While Novembers Doom can be an easy band to underrate for some, there is no denying that they are one of the oldest and biggest American death/doom bands that the scene has to offer. Originally formed in 1989, they have persevered through that time and have consistently delivered a multitude of acclaimed releases despite also going through a long series of lineup switches.
This is the group’s eighth studio album and has been hyped as having a more progressive sound in comparison to the more death metal-oriented style of the last few releases. In addition, it features more guest appearances than any other Novembers Doom album before it but is also the last effort to feature drummer Sasha Horn.
Black Is The Soul Of A Dying Son
The band will probably hate me for being the ten millionth person to make the following comparison, but Novembers Doom has always come off as being something of an American Opeth. In addition to having been formed around the same time frame, both bands use complex song structures, low tempos, melancholic autumn imagery, and a ton of harsh/clean contrasts in between.
Even before Opeth ultimately decided to embrace their prog-jazz rock calling, Novembers Doom managed to successfully stand out. Their songs have always been shorter, their imagery darker, their riffs heavier, and the transitions much smoother. In short, both bands are good but Novembers Doom have always been the better songwriters and arguably more creative overall.
But what really makes the band distinct is the performance of vocalist Paul Kuhr, their sole original member since 1999. Often going between a clear but powerful growl and a baritone reminiscent of Paradise Lost’s Nick Holmes, he seems to opt for the clean vocals a bit more than usual. There are a few moments where he goes into unintentional comedy (Sorry, the growls during the verses of “Buried” are so prominent, it’s rather amusing) but his contributions are quite impressive.
Fortunately, the rest of the band doesn’t slouch. The guitars have a dark sound that is aided by the clear production and go through a mix of murky riffs and somber melodies. The drums stand out on the album’s heavier moments and get plenty of opportunities to pummel the listener.
Also worth noting are the numerous guest appearances on the album. The touches of keyboards and violin are great but the cameos by vocal legends Dan Swano and Anneke Van Giersbergen are the most memorable. The former delivers some strong growls on the first part of “Of Age and Origin” while the latter effectively helps the band channel their beauty-and-the-beast roots on “What Could Have Been.”
Deeper Scars Than Any Wound Could Be
As expected by a project with clearly contrasting sides to their sound, the songwriting is varied and each song manages to sound distinct. “The Dark Host” provides a good summary for how the album will be as it features heavy chugging during the verses, a softer bridge segment, and a cleanly sung chorus with an oddly catchy hook.
But while “The Dark Host” is a memorable opener, “Harvest Scythe” is easily the album’s catchiest track. While its overall structure is similar to that of “The Dark Host” with its growled verses and clean choruses, it manages to stand out thanks to its interesting use of upbeat groove riffs and more elaborate hooks. Yeah, I can’t emphasize how weird it is to use the words “catchy” and “hook” in the context of death metal…
After the first two tracks, the album generally seems to stick with more somber, slower material with the heaviness still coming into play on occasion. “Buried” is an enjoyable track despite its somewhat disjointed contrasts and the closing “Shadow Play” features some particularly smooth harmonizing during its first half.
But the track that should have everyone talking is “What Could Have Been,” a gorgeous ballad that makes extensive use of the violin and a duet between Kuhr and Giersbergen. While the pairing would suggest a desperate grab at the old goth metal formula, the execution is quite emotional with the choruses tugging at one’s heartstrings. As far as I’m concerned, this is easily the most touching ballad that 2011 has to offer.
Show Yourself and Prove I Am Not Mad
As a listener whose previous experience with Novembers Doom is mostly limited to 2005’s The Pale Haunt Departure, this does manage to be an incredibly strong album and just might be one of the better that’s come out this year. However, it is also rather easy to overlook and its second half isn’t quite as emotionally powerful as the first.
There might be an earlier Novembers Doom release that’s worth looking into but this is one that shouldn’t be overlooked. If anything, I would highly recommend to seasoned death/doom listeners and the disgruntled Opeth fans that haven’t already gotten into them…
Current Highlights:
- “The Dark Host”
- “Harvest Scythe”
- “Buried”
- “What Could Have Been”
- “Shadow Play”
Christopher Latta - I am the lead singer/bassist of Psychic Faith and the writer of many hard rock and heavy metal reviews
Join the Conversation