doom metal

Record #809: Boris – Feedbacker (2003)

/ Nathaniel FitzGerald

The famed Japanese outfit Boris is a bit of a chimera; a many-faced beast that defies easy understanding. Throughout their career, they have explored hundreds of different directions, exploring doom metal, drone, post hardcore, shoegaze, psychedelic, punk, post rock, rockabilly, and even synthpop.

But if there is a single signature to Boris’ sound, it is a devotion to extended song structures and guitar feedback. And thus, Feedbacker, an album comprised of a single 44-minute, largely instrumental song, showcases Boris at their most pure.

Continue reading →

Record #791: Amenra – De Doorn (2021)

/ Nathaniel FitzGerald

Media is an interesting thing.

Take for instance De Doorn (Flemish for “The Thorn”) the seventh album from Belgian sludge metallurgists Amenra. It is by all respects a grave and serious album: these songs were written as part of a project commissioned by local government officials as a commemoration of the one-hundredth anniversary of the First World War, a presence still uniquely felt in their region, dotted with bunkers, trenches, and the lingering loss of ancestors. It is a poignant look at grief, mourning, and the scars of war.

And yet, I discovered this album when professional wrestler Malakai Black used a track as his entrance music.

Continue reading →

Record #768: Elder – Lore (2015)

/ Nathaniel FitzGerald

I’ve been a huge fan of Massachusetts psych-metal outfit Elder from the moment I heard the opening chords of 2017’s Reflections of a Floating World. They combined elements of Black Sabbath’s lurching doom, Kyuss’ sprawling stoner rock, and Rush’s meandering prog in a brilliant package and wrapped it all in a coat of Can’s Krautrock psychedelia. I was powerless to resist it.

Since then, I’ve been searching for copies of their back catalog, and outside of a few high priced copies in Europe, the pickings were slim. But lucky for me, in early 2020, Elder repressed their entire back catalog with the intention of selling them on a world tour. Unlucky for them, that tour was canceled when the pandemic shut the world down. In either case, I have finally acquired their third full length, Lore, which found the band stretching more fully into prog and psychedelic elements. And to incredible success, I might add.

Continue reading →

Record #767: BIG|BRAVE – Vital (2021)

/ Nathaniel FitzGerald / 1 Comment

For someone who is as heavily into glacial, sludgy, female-fronted metal as I am, it might come as a shock to hear that I never heard about Big Brave until a couple months ago when I found myself with an advanced copy of their newest album to review. But within seconds of the opening track “Abating the Incarnation of Matter,” I was already on their site ordering this record. Immediately after I finished the review, I tracked down a copy of their earlier album A Gaze Among Them.

All that to say. This record is great.

Continue reading →

Record #763: Black Sabbath – Sabotage (1975)

/ Nathaniel FitzGerald
Black Sabbath Sabotage vinyl review

Over the last few years, I’ve been making a concerted effort to give Black Sabbath their due. After all, few other bands have such a dominating influence across an entire class of genre. Hundreds of bands are still trading their souls to make music as heavy as their First Six.

Sabotage is the final of this sextet, and I realize now that I’ve mistakenly believed it to be the first step in a downward trend. And while it may not be as untouchable as Master of Reality or Paranoid, it’s maybe the most adventurous of the First Six—and still just as heavy.

Continue reading →

Record #755: BIG|BRAVE – A Gaze Among Them (2019)

/ Nathaniel FitzGerald

Anybody who has even the most passing familiarity with this blog can tell that there are a few musical tropes that I cannot resist. Among them are crushing walls of sound, ominous, glacial tempos, lush atmospheres, and emotional female voices.

And Big Brave from Montreal delivers all these in spades, combining each of my favorite colors into a stunning landscape that is at once sonically crushing and achingly gorgeous.

Continue reading →

Record #737: Emma Ruth Rundle – Marked For Death (2016)

/ Nathaniel FitzGerald

In the last few months, my awareness of Emma Ruth Rundle has absolutely exploded. I was introduced to her most recent solo record On Dark Horses when I was assigned it while writing for a Belgium-based review site, and even then she was only introduced to me as the guitarist from Red Sparowes.

After almost a year and a half of knowing and loving just that album, I started to dig deeper, falling in love with her alternative/post-rock/psychedelic outfit Marriages, psych-folk outfit Nocturnes (someone sell me their vinyl copy plz), and her recent collaboration with doom metallurgists Thou.

But it’s taken me until a few weeks ago to listen to any of her other solo work, and once I did, the obsession continued. Marked For Death, her second song-based solo album—and regarded by many to be her best—is a crushing work of dark, brooding Southern gothic that showcases her stunning talent as both a songwriter and an ambient architect.

Continue reading →

Record #730: Black Sabbath – Sabbath Bloody Sabbath (1973)

/ Nathaniel FitzGerald

After spending much of my life believing Black Sabbath to be wholly evil (as a child in the Evangelical Church) or wholly outdated (as a self-serious hipster), I’ve spent the last couple years slowly working my way through their catalogue—and learning just how wrong I was.

Throughout the early records, the band gets progressively heavier with each release. Sabbath Bloody Sabbath certainly doesn’t stop that trajectory at all, but neither does it rely on heaviness alone as a compositional device. The result is some of the most cathartic and gorgeous music ever written.

Continue reading →

Record #727: Emma Ruth Rundle & Thou – May Our Chambers Be Full (2020)

/ Nathaniel FitzGerald / 2 Comments

Emma Ruth Rundle has spent most of her career on the fringes of the metal scene. Besides playing guitar in prog/post-metal band Red Sparowes, the gothic folk of her solo work and Nocturnes and the spacey ambience of Marriages has always had a darkness that can’t totally be called metal, but it doesn’t quite fit outside of it.

Similarly, the thick, tar-throated sludge of Baton Rouge’s Thou has always coated over a tender melodic heart that would escape most listeners, buried as it was beneath layers of molten guitar.

On paper, there’s little in common between the two. But the collaborative album May Our Chambers Be Full proves that the two entities have much more in common than you might think.

Continue reading →