It’s often assumed that doom metal is merely a retro genre that refers exclusively back to the 70s and 80s. But there’s another possible story. Doom didn’t even really exist in the 70s. Sure, Black Sabbath has a handful of proto-doom songs, particularly on Master Of Reality that are clearly the launchpad of the genre. Pentagram ran with it, but no one really noticed until the mid-80s. There are undeniably some classics in the 80s from Pentagram, Saint Vitus, Candlemass, Trouble, The Obsessed, Pagan Altar and Witchfinder General. But doom is a slow moving beast, and kept growing and expanding through the 00s, and arguably is enjoying its biggest audience ever right now. Black Sabbath may have never directly acknowledged being part of doom to my knowledge [update, in a recent interview Iommi did say they've used the term from day one], but something influenced them to revisit their early 70s sound, resulting in 13 being undeniably doomy. Pentagram was featured in a documentary and seem to be at peak popularity along with Saint Vitus, along with younger bands like Pallbearer and Witch Mountain. We’ve seen some big releases recently from Pallbearer, Earth and YOB (all of whom were featured on the covers of glossy magazines that don’t always focus on doom like Decibel and Rock-A-Rolla. Anticipation for Electric Wizard’s eighth album seems more feverish than even the tortured, extended wait between Come My Fanatics… (1997) and Dopethrone (2000).
Electric Wizard – Time To Die (Spinefarm)
If there was ever case of my being a big fan of a band I wouldn’t necessarily want to know personally, it’s Electric Wizard. Jus Oborn by most accounts seems to be extremely difficult to work with. Alienating his biggest longtime supporter Lee Dorian and his Rise Above label was pretty pointless. They somehow figured they’d have more control over their destiny by starting their own label Witchfinder, and release the new album in May. That obviously didn’t work out, and they ended up with Finnish label Spinefarm, who has the distribution muscle of Universal Music Group. The label has developed a pretty large metal roster since 1999 and should be fine. Meanwhile, Oborn moved further out into the countryside to percolate in his misanthropic lair with wife and bandmate Liz Buckingham who joined in 2003. He lured original drummer Mark Greening back long enough to record the album before unceremoniously dumping him again, and hired bassist Clayton Burgess to replace Glenn Charman. Burgess also leads his own great band Satan’s Satyrs. Continue reading