ALBUM REVIEW: Iron Void, "IV"

By: Richard Maw
 
Album Type: Full Length
Date Released: 27/01/2023
Label: Shadow Kingdom Records

 
“IV” CS//CD//DD//LP track listing:
 
1). Call of the Void
2). Grave Dance
3). Living on The Earth
4). Pandora’s Box
5). Blind Dead
6). She
7). Lords of This Wasteland
8). Slave One
9). Last Rites
 
The Review:

The UK’s finest exponents of trad doom return with this- their fourth (!) album. Since the last record, “Excalibur”, there has been a change of personnel- with yours truly bowing out due to family commitments and the eminently capable Scott Naylor joining the band. Sealey and Steve Wilson are still in place, so the dual vocal attack remains along with that rumbling bass and intricate solo guitar work fans of the band are familiar with.
 
This time around, there are no overarching concepts, no knights, no swords- but there are some recurring themes. The atmosphere setting guitar intro of “Call Of The Void” sets things up for a chilling doom experience, rooted often at street level rather than high fantasy.
 
The excellent “Grave Dance” is the first song proper and it is a belter. The lolloping triplet time feel coalesces into a highly critical barb against… well, I’ll let you have a listen and make up your mind about what the conspiracy of silence and lust for power while another wave comes is! Whatever your views on civil liberties, the last couple of years and/or the powers that be, this is a superb track. Wilson’s vocals and riffing are excellent. Iron Void are BACK.
 
From there, the record retains a street level and real-world approach for the most part. Sealey takes the lead vocals for the catchy and groovesome “Pandora’s Box”. The beefy mix courtesy of Chris Fielding allows these straightforward compositions to shine; it’s a great sound and that Skyhammer/Foal Studios sound is hugely weighty. The drums in particular sound massive. Good variety from Naylor on the kit and nice phrasing through the transitional fills. As a track, it wouldn’t be out of place on an Orange Goblin album- something of a throwback to some of the material on “Doomsday” in some ways.
 
Things get heavier with “Blind Dead” as the band sow down to a crawl. It’s the kind of occult/arcane track that the band do so well- souls, rituals, blasphemy… Templars! It’s all here. Fantastic. I can see this one being a live favourite with its slick changes in the middle and strong refrain. Also: bass wah!
The band have gone for a good variety and breadth of material on this album- it’s by no means one paced and features some excellent dynamics on “She”, along with a surprisingly catchy hook. The track is kind of a distant cousin of “The Devil’s Daughter” and is a really welcome change of vibe. Naturally, the cleaner guitars don’t last forever and there is some serious weight in the middle with some enjoyable guitar work before the original approach returns.
 
As the record progresses through “Lords of the Wasteland”, many doom fans may have this as a possible doom album of the year contender. It’s riffy, varied, well put together in all aspects and doesn’t outstay its welcome. In terms of trad doom, the old guard are going or gone- Pentagram? Saint Vitus? Trouble? They are now, for the most part, bands of the past. Cathedral are gone. Count Raven are still around, but Iron Void are possibly successors to all the bands listed. They’ve got a unique and identifiable sound, well written songs and well produced records. The crown is there for them, surely.
 
“Slave One” is another album highlight- again, thematically it’s in keeping with other musings on the album- despite utilising a kind of science fiction motif… or is it science fact?! It is viciously delivered, certainly.  It’ll get heads banging and its cautionary tale of robot death for you and I feels, at the least, prescient and plausible. It’s Sealey’s best vocal performance on the record, I think- with real venom and spite in the delivery.
 
The record concludes with “Last Rites”- a romp through the doom graveyard of quiet and loud dynamics and with that the band is over and out.  Overall, “IV” is the record the band needed to make: straightforward but varied, heavy but with lighter elements here and there. This is excellent doom metal and stands shoulder to shoulder with the band’s other albums. Support the underground, support real bands and support real doom metal. Buy this album!

“IV” is available HERE 

Band info: bandcamp || facebook

LIVE REVIEW: Sellsword supported by The Mighty Wraith and Iron Void @ The Fulford Arms, York, Saturday December 10th 2022

 By: Richard Maw

The Review:

York on a Saturday night in December, during the World Cup… will there be a crowd?! The answer, thankfully was: YES.

The Fulford Arms is a live venue- it’s not really a pub with a stage- it is a venue with a bar. This kind of venue is the lifeblood of the music scene, and they must be kept alive. It was immensely gratifying to see it packed out. Rammed. Standing Room only. Full from front to back.

Now, with Sellsword hailing from York and Iron Void being from Wakefield, a crowd of some kind would be expected, but to see 150 metalheads crammed into a Northern local venue show on a weekend at a time that England were playing in a World Cup quarter final was a throwback to the halcyon days of live metal. It warmed my heart of steel.

Iron Void opened things up and played some older classics like “The Devil’s Daughter” alongside some superb new material from their forthcoming “IV” album- out in January on Shadow Kingdom Records. “The Tolling Bell” was a vampiric number of impressive weight. Having once played in the band, I was glad to hear “Lancelot of The Lake” played with such aplomb- and moved that it was dedicated my way. The band sounded really cohesive and the vocals of Sealey and Steve Wilson sounded great over the PA. The technicality of Scott Naylor behind the kit is a welcome expansion of the band’s sound and the setlist was well paced with enough gallop to win over the crowd and enough weight to satisfy any doom diehards.

The crowd at The Fulford Arms were there for faster paced trad and power metal, so for a doom band to go over as well as Iron Void did was a triumph. By the end of the set hands and horns were raised on high. Iron Void are often unsung heroes of the doom scene in the UK. That must change.

The Mighty Wraith were up next in a kind of special guest slot that saw the style of metal move closer to the headliners. The boys from the West Midlands- the heartland of metal- did not disappoint. If you’ve not heard them, the band are traditional metal powerhouse with wailing vocals, thrashing drums and razor-sharp guitar work. If you think Maiden crossed with Priest with a hefty dose of US power metal grit then you’d be on the money. In charismatic frontman Matt Gore, the band have something special. He really brought the street level grit of a prime Paul Di-Anno and the theatrics of a Rob Halford to the crowd.

The band’s second album “Elegies” has been out for three months now and the material displayed from it sat really well with the crowd. As a measure of the confidence the band displayed, they threw in a great cover of “Bark At The Moon” and closed with a very unexpected run through of “The Number of The Beast”. The fact that neither of these tracks outshone their own work is testament to the band’s quality. There is simply nothing here not to like; great band and frontman. If you haven’t seen them, watch out for them. Big things ahead.

Sellsword play power metal in a more European style- that is to say it is symphonic power metal. It’s fun, sing along and technically challenging stuff- it requires total confidence and belief to pull off in a live context. Fortunately, I found the band even better live than on record- the softer textures of their albums were stripped away to reveal metal forged in the hottest of furnaces and un-tempered by synths.

Sellsword took the stage just after 9.30pm with a portentous intro tape and a look of steely confidence. New frontman Nathan Harrison (of excellent doom band The Human Condition) has been installed only for a couple of gigs prior and with this being a hometown show for the band, the stakes were high.

Fortunately, Harrison was up to the considerable challenge. From the moment he took the sword shaped mic stand (!) he got the crowd on his side. The whole band was tight- incredibly tight. The muscular bass playing of Tom Keeley laid a concrete foundation for the fleetfooted rhythms of drummer Tom Warner. Meanwhile, the dual lead guitar team of Stephenson and Keeley matches any out there; Denner/Sherman? Tipton/Downing? Mustaine and whoever it is this week? Yep, these boys are right up there with them. They were astonishingly deft in delivery and performance- way above the quality I have ever witnessed in a small venue type show before. Astounding.

The band laid waste to the venue with energetic opener “Blackened Sky (pt 1)” and then continued doing exactly the same with “Sagaborne” and the band’s eponymous signature song. Harrison’s vocals were never less than masterful and he hit the notes imperiously- with some real Halford/Ripper style screams added into the mix. Points must also be added for the wearing of a Jugulator t-shirt.

Sellsword really pulled out all the stops with the setlist, rolling out second album title track “Unto The Breach” along with “Pendragon” and “Inquisitor”. The heavy hits (mace blows?!) never stopped coming. The encore brought something special- former band members Stuart Perry and Jacek Mazur took the stage and Perry and Harrison duetted on “Merchants of Menace” with Mazur bringing added guitar pyrotechnics which flayed and pounded the audience’s flesh until the tank was emptied. Bring on album number three, lads.

The hour and a half show was superb throughout and the crowd loved it. Heads were banged, ale was quaffed, victory was delivered and the whole experience was preferable to when original long haired troublemaking Vikings descended upon York over 1000 years ago- excitement and adrenaline without the violence and death. This was the best small show I’ve been to in years and every band brought something unique and impressive to the table. Heavy metal is alive and well. With bands like these around, it will be in good health for years to come. 

ALBUM REVIEW: Iron Void, "Excalibur"

By: Ernesto Aguilar

Album Type: Full Length

Date Released: 25/05/2018 (Digital)

Label: Shadow Kingdom Records

"Excalibur" is going to win over a lot of classic doom fanatics. Iron Void should be on the radar of the scene for a revivalism that it owns wholly and proudly.

“Excalibur” CS//CD//DD//LP track listing:

1). Dragon’s Breath

2). The Coming of a King

3). Lancelot of the Lake

4). Forbidden Love

5). Enemy Within

6). The Grail Quest

7). A Dream to Some, A Nightmare to Others

8). The Death of Arthur

9). Avalon

The Review:

Veteran doom peddlers Iron Void have had plenty of fits and starts over their career. After forming in 1998, the band disbanded for a decade before roaring back with a vengeance, dropping 2010's "Spell of Ruin," 2014's "Iron Void" and "Doomsday" in 2015. Now at their creative peak, Shadow Kingdom Records will issue the European vinyl of "Excalibur," Iron Void's Arthurian themed nine-song release tracking at just over 45 minutes.

Vinyl has been the financial shot in the arm to the music industry that few ever expected to make the comeback it has. Partially such success can be credited to bands like Iron Void. "Excalibur" offers rich, earthy sonics that seem made for wax. As the LP kicks off with "Dragon's Breath," Iron Void is inescapably catchy as it is dense. The band is also deceptively elegant in how its songs are constructed; the Sabbathesque "The Coming of A King" boasts a holistic duty to the story it's telling, while not breaking the power of the song itself, its guitar or rhythm section. Thus, lyrics inject themselves into just the right points, while not interfering with the structure of the cut. You hear similar instances on "Forbidden Love" as well.

Those who love fantasy in metal are going to appreciate the story immensely. Without spoiling anything, just know that Iron Void set out and succeed at telling an effecting tale. The vocals throughout are quintessential doom and even transcendent at turns. As the album builds, it is impossible not to be swept up in how massive the sound comes across.

In addition, what doom and sludge devotees may most appreciate with "Excalibur" is its fidelity to providing a new varnish to classic doom in the vein of Saint Vitus, Pentagram and the like. As you know, there's been a major renaissance in the old-school sound of black metal and death metal, hastened surely by the number of derivative bands in more modern takes on these subgenres. Doom, stoner and sludge undoubtedly have these bands as well – The Sword may have been the most popular and prescient of the revamp – and Iron Void stakes its flag admirably. Even songs like "Enemy Within," with clear influences from "Electric Funeral," feel rejuvenated and original. Iron Void deserve a lot of credit for having the courage to make an album that is inevitably going to draw tons of comparisons, yet doing so in a way that feels like a modern makeover of doom metal. Steve Wilson's riffs are heavy, Iron Void's lyrical themes are solidly mystical and medieval, and its ultra-thick drums by Richard Maw and bass by Jonathan "Sealey" Seale compose a ridiculously good foundation for it all.

"Excalibur" is going to win over a lot of classic doom fanatics. Iron Void should be on the radar of the scene for a revivalism that it owns wholly and proudly.

“Excalibur” is available here

Band info: bandcamp || facebook

“11 is one Louder”: Iron Void part II. Guitarist Steve Wilson chooses his Top 5 Trad. Doom Albums

As we may have mentioned before, Iron Void are one the UK's leading exponents of traditional doom: doom with singing, doom with riffs, doom with... songs?! A few weeks back Iron Void bassist, Jonathan “Sealey” Seale chose his top five trad doom records in the first of a two article feature.  Today we present part two of this double header with Iron Void, guitarist/vocalist, Steven Wilson choosing his own top five trad doom albums, so turn the dial all the way to up because “11 is one louder”

Black Sabbath – “Black Sabbath”

The album that started it all! As soon as you hear the rain and thunder with the church bell tolling in the distance, you know you're in something heavy. It could be argued that they've done better albums since, but the first one captures the sinister essence of Black Sabbath while keeping the blues and jazz part of their sound. Songs from this and the “Paranoid” album were the first Sabbath riffs I learned to play, and I learned a lot about how the drums, guitar and bass can work together. Each instrument is really clearly defined and easy to make out. I don't always agree with everything Ozzy Osbourne says, but I think he could be right about this being his best vocal performance on record. This is a simpler sounding band, but just as heavy as their later albums. This record sounds good at any volume level. It's heavy and powerful, loud and relaxing and melodic if you turn it down.

Cathedral – “The Carnival Bizarre”

“Hopkins – The Witchfinder General” is a very cheesy song, and I'm sure we're all sick of it now. It did get me into Cathedral and made me check out their albums though, so it served its purpose in that respect. I think this was the first or second Cathedral album I ever heard. It's the first one without Adam Lehan (Gaz Jennings plays all the guitar on it) and that seems to give it a different character. Gaz was able to do whatever he wanted and it seems to be a bit more focused for it. It's the perfect mix of heavy doom metal and psychedelia. I don't know if Lee Dorian's vocals have aged that well, but it really opened my eyes to simple songwriting and how much you could do with a couple of riffs. It's worth mentioning that the track 'Utopian Blaster' features a guest solo by none other than Tony Iommi himself! It's worth checking out just for that fact alone. I've still got the double 10” vinyl somewhere in my collection and it's not likely to be sold any time soon!

Iron Man – “Generation Void”

Like the other albums on my list, “Generation Void” is mainly made up of simple riffs and well timed vocals, backed up by a tight rhythm section. That's all you need to be honest! Al Morris III comes up with riffs to rival even Black Sabbath on this album. I heard it years ago but I only bought a copy on CD about ten years ago. It just always seems to have been there. Someone must have taped it for me at some point because I remember listening to it a lot. This is probably the first 'Maryland doom' band that I heard, and the simple song writing mixed with melodic vocals have stayed with me into my songwriting for Iron Void. The riffs from 'Final Resting Place' (from “Spell of Ruin”) are directly inspired by Al Morris' guitar playing style.

Spirit Caravan – “Jug Fulla Sun”

After Iron Man, Spirit Caravan are the next logical step forward. I met up with Murray (who I would later find out was in year Zero) and a mate of his a couple of times with the intention of starting a band. It never came to be, but one of them suggested I listen to this record. I remember thinking the name sounded daft, but it stuck in my memory. I think I bought the “Dreamwheel” EP before this, but this was the first full album of Wino's music that I ever got hold of. From here, I moved on to Saint Vitus and The Obsessed, as well as The Hidden Hand, Place of Skulls, you name it. I couldn't believe that I'd never heard of Wino before 1999/2000. I knew about Iron Man but I'd never heard any Pentagram, Saint Vitus or anything like that. I really like simple riffs and powerful clean vocals, and Wino is the master of that! His influence can be heard in everything we've done so far, especially my approach to playing guitar and singing at the same time when playing live. He's not really doing anything unique, but the way he plays really struck a chord with me. Having Gary Isom and Dave Sherman as the rhythm section couldn't have done any harm either! Spirit Caravan's music taught me that it's OK to write simple songs on purpose. They were a master class in how to put together a power trio.

Pagan Altar – “Judgement of the Dead”

Another band that I didn't get to hear until I got online. I think I first heard this album around 2003 or 2004, when it was out on CD as “Volume 1”. I got the vinyl reissue entitled “Judgement of the Dead” a few years later, and it was worth every penny. Their music is a mix of NWOBHM, classic rock and what we would now call Doom Metal. Simple heavy rock arrangements with bluesy guitar but dark, sinister and honest vocals and lyrics. This is their debut album, and it's a bit rough production-wise. I tend to like these the best though, because it's the first incarnation of a band. Everything is new and the enthusiasm is still there. Pagan Altar reformed with a new drummer and bass player a few years ago after a resurgence of interest in the band. We were lucky enough to gig with them a few times and it was a pleasure to see and hear them play live, even though Terry was obviously a lot older than he looked on the album cover! He is sorely missed and unfortunately there are still a lot of doom and metal fans out there who have no idea who he was or what the band might have sounded like. 

Iron Void plays “Hammer of Doom” fest this Saturday.  Check the poster below for more details. 

Band info: bandcamp || facebook



ALBUM REVIEW: Desolate Pathway - “Of Gods and Heroes”

By: Richard Maw

Album Type: Full Length

Date Released: 22/10/2016

Label: Independent

Make no mistake, Desolate Pathway have delivered an epic doom record of epic proportions: light and shade, massive riffs, great performances, a downcast atmosphere... it's all here

“Of Gods and Heroes” CD//DD track listing:

1). Intro

2). The Old Ferryman

3). The Perilous Sea

4). Medusa’s Lair

5). Into the Realms of Poseidon

6). Enchanted Voices

7). Gods  of the Deep

8). The Winged Divinity

9). Trojan War

The Review:

Desolate Pathway follow up their rather excellent debut with this, their sophomore release. Musically, this is doom. Trad doom, to be precise. It's low and slow, but with clean and clear vocals which weave stories of ancient myths in amongst the riffery.

The themes here take in exactly what the title denotes; ancient myths and legends- tales of courage, magic and honour. “Enchanted” Voices runs the gamut of doom riffage with slow, mid paced and swinging variants all getting an airing. You can play spot the reference/mythology as the album progresses. Medusa gets a look in, as does Poseidon (as you will know from the advance single), the Iliad, or more specifically the battles and characters involved, gets a look in on “Trojan War” and all of it is delivered with a gravitas worthy of Christopher Lee at his peak.

This is epic stuff: big melodic vocals, big riffs and solos from Vince and nicely dynamic drumming from Mags (making full use of the kit; lots of cymbals, double kick, toms... but never cluttered). It's dark too (the intro to “Medusa's Lair” is classic full on doom before echoing that classic Sabbath riff from their fifth album). The guest bassists put in solid performances when they appear (take a bow Sealey, my compatriot in Iron Void) and over the course of the eight tracks proper the album is a journey through the darker sections of the ancient world.

Make no mistake, Desolate Pathway have delivered an epic doom record of epic proportions: light and shade, massive riffs, great performances, a downcast atmosphere... it's all here (in fact, it's all in the opener “The Old Ferryman”, let alone the rest of the album). Doom fans can buy this one safe in the knowledge that they are in for a treat.

“Of Gods and Heroes” is available here

Band info: bandcamp || facebook

"Because 11 is one louder": Jonathan "Sealey" Seale (Bassist for Iron Void) chooses his Top 5 Trad doom albums

Iron Void are the UK's leading exponents of traditional doom: doom with singing, doom with riffs, doom with... songs?! Their lineage is not hard to trace: try Sabbath as a starting point. Having put out a stellar EP and two full length albums, Iron Void are preparing to play The Asylum 2 in Birmingham on Saturday 15^th October as a celebration for the vinyl release of album number two: “Doomsday”, which is out now on Fear Me! Music.

Today as part of a two part article with Iron Void, bassist, Jonathan “Sealey” Seale chooses his top five albums from their band's chosen genre. Read on for a trip into the arcane and mysterious world of doom...and expect part II featuring guitarist Steve Wilson in the coming weeks ahead. In the meantime, turn the dial all the way to 11, “Because 11 is one louder”



1.       Black Sabbath – ‘Master of Reality’ (1971)

Masters of the art! I had to mention Sabbath, it goes without saying doesn’t it? They invented not only Heavy Metal but Doom Metal too. The self-titled song, ‘Black Sabbath’ from their debut is THE Doom Metal blueprint; thunder and rain, heavy riffs, softer passages and the up-tempo build-up in the middle which concludes the song. A classic formula, repeated many times since by a lot of bands, ourselves included! It’s so difficult to pick a favourite Sabbath album as I love all eras of the band. The Ozzy and Dio eras are definitely my favourites though. If I had to pick one album, it would be this one. It’s definitely the heaviest Sabbath record in my opinion and also the most ‘stoned’ sounding one if you catch my drift?  They tuned down for the first time on this record (the first 2 were in Standard tuning) which made for a darker atmosphere and I love the contrast of the acoustic tracks, ‘Embryo’ and ‘Orchid’ with heavier numbers such as ‘Lord of This World’ and ‘Into The Void’, the dynamics work perfectly.  

2.       Saint Vitus – ‘Born Too Late’ (1986)

        Sabbath invented Doom in the 70’s, but it was the bands who followed in their wake such as Saint Vitus, Pentagram and Trouble who defined Doom Metal as a genre in the 80’s. Again, it’s very hard to pick one particular album from a band I love so much but this is as classic as it gets. Stand out songs for me are ‘Dying Inside’, which is a stark warning about the dangers of alcoholism and the title track, a Doom anthem with lyrics every Doom fan can relate to. I also love the Scott Reagers fronted Vitus and the Lord Chritus era too but Wino is one of my all-time favourite singers and guitarists so this album is as perfect as it gets for me. If I had more choices I would also probably have included an album from The Obsessed in this list, maybe ‘The Church Within"

3.       Pentagram – ‘Relentless’ (1985)

        Another stone-cold classic and the first record I heard by them. This album is just killer from start to finish. Victor Griffin’s guitar tone sounds like a buzz saw (in a good way!), Bobby is genuinely sinister in his vocal delivery and Joe Hasselvander pounds the hell out of the drum kit throughout while Martin Swaney holds down the low end. So many classic songs too! There’s no filler on this album at all, every song just slays. You’ve got to love the cow-bell in the middle of ‘Sinister’ too! A close second choice to this album would be ‘Be Forewarned’ (1994) but I adore everything they have released. It was a real honour and pleasure to play with them at Day of Doom Barcelona in 2015, a dream come true.

4.       Trouble – ‘Trouble’ (1990)

        Most True Doom heads would probably pick ‘Psalm 9’ or ‘The Skull’ over this but I got into Trouble via ‘Manic Frustration’ in the early 90’s then worked my way backwards. I just really like the vibe of this album. The lyrics, riffs and solos are exceptional. Bruce Franklin and Rick Wartell are one of the best twin guitar teams in the business. I’ve seen them live several times with different line-ups and they don’t miss a note, they’re so tight! It’s cool nowadays that we have both Trouble with Kyle Thomas on vocals and The Skull but I do sometimes wish this line-up (minus Barry Stern, R.I.P.) would get back together for a few shows, that would be ace!

5.       Sleep – ‘Sleep’s Holy Mountain’ (1992)

        Some would argue that Sleep aren’t really ‘Trad Doom’. Although they kick started the whole ‘Stoner Doom’ genre I still consider this to be a trad Doom album, heavily influenced by Sabbath’s early albums and copious amounts of weed! Most Sleep fans bang on about ‘Jerusalem’ (AKA ‘Dopesmoker’) as the best record but I disagree. ‘Jerusalem’ has its charms but ‘Sleep’s Holy Mountain’ is where it’s at! When I first heard it I thought it was so heavy, the bass is just off the scale! This was one of the first Doom albums I ever heard and I still listen to it regularly now. I would also highly recommend their debut, ‘Volume One’.

Band info: bandcamp || facebook

Iron Void - "Doomsday" (Album Review)

By: The Peacemaker

Album Type: Full-Length

Date Released: 05/10/2015

Label: Doomanoid Records

The title track is, quite simply, doom in its purest form; slow riffs, pounding drums and lyrics which depict sorrow, woe and portends of things to come... and it is not a pretty sight.  The band oozes confidence and class throughout, and the album only gets stronger after an impressive start. “Path to Self Destruction” is worthy of Pentagram at their best and you can hear the influences of Sabbath, Saint Vitus and even Priest get a good look in.  Overall Iron Void preach thee gospel of their forefathers with total conviction. This album is flawless and a thoroughly convincing victory.

“Doomsday” CD//DD track listing:

1). Doomsday

2). Path to Self Destruction

3). The Devil’s Daughter

4). Lost Faith

5). Gates of Hell

6). Eye for an Eye

7). The Answer Unknown

8). Colosseum

9). Fire Nerve

10). King of Utopia

11). Upon the Mountain

The Review:

Trad doom. Those two words surely sum up Iron Void... or do they? Their debut was full of murky sounds and anthems- clean vocals, occult and archaic themes abounded and the band had created a very strong record. Now back with their second full length, the band oozes confidence and class throughout. Recorded at Jon Davis' Skyhammer Studios, the production is a marked step up. Gone is the murk, present instead is a brightness without sacrificing any weight whatsoever. The title track is, quite simply, doom in its purest form; slow riffs, pounding drums and lyrics which depict sorrow, woe and portends of things to come... and it is not a pretty sight.

The album only gets stronger after this impressive start. “Path to Self Destruction” is worthy of Pentagram at their best. The main riff is a pulsing and persistent call to headband. The vocals, split throughout the LP between main men Jonathan “Sealey” Seale and Steve Wilson are plaintive wails that suit the mood to a tee. Classic stuff, truly. “The Devil's Daughter” follows and consolidates the hooks heard thus far- it is a tour de force of song writing; some changes, a strong central refrain and a “Countess Bathory” type theme to the lyric which gets into your head.

The band slow down for “Lost Faith” and bring in a Maryland doom vibe to the riffage. The sound creeps forth insistently and the track slow burns into your consciousness. Next up is a real highlight for me; “Gates of Hell”. This one is pure NWOBHM worship, but very deftly played with time feel changes, busy drumming and some really cool lead breaks and refrains. The song kind of invokes Venom, along with Angel Witch and even Maiden. It is a stormer and, rest assured, ticks all the lyrical boxes as well.

“Eye for an Eye” is maddeningly catchy and features an excellent rumbling riff which really propels the track forwards. The lyrics echo Sabbath as well- no direct references, but they bring to mind Butler's lyrical work (and that is a huge compliment!). “The Answer Unknown” is a pacey four and a bit minutes that rocks along with a kind of Orange Goblin (circa “The Big Black”) feel- or perhaps Trouble, if you prefer. Strong vocals are present, here and the guitar lines stand out. Roman epic “Colosseum” evokes the atmosphere of imperial decadence along with life and death struggle and the quest for glory that played out for entertainment in that most famous of amphitheatres.

“Fire Nerve” is a five and a half minute groove-fest. The lyrics stand out again as they tell a succinct story of impending disaster, disaffection and, well, doom. “King of Utopia” brings a real Sabbath quality to the riffs (not that all doom is not informed by the Sab sound). Again, the vocal hooks are strong and the lyrics memorable. Finally, the band wrap up this excellent slab of doom with the rather epic “Upon The Mountain”. It is a fine way to finish, taking in as it does a use of dynamics which allows the track to breathe a little.

Certainly, this is the best doom release of recent times from a British band; doom in the form of real, actual, not-just-noise-dressed-up doom. You can hear the influences here; Sabbath, Pentagram, Saint Vitus and even Priest get a good look in. Let's be clear: this “sceptred isle” is the land of the heavy metal gods- that is a fact. Sabbath, Priest, Maiden and even Motorhead, if you want to include them; all the biggest influences on all metal sub genres which followed. Iron Void preach their gospel with total conviction. A flawless and thoroughly convincing victory.

“Doomsday” is available here

Band info: bandcamp || facebook