The 11th Hour - Burden Of Grief

"Diagnosed with a terminal lung disease, haunted by unspeakable nightmares..."

...so begins the explanation of the concept behind "Burden Of Grief", the debut album from part-Dutch/part-Swedish duo The 11th Hour. Behind the facade of The 11th Hour lies a supergroup of sorts: we have main man and multi-instrumentalist Ed Warby of Gorefest, Demiurg, Hail Of Bullets and others, and growler Rogga Johansson of Edge Of Sanity, Demiurg and Paganizer collaborating on a "wish-come-true" album of pure doom for Ed, a significant deviation from the death metal past for both of them.

New to the creation of doom the duo might be but a long history of appreciation towards the genre is imminently obvious in the slightest listen to "Burden Of Grief". Recalling most prominently the legends Candlemass (both new and old) and Solitude Aeturnus, and the less ancient Isole (raising a credit to their brilliant "Silent Ruins" this year), the style played is a most honest and humble take on the epic doom sub-genre flexed in a modern suited production (ala Isole). Being humble and true to the genre's ethos "Burden..." is not one for moving faster than it needs to, usually residing in the 'slow-mid paced' section of the genre, yet the defining aspect of it is the growled vocals of Johansson. Now of course I trust the idea of a pure doom album was a collaborative one between two good friends, but with Warby writing all the songs, playing all instruments and contributing some worthy clean vocals of his own I wonder if the growls of Johansson are really required. His Akerfeldt-meets-Swanö death metal style provide a sharper edge in their moments than Warby's soulful croons but such is the way in the world of epic doom, a pleasantly haunting clean vocal goes a long way further than in many other metal genres, and I'm just not sure if the music is dark and brooding enough to necessitate the throaty growls we are sporadically treated to.

As well as judging the variation in the vocal styles the quality of music mustn't be forgotten, oh no. Epic doom has never been awash with a multitude of bands, and for that I am eternally grateful O Lord, meaning much of what one hears is entirely listenable, and this dear reader is the case with "Burden Of Grief". But little more. Those I rate most highly in the genre of late have either taken the genre in a fantastically epic direction (Doomsword) or simply pushed the classic template that bit further (Isole, again) but The 11th Hour could be well accused of simply playing by the rulebook without offering anything new. Yes there are much worse accusations out there but "Burden Of Grief" is just a little too safe in it's epic doom regimentation to garner top marks. "Atonement", thanks mainly to Warby's passionate requests of a dying man, backed by a wonderful synth backing, is a very good listen and "One Last Smoke" is so Candlemass it would fit right in on their recent "Death Magic Doom", but the special element of fragile beauty key to the genre is noticeably missing. Even with the intelligently inter-woven theme of a dying man's last moments, concluded by the cold beeping of a life-support machine come the end of "Longing For Oblivion", the ingredients for a great doom experience are somewhat incomplete, leaving us an album for the 2nd tier of the epic doom pantheon. With all of that said, for a freshman release this is not bad whatsoever and I look forward to seeing them improve with age. A definite listen for fans of Candlemass, Opeth, Isole, Solitude Aeternus and My dying Bride.

Artist: The 11th Hour
Album: Burden Of grief
Genre: Epic Doom/Death
Country: Denmark/Sweden
Overall Rating: 7 out of 10 stars
Download: Here

Clutch - Strange Cousins From The West

Back once again from the other psychedelic realm where Clutch reside, the band is ready to assault the masses with their ninth studio release, "Strange Cousins From The West". On this release they take a back to the past approach while still incorporating their metal attitude. Ever since Blast Tyrant, Clutch has been readily infusing a heavy blues influence into the mix and with this release they continue along that same glorious path.



Several songs even feature two guitar solos as Clutch inches steadily closer to jam band status. Many of these songs, from the first single “50,000 Unstoppable Watts” to the blues dirge “Abraham Lincoln,” seem ready-made for live improvisation. Strange Cousins isn’t a radical departure from the sound Clutch has honed on their last few albums. On songs like ”Struck Down” and “Let a Poor Man Be,” Clutch trots out the bouncy, Southern-fried riffs and subversive, sardonic lyrics that we’ve come to expect from the veteran band. It’s that rare breed of music that simultaneously makes you want to shake your booty and throw the horns.



This album is a winner for anyone who has been a big fan of the last 3 discs, even though Mick Schauer is no longer present on keyboards(Or Per Wiberg for that matter, Opeth). The lack of keys is the only detraction from this being a full rating of 5 in my book. The fans out there that were hoping that Clutch was going to return to the bombastic sounds of the past, like their self titled masterpiece, I am sorry to say that it looks like that will never happen. This album will find its place among my top ten albums of the year I am sure...maybe even the top 3..I can hardly fathom any other releases scheduled this year to be as kick ass as this one.

Band: Clutch
Album: Strange Cousins From The West
Genre: Stoner/Prog/Doom Influenced/Blues/retro Classic Rock
Country: USA
Download: Here

By Bez aka Hand Of Doom

Amorphis - Skyforger 2009

I have been a fan of this band for a very long time. Like what their name signifies, they are ever changing and ever progressing with each passing release. The evolution of this band from brutal death metal to the addition of Finnish folklore and melodies and now even delving into a bit of psychedelia thrown into the mixture has been astounding. Much like other bands I hold in such high regard (Opeth, Gojira and Trouble), Amorphis defies a genre label.

Over the years they have gone from only growling vocals to a mxture of clean/growl and then only clean. Then with Eclipse they brought them back, which I feel greatly improved the band. I had almost lost hope after hearing Far From the Sun. It has truly been an epic journey for Amorphis.



Finally Amorphis has released their ninth full length album, Skyforger. I have to say I have been looking forward to hearing this album for ages now, and when I received my advance copy of Skyforger I was quite ecstatic. I had to listen to it immediately. The opening track. "Sampo", is Amorphis at its most catchy. The chorus will be stuck with you for hours. “The days they blend into the night.” This song also has some very catchy guitar work. It reminds you that Amorphis is a metal band and not the Prog rock group some people accuse them of being. There is also some nice piano work that adds good contrast to the crunching guitar and even a little of Amorphis’s signature keyboard work from the olden days of albums like "Tales From The Thousand Lakes".



I can go on and on and dissect each and every track for you but I wont. This is one of those albums that is a gem and the listener needs to find these treasures on their own. It will not be hard as there are literally NO songs on this that are mundane.

Go out and buy this disc. Support the band. They deserve it.


Band: Amorphis
Album: Skyforger
Genre: Melodic Death Metal/Prog Metal/Folk Metal
Country: Finland
Download: Here
Torrent: Here
Rating: 4.25/5

By Bez

Sirens Of Titan - S/T 2009

I was talking with my wife the other day about how bands with female vocalists seem to have a harder time making it in the metal scene than those with male singers. She said it was because they get lumped in with bands like Nightwish or Otep. I for the most part agree with her and maybe even have to push it further. It isn't just in the metal scene but in the rock scene as a whole. Female vocalists tend to get thrown under the comparison bus or simply classified as a clone.



That's what sparked my interest in the band Sirens of Titan. I had read a couple of things about them recently, most notably about Felicia Mitchell, singer. I had heard the obvious comparisons that most traditional female rock vocalists get...Ann and Nancy Wilson (Heart) and Grace Slick. I was sold on the premise that the band had some of that 60's hard rock mentality mixed with a good helping of stoner metal grooves similar to Trouble, Kyuss and Clutch. Add in the female vocalist and wow...I had to get it.

And I am really glad I did.



First of all, Felicia does bring up those names of comparison, but she is unique all on her own as well. Much like Janis Joplin had a sound to herself, so does Mitchell in that aspect. Her voice can be tender and flowing, haunting even...and then as brash and powerful as Dallas Brasca or Grace Slick...while invoking the depth of the Wilson sisters. She's not one to have comparisons brought against...she's a new name to be compared to.

Named after the 1959 novel by Kurt Vonnegut, Sirens of Titan slip a few other science-fiction references onto their self-titled debut album, most notably in the Scientology-tweaking 'Thetan Audit.' But their chief interest isn't sci-fi, but sludgy stoner metal in the vein of Sabbath and the Melvins, with guitarist Sam Rhode, drummer Conan Malady and bassist Matt Duffin brewing up a cauldron of noise that is well matched by vocalist Felicia Mitchell, whose tough-girl roar makes her sound like the kind of woman who might not start a bar fight, but could certainly finish it.



This debut album is a full hour of epic kick ass in the vein of the bands I mentioned before: Sabbath, Kyuss, Trouble, Clutch and even Soundgarden in some ways. The end result is a straight up mixture of doom laden, bluesy heavy rock and metal that will get even the most jaded rock fan bobbing their heads. SoT have a few standout tracks on this disc, most notably the funky "Lothario","Hang me Twice" and "Thetan Audit". Other tracks like "Dancing Methusaleh", "43" and "Washed Away" are in your face balls to the wall metal monsters. Even the slower, doomier tracks, such as "Saltonaut" are I daresay brilliant in their composition.

This band is not about having a female vocalist as their hook. They are about riffs and groove first and foremost. The fact that they have Felicia taking on the vocal tasks is just another feather in their hat.

This is a definite winner for any fan of female fronted rock and metal bands. It is even more of a winner when you realize that every single track on this kicks ass.

Band: Sirens Of Titan
Album: S/T
Genre: Stoner Metal/Psychedelic Hard Rock
Download: Here

By Bez

Seventh Void - Heaven Is Gone 2009

I have been waiting for this bands first effort to to come out for a while now. Take half of Type O Negative and some guys from other underground bands(Uranium 235 and Inhuman) and stir thoroughly. Sounds kinda good, right? Well it is. Heaven Is Gone is a damned good disc and in short, Seventh Void are a decent somewhat radio-ready stoner metal band. Not that that is a bad thing, per se, but with Type O being as unique as they are let's just say I was expecting something new to be added. Still though, that is my one and only complaint.

Kenny Hickey (vocals, guitar) and Johnny Kelly (drums) are joined by Matt Brown (Guitar, formerly Uranium 235) and Hank Hell(Bass, formerly Inhuman) have molded a polished, well produced virgin effort. The guitar team of Hickey and Brown is rock solid and sounds almost as if they were made to play off of one another. The groove on the title track is a pure wall of awesome. Hickey is a damned good vocalist as well, reminiscent of Chris Cornell in his heyday with Soundgarden. As a matter of fact, alot of people will draw correlations between Soundgarden and Seventh Void. They do come off as a retro classic rock band melded with the grunge metal attitude of Soundgarden in both vocals and music. Like I said, nothing new but nothing bad either.

Seventh Void is a slow paced monster of a band for sure. Fans of old school metal like Black Sabbath, Deep Purple, Cactus, and Uriah Heep will find a place with this album as will fans of the grunge-era alike. As for the fans of the stoner rock/metal genre, you are right at home here.

Band: Seventh Void
Album: Heaven Is Gone
Genre: Stoner Metal/Retro Grunge/Old School Doom
Country: USA
Rating: 4/5
Rapidshare: Here

By Bez

Black Pyramid - Self Titled 2009

Hailing from Northampton, Massachusetts comes Black Pyramid, an epic old school doom band that plays the music the way it should be played. A trio, formed out of the ashes of the now defunct groups Artimus Pyledriver, Black Fucking Doom, and Palace In Thunderland, they have already made a tsunami of a wave for themselves with their 7 inch released last year that managed to end up bringing the unknowns all the way to being labeled the best 7 inch of the year in the underground doom scene.

Andy Beresky (Guitars and Vocals), Gein (Bass) and Clay Neely (Drums) have now gone from such accolades to releasing their new full length self titled disc on Electric Earth Records. This album is a killer! From the Sabbathy guitar tones to the bombastic drumming to the epicurean psychedelia of the bass riffings, this album is going to be legendary. I cannot tell you how surprised I was to hear how well each song has been crafted to perfection. Surprised and purely overjoyed. I find myself still losing my train of thought as I am trying to write this as I keep starting to nod my head with the rhythms.



I tried several times to pick out one or two tracks to comment on but I found it to be very hard as they all are of equal value. Let's just say that the album is a crushing triumph from beginning to end. Even the production is reminiscent of early Sabbath and Hawkwind in its tones and clarity.

Fans of Black Sabbath, Sleep, Trouble, Clutch, Wolfmother, The Sword...take notice right now. This is one not to miss. It is by far the best Stoner metal disc released yet this year and may just be the best that will be released.

Band: Black Pyramid
Album: Self Titled
Genre: Psychedelia/Stoner/Old School Doom Metal
Country: USA (Massachusetts)
Rating: 4.5/5
Rapidshare: Here

By Bez

The Moon and The Nightspirit - Of Dreams Forgotten and Fables Untold 2009

The Moon and The Nightspirit are a neoclassical/folk band from Hungary. Their new album, "Of Dreams Forgotten and Fables Untold" is a follow up to a promotional EP they released in 2004 for Portugal's label, Equilibrium Music. Having impressed the crew at Equilibrium Music this Hungarian duo was invited to record their first full length album.

They utilize quite a few instruments to create a delicate blend of classical and folk inspired music that transports the listener to realms of fable and mysticism. Drawing upon pagan tales and Hungarian folk stories The Moon and the Nightspirit seek to renew and revitalize tales once told and ways of wisdom once known but now forgotten by many.

The music on “Of Dreams Forgotten and Fables Untold” is a highly crafted blend of acoustic and classical instrumentation that is nearly devoid of electronic corruption. They deliver introspective songs filled with romanticism, mysticism, and beauty. The strings sing, the guitars glisten and the percussion is rousing. Each song illustrates mature musicianship and a sensual sensibility that allows the music to embrace the listener’s heart and spirit in totality. The lyrics express a desire to invite the listener into the shrouded and lonely worlds that the musicians have journeyed through during their own personal quests for spirit and truth. The songs of The Moon and the Nightspirit strive to bridge our collective past and our lost beliefs which now threaten to slip into obscurity.

“Of Dreams Forgotten and Fables Untold” begins with the introductory song “Egi Taltos, and is one of only two songs delivered in the bands native Hungarian tongue. It begins with gentle waves of sound that are quickly overtaken by acoustic guitar and woodwinds. Just as the listener becomes absorbed in the warmth of the woodwinds and guitar, pulsing acoustic percussion joins the guitar and woodwinds contributing a strong ethnic feeling to the composition. The song winds its way skyward like tendrils of smoke rising from an outdoor fire. Agnes Toth’s voice joins the music like an ancient priestess calling forth over the instrumentation. Her voice is pristine and flawless as she sings with the utmost control as her voice flows like water without obstruction or force. Agnes’s voice entwines the instrumentation leading the song forward yet she also retreats at times allowing the musician’s their own moments to flush out the song instrumentally. “Egi Taltos” is a rapturous offering akin to Lorena McKenna’s work though The Moon and the Nightspirit communicate a more authentic feeling than McKenna ever achieved.

Track number four titled “Secret Path” offers the listener a more delicate and restrained approach to The Moon and the Night Spirit. The composition begins tentatively with acoustic guitar and violin. The violin and guitar court one another in a graceful dance that ensnares the listener in the interplay between the instruments. Akin to following the music drifting from a gypsy caravan in some remote landscape the listener is seduced both mentally and emotionally by the interaction of instruments. Once again acoustic percussion joins the song lending an ethnic feel to the music and imbuing it with rhythm. Agnes descends upon the song ever so gently with her angelic voice reciting a tale all too familiar to those who have wandered the forests and natural places of this earth seeking truth and wisdom. Agnes sings of turning away from the towns and cities that hold so many people in favor of returning to the forgotten path found in the heart of the woods. The violin and guitar support her voice once again adding passion to the song and communicating a longing for things lost and forgotten.

“Pagan” is the eighth track on “Of Dreams Forgotten and Fables Untold” and continues the theme of returning to the natural world that man has abandoned in favor of material gains. “Pagan” starts off on a rather festive note with violin, guitar and percussion working together to create an upbeat and driving atmosphere. The violin dances about the composition like a sprite dancing in the moonlight as Agnes sings unto the old gods and the unseen guardians asking for a return to remote times and enchanted lands. The music weaves between moments of energetic surges and more subtle moments that allow for Agnes’s voice to remain prominent while singing. The musicians do a good job of weaving instruments and voice into a rich tapestry that allows both Agnes’s voice and the instrumentation to be appreciated by the listener.

The Moon and the Nightspirit is a wonderful addition to the neoclassical music genre. The band reliance upon pagan myth and their vision of a return to ancient times and beliefs brings the ideological enchantment found so often in the neofolk genre into the realm of neoclassical music. The strong ethnic influences in the music of The Moon and the Nightspirit are also quite refreshing. The melding of neoclassical instrumentation and ethnic percussion makes for enchanting songs that distinguishes the music of The Moon and the Nightspirit much like the Italian influences in Ataraxia distinguish the music of Ataraxia amidst their peers. Fans of neoclassical and heavenly voice music should take note of The Moon and the Nightspirit, as they will certainly be impacting the genre with this release. Music lovers who like to be transported away into realms enchantment, myth, and wooded mysteries should also try out The Moon and the Nightspirit.

Band: The Moon and The Nightspirit
Album: Of Dreams Forgotten and Fables Untold
Genre: Neoclassical/World/Pagan/Gothic/Dark Ambient
Country: Hungary
Size: 74MB
Rating: 4.5/5
Rapidshare: Here

By Bez