No matter what people think about the quality of the later period Pearl Jam records, a new album by the legendary band is something to celebrate. There are always a few really great songs on each of the records after the ones that people still consider classics (the stopping point for classics is debatable, anywhere from Vs to Riot Act, I am in the Yield camp personally) and usually a new record means a new tour, which is obviously where PJ excels these days.
Album number twelve, Dark Matter, fits exactly into the discography like everything pretty much after the millennium turned; some great songs that will be excellent live, some slower songs that are mostly passes, and some unmemorable filler, with Dark Matter distributed evenly across the three categories.
Let’s start with the good. The album gets off to a ripping start with Scared Of Fear and React, Respond, two rockers that I am sure will be staples of the upcoming live setlist and beyond. Ed sounds great and the band is spot on as usual. React, Respond has a cool little guitar bass interaction thing going on making it one of the more memorable tracks on Dark Matter.
Let’s start with the good. The album gets off to a ripping start with Scared Of Fear and React, Respond, two rockers that I am sure will be staples of the upcoming live setlist and beyond. Ed sounds great and the band is spot on as usual. React, Respond has a cool little guitar bass interaction thing going on making it one of the more memorable tracks on Dark Matter.
I dig the funky and fun title track, continuing a trend of throwing out a unique (for them) sounding single like they did with Dance Of The Clairvoyants on the last release, Gigaton. I enjoyed Waiting For Stevie too, probably because it reminds me of something from Yield. The punk leaning little ripper Running is super fun as well.
Wreckage falls into the mostly pass on slower tracks along with the way too long Upper Hand. As for unmemorable filler? Won’t Tell I won’t really listen to again, Something Special really is not that special for me, and Got To Give doesn’t offer me a lot. I am not sure if the writing process has changed, but I feel like a lot of the not-so-great tracks sound like they were written for a late era Springsteen record but didn’t make the cut.
The closer would be the deciding factor between the great and the meh, and let’s just say I am still on the fence about the chill closer, I am leaning towards the former category. So, another mixed bag from Pearl Jam. I never do want Ed and the boys to stop though, because there are always some gems and most likely a tour every time, so Dark Matter is something to be enjoyed and celebrated for what it is. For most bands this is a six, but it’s Pearl Jam so... 7/10
Haunted - Stare At Nothing (Ripple Music) [Rich Piva]
Italian band Haunted spooked us with their 2016 self-titled occult doom masterpiece that went way too under the radar for how hauntingly (I had to) good it is. Not much was heard from the band after that, but leave it to Ripple Music to bring us the highly anticipated second Haunted record, Stare At Nothing, which takes the band’s brand of goodness consisting of ethereal vocals, low end atmospheric doom, and heavy but understated (in the best way) Sabbath/Candlemass type riffs to the next level.
Spooky is the vibe indeed as Stare At Nothing kicks off with a ghostly Intro that slides into the first track, Catamorph, that brings a crunchy killer doom riff only to be mesmerized by Chirstina Chimirri’s beautiful vocals. The power of this band is how the heavy and light melt together, the voice and the music, just perfectly, even if the two worlds are so far apart.
Wreckage falls into the mostly pass on slower tracks along with the way too long Upper Hand. As for unmemorable filler? Won’t Tell I won’t really listen to again, Something Special really is not that special for me, and Got To Give doesn’t offer me a lot. I am not sure if the writing process has changed, but I feel like a lot of the not-so-great tracks sound like they were written for a late era Springsteen record but didn’t make the cut.
The closer would be the deciding factor between the great and the meh, and let’s just say I am still on the fence about the chill closer, I am leaning towards the former category. So, another mixed bag from Pearl Jam. I never do want Ed and the boys to stop though, because there are always some gems and most likely a tour every time, so Dark Matter is something to be enjoyed and celebrated for what it is. For most bands this is a six, but it’s Pearl Jam so... 7/10
Haunted - Stare At Nothing (Ripple Music) [Rich Piva]
Italian band Haunted spooked us with their 2016 self-titled occult doom masterpiece that went way too under the radar for how hauntingly (I had to) good it is. Not much was heard from the band after that, but leave it to Ripple Music to bring us the highly anticipated second Haunted record, Stare At Nothing, which takes the band’s brand of goodness consisting of ethereal vocals, low end atmospheric doom, and heavy but understated (in the best way) Sabbath/Candlemass type riffs to the next level.
Spooky is the vibe indeed as Stare At Nothing kicks off with a ghostly Intro that slides into the first track, Catamorph, that brings a crunchy killer doom riff only to be mesmerized by Chirstina Chimirri’s beautiful vocals. The power of this band is how the heavy and light melt together, the voice and the music, just perfectly, even if the two worlds are so far apart.
The guitar work is outstanding here. I hear a heavier Kabbalah or a less heavy Wytch (using two other amazing Ripple bands as comparisons) on a track like Garden Of Evil, which brings some psych to the occult doom party but never ignores the riff, and my oh my those vocals, this one with some excellently executed layering that makes this track just fly.
I love how Back To The Nest glides like a ghost and how Potsherds is the example I would use if someone asked me with ethereal occult doom sounded like. Malevolent is the real highlight on an album full of them. This is epic doom; almost eight minutes of understand in the mix crunchy riffs and vocals that so perfect meld but then combine that with the tempo change and sparse guitar work in the middle and you have one of my favourite songs of the year.
Fall Of The Seven Veils acts as a two minute interlude highlighted by that voice over an acoustic that makes you yearn for something, but you are not yet sure what, until you figure out it is the embrace of death when the riff of the title track kicks in. I mention epic doom, and if that is your thing, then the closing track will be for you as well where you get excellently executed doom that can stand up against any band doing it today.
It was eight years in the making, but Haunted’s Stare At Nothing is the perfect re-introduction to a band that was missed by so many in both meanings of the word. This is the definition of epic occult doom that has next level musicianship and a voice that will literally do what the band’s name is in the best possible way. Will be up there for the doom album of the year for sure. 9/10
Tomorrow’s Rain - Ovdan (AOP Records) [Matt Bladen]
Tomorrow's Rain bring that bleak back with their second album Ovdan. The Hebrew word for loss this album follows up Hollow with some heart-wrenching doom that draws from tragedy. The band from Tel Aviv are influenced heavily the likes of Paradise Lost, My Dying Bride and acts such as Swallow The Sun, Tribulation, Moonspell, having played support to a few of these at local concerts.
That album featured guests from some of the best heavy bands around and led them just one show in Tel Aviv in 2021 right at the height of the pandemic. This new studio album though takes what they did on the debut and overloads it with grief and worry. Inspired by the near fatal heart attack that frontman Yishai Sweartz had in March 2023, this horror directing the finishing touches of Ovdan, as they looked to write a record that was different to their debut.
For one it's got more coherence to it written in just two years, there's anger, bile, introspection and colossal heaviness delivered with some well crafted death/doom. Sweartz has said that he wanted to "bring something fresh to the table with every album" so it's no surprise that alongside the death/doom, there's atmospheric textures, post metal shimmers and much more in this pot as Alex Karlinsky's varied keys gel with Yoni Biton and Raffy Mor's maudlin, crunching guitars and acoustic moments.
There's also another set of special guests with Michael Denner (Mercyful Fate), Ben Christo (Sisters Of Mercy), Andreas Vingback (Dark Funeral) alongside a host of black/death/doom artists who lend their talents to this well connected band, most helping out on vocals, adding to the cleans and growls of Sweartz. Metering these gothic death doom anthems are the rhythm section of Yaggel Cohen (bass) and Nir Nakav (drums) who shift into double kick/galloping blasts and slithering, crushing grooves with aplomb.
Ovdan is a compelling record from Tomorrow's Rain, fans of gothic death doom will find themselves in heaven. 9/10
It was eight years in the making, but Haunted’s Stare At Nothing is the perfect re-introduction to a band that was missed by so many in both meanings of the word. This is the definition of epic occult doom that has next level musicianship and a voice that will literally do what the band’s name is in the best possible way. Will be up there for the doom album of the year for sure. 9/10
Dool - The Shape Of Fluidity (Prophesy Productions) [Matt Bladen]
Dutch band Dool have received plaudits from all over the place for their previous two albums, including this humble publication. Their gothic post rock meets slow burning prog metal, tinged with a morose atmospherics has a real appeal to it, beckoning you to get involved with their esoteric, existential music.
The Shape Of Fluidity is their third offering and it’s based around Greek philosopher Heraclitus’ idea that “everything flows, nothing stays the same” be that how we adapt to an ever changing world, political climate, environmental climate and the overall malaise that is modern life. Who do we believe? Do we rebel? Do we just embrace the status quo?
More importantly do we let others define who we are? What we are? How we identify and define ourselves? Much of the latter comes with vocalist/guitarist Raven van Dorst’s fight to reclaim their identity as someone that is intersex, not defined by binary ideals but embracing their own path.
The lyrical path on this album is biographical Raven documenting feelings, fears and finality in this process of finding who they are. Derived from the Dutch word for wandering, that is a very apt way of describing the soundscapes of this band. The Shape Of Fluidity, seems to be more expansive and experimental than either of the last two studio albums.
The repeating, glistening post rock swathes on the title track are given an undercurrent of prog metal on the crushing Self Dissect toughness and art rock trappings, akin to Porcupine Tree, early Pineapple Thief or fellow Dutch band Lesoir. There’s also some doom meandering on Hermagorgon and writhing post punk with opener Venus In Flames or Evil In You to impart more musical mastery on your ears.
The use of Raven, Nick Polak and Omar Iskandr all being guitarists, brings that widescreen guitar sound of a band such as Cult Of Luna, Radiohead or Periphery, all three also the writers on this record. Behind this tonal wall of sound is bassist JB van der Wal and new drummer Vincent Kreyder who brings jazz tendencies as well as pounding metallic fury.
Add to this the production experience of Magnus Lindberg and Ted Jensen, the album has a clarity that allows you to pick out individual notes even when they play fully distorted heaviness. The Shape Of Fluidity sees Dool unveiling more of themselves, it’s an album that’s very personal and affecting, sound tracked by some virtuoso compositions. 9/10
Tomorrow’s Rain - Ovdan (AOP Records) [Matt Bladen]
Tomorrow's Rain bring that bleak back with their second album Ovdan. The Hebrew word for loss this album follows up Hollow with some heart-wrenching doom that draws from tragedy. The band from Tel Aviv are influenced heavily the likes of Paradise Lost, My Dying Bride and acts such as Swallow The Sun, Tribulation, Moonspell, having played support to a few of these at local concerts.
That album featured guests from some of the best heavy bands around and led them just one show in Tel Aviv in 2021 right at the height of the pandemic. This new studio album though takes what they did on the debut and overloads it with grief and worry. Inspired by the near fatal heart attack that frontman Yishai Sweartz had in March 2023, this horror directing the finishing touches of Ovdan, as they looked to write a record that was different to their debut.
For one it's got more coherence to it written in just two years, there's anger, bile, introspection and colossal heaviness delivered with some well crafted death/doom. Sweartz has said that he wanted to "bring something fresh to the table with every album" so it's no surprise that alongside the death/doom, there's atmospheric textures, post metal shimmers and much more in this pot as Alex Karlinsky's varied keys gel with Yoni Biton and Raffy Mor's maudlin, crunching guitars and acoustic moments.
There's also another set of special guests with Michael Denner (Mercyful Fate), Ben Christo (Sisters Of Mercy), Andreas Vingback (Dark Funeral) alongside a host of black/death/doom artists who lend their talents to this well connected band, most helping out on vocals, adding to the cleans and growls of Sweartz. Metering these gothic death doom anthems are the rhythm section of Yaggel Cohen (bass) and Nir Nakav (drums) who shift into double kick/galloping blasts and slithering, crushing grooves with aplomb.
Ovdan is a compelling record from Tomorrow's Rain, fans of gothic death doom will find themselves in heaven. 9/10
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