A stunning album of sorrow, grief and melancholy made in Finland and Greece, dedicated to the loving memory of the grandparents of the band’s own vocalist and keyboardist Gogo Melone.
A project of Melodic Gothic and Doom Metal yet funeral and spiritual music that describes the eternal sorrow and misery above the earth, human nature and instincts under the ownership of grief and pain, Finland/Greece-based outfit Aeonian Sorrow has just unleashed upon us their sophomore full-length opus, entitled Katara. Produced, mixed and mastered by Saku Moilanen at Deep Noise Studios, and displaying a stylish and epic artwork by the band’s own vocalist, keyboardist and renowned illustrator Gogo Melone, the album was inspired by the Katara pass, a mountain pass in the Pindus mountains in northern Greece. According to the legend, Katara got its name from a despot who around 1800 set out from Ioannina to go to Trikala, but the bad weather in the area made it so difficult for him that he died on the way, and he cursed the mountain. There are more stories written about this pass; however, Katara is also dedicated to the loving memory of Gogo’s grandparents Georgia and Michail, with the album music being beautifully crafted by Gogo alongside Joel Notkonen on vocals, Taneli Jämsä and Jukka Jauhiainen on the guitars, Achilleas Papagrigoriou on drums, and guest Oskar Englund on bass.
Anemos sounds doomed, grim and pensive from the very first second, with the delicate keys by Gogo bringing a touch of finesse to the music while Achilleas dictates the song’s pace with his sluggish beats, resulting in a powerful Melodic Doom Metal aria that will darken your mind in a stunning way. The band continues their obscure, melancholic path in Elumia, where the bass by Oskar sounds menacing while Gogo embellishes the airwaves with her charming vocals, in paradox with the harsh roars by Joel; and featuring guest vocalist Alejandro Lotero of Exgenesis (and former vocalist for Aeonian Sorrow), Ashes and Death showcases another solid job done by Taneli and Jukka with their Doom Metal-infused riffs and solos. Her Torment is a massive, bold creation by the band where Achilleas crushes our souls with his heavy-as-hell drums, perfect for some slow, intense headbanging in total darkness, followed by the title-track Katara, where once again we’re treated to a gloomy, ethereal feast of Melodic Gothic and Doom Metal spearheaded by the stunning vocals by Gogo, keeping the album as melancholic and emotional as it can be. They managed to get even more doomed and somber in Forbidden Cry, with the guitars by Taneli and Jukka reverberating in great fashion accompanied by Gogo’s passionate vocal performance; whereas lastly, serene, lugubrious piano notes set the tone in Ikuinen Suru (or “eternal sorrow” from Finnish), presenting their trademark slow and steady beats, deep, touching vocal lines, and crying guitars.
“On a personal level, I’ve been through enough difficult changes in my life that it almost made it impossible to keep myself motivated to complete this album. I said several times that I don’t want to do this and I almost didn’t. What kept me going was the reason I started this band and the promise I gave to the grandmother I lost back in 2020 and said that ‘Katara’ album will be recorded in her memory and her husband’s memory too. It will be done for all the years I spent driving to those scary ‘Katara’ roads to go see them. It will be done for each song I wrote inside their empty house when they were gone, and I left to watch the walls and nothing more. On a music level, I think the band has also been through enough and faced the financial critical moments to where we had to take choices, a bit unusual for us, and find ways to make things happen without losing ourselves and our quality. The path to success is full of heavy stones and very lonely so we do what we can and continue writing music from our hearts,” commented Gogo about the album. Hence, you can feel in detail all the sorrow, grief and melancholy from Katara by streaming the album in full on YouTube and on Spotify, by following the band on Facebook and on Instagram, by subscribing to their YouTube channel, and obviously by purchasing Katara from their own BandCamp page or webstore, from Apple Music or from Amazon, joining Gogo and the boys on their doomed path through the Pindus mountains.
Best moments of the album:Anemos and Katara.
Worst moments of the album: None.
Released in 2023 Independent
Track listing 1. Anemos 8:35
2. Elumia 7:07
3. Ashes and Death 6:55
4. Her Torment 7:39
5. Katara 9:22
6. Forbidden Cry 6:21
7. Ikuinen Suru 7:13
Band members Joel Notkonen – vocals
Gogo Melone – vocals, keyboards
Taneli Jämsä – guitars
Jukka Jauhiainen – guitars
Achilleas Papagrigoriou – drums
Guest musicians Oskar Englund – bass (session)
Alejandro Lotero – harsh vocals on “Ashes and Death”
Forged in this world… Chained to this earth… Forced to stay where I am… Evermore…
If you’re an admirer of the darkest forms of music and arts in general, I’m beyond certain you’ll have an absolute blast knowing more about our multi-talented metal lady of the month of May here on The Headbanging Moose. Not only she owns a powerful and beautiful voice, but she’s also a keyboardist, a songwriter, and an accomplished digital artist and graphic designer who has already worked with countless bands from the metal scene. I’m talking about Gogo Melone, the lead singer and composer for Aeonian Sorrow and Elyzia, and former vocalist for Luna Obscura, with guest appearances to bands such as ISON, Mercury Circle, IANAI, Ghostheart Nebula, As The Sun Falls and others, and having worked as a graphic designer for bands such as Xandria, Insomnium, Wolfheart, Omnium Gatherum and Vintersea, just to name a few. As you can see, Gogo Melone is an unstoppable force in heavy music, embellishing the airwaves with her voice while at the same time captivating our attention with her stunning graphic creations.
Born on July 17, 1985 in Ioannina (often called Yannena), the capital and largest city of the Ioannina regional unit and of Epirus, a region in north-western Greece, but currently residing in Helsinki, Finland, Gogo Melone began her career in music back in 2000 when she founded Greek Atmospheric/Melodic Death/Gothic Metal band Luna Obscura (Latin for “dark moon”) together with guitarist Dimitris Papachristos and vocalist Aris Potonos, inspired by the music by Draconian, Trail of Tears, Tristania, Theatre of Tragedy, Crematory, Paradise Lost, and all other bands with death and gothic elements. Gogo Melone mentioned in one of her interviews that there wasn’t any major plan to create Luna Obscura in the beginning, as it was just a musical experimentation, saying that she simply joined the band during the recordings of their demo Darcanda (released only in 2004). “The idea to have male and female vocals came easily, I guess that we all loved this combination at that time and somehow we felt it was the right direction for our music,” commented our diva, describing their sound as having atmospheric, death and gothic elements with harsh male and clean female vocals. “Our lyrics talk about death, human psychology and our transitions, the mystery, the unknown. All in combination with the music and the beautiful alternations of brutal and ethereal female vocals, create a melancholic yet strong-aggressive effect.”
Although the band was put on hold back in 2017 and has been dormant since then, and with Gogo Melone no longer being part of the band, there’s a lot to enjoy from their past releases, including the aforementioned demo Darcanda (as “Gwgw Melone”), their 2007 EP Evilyn, and their 2008 full-length opus Feltia, and you can enjoy several videos of the band on their official YouTube channel including Oronar, The Burden Of Solitude, and a live version of Dance of Forsaken Souls. Moreover, when asked about the importance of the visual part of the live performances by Luna Obscura, Gogo Melone said that all they cared about was delivering an emotional show to the crowd, focusing not only on the music, but also on the atmosphere surrounding it, as that was what their music was all about.
Fast forward to 2021, and there she is, the unrelenting Gogo Melone, starting another amazing band named Elysia (now spelled Elyzia), playing a stunning fusion of classic Black Metal and Experimental/Atmospheric Black Metal with nuances of Gothic and Doom Metal. She’s also the vocalist and keyboardist of the project, alongside vocalist, guitarist, bassist and drummer Jani Berney (of bands like As the Sun Falls, Tenebrae Aeternum and Chotzä, and who’s by the way engaged to Gogo Melone), having released their debut effort, the five-track EP Numinous, in August 2022. There’s an official video for the title-track Numinous, as well as official streams of the songs Veiled Fear and Onism on YouTube, and you can also find the full EP available for streaming on Spotify. Moreover, you can find more details about the band on Instagram, and purchase their music via BandCamp. Regarding the name change, switching the letter S for Z, the duo posted a short and sweet message on their Instagram explaining everything. “Some disrespectful idiots coming from the deathcore scene are spamming our social media with threats and hate because there is an old band using the name Elysia. Considering the fact that this other band has been inactive since 2008 and ever since they had no new releases or shows, it is a joke and a bit boring to have to read bullshit about a name when there are so many other names that have been used already three and five times. But let’s end this in a positive note. We are currently working on a new single and a new album which we plan to release in the next few months.”
You can also find Gogo Melone as a guest vocalist or keyboardist to several amazing underground bands, metal or non-metal, by the way. “So far I have met so many great musicians and bands and have done amazing collaborations worldwide so I guess the thing that counts the least is the genre of music. Although I would like to experiment more in Gothic Metal, Doom and Death Metal but the most important is to keep making good collaborations and gain more experience,” said our diva, who not only could be seen singing live with Atmospheric Doom/Death Metal band Clouds back in 2018, but she also recorded vocals for the songs In This Empty Room, from their 2017 EP Destin, When I’m Gone, from their 2018 album Dor, and an acoustic version of that same song, from their 2020 compilation Clouds Acoustic; the re-recorded version of Suffer in Darkness, released as a single in 2022 by Finnish Symphonic Death/Doom Metal band Depressed Mode; Underworld, from the 2005 EP Skotos, by Greek Black/Death Metal act Empathy; Ascension Pt. I Cosmic River, from the 2021 album Ascension, by Italian Melodic Doom/Death Metal band Ghostheart Nebula; Scaling the Summit, from the 2023 EP Scaling the Summit, by Greek Symphonic/Melodic Death Metal band Neperia; a partnership with Greek Gothic Metal act Sorrowful Angels in the cover version for Moonspell’s classic Scorpion Flower, from their 2012 EP Reborn: A Tribute to Moonspell; A Light Year Breath, from the 2020 album Empire of the Void, by Italian Death/Doom Metal band Tethra; and Where the Sun Turns to Grey, from the 2021 album Echoes of Winter, by Italian Progressive Doom Metal band Veil of Conspiracy.
Other guest appearances include the songs Drink the Effect, from the 2008 self-titled EP by Greek Industrial Black Metal band Rheinkaos; Scary Place, from the 2014 self-titled album by Vita Nova; and Winter Is Coming, a solo single released in 2014 by Stream of Passion’s Eric Hazebroek. There’s also a solo album that Gogo Melone mentioned she started working in the beginning of 2012, which should be called Black Silent Vision (or something like that), and she even mentioned in one of her interviews that a digital single was almost ready to be released that year in the summer, but so far nothing has been released maybe due to all her responsibilities as a graphic designer, which undoubtedly consumes a lot of her time.
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Speaking about her passion for arts in general and her work as a graphic designer and digital illustrator since 2007, Gogo Melone mentioned that her favorite styles are emotional, dark and surreal, nurturing a deep passion for red, black and white, as well as for digital art, photography, music and film. “I can’t be myself without freedom and creativity and with art you can have both at maximum. My work is a mixture of dark digital art and photography, highly influenced by films, dark and gothic fashion, fairytales, the beauty of fragile souls and dreamy places,” said our diva, who’s also worried about the future of album covers and booklets due to the vast majority of physical albums being replaced by their digital formats. She has already worked with countless bands in her career, being responsible for the artwork, design or layout of their albums, including for example the bands Xandria, Ablaze My Sorrow, Lutharo, Red Moon Architect, Stormbound, As the Sun Falls, Delusions of Reality, Eye of Solitude, Gallia, Mythodea, White Empress and Wolfheart, just to name a few, plus of course her own bands Aeonian Sorrow, Luna Obscura and Elyzia. Furthermore, inspired by her favorite types of music or bands, a good movie, a documentary, a walk in nature, her past memories, her fears and her dreams, Gogo Melone said in one of her interviews that it doesn’t matter the quality or technique behind an image if it captures the essence of the message that’s being sent. In addition, she also mentioned that although she can’t be considered a photographer, she finds it very inspiring to see the works of both classic and modern photographers such as Cecil Beaton, Philippe Halsman, Steve McCurry, Allan Amato, Tim Walker, Nicolas Guerin, Winter Kelly and Natalie Shau.
Regarding her idols and influences, she said that her introduction to the metal scene happened when she bought the Black Album by Metallica, leading her to take some basic non-professional vocal lessons, participating in her school choir, and starting to sing in different bands during her high school years. Among her favorite bands we’ll find some incredible names such as My Dying Bride, Theater of Tragedy, Katatonia, Anathema, Draconian, Novembers Doom, Daylight Dies, Trail of Tears, Swallow The Sun, Shape of Despair, Paradise Lost, Moonspell and many more, being a diehard fan of all things doom, gothic and death. She was also asked to list her top five albums of all time a few years ago, and if her taste hasn’t changed since then her list is formed of The Silent Enigma, by Anathema; The Angel And The Dark River, by My Dying Bride; Viva Emptiness, by Katatonia; Velvet Darkness They Fear, by Theater of Tragedy; and Arcane Rain Fell, by Draconian.
Although Gogo Melone might have never taken professional vocal lessons, she doesn’t encourage people to follow the same path. “Everything is better when you have technical knowledge and when you know how you can use your voice without destroying it,” she said, also mentioning that she warms up her voice with simple techniques and rest it for long periods. “I don’t smoke, I’m not a big alcohol drinker, I drink a lot of water, I work out a bit and I sleep well as much as possible. Thankfully I didn’t do any damage to my voice so far, but after some years, maybe many years, my voice will change anyway so I guess that a few professional lessons will help to maintain it.” She obviously loves to use her voice live, and being onstage is extremely important to her as a musician and as a person. For instance, her most memorable live performances happened during the European tour that Aeonian Sorrow did with Swallow The Sun and Oceans of Slumber in 2019, also saying that one of the best concerts she has ever witnessed was Anathema when they played in Thessaloniki, Greece in 2005.
When asked if she prefers focusing on her career or her family, as several female singers have already mentioned they would rather concentrate in their careers, Gogo Melone said she would never sacrifice her family for her career, saying that there’s no point in spending most of the time away from your family or having kids you won’t see growing up, complementing by saying that not having a family when you’re in your 20’s or 30’s might be fine, but definitely not when you turn 40 or 50. A member of Eve’s Apple, a community (that might not be active anymore) focused on uniting female metal and rock singers to share their experiences, get to know each other, chat about a variety of topics, and promote their music without any sort of competition, Gogo Melone believes that the metal scene is no longer a male-dominated space, with all female-fronted bands showing metalheads they are no different from men, deserving nothing but respect from the scene. Hence, when questioned about her favorite female singers of all time, she listed Vibeke Stene (Tristania), Liv Kristine (Theatre of Tragedy, Leaves Eyes), Anneke Van Giersbergen (The Gathering), Lisa Johansson (Draconian) and Cathrine Paulsen (Trail of Tears) as her top ones, saying that list will never change for her.
Greece has always been an amazing source of metal music, but Gogo Melone believes the scene is even stronger now, with many bands having started to act more professionaly, therefore helping the local scene grow in a healthier way. “Of course the metal music industry has the normal ups and downs but people are always interested to discover new bands and artists,” she commented about the scene in Greece, also saying that due to having lost contact with her homeland in recent years she doesn’t follow a lot of Greek bands, apart of course form renowned acts such as Rotting Christ and Septicflesh, but that she knows all bands in Greece are putting a lot of effort into their music and they definitely need the support and attention from fans worldwide.
She also mentioned in one of her interviews that working as an independent artist is more in line with her goals, as she doesn’t like the standards such has “1 album every 2 years” or “you have to go live”, relying more on the online support she receives and on crowdfunding campaigns. “The internet and especially social networks are obviously the new way of bringing people together from all over the world. So, in regards to work and how you will promote it, I think it’s one of the best and most clever ways which can give you fast results. I like to use it very often, sometimes more than I should and even if it has helped me a lot…. I believe we must be very careful. It’s very easy to fool around instead of doing serious work, so be careful.” Well, we can all agree she’s been using the internet properly, as we’re all very lucky to be able to access her music and her art from anywhere in the world, bringing endless joy to our dark and gothic hearts.
“Music is an amazing way to express your emotions and have fun all the time when you don’t take things so seriously. I prefer to sing whenever I want to and enjoy it in a way that makes me feel something instead of making albums every year with amazing productions but without soul, which obviously no one will remember after.” – Gogo Melone
A Melodic Death and Doom Metal one-man band from Armenia is ready to conquer all to the sound of his newborn beast, dealing with insanity, nightmares, powerlessness, corruption and loss.
Formed in 2016 in Yerevan, the capital and largest city of Armenia and one of the world’s oldest continuously inhabited cities, by vocalist, multi-instrumentalist and songwriter Artak Karapetyan, the thrilling Melodic Doom/Death Metal one-man act Eternally Scarred has been combining slower tempos with faster, melodic guitars and a raw, dirty production since their 2017 debut effort …of Wisdom, and that’s also the case with Artak’s newborn beast, titled Echoes From Beneath. Recorded, mixed and mastered by Artak himself, and displaying a sinister artwork by Vladimir Prokofiev from Paint-It-Black Design, Echoes From Beneath depicts an amalgamation of subjects such as insanity, nightmares, powerlessness, corruption, loss, coping with all aforementioned topics, or being overcome by them, all embraced by the multi-layered, bold music brought into being by this lone wolf from Armenia.
The opening tune Deviance begins in a very atmospheric and pensive manner, with the minimalist sounds by Artak growing in intensity until his riffs enfold us all in a Doom and Death Metal musicality, with his vociferations bringing even more obscurity to the song. Then leaning towards the music played by bands the likes of Insomnium, Artak slashes his guitar and pounds his drums in great fashion in Divinations, a lot heavier and more dynamic than its predecessor with the extra rage coming from its Death Metal nuances being fantastic; and Artak keeps blasting his drums in the name of doom in Brothers In Arms, bringing tons of groove and heaviness through his bass and piercing riffs. After that, Artak’s visceral guitar lines will decimate your senses in Parasomnia, with his deep, enraged guttural growls growing in intensity as the music progresses in a lecture in Melodic Death and Doom Metal.
Adding elements from Stoner and Sludge Metal to his already acid riffs, it’s time for Stone Cold Blood, where its experimental passages might not be bad but they end up taking part of the song’s punch; whereas back to a more doomed, gloomier sound our Armenian metaller offers us all The Absence, showcasing beautiful guitars, slow and steady drums, and his trademark devilish vocalizations. Then prepare your mind for an eight-minute journey through the realms of Atmospheric Doom Metal entitled If The Walls Could Talk, where Artak beautifully alternates between gentle, somber passages and sheer heaviness, followed by Voices Underneath, investing in a grandiose and melodic sound while bringing the same vibe as the music by several Scandinavian Melodic Death Metal icons such as Soilwork and In Flames, resulting in a multi-layered creation that will cut your skin deep majestically. Finally, ending such inspiring and deep album we have Eternally Scarred (Part II), where Artak once again blends melancholy and anger through his riffs, bass and drums, again vociferating rabidly until the very last second.
Such precious gem of the Armenian metal scene can be appreciated in full on YouTube and on Spotify, and obviously purchased from the project’s own BandCamp page, from the Satanath Records’ BandCamp page, or from Discogs, if you want to show all your support and admiration for the music by Artak. You can also find him and his Eternally Scarred on Facebook, on Instagram and on VKontakte for news, tour dates and so on, letting him know that although he’s a one-man metal band, he’s definitely not alone. We’ll always carry the scars we get in our lives, even after our deaths, but that’s not a problem at all if that happens to the sound of the excellent Melodic Death and Doom Metal crafted by Eternally Scarred.
Best moments of the album:Divinations, If The Walls Could Talk and Voices Underneath.
Worst moments of the album:Stone Cold Blood.
Released in 2022 Satanath Records
Track listing 1. Deviance 6:40
2. Divinations 7:01
3. Brothers In Arms 4:30
4. Parasomnia 5:09
5. Stone Cold Blood 7:46
6. The Absence 8:00
7. If The Walls Could Talk 8:19
8. Voices Underneath 4:28
9. Eternally Scarred (Part II) 6:54
Band members Artak Karapetyan – vocals, all instruments
Behold this beautiful album of doom made in Brazil, leading us to reflect on the fragility of human existence when facing the challenges of life on planet earth.
Having consolidated itself as one of the main names from the Brazilian Melodic Doom/Death Metal scene due to its heaviness, originality and melodic complexity, Americana, São Paulo-based one-man act Deep Memories has just unleashed the project’s sophomore full-length album Why Do We Suffer?, following up on their 2018 release Rebuilding the Future. The brainchild of vocalist, multi-instrumentalist and producer Douglas Martins, Deep Memories has been on a constant and healthy evolution since its inception in 2016, with Why Do We Suffer? perfectly depicting the professionalism and hard work by Douglas throughout its 41 intense minutes of music. Produced, recorded, mixed and mastered by Douglas himself at AJM Studio, and displaying a stylish artwork by Iranian graphic artist Agreen Paymazd (together with Douglas) illustrating the emotional charge generated by human suffering, the album deals with a high degree of introspection, leading us to reflect on the fragility of human existence when facing the challenges of life on planet earth.
The doomed guitar lines by Douglas kick off the opening track Enslaved by Reciprocity Obligation, with its atmosphere growing in intensity and darkening the skies as time passes by, being therefore tailored for admirers of the music by Paradise Lost and My Dying Bride. Moreover, Douglas’ deep guttural vocals add a devilish touch of melancholy to the overall result, whereas in Please, Do Not Close the Coffin! we face another round of his obscure fusion of Doom and Death Metal, showcasing sluggish beats and sharp riffs while also bringing to our ears an interesting paradox between his harsh roars and very melodic guitars. And Douglas’ piercing guitar lines keep screaming inside our minds in Get Away From Poison, offering us all over seven minutes of classic Doom Metal with a strong Insomnium vibe, sounding very cohesive from start to finish. Needless to say, it’s quite impressive that only one man was responsible for such dense and complex sonority.
Uncontrolled Cells Multiplication is one of the most introspective and melancholic of all songs, which is also reflected in both the anguished gnarls and clean vocals by Douglas, consequently living up to the legacy of old school doom; followed by the title-track Why Do We Suffer?, beginning in a very atmospheric way with minimalist, ethereal sounds permeating the air until Douglas attacks with his acoustic guitar and clean vocals. Prerogatives or Exceptions also starts in a pensive manner, with the hellish growls by Douglas invading our senses while he keeps the music as lugubrious as possible through his beats and fills, being perfect for lovers of the more contemporary creations by Paradise Lost, flowing into A Rocket to Homeland, a simple but effective outro guided by the piano notes by Douglas. I would love to see it evolving into a more complete song, but it’s nothing to worry about as it’s still very enjoyable in the end.
After all is said and done, you’ll quickly realize Douglas Martins is more than just an extremely talented musician. He clearly put all his heart and soul into the making of Why Do We Suffer?, showcasing all his passion for the dark and doomed, and the final result will please anyone who’s also addicted to this gloomier side of music. Having said that, you can provide Douglas with all your support and admiration by purchasing his imposing new album from his own BandCamp page or webstore, by streaming the album in full on on YouTube and on Spotify, or simply by clicking HERE for all places where you can buy or stream it, and don’t forget to also follow Douglas and his Deep Memories on Facebook and on Instagram, staying up to date with all things Deep Memories. Why do we all suffer so much in our lives? Perhaps you’ll be able to find the answer to such difficult question while listening to the new album by Deep Memories, and even if you can’t answer that at least you’ll certainly have a very good time listening to the first-class doom blasted by this lone wolf from Brazil.
Best moments of the album:Please, Do Not Close the Coffin!, Get Away From Poison and Prerogatives or Exceptions.
Worst moments of the album:A Rocket to Homeland.
Released in 2022 Independent
Track listing 1. Enslaved by Reciprocity Obligation 5:37
2. Please, Do Not Close the Coffin! 6:15
3. Get Away From Poison 7:29
4. Uncontrolled Cells Multiplication 7:30
5. Why Do We Suffer? 3:04
6. Prerogatives or Exceptions 8:46
7. A Rocket to Homeland 2:27
Band members
Douglas Martins – vocals, all instruments
A first-class side-project by Bane’s mastermind to explore the slower, deeper and more emotional side of music, invoking the spirit of late 90’s and early 00’s doom.
Founded in 2020 by Serbian vocalist and multi-instrumentalist Branislav Panić, known best for his work with Blackened Death Metal band Bane, Tishina (Тишина), which means “silence” from Serbian, is a new Melodic Doom/Death Metal entity initially born as a side-project to explore the slower, deeper and more emotional side of music, highly influenced by giants such as Saturnus, October Tide, Mourning Beloveth, and Doom:vs, among others, who’s unleashing upon humanity its debut effort titled Uvod… (Увод…), which means “introduction” in English. Mixed and mastered at HellSound Studio by Honza Kapak, who also played drums in the album, and displaying a stylish artwork by Aleksandra Panić, Uvod… came mainly from the book of poems Nad Vodama Aheronta, written by Serbian author Predrag Rava, combining an exquisite blend of mid-paced melodic riffs, blackened sections, and various shifts in atmosphere and tone throughout its playtime while invoking the spirit of late 90’s and early 00’s doom.
Iz Mrtvog Ugla (Из Мртвог Угла), or “from a dead angle”, is a beautiful start to the album, reminding me of some of the classic creations by Paradise Lost and My Dying Bride with Branislav exhaling heaviness through his riffs and bass punches, supported by the sluggish beats by Honza; and continuing their path of obscurity and melancholy we have Dve Crne Ruze (Две Црне Руже), or “two black roses”, another Doom Metal extravaganza led by Branislav’s deep roars while Honza keeps pounding his drums in the name of darkness. Then after the short and sweet instrumental interlude Uteha (Утеха), or “consolation”, Branislav returns with his visceral riffage in Jutro Poslednjeg Dana (Јутро Последњег Дана), or “the morning of the last day”, darkening the skies even more in the name of Melodic Doom and Death Metal. Furthermore, it’s breathtaking to see how the duo is capable of sounding so heavy and serene at the same time, resulting in a multi-layered composition perfect for that type of slow and steady headbanging that’s characteristic of Doom Metal. Lastly, closing such somber album it’s time for Zauvek (Заувек), or “forever”, starting in a mesmerizing, enfolding manner before exploding into more of the project’s doomed sounds, with Branislav and Honza being in absolute sync from start to finish while Branislav’s anguished growls reach a whole new level of obscurity.
In case you would like to add the darkness and beauty of the music found in Uvod… to your personal collection, you can grab a copy of the album from Tishina’s own BandCamp page, from the Hypnotic Dirge Records’ BandCamp page or webstore, or from the Satanath Records’ BandCamp page, bringing an endless dosage of pure doom to your avid ears. I always find it impressive when a musician like Branislav can generate distinct, top-notch music such as with his two projects Bane and now Tishina, not only proving how talented and creative he is, but also providing us with double the awesomeness in the world of heavy music. And may Uvod…, just like the name of the album already says, be just the introduction to the amazing world of doom ruled by Branislav and his Tishina.
Best moments of the album: Iz Mrtvog Ugla [Из Мртвог Угла] and Jutro Poslednjeg Dana [Јутро Последњег Дана].
Worst moments of the album: None.
Released in 2022 Hypnotic Dirge Records/Satanath Records/The End of Times Records
Track listing 1. Iz Mrtvog Ugla [Из Мртвог Угла] 8:01
2. Dve Crne Ruze [Две Црне Руже] 5:55
3. Uteha [Утеха] 0:48
4. Jutro Poslednjeg Dana [Јутро Последњег Дана] 6:13
5. Zauvek [Заувек] 8:49
Band members Branislav Panić – vocals, guitars, bass
Honza Kapak – drums
Jyväskylä, Finland’s own Doom Metal unity returns with another stunning album, offering us all eight beautiful, captivating songs blooming in misery.
Formed in 2000 in Jyväskylä, Keski-Suomi, Finland by guitarist Juha Raivio, the five-piece Finnish Melodic Doom/Death Metal outfit Swallow The Sun has just unleashed upon humanity their new opus entitled Moonflowers, the eight in their undisputed career. Currently comprised of Mikko Kotamaki on vocals, Juha Raivio on the guitars and keyboards, Juho Raiha also on the guitars, Matti Honkonen on bass, and Juuso Raatkainen on drums, Swallow The Sun continue to pave the gloomy path of their previous album When a Shadow Is Forced into the Light (inspired by the loss of Juha’s life partner Aleah Stanbridge in 2016), offering fans of the most melodic side of doom eight beautiful, captivating songs in the span of over 52 minutes, being therefore the perfect soundtrack for the darkest days in your life.
The striking opening song Moonflowers Bloom in Misery is absolutely doomed from the very first second, with Mikko already delivering his melancholic, grim vocal lines accompanied by the sluggish beats by Juuso, exploding into a massive feast of Melodic Death and Doom Metal. Then in Enemy we’re treated to beautiful lyrics declaimed by Mikko (“I crawl back to my shadow / From the edge of the light / Deep down into the sea of my own rain sirens / In the eye of the… / Enemy, inside of me / Torn from a trail of light / Grail of serpents lies”) while Juho and Juha’s guitars make an interesting paradox with Juha’s own keys; followed by Woven into Sorrow, a lecture in darkness and sorrow by the band presenting gorgeous, serene guitar lines intertwined with sheer heaviness and whimsical background elements, also featuring guest backing vocals by Antti Hyyrynen from Stam1na. Not only that, t’s impressive how they manage to make their music epic and symphonic without losing their blackened core essence, which is also the case in Keep Your Heart Safe from Me, almost eight minutes of top-of-the-line doom showcasing infernal, headbanging sounds led by Juuso’s drums supported by the low-tuned bass by Matti while also presenting a more cryptic, delicate side of the band.
All Hallows’ Grieve features guest vocals by the stunning Cammie Gilbert (Oceans of Slumber), and she nails it with her soulful vocals (“Before I go, I’ll let you know / My heart was honest, for you / My heart was cruel / You believed / I’m a soul of a ghost to fight for / I believe, I believe, I lost my will to fight for”), resulting in a sensational doom aria, whereas drinking from the fountain of 80’s Gothic and Doom Metal it’s time for the enfolding and somber The Void, where Matti and Juuso once again generate a reverberating ambience with their respective weapons. The Fight of Your Life is another gentle and melancholic composition by Swallow The Sun which despite presenting all elements we love in their music is not as compelling as the rest of the album; and closing the album it’s time for an infernal composition titled This House Has No Home, where the keys by Juha walk hand in hand with both the clean vocals and the demonic roars by Mikko, putting a climatic and dark ending to the album.
In a nutshell, the very pleasant and obscure Moonflowers, which is available for a full listen on YouTube and on Spotify, cements Swallow The Sun’s name as one of the best Doom Metal acts of the past 20 years while at the same time provides admirers of doom with something fresh, leaving us all eager for more of their stunning creations. Hence, don’t forget to follow the band on Facebook and on Instagram for news, tour dates and so on, and obviously to grab your copy of Moonflowers by clicking HERE. Keep in mind that if you go for the mediabook or boxset edition of the album, it comes with a very beautiful bonus disc with classical versions of all songs of the album recorded at the Sipoo Church in Finland by Trio N O X, comprised of Aino Rautakorpi on violin, Helena Dumell on viola and Annika Furstenborg on cello, as for example their gorgeous rendition of the song All Hallows’ Grieve. And while the moonflowers keep blooming in misery, Swallow The Sun will continue to darken the skies with their classy Doom Metal for at least another 20 years.
Best moments of the album: Moonflowers Bloom in Misery, Woven into Sorrow and All Hallows’ Grieve.
Worst moments of the album:The Fight of Your Life.
Released in 2021 Century Media Records
Track listing 1. Moonflowers Bloom in Misery 6:19
2. Enemy 5:39
3. Woven into Sorrow 7:46
4. Keep Your Heart Safe from Me 7:47
5. All Hallows’ Grieve 5:37
6. The Void 5:39
7. The Fight of Your Life 7:13
8. This House Has No Home 6:40
Limited Edition Mediabook/Boxset bonus disc (Trio N O X plays Moonflowers by Swallow the Sun) 1. Moonflowers Bloom in Misery (classical version) 4:52
2. Enemy (classical version) 3:06
3. Woven into Sorrow (classical version) 4:39
4. Keep Your Heart Safe from Me (classical version) 3:13
5. All Hallows’ Grieve (classical version) 4:58
6. The Void (classical version) 4:01
7. The Fight of Your Life (classical version) 4:16
8. This House Has No Home (classical version) 3:03
Band members Mikko Kotamaki – vocals
Juha Raivio – guitars, keyboards
Juho Raiha – guitars
Matti Honkonen – bass
Juuso Raatkainen – drums
Guest musicians Cammie Gilbert – vocals on “All Hallows’ Grieve”
Antti Hyyrynen – backing vocals on “Woven into Sorrow”
Jaani Peuhu – backing vocals
Aino Rautakorpi – violin on all classical versions from the Limited Edition Mediabook/Boxset bonus disc “Trio N O X plays Moonflowers by Swallow the Sun”
Helena Dumell – viola on all classical versions from the Limited Edition Mediabook/Boxset bonus disc “Trio N O X plays Moonflowers by Swallow the Sun”
Annika Furstenborg – cello on all classical versions from the Limited Edition Mediabook/Boxset bonus disc “Trio N O X plays Moonflowers by Swallow the Sun”
An international outfit formed of members from India, Austria and the UK is ready to bring doom to us all with their heavy and dense new album.
What started back in 2019 as a one-man project evolved into an international three-headed beast part Indian, part Austrian and part British that’s ready to crush your damned souls with their undisputed extreme music. I’m talking about Antim Sanskar (referring to the funeral rites in Sikhism, as antim means “final” while sanskar means “rite”), an Atmospheric Doom and Black Metal entity comprised of Sunay Bhat on vocals, Riccardo Veronese on rhythm and lead guitars, and Desderoth on bass, keyboards and drums, who has just released their debut full-length self-titled album. Recorded, mixed and mastered by C.P.P at W.I.E Studio, featuring a minimalist cover art by Sunay Bhat himself, and band logo design and commissioned art design by Dandi Iskander, the album consists of seven tracks embedded with skull-crushing riffs, painful melodies and heartfelt lyrics presented with a blend of clean vocals and harsh growls, dealing with somber themes such as depression, loss, regret and death and, therefore, being highly recommended for admirers of the darkest and most melancholic side of doom.
The cryptic piano notes by Desderoth in the intro Funeral Without Goodbyes will penetrate deep inside your mind before gentle acoustic guitars kick off The Feral Child, earlier released as “Asylum” for Sunay’s solo project Window of Doom. The song has been completely reworked and rereleased, resulting in almost 10 minutes of melancholic Doom Metal presenting deep, visceral gnarls by Sunay beautifully supported by the sluggish beats and ethereal keys by Desderoth, as well as elements from Funeral Doom to make things even more obscure. Changing gears to a more introspective and melodic vibe, Embers of the Ancient Flame offers the listener Sunay’s dark, clean vocals accompanied by the classic piano by Desderoth, evolving into a Melodic Doom Metal extravaganza spiced up by the stunning guitar lines and solos by Riccardo.
Then in the cinematic, instrumental Interlude the music blends majestically with the sound of the storm and the Gregorian chants in the background, setting the tone for Window of Doom, showcasing darkly poetic lyrics declaimed by Sunay (“In her withered bosom / She held a bed of thorns / Yearning to fall asleep, / Lay there forever / Allow the time to fade / Slip into eternal darkness / The only friend she knew / To sink in grief”) while the music offers a fusion of classic Doom Metal and Funeral Doom thanks to the spot-on beats and guitars by Desderoth and Riccardo, respectively. After such intense aria, phantasmagorical keys will crawl under your skin in DRC, exploding into a massive Doom Metal sonority where Riccardo is on fire with his wicked riffs, sounding very unique and disturbing from start to finish; and last but not least, it’s time for the trio to deliver a more infernal version of their doomed sounds in Die, Decay, Disintegrate, with Sunay roaring in a deeper and more demonic way while the guitars by Riccardo sound utterly metallic.
In case you’re curious to see how the collaboration between India, Austria and the UK resulted in first-class Atmospheric Doom and Black Metal, you can enjoy the album in its entirety on YouTube, but of course in order to provide your utmost support to the guys from Antim Sanskar go check what they’re up to on Facebook and on Instagram, and purchase a copy of their newborn opus from their own BandCamp page (and don’t forget to visit their online merch store as there’s a lot of cool stuff there waiting for you). In a nutshell, the music crafted by Sunay, Riccardo and Desderoth in Antim Sanskar is truly unique and captivating, proving once again that good metal music has no boundaries, and leaving us eager for the next step in their short career in our world of death and doom.
Best moments of the album: The Feral Child and Window of Doom.
Worst moments of the album: None.
Released in 2021 Independent
Track listing 1. Funeral Without Goodbyes 2:56
2. The Feral Child 9:51
3. Embers of the Ancient Flame 7:49
4. Interlude 2:48
5. Window of Doom 8:12
6. DRC 6:01
7. Die, Decay, Disintegrate 4:54
Band members Sunay Bhat – vocals
Riccardo Veronese – rhythm and lead guitars
Desderoth – bass, keyboards, drums
Emerging as a result of the contact and joint work between Asgeir Mickelson and Vibeke Stene, this newborn Norwegian Doom Metal unity is ready to darken the skies with their amazing debut effort.
Emerging as a result of the contact and joint work between Asgeir Mickelson, known for having played drums in Borknagar, Ihsahn, Vintersorg and Testament, among others, and the unparalleled Vibeke Stene, known as the singer of Tristania for ten years, in Asgeir’s project called God of Atheists, Norwegian Melodic Doom Metal entity Veil of Secrets has just released their debut opus Dead Poetry, the first official album in 13 years with Vibeke on vocals since Tristania’s Illumination. Produced by Vibeke and Asgeir themselves, mixed by Børge Finstad at Toproom Studio, mastered by Endre Kirkesola at dUb Studio, and featuring guests Sareeta (Ram-Zet, Ásmegin) on violin and Erling Malm (Endolith, Articulus) on harsh vocals, Dead Poetry is everything a fan of Gothic and Doom Metal wants, and a fantastic comeback by Vibeke to the world of heavy music. “After some years with no music production or dissemination, I strongly felt an inner longing to create and feel alive through music. So I started to seek a resolution,” said Vikeke. “I’ve taken the chance to believe that my words, my thoughts, and dreams, could have any value combined with my inner tones. The composing process of ‘Dead Poetry’, was deeply founded on honesty and trust, and therefore I’m very proud to finally share Veil of Secrets.”
Vibeke and Asgeir bring the doom to our hearts form the very first second in The Last Attempt, with our beloved soprano flawlessly declaiming the song’s poetic words (“I kept my promise / The world was unaware / I sheltered in the safest place / And I would not go far away”) while Asgeir pounds his drums with anguish and sorrow and slashes his guitar in great fashion, and more melancholy and somber passages are offered by the duo in the old school Sear the Fallen, sounding like the early days of Tristania with Asgeir’s own twist, with the grim gnarls by Erling adding an extra dosage of evil to the overall result. Then the stunning violin by Sareeta embellishes the airwaves in the menacing and dense Remorseful Heart, a lesson in Doom Metal infused with melodic and atmospheric elements, all of course spiced up by the razor-edged riffage by the skillful Asgeir and the mesmerizing vocal duet by Vibeke and Erling, whereas acoustic guitars set the tone in the Doom Metal aria The Lie of Her Prosperity, a solid and atmospheric creation by the duo where the drums by Asgeir couldn’t have been more sluggish and grim, and with Vibeke shining as usual with her enfolding vocals.
Heavier and even more doomed than its predecessors thanks to the rumbling bass and fierce beats by Asgeir, Fey is the perfect soundtrack for savoring a dark and bitterly cold night alone, with Vibeke bringing a touch of delicacy and finesse to the heaviness blasted by her bandmate; and you better get ready to be absolutely hypnotized by the crying melody of the violin by Sareeta in Bryd, a lesson in classic Doom Metal with Asgeir being ominous with his riffs and slow and steady drums. Needless to say, Vibeke is sensational with her whimsical voice once again, and the second to last fusion of old school doom with more melodic lines comes in the form of Meson, reminding me of Tristania from their album World of Glass. Furthermore, Asgeir’s piercing guitars make an interesting paradox with his damned beats, with Erling’s demonic roars enhancing the song’s punch considerably. And there’s nothing better than ending such majestic album than with a pure, unfiltered Doom Metal aria spearheaded by Vibeke’s delicate but venomous voice entitled Entirety, flowing smoothly and in the most Stygian way possible thanks to the captivating riffage by Asgeir, with Sareeta’s violin putting a gorgeous ending to the band’s musical voyage.
It’s indeed a true pleasure for any metalhead that enjoys a good amount of melancholy, darkness and sorrow in Gothic and Doom Metal to see the multi-talented Vibeke Stene back in action after so many years, and even better when the final result is an amazing album like Dead Poetry, which is by the way available for a full listen on Spotify and on sale from the band’s own BandCamp page, from the Crime Records webstore in CD and LP format, from Apple Music or from Amazon. In addition, let’s all show our support to Vibeke and Asgeir by following the project on Facebook and on Instagram, thanking Asgeir forever and ever for inspiring Vibeke to return to the metal community, and hoping that Veil of Secrets expand their reach and spread their blackened wings over the entire world with more albums and live performances in a not-so-distant future. In a year that has been nothing but chaos, obscurity and sadness, who could have imagined that one of the best news in the metal community would come in the form of doom?
Best moments of the album: The Last Attempt, Remorseful Heart and Fey.
Worst moments of the album: None.
Released in 2020 Crime Records
Track listing 1. The Last Attempt 5:24
2. Sear the Fallen 6:50
3. Remorseful Heart 5:27
4. The Lie of Her Prosperity 6:19
5. Fey 6:32
6. Bryd 4:27
7. Meson 7:02
8. Entirety 6:21
Band members Vibeke Stene – vocals
Asgeir Mickelson – guitars, bass, drums
This already prominent band from the Spanish underground scene returns with the perfect soundtrack for mankind’s downfall, continuing with their traditional style of Melodic Death Metal.
Two years and a few lineup changes after the release of their highly acclaimed 2018 album IX Sins, Bilbao, Spain-based Melodic Doom/Death Metal outfit Dormanth returns to the battlefield with their fourth full-length opus titled Complete Downfall, featuring 11 songs where double bass drums, melodies and catchy choruses prevail in many of the songs along with other mid-tempo tunes, continuing with their traditional style of Melodic Death Metal influenced by bands like Paradise Lost, Amorphis, Amon Amarth, In Flames and Insomnium. Produced, mixed and mastered by Pedro J. Monge at Chromaticity Studios, and displaying a stylish cover art by The Blind Gallery, the album represents another step forward in the career of the band now formed by vocalist and guitarist Oscar Del Val, guitarist Jokin Andrés, bassist Isma Fernández and drummer Javi Martínez.
Javi begins hammering our heads with his vicious beats in the doomed and melodic opening tune Dreamcatcher, before Oscar comes ripping with his deep guttural growls and sick riffs in a first-class lecture in Melodic Death Metal as Dormanth’s welcome card, whereas Fire is another classic creation by the quartet, living up to the legacy of the genre and loyal to their own roots, with Oscar and Jokin being spot-on with their melodious guitars supported by the metallic bass by Isma. Tragicomic Day is as melodic and thrilling as its predecessors, with Oscar roaring in a beyond infernal way accompanied by the traditional drums by Javi, inspiring us all to break our necks headbanging like true bastards, and speeding things up and sounding more vicious than before they offer us all Beyond the Gates, sounding like the early days of Arch Enemy at times and with the riffs and solos by Oscar and Jokin feeling sharper than a razor blade. And in Odyssey in Time we’re treated to a no shenanigans, no bullshit fusion of Death and Doom Metal by Dormanth that will put all fans of heavy music to raise their horns high, with Javi once again showcasing an amazing performance behind his drums.
Galloping bass and drums set the pace in the also harmonious extravaganza The Origin, where the strident guitars by Oscar and Jokin bring a touch of finesse to the overall result, whereas slashing riffs are boosted by endless fury in the excellent Dark Times for the God’s Creation, spearheaded by Oscar’s demented roars and leaning towards a more epic version of Death Metal the likes of Unleashed. Then in the instrumental bridge -273° K enfolding guitars permeate the air before Dormanth kick ass once again with Brainstorm, where the band invites us all to keep banging our heads to their demolishing but very melodic music, also presenting interesting breaks and variations until its crushing finale. And the band puts the pedal to the metal in the Black Metal-ish Crystal Bone, with all band members sounding extremely sharp and focused, specially Javi with his venomous beats and fills, being therefore recommended for diehard fans of Melodic Death and Black Metal. Lastly, it’s time for Dormanth to go full Doom Metal in Bloody Scars, sounding and feeling sluggish and vile from start to finish, with Oscar being even more deranged and infuriated on vocals than before, and the atmosphere remains dark, menacing and grim until the very end.
Dormanth are eager to unleash all the darkness and fury from their first-class new album upon us all sooner than you can imagine, and while we wait for their doomed tempest we can keep an eye on their Facebook page and Instagram for news, tour dates and other nice-to-know details about such talented Spanish squad, and purchase a copy of Complete downfall from their own BandCamp page, as well as from Xtreem Music’s BandCamp page or webstore. As the complete downfall of mankind gets closer and closer, Dormanth are among us to provide our avid ears the perfect soundtrack for our doomsday, exploding our senses with their refined Melodic Death Metal and, above all, proving once and for all that their homeland Spain is indeed the birthplace of some of the best underground metal acts of all time.
Best moments of the album: Dreamcatcher, Beyond the Gates and Dark Times for the God’s Creation.
Worst moments of the album:The Origin.
Released in 2020 Xtreem Music
Track listing 1. Dreamcatcher 4:15
2. Fire 3:35
3. Tragicomic Day 4:52
4. Beyond the Gates 4:10
5. Odyssey in Time 3:37
6. The Origin 4:02
7. Dark Times for the God’s Creation 3:53
8. -273° K 0:50
9. Brainstorm 3:32
10. Crystal Bone 4:23
11. Bloody Scars 5:12
Band members Oscar Del Val – vocals, guitar
Jokin Andrés – guitar
Isma Fernández – bass
Javi Martínez – drums
Succumb to the fusion of the Doom, Death and Gothic Metal sounds found in the first full-length opus by an Italian act that perfectly represents the coldness of anguish and pain.
Born from the desire to revive the fusion of Doom, Death and Gothic Metal sounds of the 90’s taking inspiration from the best albums of bands like My Dying Bride, Anathema, Katatonia and Paradise Lost, Rome, Italy-based project Invernoir is cold and decadence, the anguish due to the awareness of not having a goal, the lack of answers, apathy and pain. Comprised of Alessandro Sforza (Ars Onirica) on harsh vocals, guitars, drum programming and cymbals, Lorenzo Carlini (Black Therapy) on clean vocals and guitars, and Valerio Lippera (Lykaion) on bass, Invernoir have been making a name for themselves since their inception in 2016, having already played alongside amazing bands such as Candlemass, Ahab, Skepticism, Shores of Null, Naga and Weeping Silence, and now two years after their debut four-track EP Mourn this dark and talented Italian triumvirate (now a quartet with the recent addition of drummer Flavio Castagnoli to their lineup, by the way) returns with the bold and atmospheric The Void and the Unbearable Loss, not only their first ever full-length effort, but an album that will surely carve the word “doom” in the blackened hearts of fans of the genre from all over the world.
It’s a grey, rainy and bleak day, the perfect ambience for Invernoir to captivate our senses with the title-track The Void and The Unbearable Loss, slowly growing in intensity until their sluggish beats and piercing guitars permeate the air for our total delight, followed by The Path, sounding less doomed and a lot more inclined to Gothic Metal than its predecessor. Furthermore, Alessandro and Lorenzo are once again precise with their riffs while alternating between their anguished roars and gloomy clean vocals, while Valerio blasts his bass with tons of groove. Then get ready for a somber and heavy-as-hell hybrid of traditional Doom Metal with Blackened Doom and Gothic Metal entitled House of Debris, perfect for breaking your neck headbanging in solitude while Alessandro screams like a demonic entity. And more melancholy in the form of first-class Doom Metal is offered by Invernoir in Suspended Alive, showcasing truly deep and obscure lyrics (“The purest form of pain / I saw it before it was born / The purest form of pain / A frame / Of what it was / And yet not”), smashing drums and endless agony flowing from their riffs.
Investing in a much more atmospheric and melodious sound, with Lorenzo taking the lead with his passionate clean vocals, Cast Away is another dense and introspective fusion of Melodic Doom Metal and Gothic Rock by this talented Italian trio, and they continue their downward spiral into madness and obscurity with the hammering Doom Metal feast titled The Burden, displaying a great job done by all three band members with their stringed weapons, therefore offering both Alessandro and Lorenzo all they need to sing and gnarl in anger. After such dense sonority, a strident riff kicks off the brutal, slow-paced At Night, presenting the band’s most damned side and reminding me of some of the creations by the iconic Paradise Lost and My Dying Bride in what’s probably their rawest and most visceral of all songs, before they come ripping with one more of their Stygian voyages through the realms of gothic and doom in The Loneliest, where Lorenzo is spot-on with his clean vocals by generating an amazing paradox with the harsh growls by Alessandro, always supported by the minimalist, thunderous bass by Valerio. Put differently, they couldn’t have ended the album in a more beautiful way.
This fantastic and somber gem of Italian gothic and doom can be fully appreciated on YouTube and on Spotify, and if you’re curious to know more about the guys from Invernoir, their music and their plans for the future you can start following them on Facebook and on Instagram, and of course purchase The Void and the Unbearable Loss from their own BandCamp page, from Funere’s BandCamp page or from the BadMoodMan Music’s BandCamp page, as well as from Apple Music, Amazon and Discogs. As aforementioned, the new album by Invernoir is highly recommended for lovers of the melancholy blasted by the titans of the genre like My Dying Bride and Katatonia, proving once again why Italy has become (and will always be) a reference in underground doom.
Best moments of the album: Suspended Alive and Cast Away.
Worst moments of the album: None.
Released in 2020 Funere/BadMoodMan Music
Track listing 1. The Void and The Unbearable Loss 7:03
2. The Path 7:02
3. House of Debris 5:57
4. Suspended Alive 5:37
5. Cast Away 7:09
6. The Burden 5:28
7. At Night 6:08
8. The Loneliest 7:00
Band members Alessandro Sforza – harsh vocals, guitars, drum programming, cymbals
Lorenzo Carlini – clean vocals, guitars
Valerio Lippera – bass
A project of Melodic Gothic and Doom Metal yet funeral and spiritual music that describes the eternal sorrow and misery above the earth, human nature and instincts under the ownership of grief and pain, Finland/Greece-based outfit Aeonian Sorrow has just unleashed upon us their sophomore full-length opus, entitled Katara. Produced, mixed and mastered by Saku Moilanen at Deep Noise Studios, and displaying a stylish and epic artwork by the band’s own vocalist, keyboardist and renowned illustrator Gogo Melone, the album was inspired by the Katara pass, a mountain pass in the Pindus mountains in northern Greece. According to the legend, Katara got its name from a despot who around 1800 set out from Ioannina to go to Trikala, but the bad weather in the area made it so difficult for him that he died on the way, and he cursed the mountain. There are more stories written about this pass; however, Katara is also dedicated to the loving memory of Gogo’s grandparents Georgia and Michail, with the album music being beautifully crafted by Gogo alongside Joel Notkonen on vocals, Taneli Jämsä and Jukka Jauhiainen on the guitars, Achilleas Papagrigoriou on drums, and guest Oskar Englund on bass.
“On a personal level, I’ve been through enough difficult changes in my life that it almost made it impossible to keep myself motivated to complete this album. I said several times that I don’t want to do this and I almost didn’t. What kept me going was the reason I started this band and the promise I gave to the grandmother I lost back in 2020 and said that ‘Katara’ album will be recorded in her memory and her husband’s memory too. It will be done for all the years I spent driving to those scary ‘Katara’ roads to go see them. It will be done for each song I wrote inside their empty house when they were gone, and I left to watch the walls and nothing more. On a music level, I think the band has also been through enough and faced the financial critical moments to where we had to take choices, a bit unusual for us, and find ways to make things happen without losing ourselves and our quality. The path to success is full of heavy stones and very lonely so we do what we can and continue writing music from our hearts,” commented Gogo about the album. Hence, you can feel in detail all the sorrow, grief and melancholy from Katara by streaming the album in full on YouTube and on Spotify, by following the band on Facebook and on Instagram, by subscribing to their YouTube channel, and obviously by purchasing Katara from their own BandCamp page or webstore, from Apple Music or from Amazon, joining Gogo and the boys on their doomed path through the Pindus mountains.
