu Mikami, but the group usually stuck to its Japanese roots. Now with its sixth full-length album, the Church has opened its doors to create a supergroup of sorts based on the American doom scenes. Thankfully the result is a powerful album that is a worthy addition to the band's serial killer obsessed legacy.

While the production job and musicianship may have more polish than past efforts, And Then There Were None has the band's signature tropes firmly intact. The riffs are executed in a sludgy stoner fashion and the sparse samples run well with the usual lyrical themes of non-fictional sadism, torture, and murder. Mikami's bass lines predictably lead the charge but the other members find ways to leave strong impression. Eric Little's drumming directs the tempo changes well, guitarist Dave Szulkin puts a pummeling stamp on the material, and Scott Carlson's first vocal session since the early days of Repulsion sees him pull off a husky yet melodic growl that channels Lee Dorrian and Earthride's Dave Sherman.

The songs aren't bringing much new to the table but they are satisfying in their variety. The mid-tempo grooves on "Make Them Die Slowly" and "Confessions of an Embittered Soul" are among the most infectious ever recorded and the swing on "Doctor Death" is truly something to behold. Like any doom band, you'll find your share of Sabbath homages as "Suicide Journey" is a "Planet Caravan" style interlude while the shuffle on "River Demon" is a near beat for beat echo of "Wicked World."

The logistics surrounding this lineup may lead to it being a temporary studio venture, but And Then There Were None is more than worthy of being associated with Church of Misery. While it may not be as gritty as some of their other efforts, the excellent riffs and vicious vocals make it a shining example of how this genre should be played. Highly recommended to both new listeners and thoe who thought that Thy Kingdom Scum would be the Church's final sermon.

Highlights:
"The Hell Benders"
"Make Them Die Slowly"
"Doctor Death"
"Confessions Of An Embittered Soul"