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2 days ago · Doom metal's roots go back to the late 1960s and early 1970s, particularly with Black Sabbath, whose slow, blues-influenced style and dark themes pioneered the sound. Tracks like Black Sabbath, N.I.B., and Electric Funeral introduced a newfound heaviness and an atmosphere of dread that contrasted sharply with the faster tempos and optimistic themes of rock music at the time.
What we now call doom metal, began in the early 1970s with Black Sabbath. At the time, the genre didn't exist, so bands playing this style back then, would get lumped into the hard rock, and later heavy metal category. It wasn't until the early 1980s (with bands such as Saint Vitus, Trouble, and Candlemass) that doom metal was recognized as a ...
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One of the first bands to tap into the new, blackened spirit of doom was Alexandria, Virginia’s Pentagram, who injected their songs with the sounds of Blue Cheer, Jethro Tull and Uriah Heep. Frontman Bobby Liebling—a volatile individual with a long history of heroin addiction and a recent reputation for of misogyny—was prolific from the start, and wrote dozens of songs in the band’s first few years of existence. But aside from a few singles Pentagram put out between 1973 and 1979, they were l...
Over the decades, U.S. doom metal mainstay Scott “Wino” Weinrich has performed in Saint Vitus, The Hidden Hand, Spirit Caravan, Wino, Place of Skulls and Shrinebuilder. But the doom veteran got his start back in 1976 in the Potomac, Maryland group Warhorse, which in 1980 changed its name to The Obsessed. As with other early doom bands, it would take nearly a decade for the public to catch up with the group, which played scorching punk-tinged doom. By then, the band had broken up and Wino had...
Saint Vitus formed in Los Angeles in 1981and named themselves after the Black Sabbath song “Saint Vitus Dance.” Their original vocalist was Scott Reagers, but the band became best known as Wino’s vehicle; he joined in 1986 and played on their most popular albums. While Saint Vitus were clearly proponents of doom, and favored ominous trills, snarling wah-wah bursts, sprawling rhythms and histrionic vocals, they were signed to Black Flag guitarist Greg Ginn’s SST Records, which encouraged them...
One of the pioneers of funeral doom—a subgenre that emphasizes sluggish tempos and focuses more intently on depression than fantasy or the occult—Finland quartet Skepticism formed in 1991. At first, they played death metal, but they soon slammed the brakes on their rhythms and brought baleful keyboards to the forefront of their elongated songs. Their debut full-length, Stormcrowfleet, combined raspy vocals with intertwining guitar lines and sparse beats, making waves in the depressive metal u...
After leaving the hardcore bands Sore Throat and Warfear, guitarist Rich Walker formed Solstice in Dewsbury, England in 1990. Like Napalm Death’s vocalist Lee Dorian, who helped form the influential Cathedral, Walker found more emotional resonance in slower tempos and more defined guitar parts than he did in hardcore. He also drew the emphasis to melody, complementing the band’s tuneful vocals with a range of counter-riffs and harmonic licks. Solstice’s debut album, 1994’s Lamentations, remai...
One of the pioneering bands of the stoner/doom era along with Sleep, Orange Goblin formed in 1990 in London and soon shared the peace pipe with Cathedral frontman Lee Dorian, who signed them to his label Rise Above. The band’s 1997 debut, Frequencies From Planet Ten, established the template with nasal vocals, fuzzed-out rhythms, and psychedelic leads that borrowed from Black Sabbath, Trouble, Saint Vitus, and Cathedral. Modifications came with the desert rock influences of 2002’s Coup de Gra...
Since emerging from Salt Lake City, Utah, SubRosa have reinvented the tenets of doom by making violins their music’s primary instrument and relying on the elegiac twin vocals of Rebecca Vernon and Sarah Pendleton to express themes of sadness, disillusionment, and mortality. While the music is heavy, the guitars play second fiddle to the mournful strings, offsetting the quivering lead passages with delicate arpeggios and dense backing riffs. With their fourth full-length, For This We Fought th...
It sometimes takes bands a few albums to build momentum. That wasn’t the case for Little Rock, Arkansas quartet Pallbearer, whose 2012 debut Sorrow and Extinction took all the lessons from Sabbath, Trouble, Candlemass, and Sleep and codified them into an emotional exorcism that echoed, throbbed, and tumbled like a warehouse in the epicenter of an earthquake. The hipsters and doomsters both loved it. As daunting as it was to create a follow-up, Pallbearer did so in less than a year with the he...
After 10 years as a droning, expansive stoner metal band, Eugene, Oregon trio Yob decided to break up in 2006 and explore other career options. When nothing stuck, they reformed in 2009 with a revamped lineup and continued pretty much where they left off, writing lengthy, psychedelic workouts that ebbed and flow indefatigably, building in power and intensity along the way. The band’s sixth album, Atma,features five songs that trudge, crash, and buzz like the best of Sleep. But the vocals are...
This Richmond, Virginia quintet rely on female vocalist Dorthia Cottrell to provide their mid-paced clamor with a haunting ethereal touch. The band fine-tuned the formula for two solid albums, 2012’s Windhand and 2013’s Soma. But it was with their third full-length offering, Grief’s Infernal Flower, in 2015, with which Windhand hit full stride. Cottrell’s voice ranges from melancholy to agonized, and when her bandmates embellish the songs with vocal harmonies, as on “Tanngrisner” and “Hyperio...
Formed in 2004 when former members of Norwegian black metal band Gorgoroth got tired of playing frantic, blasphemous music, they formed Sahg—initially a doom band dedicated to emulating the post-Black Sabbath sounds of Trouble, Candlemass, and Cathedral. Twelve years and five releases later, Sahg can still write chunky palm-muted riffs and eerie, minor-key arrangements, but they’ve evolved far beyond their roots, and are now injecting their style of doom with otherworldly atmospheres, psyched...
Faster and more energetic than most “doom” outfits, Portland Oregon, quartet Red Fang set the bar high for themselves with the stoner metal gem “Prehistoric Dog” from their 2008 self-titled debut, which blended the infectious riffage of Kyuss with the jetpack propulsion of Mastodon. Their music hasn’t radically shifted since then, but it has become more intricate, evolved, and consistent. Red Fang’s third full-length, 2013’s Whales and Leechesincorporates more bridges and middle-eighths betwe...
Songs that sound like this image Making a playlist that’s comprised of doom, psychedelic music , type o negative type stuff , pagan-esque music , any music I’d appreciate though comments sorted by Best Top New Controversial Q&A Add a Comment
- Black Sabbath – Black Sabbath. Obviously. Even though doom wasn’t a thing at the time – indeed, in the ’70s ‘heavy metal’ was an insult; something lumpen and downfacing – with this opening throw from their self-titled debut, Sabbath can be credited with not only drawing the line in the sand between heavy rock and the newer, more sinister sound of metal, but also defined a shadowy corner of it that would slowly bloom over the next half a century.
- Pagan Altar – Judgement Of The Dead. One thing you will learn from this list: many, many of the bands who would go on to become highly influential cornerstones of doom had to age and mature before finally getting the respect they deserve from a generation after their own, their names often surviving on bootlegs and the enthusiasm of a handful of dyed-in-the-wool doom maniacs.
- Witchfinder General – Witchfinder General. Straight outta Stourbridge, what Witchfinder General brought to the New Wave Of British Heavy Metal was a sense of an older England, one where witches and magic lurked in every tavern, public executions were a good afternoon out and, um, where you sniffed up speed ‘through a biro case’ (as they sang on the drug-menu that was Free Country).
- Trouble – The Tempter. The legend goes that during a show with Chicago’s Trouble waaaaay back in the day, Metallica were so envious of guitarists Bruce Franklin and Rick Wartell’s guitar tones that they snuck onstage and wrote down their amp settings for themselves.
May 29, 2010 · After YTMND screwed the audio on the original site, I decided to work on it again and upload to Youtube! I had to adjust the GIF and the audio was re-worked ...
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Jun 7, 2022 · June 7, 2022. The Swedish band’s 1986 debut balanced lumbering riffs and operatic drama, spawning the genre of epic doom metal. This reissue pairs its crushing, rough-hewn songs with demos and ...
