Have you not been prophesied your doom yet?

Today we will discuss the fabled lore of Death/Doom. Actually today is the day we shall talk of Rïcïnn, who doesn’t have anything to do with doom, ’cause I promised so last time, but also of one Death/Doom band called Kuolemanlaakso. I was supposed to write about many a death/doom’s finest band, but Bearville is in trouble again and as Bilbo so eloquently put it: “I feel thin, sort of stretched, like butter scraped over too much bread.” I didn’t do much news hunting either, but here are a few remarkable things that have happened as of late

• Acid King‘s new album was finally released. Head here for a review of it.
• Dopethrone released Hochelaga (you will want to listen to it here), a very good album of stoner and sludge and doom and dying and misery and…
• Shape of Despair will release Monotony Fields on June 15th, their first album since 2004 and the first release with new vocalist Henri Koivula.
• All of Kuolemanlaakso’s covers have been created by Maahy, check his FB here and homepage here.

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Kuolemanlaakso

Kuolemanlaakso began when Triptykon‘s debut hit the ears of Markus Laakso, and as a result he started to write songs unfitting for his project, Chaosweaver. He recruited an able band of rascals including Mikko Kotamäki (Swallow The Sun, ex-Barren Earth, ex-Alghazanth), Usva (ex?-The Nibiruan, Elenium), Tiera (Backstabbing Bastard) and Kouta (Chaosweaver, ex-Verjnuarmu) and recorded an album filled with killer riffs, string bending, Kotamäki-growl-generation at its best, string bending, lyrics inspired by forests and Eino Leino, oh and string bending. Kuolemanlaakso don’t fall into the usual pits of Death/Doom in that there’s variation in their songs, whether it’s a faster pit-enabler like “Kalmoskooppi” or “Ikiuni” or an acoustic jazz tribute to Twin Peaks a’la “Glastonburyn Lehto“.  The EP version of Me Vaellamme Yössä is a most delightful example of keeping doom on the short side without sacrificing the thunder. Plus, it’s got pretty nice melodies.

Both of Kuolemanlaakso’s albums (Uljas Uusi Maailma 2012, Tulijoutsen 2014) and their EP (Musta Aurinko Nousee 2013) have been produced by V. Santura (Triptykon, Dark Fortress, Noneuclid), and he’s been playing additional guitar on them, a likely explanation for the Triptykon-like vibe of the band. Now I liked Eparistera Daimones and enjoyed Tom’s newest band’s sophomore to an extent too, but Kuolemanlaakso is easily the best thing that band has ever led to. But Kuolemanlaakso isn’t some blatant Tom Warrior or My Dying Bride worship. Tuonen Tähtivyö may wear these influences on its sleeve, but it’s a beast of its own, even adding distance to Kuolemanlaakso’s own game.

Like any Doom/Death band should, Kuolemanlaakso knows the art of crushing and memorable riffwork, lingering atmosphere and wormhole-tearing-vocal-power, combined with enough dynamics (even quite a few clean vocals sections, although the growls are still more prominent) in each song to keep boredom forever away. Their albums have each been highlights of their respective years. Songs like “Aarnivalkea“, “Verihaaksi” and “Nostos & Algos” are some of the best death/doom-anthems ever written. Yet I feel most drawn to songs like “Aurinko”; it’s slow, harsh, remorseless, and merciless. All of this is despite the somber and woeful singing piano strokes. Now, like them on FB and take two good goddamn guesses whether Kuolemanlaakso is signed to Svart Records or not.

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Rïcïnn

She was the vocalist of Corpo-Mente and the other vocalist of Öxxö Xööx, both excellent bands covered here last time. As I said in the introduction, this has very little to do with doom or indeed metal music. Blood Music, her excellent label, has called her music Funeral Opera. It’s dreamy, leisurely, and surging, loaded with vocal brilliance and an effortless flow.

Rïcïnn is preparing to release her debut on blood Music later this year. Like her on Facebook.

I’m really sorry, I ought to say more but A) there’s already too much music in this edition. If you check all the links, you will find enough for the remainder of the day.

B) This piece is getting lengthy already, and most importantly

C) This bread is really, really big and I’m so small.

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