Barabbas – La mort appelle tous les vivants (2022) / 85%

Barabbas – La mort appelle tous les vivants (2022) / 85%

The Baguette Doom Series pt. XXIV: Death is calling, will you answer the call?

Despite being one of the top dogs of French doom metal, Barabbas are still somewhat of a well kept secret. Their second album released in 2022 by the excellent young label Sleeping Church is a great showcase of their particular niche. The living or the dead shouldn’t sleep on them, they’re worth the time.

Weaponized by two extremely tight guitarists, their sound is as heavy as it can get but they’re not satisfied with the sole fact of being thunderous. The inclusion of feelsy leads like on Le cimetière des rêves brisés can remind of the melodic side of doom/death for example. It’s a good way to show that they’re not shackled by the limits of doom/stoner and exist as their own entity. Furthermore, the experience of Thomas Bastide who spent more than a decade with the defunct cult Parisian progressive doom band Northwinds (Baguette Doom series #2) probably helped Barabbas expand their sound forward. They’re more than just bread and butter doom, I’d at least say that they added the jambon to the baguette sandwich. A song such as the epic Mon crâne est une crypte (et j’y suis emmuré) has layers and layers of atmosphere and isn’t overshadowed by the heavy riffs.

Fueled by somber lyrics about life, death and religion, their identity definitely benefits from such themes. Their lyrics (all in French) explore harsh topics through the lens of nihilism, dark humor and pessimism. Given that France’s historical background is so rich in moments of darkness, it’s interesting to base your identity around something of the sort. They’re very good at evocating some good old classic French fin de siècle sentiment and they’re not doing it in a cheesy pseudo avant garde way like Pensées Nocturnes.

Luckily they’re able to provide an appropriate musical skeleton to the structure. It’s a long but garnished album with more than enough meat on the bones. We’re served seven songs of about eight minutes sandwiched (baguetted?) by short moody pieces and it’s not monotonous or overly repetitive. Still, it’s close to one hour and it could still benefit from some editing. As I’m getting older, I’m more and more grumpy about albums lasting too long. I’m firmly in the philosophy school that forty minutes is the sweet spot, even for doom metal!

To lead their church as a mad priest, Saint Rodolphe is a powerhouse and charismatic presence. His vocals are powerful, tough and touched by necroticism. He’s not unlike Nathaniel of fellow French doomsters Dionysiaque but without the harsh, somber crypt extreme influences.

Ultimately, La mort appelle tous les vivants (Death calls all the living) is a potent album full of mighty riffs and entrancing priestly vocals. I’ll answer their call and die, I don’t give a damn. Bandcamp

Conviction - Conviction (2021) / 87%

The Baguette Doom Series pt. XXI: Guilty as charged

Conviction are a new band from Normandie but they're nowhere near beginners. Created in 2013 by Olivier Verron, the founder of Temple of Baal who also played for well known names likes Antaeus and Bran Barr, that new project easily distinguished itself by being completely different from what he's been playing. The one hour album explores a plethora of doom genres with ease and passion. Let's dismember it and investigate the remains.

The core of Conviction is traditional doom. Clean vocals, hard hitting riffs, hard working honest melodies and a strong rhythm section. That's not enough for the quartet though, there's a ton of old Cathedral and Paradise Lost influences here despite the old rivalries between France and England and it adds a ton of layers to their sound. 

Their main strength is the variety of their offering. We're served mid paced and faster numbers such as "Curse of the Witch" and also lengthier, mournful tracks such as "Outworn" and while it's different, it stays cohesive. That's due to Frédéric Patte-Brasseur's immense production. The work of Funeralium (covered by the Magickal Realm in the past) and Ataraxie's guitarist feels like a ton of oppressive bricks. I wouldn't say it's produced like a funeral doom album but it certainly influenced the process, it's dark and borders the prod we can find on doom/death albums while remaining a fit for their more melodic approach. They're not afraid to unleash excellent solos either and it feels like it's branching into American trad doom at times with that sort of guitar acrobatics (think Iron Man), it also reminds me of the bluesy doom Alice in Chains is known for too. It's never against the songs, it compliments their songwriting very well. 

Verron's vocals are strong while not being a highlight, they suit the atmosphere. There's a few harsh vocals moments that are appropriate and well placed throughout. "Through the Window" reminded me of the clean vocals from later Enslaved, that kind of drone chant was pretty enjoyable. He's not a powerhouse like we often encounter in doom and he's placed appropriately low in the mix to make up for that, they know their strengths.

Conviction, a band of French dudes in their 40s definitely know what they're doing. It's great doom with a sound they gathered from what they liked in the 1990s combined with the regressive modern sensibilities of bands like The Gates of Slumber. Bereft, masterful and evocative, Conviction will convince you. Yes, sorry, I went there.

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The Baguette Doom Series XIX and XX - Le Strasbourg Spécial with Monoatomic God - Astronaut Witch Bootcamp (2020) & Dionysiaque - Dionysiaque (2018)

 

Monoatomic God - Astronaut Witch Bootcamp (2020) / 75%

The Baguette Doom Series pt. XIX: Strasbourg I

The oddly named quartet impressed the hell out of me when I was working on the undying Band Queue of the Metal Archives and I knew I had to tackle their debut release for my Baguette Doom series. The band guided by the powerful vocals of Laetitia Convertini (great Astérix name!) was able to bring three condensed, strong but atmospheric nuggets of groovy doom/stoner on Astronaut Witch Bootcamp.

While probably inspired by the spacey themes and name of Mammoth Weed Wizard Bastard (or maybe a stoner metal name generator, who knows?), the French band doesn’t mess around with long psychedelic movements and approaches things differently. There’s still some cosmic touches here and there such as the synths on “Effroyable Sphère” or “Funeral Orbiter” but the songs are mid-paced and dynamic with riff driven tempos. In spirit, I was reminded of High Priest of Saturn but without the Om/Sleep worshiping. I’m surely mistaking here but the mix of ethereal female vocals with a psychedelic doom vibe reminded me of the Norwegian band. Monoatomic God incorporates strong 70s vibes in their blend too (Deep Purple, Rush?) with modern stoner sensibilities and it works pretty damn well. Sure, proto-metal plus stoner isn’t new (Spiritual Beggars, The Sword) but I felt their formula was fresh and somewhat exciting, especially for a debut extended play. Don’t expect something like Windhand or even Blackwater Holylight either, it’s not that sort of trance inducing doom/stoner with dreamy, fey vocals. We’re in groovy tight doom territories, the energy, the type of riffing and the vocal delivery reminds me of Castle as well and that’s certainly a good thing.

All in all, Monoatomic God delivers the goods on their debut EP, it’s hard rockin’ doom/stoner with strong melodies, catchy and well delivered vocals and a legit familiar but enjoyable spacey atmosphere. I’m stoked to hear more from them.

Monoatomic God on Bandcamp

Dionysiaque – Dionysiaque (2018) / 85%

The Baguette Doom Series pt. XIX: Strasbourg II

Probably named after the philosophical ideas (from Nietzsche) rather than a reference to Dionysos, the god of wine, Dionysiaque are one hell of a band and they're much too sad to be about parties and celebrations. Their first release comes off as a strong foray into traditional doom territories with overt dark atmospheres. Like some other French bands like Barabbas, they’re able to create a fairly unique take on a genre that’s too often at ease with worshiping the greats.

While their riffs are very good and the two guitars do bring an extra oomph to their compositions, their moods are perhaps the best thing about them. They have this occult, crypt feel akin to the best style of black metal. Some riffs (check out “Doctor Kerjentsev”) can almost bring us back to the proto extreme metal days (see Mortuary Drape, Celtic Frost) in their execution. The first two tracks (about four minutes each) are mid paced goodness while the third brings us something more solemn and slower but still full of fucking heavy riffs. The vocals of Nathaniel Colas are extremely good and fits the intent of the band like a glove. He alternates between some madmen cavernous clean chanting and some more putrid harsher tones. He sounds like he’s underground while the rest of the band is vanquishing the undead in the graveyard. I'm not asking for much more in life.

I don’t usually like cover songs but Dionysiaque picked an interesting one from an obscure 70s English band called Tractor. The hard rockin’ vibes fits their style well and it’s a cool ending for the demo, it's full of catchiness while having a quasi goth rock vibe, very nice. I’m pretty sure their debut full length will propel them to the doom metal Mount Olympus. Essential demo.

Dionysiaques on Bandcamp

Carcolh – Rising Sons of Saturn (2018) / 89%

The Baguette Doom Series pt. XVIII: Risen

Risen from the remnants of the promising but ultimately deceased Marble Chariot (read Baguettes V and XIV), Carloclh unleashed their debut full length back in March and they're now signed on the excellent Emanes Metal Records.

The French quintet from Bordeaux are able to go beyond the confines of traditional doom metal and find a sound of their own through the somber plains of the style. They don’t sound like anyone else and that’s already an important quality to have in 2018 doom when everyone are worshiping at the diminished altars of Electric Wizard or Sleep. Some French bands like Huata or Witchthroat Serpent are guilty of this misdemeanor. Not Carcolh. No sir.

Something important about Rising Sons of Saturn is that it never sounds derivative or forced to evolve in a certain niche. It’s authentic and it sounds authentic. From the natural and subtle production to the well written riffs (the most important component of doom), Carcolh has everything.

After an intriguing introduction with some piano intertwined with their riffs near the end, the real deal starts with the sorrowful but fat guitars of “Signs of the Afterlife” and we’re served more than forty minutes of top tier doom. Like any good doom bands, Carcolh knows that varying their tempos is the way to go. We have the fast gem in “Master of Midnight” and the slow dirge of the ten minutes epic “Into Eternity, I Will Rise Again” as dichotomous examples. They excel at all the speed they’re trying and they’re also able to keep the slower moments interesting.

In terms of likeness, they’re probably closer to Weird Light, France’s best hidden doom secret. Heavy riffs, dark atmosphere and grandiose clean vocals are their similarities. If Carcolh’s riffs were not as good as they are, the vocals of Sébastien Fanton would be the highlight. He’s even better here than he was with Marble Chariot. His strongest strength is his ability to be rough and moody while at the same time keeping things clean. Fanton’s approach is diverse but like the whole band, it’s focused and nothing is out of place. He gives us his best performance on the heartfelt “And the Sun Died”. On the other hand, the top notch solos of Olivier Blanc (now gone from the band) add another layer of musicality to Carcolh and I hope they’ll be as effective on their future releases. I’d take more bass in the mix next time though, it’s there, I can feel it but I’d like to shake a bit more.

From atmospheric and brooding to catchy and robust, the seven songs record explores many facets from trad doom that aren’t always combined under the same umbrella. They mix them with ease and panache and were able to release one of the top doom albums of the year alongside Acolytes of Moros, Dautha or Solemn Ceremony. What Carcolh offers us is trad doom that can play in the major league and for a rookie, it’s impressive. It’s obvious that those dudes aren’t novices. They clearly knew what sound they wanted and they did an impressive job with their debut full length. Support French doom. Supremely good baguette.

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Metal Bounty Hunter: Volume 9

Brought to you by the Hound

Unru - Als Tier Ist Der Mensch Nichts (2016) / 80%

Oppressive incestuous post black

This German quartet's debut album (that we can translate to "As an animal, man is nothing") is a brief voyage into the oppressive minds of their songwriters. Rooted in both black metal and hardcore (crust, post hardcore...), the four songs managed to incorporate the pure hatred and violent conviction of all their influences. The drums are buried under the loud and atmospheric guitars but I liked the way they were recorded, it seems to be natural and fits the aggressive yet pensive identity of Unru.

I guess we could say that they're a post black metal band but there's nothing fancy, comforting or joyful about their music. The vocals are deep howls and combined with the instrumentation, it's like walking in an old post World War II disaffected military complex, it's cold and suffocating in the best way possible. If you like the numerous incestuous explorations of black metal and hardcore, this is a band to check out. The lengthy songs made this an exhausting but rewarding experience.

Dautha - Den förste (2016) / 83%

Sweden's new trad doom titanI do think that Griftegård only managing to release one full-length is a tragedy in itself but if we ignore this first world problem, I’m quite happy that Ola Blomkvist (guitars, lyrics, direction) is back with a new traditional doom project and it’s well worth the time for everyone who likes the style. While not reinventing the classic wheel of doom, the integration of some beautiful violins is refreshing in something else than melodic doom/death or goth metal à la My Dying Bride. After a brief intro (translated to “Adulterers should be killed”), we’re served two excellent mid-paced numbers with epic soaring clean vocals and terrific riffs. Definitely influenced by the medieval period and religions, Dautha’s music is classy, engaging and played by talented Swedish veterans. Let us rejoice when darkness thrive / Oh, this is Hell but we shall laugh This is a demo but the quality of the songs and the production made me wish it wasn’t. Unfortunately the handmade packaging limited to 78 copies is sold out but I’m sure we won’t have to wait too long before we get more material from these guys. Well, I hope so.

Nails – You Will Never Be One of Us (2016) / 97%
Nine Inch Cocks

Signing to Nuclear Blast definitely made Nails sellouts, right? Oh fuck no it didn’t. The Californian trio unleashed their longest album ever (still only 21 minutes) and it’s one of the perfect outlet for aggression and violence I’ve ever heard. The band got added to the Metal Archives due to this record and rightfully so, I could compare it to the movie Alien, a cinema classic classified as both horror and science fiction… Well, YWNBOOU borrows as much from hardcore as it does from metal. Nails puts classic grindcore, old Swedish death metal, powerviolence, crust, Slayer-ish thrash in a dirty blender and crush the mixture till it’s just perfectly bloody.

Just like “Unsilent Death” or Abandon All Life, most of the tracks are short motherfuckers who will slam your head and make you jump everywhere. They never forget to write compelling and truly awesome riffs such as in “Into Quietus” and end the album with a monstrous eight minutes track containing everything they ever been known for. Slow pummeling riffs, spiteful vocals and fast destruction. I was really happy when they played “They Come Crawling Back” live as it’s one hell of a track. The best extreme album of 2016.

"VIOLENCE IS FOREVER"

Pillars – Pyres and Gallows (2016) / 70%

The Baguette Doom Series pt. XVII: Nice

The quartet from Nice (not pronounced like you think) plays heavy as hell doom metal without turning into a stoner band. The vocals of Clément Flandrois are rough, sort of harsh and would fit a southern metal band. The dude has a lot of range though and shows how good he is on the 10 minutes title track.

Many French bands actually sound like they’re from the American south and I’m not totally sure why (check out Glorior Belli and their southern black metal sound) and Pillars are definitely one of them. I mean, it’s subtle, don’t expect to hear some classless Hellyeah worship here, it’s still trad doom with obese riffs and a sad lyrical approach. This debut extended play has no obvious problems, it’s honest, well written and even has this blackened feel not usually present in this style of metal. Nevertheless, they could streamline their compositions a little and there’s a certain lack of memorability on there.

Deathbringer - From Silence Was Born The Sound of Death (2016) / 75%
Unsilent death/black

Montréal’s Deathbringer plays a savage and natural sort of death/black metal. Their debut full length, a short affair sounds like a demented Immolation at times. There’s an obvious focus on riffs and the album is full of great catchy ones. The production job was kept willingly raw and when I first heard a track from the album, I wasn’t quite sure it was the right decision but now that I’ve heard the full thing, I do think it fits the atmosphere they were going for.

Vocal wise, there’s a mix of cavernous growls, high pitched screams (both apparent on the last track “Bone Weaver”) and also some cleans (“By the Will of God”). The singer is one of the best aspects of Deathbringer, it adds to the dual identity of the band and their fluid back and forth between death and black metal. Even if they’re Canadian, they’re not really war metal, their core is death metal and there’s even doomy influences at times. War metal for me must be black metal with additional elements coming from death and grind.

All in all, it’s a strong debut for Deathbringer, they understood that riffs are the primordial element to make your band worthwhile and even though they kept the mastering and mixing lo-fi and raw, it makes the songs shine in the darkness.

Metal Bounty Hunter: Volume 6

Yellow Eyes – Sick with Bloom (2015) / 79%
Gilead Media
"Behind Yellow Eyes" - Fred Durst

New York is definitely a hot bed for “hipster” black metal with Krallice at the forefront (sup Colin Marston) and Yellow Eyes fits the scene. While I’ll admit I’m not the biggest fan of dissonant black metal, I do appreciate the genre and I don’t think it’s the worst thing to ever happen to the underground. While not as discordant and “technical” as Krallice, Yellow Eyes do share a lot of similarities with them in the way they compose their songs and riffs. Their six compositions are all somewhat on the long side with loads of well written riffs and buried yet enjoyable typical screams. While not an atmospheric band per se, tracks like “The Mangrove, The Preserver” explores a more natural territory than most of their counterparts without turning too much into hippie/tree lovers like Wolves in the Throne Room or Skagos. Nonetheless, the excellent closer “Ice in the Spring” certain has this forest feel with its ethereal outro full of cicadas and subtle acoustic guitar

Band members Will and Sam Skarstad (no, it’s not a Viking metal band) self produced the album and they were able to retain this vivid raw sound and it was for the best, really. I can’t wait to see these guys in Montréal when they’ll play with Forn.

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Witchthroat Serpent – Sang-dragon (2016) / 54%

Deadlight Entertainment

The Baguette Doom Series pt. XVI: Cloning

The big trend in doom metal right is to sound like Electric Wizard. This French trio is quite good at it, perhaps too good even. The main problem of this scene is the fixation on the SOUND and the AMPS. I mean it’s one of the reasons it’s getting more and more popular with the non traditional metal crowds. It’s LOUD music. If you know your doom, you’ll get nothing new with Witchthroat Serpent, even their name is inspired by the used, unoriginal tropes of the genre. What you’re getting here is the standard doom/stoner clean vocals (not as buried as usual) with heavy, mid-paced to slow riffing and efficient bluesy solos. I mean, it’s not bad at all, it’s even pretty good sometimes (“Into the Black Wood”) but it’s just mundane. There’s too many bands playing this style and the scene is saturated. Be an innovator, not a follower. If you can’t wait for the next EW album, check this out.

Altarage – NIHL (2016) / 93%
Iron Bonehead/Doomentia Records/Sentient Ruin Laboratories

Basque annihilation

I really liked Altarage’s debut demo (both tracks reappear here) released last year and I was expecting something great for their debut full length, I’m far from disappointed. This is perhaps the heaviest and most insane album of the year, it’s mindblowing good. It’s primitive death/black metal with a strong war metal attitude, they’re usually in an insane crushing vibe but they can deliver on the occult atmospheric side as well (such as the debut of “Graehence”). As expected, the drumming is super fast, the guitars are so loud and heavy that their sound just creates a loud but totally blissful and enjoyable mess. Sure, it’s repetitive but so is life, death is the only solution and these guys certainly kill everything they encounter.

Think of Adversarial but add some grind intensity, a more vicious attitude and an additional thickness and you wouldn’t be too far from what Altarage plays. Their music and pummeling guitars are so intense that NIHL becomes some sort of trance experience that will nail you to your chair Nightmarish music that would make our ancestors kill themselves out of fear. All hail nihilism, the Earth is doomed anyway.

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Geryon – The Wound and the Bow (2016) / 83%

Profound Lore Records

Bass n' drums abstract exploration

This band formed by the rhythm section of Krallice (yes, them again) is quite interesting. It’s some sort of bass and drums exploration into cacophonous experimental death metal. They’re like Neoandertals if the Estonian band wasn’t terrible and hilarious. The bass playing of McMaster is perfect in all its dissonant glory, as a novice (if I can call myself a novice at all) bass player, it’s fun to hear the instrument at the forefront. Compared to what I’ve heard from the debut, this is more experimental and less than trying to play death metal without guitars. The drumming of Weinstein is jazzy and full of subtleties, he really shows how good he is on the closer “Dioscuri” and its long extended instrumental moments. There’s not a lot of vocals but when McMaster sings, it’s deep vitriolic harsh vox with a sludgey feel. It's meditative, entrancing material with a simple and uncomplicated yet technical approach, I think the cover art done by the bassist/vocalist is a good representation of how abstract the whole thing is.

It may seem like a pretentious fest played by NY snobs but it’s actually highly emotional in the same sense that improvisational jazz can be, it’s metal that’s free of conventions, rigid ideas of what the “metaldom” should be and should like. It “transcends” labels and isn’t for the narrow minded. Post-black? Avant-garde? Experimental? Who cares, it’s intelligent and well played.

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Hexenjäger – Black Titan (2016) / 79%

The Baguette Doom Series pt. XV : Chasseur de sorcières

After a decent demo released last year, the French quartet from Saint-Nazaire unleashed their debut full length this week and it's a definite improvement on their previous release. 

The album, divided in two parts, is massive and flows very well. The first three songs are all around six minutes and they're quite groovy numbers. As for the the fourth title track, it's almost twenty minutes and it's more exploratory and slower. It takes like six minutes for the heaviness to start as it has a bass heavy introduction not too dissimilar from Reverend Bizarre's epic track “Anywhere Out of this World”.

Merging traditional doom with stoner metal/rock and some subtle hints of sludge (in the instrumentation), Hexenjäger knows how to combine the crushing bass thematics of stoner with a melodic edge full of bluesy guitar aerobics and dynamic solos. Obvious fans of Cathedral and Kyuss, the sole guitar has this crunchy yet round feel and they deliver many powerful riffs helped by the solid production. The vocals of Charly are also on the forefront and they're totally enjoyable. The Frenchman has a lot of range and evolves mostly in a stoner metal vocal style but still not as rough as Ben Ward (Orange Goblin) and he definitely likes Lee Dorrian (Cathedral) but he's not as weird and out there.

I really like when this style of music doesn't mess around and keeps things relatively brief and contained, four tracks, a bit less than forty minutes is all you need sometimes. The riffs are efficicient, everything is at it rightful place and it's simply a very enjoyable first full length from these guys.

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Northwinds/Marble Chariot Split 10 inches (2015) / 85%

The Baguette Doom Series pt. XIV: 10 inches of doom

For this edition of the Baguette series, I have an interesting split to tackle. The 10” features two of the previously reviewed bands of this series, on one side we have the newcomers of Marble Chariot and on the other, we have the veterans of Northwinds. The two French artists both evolve in the traditional doom metal genres but there's still some differences to be found in their respective approaches.

Side A – Northwinds – Witchcoven

Wizards in black, with dark wings on their back

Witchcoven, mortals are living in fear

The Parisian quartet's song is a strong slab of folky doom. The eight minutes number starts with a soft flute intro with a lovely acoustic guitar and the soft vocals of drummer Sylvain Auvé. I think his voice, while heavily accented in English, was always a good fit for the band as it can adapt to both the softer or the heavier side of their music. After the calm introduction, the wind starts blowing and this music is intertwined with crows singing their prayers, you can feel the metal approaching and the riffs are starting to appear. Northwinds are masters (of Magic? Read my review for their 2001 album here) at combining progressive rock, folk à la Jethro Tull and old school doom metal and this song is no exception. It rocks hard but still has many prog elements like this ethereal piano. The song ends with a blistering classic metal solo and some synths demonstrating that they once again offered a varied trip with the length of one song.

Side B: Marble Chariot – Darkness Descends

There's nothing else but shattered dreams

Imploring eyes questioning me

Sharing its name with the seminal classic of Dark Angel, this track from the trio of Bordeaux improves the sound found on their first extended play (and sole release before this split). They play a totally sad and crushing version of trad doom mostly inspired by the slow, bass heavy formula of Reverend Bizarre (one of the main influences in trad doom these days and that's fine with me). Sébastien Fanton's vocals are stronger and possess a clearer sense of operatic might than before, he simply got better in my opinion. There's also some harsh background vocals included here and it gives a somewhat darker tone to the track. Another thing the band improved is their pacing issues, “The Burden is So Heavy” had two ten plus minutes and they were dragging a little too much and had some uninteresting parts, “Darkness Descends” is a long song but the riffs, the solos and everything else are all better. Their doom is honest, well written and despite the simplistic nature of their identity, it's subtle and rewarding. I think this is proving that the band is ready to finally unleash a full length album. They have the adequate production, the huge bass tone and the miserable lyrics, come on guys, I'm waiting!

I'm a bit sad both songs are in English but doom tries to unleash its despair to every living souls on Earth and the tongue of Shakespeare is the way to go. Nevertheless, it would had been fun to hear more French doom in French, you know. Outside of this linguistic matter, it's a strong split with two very good tracks. They fit very well together even though Northwinds is usually much more serene and almost joyful at times while their companion here are totally about loving misery and despair. This split is showcasing a band at the peak of their art with Northwinds and one that's becoming pretty damn good at theirs with Marble Chariot.

Thanks to Marble Chariot for the vinyl.

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