Tag Archives: Evoken

The Best Metal Albums of 2018

best-metal-2018It’s a bit trite to say that 2018 was a good year for metal; every year is a good year for metal, if you’re willing to put in the legwork. Yet the range of this year’s crop of great albums is particularly impressive. Metalheads were fortunate enough to get multiple new entrants to the canons of funeral doom, atmospheric black metal, old-school death metal, Euro-style power metal, and more. Each one of the albums below (listed alphabetically) is worth spending the rest of your life getting to know.

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The Best Metal on Bandcamp: November 2018

Metal

November’s best metal on Bandcamp includes a wide range of permutations of doom, black, and death metal, plus an oddball hard rock record from Australia that feels like a time warp to the London of the late 1970s.

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Doom Metal: A Brief Timeline

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Sleep “Dopesmoker”

The core sound of doom metal is instantly recognizable—and has been for more than 45 years. No one’s going to confuse doom with death, thrash, or black metal. And even though modern practitioners of the form have modified the structure, blended it with other subgenres, and sped up or slowed down the tempos, doom will always have its place in the lexicon of metal.

The structure of the music is rooted in the same scales as the blues, and doom’s emotional impact parallels the drained, downcast spirit of artists like Robert Johnson and Son House. But the sound is amped up and magnified so the tone isn’t just sad, it’s mean and disconsolate too. From the moment Black Sabbath broke through with their self-titled debut in 1970—essentially defining metal in the process—they laid the foundation for doom.

Doom affects the gut and the psyche, conveying sensations of darkness and foreboding with fuzzed out guitars, mid-paced tempos and generally morose vocals. Groove is paramount, as is a certain amount of repetition, generally achieved with crunching, palm-muted guitar chords complimentary, minor key melodies and rhythms that wax and wane, only to rise again. Sometimes there are organs, samples, and variations in musical complexity. These sonic shifts are what have helped sustain the genre from one generation to the next. But even without the musical modifications, doom is forever because dread and grief are universal—and musicians will always be drawn to express universal feelings of anger, hopelessness, fear, and sadness.

Once bands in the ‘70s heard Black Sabbath and Paranoid (which came out later that same year),  they were indelibly impacted; some started tuning down their guitars, plugging into overdriven distortion pedals and writing the loudest and ugliest dirges they could conceive of. Between the substances they were consuming, the wave of occult literature they were drawn to by Anton Szandor LaVey, Aleister Crowley, and Austin Osman Spare, and popular films like Rosemary’s Baby and The Exorcist, a sinister, depression-fueled spirit spread through the counterculture and stoked the growing flames of metal. And once doom had a foothold in the music form it would never be the same.

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