ALBUM REVIEW: Mournful Congregation,‘The Incubus Of Karma’

By: Daniel Jackson

Album Type: Full Length

Date Released: 23/03/2018

Label: Osmose Productions (EU) |

20 Buck Spin (US)

This band has always been the gold standard when it comes to dense, emotive funeral doom, but this latest hallmark in their discography takes that heart-shredding melancholy to its furthest extreme yet.  This is Mournful Congregation’s crowning achievement. ‘The Incubus Of Karma’ is a fucking masterpiece.

‘The Incubus Of Karma’ CD/LP/CS/DD track listing:

1. The Indwelling Ascent

2. Whispering Spiritscapes

3. The Rubaiyat

4. The Incubus of Karma

5. Scripture of Exaltation and Punishment

6. A Picture of the Devouring Gloom Devouring the Spheres of Being

The Review:

I sit here struggling to find the right words, or really any words at all, to convey the weight and impact of ‘The Incubus Of Karma’, Mournful Congregation’s first new album in over six years. I’ll do my best, anyway. This band has always been the gold standard when it comes to dense, emotive funeral doom, but this latest hallmark in their discography takes that heart-shredding melancholy to its furthest extreme yet.

To get this out of the way immediately; the lead guitar work throughout ‘The Incubus Of Karma’ is absolutely incredible. I’m not just talking about their trademark thick, layered guitar harmonies. I’m talking about those ascendant high-fret leads that sail and glide above them. Each and every one of them is immaculately composed and performed in a manner meant to cut even the most callous facades to the quick. Whether it’s during a devastating funeral crawl or a plaintive low-dynamic interlude, the sorrow just doesn’t let up. It’s mercilessly sad.

The crux of this entire album is the band largely deciding to stay out of the way of the guitars. Drums, vocals, bass, and keyboards: they’re all in almost exclusively supporting roles. Drummer Tim Call is also known also for his work in bands like Aldebaran, Nightfell, and Weregoat, and in each of those bands, his drumming is considerably more active than his performance here. I’d be shocked if he averaged more than one actual drum fill every 2-3 minutes in total.

This isn’t a criticism, by the way. It may be a uniquely bare bones performance, but it’s exactly what the music calls for. Even his drum sound is subdued, with a snare sound that recalls that of the first Danzig album, drenched in reverb, and the cymbals mixed even quieter than normal for a Mournful Congregation album.

Again, the guitars are the axis on which ‘The Incubus Of Karma’ spins. If you’re looking for a specific example, look no further than the album’s instrumental title track. The song is an absolute testament to the astonishing emotion that lead guitar can conjure, as these ultra expressive solos cascade over gentle acoustic guitar. And there’s equally brilliant leads all over the album. These aren’t note-spamming, “virtuosity for its own sake” solos. It’s all about the articulation, the bending of notes in a specific way to wring every last ounce of passion and sadness from the strings.

Look, if it feels like I’m just spouting label and band-friendly hyperbole, I’m sorry. I don’t know what else to do because as I sit here writing this, that’s all I feel does the album justice. One of my biggest pet peeves in metal is an album going longer than an hour. This album is damn near 80 minutes and I can’t think of any section I want shorter or cut altogether. That just doesn’t happen for me. It’s made the strongest early impression of any album so far this year, and the strongest early impression of any funeral doom album I’ve ever heard. This is Mournful Congregation’s crowning achievement. ‘The Incubus Of Karma’ is a fucking masterpiece.

‘The Incubus Of Karma’ is available in Europe through Osmose, or through 20 Buck Spin in North America.

Band info: Facebook

The Sludgelord 'Sour 16' For August 2015

By: Aaron Pickford

As the haze of sunshine finally appears to be descending for the last time and with it the end of summer, let us not despair and instead rejoice as we usher in another feast of music for your listening pleasure, a veritable smorgasbord of riffs, this can only mean one thing? The Sludgelord’s ‘Sour 16’.  Welcome, all lovers of the riff, you know the deal by now, however for those of you that do not, let us recap.  Each month, you the reader are unwittingly compiling a list of the top 16 records of the month, covering all genres of metal, but predominately the best the doom, sludge, stoner-psychedelic genres have to offer.  It is not a chart, in which reviewers or contributors extol their opinion about their favourite music, but simply, the ‘Sour 16’ are the records you guys (readers) have been most interested in over the last month and checking out on this page.

So here is the The Sludgelord’s ‘Sour 16’ for August 2015, the 16 records you’re most looking forward too or are currently checking out.  Dig in, spread the word and perhaps revisit some records you may have overlooked.  The results are compiled based on page views alone and calibrated into the list below. So without further ado, enjoy the ‘Sour 16’. Roll up, kick back, chug a beer and Hail the riff! All review/band links can be accessed by clicking on the artwork. (Total views at the time of publication are highlighted in red)

16). Eschaton – ‘Sentinel Apocalypse’ (312)

For anyone with an interest in death metal from Revocation to Morbid Angel to Immolation to Death, then this album should definitely be checked out. I enjoyed it hugely and recommend it highly.

15). Nightfell – ‘Darkness Evermore’ (320)

“Rebirth” sees the band playing with different melodic black metal elements… which make for a wonderful musical counterweight to the resonant doom n’ death rumbling of the album’s general comfort zone.

14). Fight Amp – ‘Constantly Off’ (348)

‘In short, I’ve been missing out. I’m really happy to have had a reason to sit down with a band I already thought I knew and find out there’s still so much more to them. I can only highly recommend ‘Constantly Off’, and after this I’m off to check out all the stuff I’ve missed.’

13). Lucifer ‘Lucifer I’ (352)

‘All in all, “Lucifer I” is a solid release, song-per-song. It’s sure to be a hit for all the ‘70s obsessive’s and the proto-metallers, but it also has moments that are evil enough and dark enough to satisfy those who need a little more intensity beyond the black rainbow.’

12). = Myrkur  - ‘M’ & Gnaw Their Tongues – ‘Abyss of Longing Throats’ (354)

At this juncture, Myrkur has proven to be capable of material that is truly special, with the sort of vivid musical imagination welcome in any genre, metal being no exception. What’s most exciting is what an even deeper exploration of this kind of folkish black metal, rich with creativity might yield a couple of years from now.

‘Gnaw Their Tongues has opened up a portal into hell and is dragging you with him. Fear the worst. Expect to suffer. If you make it out alive, expect some severe emotional trauma.’

10). Six Feet Under – ‘Crypt of the Devil’ (357)

‘This is as pure a strain of death metal as you are ever likely to find: crushing, sawing guitar riots? Check.  Throat-expanding guttural vocals?  Check.  Lurid, obscene song titles, including ‘Broken Bottle Rape’ and ‘Compulsion to Brutalize’?  Check mate.  If it’s classic death metal grooves you’re after, look no further.’

09). Limb – ‘Terminal’ (371)

All in all, Terminal builds on what Limb have already achieved and is ultimately better than their top notch debut. The tracks on Terminal are well crafted, and the whole piece is tighter throughout. Absolutely no time is wasted on the album with every note being completely integral to the success of the album

08). Locrian – ‘Infinite Dissolution’ (400)

‘Standout track ‘An Index of Air’ leans into emptiness with a rattling drone, an almost imperceptibly off-time drum pulsing the intro before expanding out into tidal-waves of anguished convulsions blended with blissed out droning black that Deafheaven would burn gasoline-soaked churches to attain.’

07). Carousel – ‘2113’ (420)

‘2113’ is a blur of dynamic, late night booze fuelled journeys filled with timeless hooks and immensely powerful solos. A band that knows how to capture your attention; they filter the music of their childhood heroes add a contemporary twist and their unique flair and create magic. They build on their concrete foundation of strong vocals and catchy choruses, wrap up some tight backing and present a very pleasing album complete with a jazzy little bow.

06) Hivelords – ‘Tapered Limbs of a Human Star’ (424)

'Cavern Apothecary' was a glimpse into the potential this band had at that point. On ‘Tapered Limbs of a Human Star’, they've smashed through the glass ceiling and surpassed the promise they showed. The fact that they're signed to Anthropic Records is both a blessing and a curse; it makes those who know about the band seem like part of a secret club and preserves their cult status. However, had this been released on a label like Relapse, Profound Lore or Candlelight, everyone would be losing their shit and proclaiming this as the best album they've heard this year. It’s simply stunning.’

05). DoctoR DooM – ‘The Seed We Have Sown’ (534)

‘It's a monstrous sound, reminding me of a club scene in many a Bond film, but replace lounge piano or jazz with a much more upbeat rock band. This is Everyman Rock. And they love to stay around with their songs, so look forward to an album full of 4+ minute slabs that will take you along sonic highways of old.’

04). Ahab – ‘The Boat of Glen Carrig’ (551)

‘It's hard to sum the record up, such is the scope and depth on offer within the record, but suffice it to say this: it will feature in year end lists, it will grow on you and is definitely one of the more unusual and ambitious releases of the year. This is fine stuff, but then again coming from Napalm Records, does anyone expect anything less?! Dark, atmospheric and powerful. A fantastic record.’

03). Pentagram - ‘Curious Volume’ (710)

Overall, for my money, Curious Volume is a better album than Last Rites- more focused, more inspired and it crackles with life, it really does. It is the best album from Pentagram in a long while and for that we should all rejoice. Legendary for a reason!

02). The Sword – ‘High Country’ (1377)

The length of the album, at 15 tracks, does make getting acquainted with this record a slow process, but in the end you’ll discover there aren’t any dips in form. ‘High Country’ is rich in consistency and across its span, Cronise, Shutt and co. dispel any fears you may have about this release all the while oozing a slick professionalism. They’ve been at this song writing malarkey for a while now, they’re hardened pros and this stands testament to their brilliant legacy.’

01). Ghost – ‘Meliora’ (5382)

‘Today, Ghost still manage to shock and surprise us in a society where we’ve seen and heard it all before. People are fascinated, fixated even with finding out their true identities. Their music is more powerful than it ever has been too. ‘Meloria’ is a spellbinding listen and one which will see them elevated to greater plains of existence. It affects you, leaves you shaken. They can make you laugh or cry without so much of a flick of the wrist and, although the music we love is basking in something of a purple period right now, a band as potent as this is still a rarity.’

This list features reviews by, Chris Bull, Philip Weller, Kat Hilton, Hunter Young, Richard Maw, James Harris, Dominic Walsh, Chris Markwell, Daniel Jackson, Erik Sugg & Greg Sheriff

Nightfell - ‘Darkness Evermore’ (Album Review)

 By: Daniel Jackson

Album Type: Full Length

Date Released: 11/9/2015

Label: 20 Buck Spin

“Rebirth” sees the band playing with different melodic black metal elements… which make for a wonderful musical counterweight to the resonant doom n’ death rumbling of the album’s general comfort zone.

‘Darkness Evermore’ CD//LP//DD track listing:

1). At Last

2). Ritual

3). Cleansing

4). Rebirth

5). Eulogy

6). Collapse

Nightfell is:

Todd Burdette | Vocals, Guitar, Bass

Tim Call | Drums, Vocals

The Review:

For many of us who like to fancy ourselves as paying really close attention to new metal releases, Nightfell kind of came from out of nowhere and proceeded to knock us on our asses last year. You would think that with members from bands as venerated as Tragedy, His Hero is Gone, Aldebaran, and Mournful Congregation that Nightfell would have been something people would have known about well in advance. Having snuck up on the metal-loving world or not, the important thing is the quality of their debut ‘The Living Ever Mourn’. The album finished in my top ten for the year, which should tell you all you need to know as far as how I felt about it. That album was an exercise in taking two very different backgrounds and stirring them together into something wholly different, but just as compelling as either members’ previous work.

Now, not even a full year later, Nightfell are back with ‘Darkness Evermore’ and the first thing that jumps out is just how similar it sounds recording-wise to its predecessor. The guitar tone and drum sound are almost identical. While the album seems to be mastered a bit more quietly, that’s the only real difference. The immediate takeaway during early listens was that Nightfell have a very specific sound and they aren’t all that interested in experimenting with it in any drastic way for now. With that said, for as much as these albums sound the same sonically, they are by no means carbon copies musically.

‘Darkness Evermore’ begins with “At Last”; perhaps the band’s slowest to date in its early stages. The first half would fit in nicely on Paradise Lost’s recent return to form. The rest is a blend of melancholy, melodic guitar leads atop a rumbling bead of mid-paced death metal, familiar to anyone who has heard ‘Living ever Mourn’, but very much on par with the quality of the debut. Elsewhere on the album, “Cleanse” makes excellent use of the kind of higher-note chord plucking Dissection and Mayhem used to great effect in the 90s, which are woven into a song that rolls along like Nightfell’s unique spin on Entombed’s “Crawl”. “Rebirth” sees the band playing with different melodic black metal elements as well, which make for a wonderful musical counterweight to the resonant doom n’ death rumbling of the album’s general comfort zone.

If there’s a knock to be made against the album, it’s my own personal disappointment that we didn’t get more of the dreary groan-singing that made “Empty Prayers” such a standout on ‘The Living Ever Mourn’. It appears briefly during “Eulogy”, which plays more like an interlude into “Collapse” than a fully realized song, but nothing that matches the brilliance of “Empty Prayers”. If I could change anything about this album, it would be to have this particular dimension of the sound Nightfell established on the debut play an equal or greater role here as well. It’s something that no one else does anywhere near as well, if anyone’s trying to do it at all. Personal preference towards that omission aside, ‘Darkness Evermore’ feels like it’s a companion album to ‘The Living Ever Mourn’ without ever coming across like an unnecessary retread. If it’s inferior at all, it’s by only the slightest of margins. If you loved the debut, as I did immensely, you’ll love ‘Darkness Evermore’ as well.

‘Darkness Evermore’ is available digitally and CD//LP here.

Band info: Facebook |Bandcamp

Nightfell - The Living Ever Mourn (Album Review)

Album Type: Full Length

Date Released: 3/2/2014

Label: Southern Lord / Parasitic Records

‘The Living Ever Mourn’ CD/LP/DD track listing:

1). The Last Disease 06:27

2). I 01:40

3). I Am Decay 06:01

4). Empty Prayers 06:38

5). The Hollowing 06:19

6). II 01:53

7). Altars To Wrath 04:42

8). Funeral Dirge 08:01

The Band:

Tim Call | Drum, Vocals

Todd Burdette | Vocals, Guitars, Bass

Review:

A lot has been made of the musical histories of the two men that make up Nightfell, and with good reason. Drummer/vocalist Tim Call comes to Nightfell via Aldebaran, The Howling Wind, and as a live contributor to Mournful Congregation. Guitarist/bassist/vocalist Todd Burdette comes from crust legends Tragedy, His Hero is Gone and Severed Head of State. With résumés like those it’s very easy to get hung up on comparisons to their previous work, or even worse; dwelling on how different Nightfell sounds from their musical past.

While there are certainly musical nods to each man’s musical pedigree throughout ‘The Living Ever Mourn’, it’s a much more exciting album than just mashing those two histories together. In fact, I’d say that while the album does have some of those elements; ‘The Living Ever Mourn’ amounts to something completely different. Sure, you'll recognize the influence of Tragedy in the lead guitars. A prime example would be the opening riff of “I Am Decay”, which boasts a similar musical theme to “Total Vision” from the “Nerve Damage” album. Another place you might hear the seeds for Nightfell’s sound is in “Night Falls” from Tragedy’s 2002 album Vengeance, though I’m not sure if that’s on purpose or coincidental. You’ll also notice echoes of Aldebaran in some of the bleak guitar harmonies, which are of vital importance to the album. Still, there's more going on.

If there’s an album this year that can match ‘The Living Ever Mourn’ for sheer emotional weight, I have yet to hear it. Just listen to the deeply-rooted sonic despair of “Empty Prayers”; a song highlighted by the sort of dreary, labored choir singing you might expect to hear at a solemn religious gathering. I mean that as a compliment, as it sounds like a deliberate choice, and one works perfectly. It also perfectly illustrates a possible explanation as to why the album succeeds in just about every area it could have. In the announcement of the album, the press release indicated that it was created during a time of real loss and grief for the men who created it, and that comes through in the finished product. Now, I’m not sure that it would be fair to pit genuine loss against something more hypothetical in a sort of depressing pissing contest, but I do think it’s fair to say that genuine, first-hand human sorrow can be a powerful source of inspiration for a metal album.

The result of all of this is a death metal album with extraordinary emotional depth. While the structure of each song is very straightforward, the melodies are rich and the feelings they conjure can be complex. Trying to put too fine a point on Nightfell’s sound is probably a fool’s errand. I could site doom, crust, Edge of Sanity or early Amorphis, the blackened fringes of melodic death metal and plenty in between and it would still come up short. That’s the brilliance of ‘The Living Ever Mourn’. It’s deceptively simple, and yet it reveals something you hadn't picked up on with each listen. Give it greater attention, and you will be rewarded.

Words by: Daniel Jackson

You can get it here and here

For more information:

http://nightfell.bandcamp.com/