DREAD SOVEREIGN - All Hell's Martyrs (2014)

Genre: Doom Metal

Label: Ván Records

Rating: 9.75/10

Looking for some really good Doom? Like really, really good fucking Doom? Especially if that Doom is in a classical style? Look no further, Dread Sovereign will cure all your ills with their debut album, All Hell's Martyrs. Comprised of three members, Nemtheanga on bass and vocals, Bones on guitar, and Sol Dubh on drums.

After the soundbite intro track comes an ultra-traditional doom number called "13 Clergy to the Flames." For the most part Nemtheanga keeps his vocals different from how he sounds with Primordial - you'd never know it was him. The drums on this song kick ass, especially when the double bass kicks in. There is a very rocking solo at the end of the song. The next tune is a darker, heavier one entitled "Cthulhu Opiate Haze." The verse opens with some arpeggio, which switches to palm muted picking through wah being opened and closed, and the lick that comes after the chug is very evil. Eventually the drumbeat joins that rhythm and it sounds wicked. After this verse, the song sort of spaces out until about 6:20. This riff will stick in your craw. At about 7:40 the guitar solos and creates odd noises; the bass holds an excellent rhythm sound underneath it. Track four, "The Devil's Venom," is an instrumental track; sounds like synthesiser and soundbites once more.

"Pray to the Devil in Man" is, from the very start, addictive; if you like doom, this will be like Morphine for your brain. Vocally, it's definitely Nemtheanga, but that's not at all a bad thing. The guitar riffage is priceless. The one that starts around 3:18 is assured to evoke the chills. After this, double bass drums come charging in under mid-paced guitar. This is just one very well-assembled song. Then comes one of my favourites from the album, "Scourging Iron." This song rules. The guitar just never stops being damn cool. I've been neglecting the bass, but it's just as good as the guitar, and has wonderful tone. At roughly the four minute mark is a ripping guitar solo. Eventually, the instruments die down, leaving the bass the plod on, the guitar to feedback, and the song ends. Track seven, "The Great Beast Speaks," is another instrumental in the vein of the previous ones.

"We Wield the Spear of Longinus" is another favourite of mine. I could probably say that about any of the songs on this fantastic album. It starts off very slow, at least relatively. When the guitar kicks in, it kicks in with fury. Around 6:35, the song transforms. It picks up speed. Then around 7:20 it kicks into high gear and rocks the fuck OUT. Lyrically, this song sounds like its a hymn to Satan. I like. The riffs and solos that follow are dramatic and orgasmic. After the climax of the song, the guitar fades with wah, leaving only distorted bass. Song nine, "Cathars to Their Doom," starts off slow, but immediately gets stuck in your head. Awesome, awesome chord progressions. Then it gets heavy. After the heavy riff it returns to and expands upon that amazing first chord progression. Repeat. Eventually he sings over this most excellent chord progression. At 4:36 the song goes through a transformation. One of the coolest riffs in recent memory occurs at 5:02. The vocals kick major amounts of arse in this part (666 CATHARS TO THEIR DOOM). Only Satan himself could write something this good... Once again, this song features a guitar he just shreds the shit out of, not in the lame eighties way, but the awesome seventies way.

And we come to the closing track (I'm actually depressed that in 13:some-odd minutes this album will be over). Track 10 is called "Live Through Martyrs - Transmissions From the Devil Star ," and to start, it begins with a haunted sounding guitar riff and sparse bass and drums. Around 2:20 this opens up nicely, and the vocals kill it, once again. I am convinced that Nemtheanga could not do poor vocals if he tried. He definitely has one of the best voices in metal. At any rate, it returns to that oozing, sparse riff. Once again to that open riff; it obviously has synthesiser over it, but it only increases the dramatic tension. The guitar has a solo at 6:57 through wah that is rather unique, it utilises a lot of lower notes. Around 8:45 there is a build-up in the drumming that is rather gradual, and then a guitar solo with fairly light drumming beneath it. It's basically soloing and jamming out on the bass and drums and synth for the rest of the song at this point. A fine way to close out such a spectacular album.

I truly did not want this album to end. If you are a poseur, if you are a neckbeard hipster who listens to atmospheric stoner/sludge, this album is not for you. If, however, you are up for some killer fucking doom metal, perhaps the best since Warning's Watching from a Distance, and at that an altogether different type of doom, with relatively "light" guitars and drums, then this is an album for you. It receives the highest score I've given an album yet, and I probably won't repeat it. This is my new favourite album.

Right now, vinyl is unavailable through Ván. You can purchase the CD here, or a digital copy from their Ván set up Bandcamp. I plan to track down that vinyl. I also can't wait for more from these guys.

BUY OR FUCKING DIE!!