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WOODS OF YPRES Featured In New CBC News Windsor Report; Deepest Roots Biography In The Works

https://bravewords.com/news/woods-of-ypres-featured-in-new-cbc-news-windsor-report-deepest-roots-biography-in-the-works/

#WOODSOFYPRES #CBC #FeaturedInNew #NewsWindsorReport #doommetal #album #newrelease #EP #BraveWords #metal #music

Angry Metal Guy Sep 19, 2025

Novembers Doom – Major Arcana Review

By Steel Druhm

Chicago’s Novembers Doom have charted a unique course for themselves over the last 30 years. Their unnatural pairing of beefy, cargo-beshorted death metal and highly emotional doom originally felt unstable and liable to erupt into chaos at any moment, but over time, they became adept at finding the ideal balance between madman and sadboi. Albums like The Pale Haunt Departure and Hamartia were loaded with ripping riffs and plaintive gloom, and at their best, Novembers Doom can tear at the heartstrings even as they snap your neck. The wild swings from hugely emotional, weepy sadboi melancholy and femur-fracturing death could sometimes feel forced, but more often it just fucking worked. 2019s Nephilim Grove had big moments but felt underbaked with too much filler. It’s been almost six years since, but now we get their 12th album, Major Arcana, and hopefully, a rebound for these Autumnal leaf reapers of despair.

Nothing’s really changed in the way Novembers Doom approach their trade. After an ominous and forboding intro piece, they come out swinging on the massive title track and hit you like a runaway battleship with a wide collection of primal feelz. Grinding riffs are coated with Paul Kuhr’s excellent clean and death metal vocals as the intensity builds and Kuhr warns, “This has gone too far.” The way his vocals increase in intensity is gripping, and all the usual melodic tricks Novembers Doom are known for come to the fore. This is really good shit. Another high point comes with “Mercy,” where the band hits gold with an emotionally crushing piece that evokes Woods of Ypres, Pink Floyd, and latter-era Anthema. It will break your fucking heart with its beauty and poignancy. Also quite tasty is album centerpiece “Bleed Static,” which uses its 8-minute runtime to explore a variety of despondent emotions effectively. Elsewhere, “The Dance” sticks out for its very Amorphis-esque airy, melodic guitar work and a chorus that you can easily imagine Tomi Joutsen singing.

Unfortunately, the rest of Major Arcana doesn’t operate at this level, and though most tracks have something worthwhile to offer, they won’t whisk you away in a leafblower maelstrom. “Ravenous” is a basic melodeath tune that should run 3-4 minutes, but gets stretched to 6 for no good reason. The back third of the album is significantly less enthralling than the early tracks, and while the songs work in the context of the album, they aren’t especially captivating individually. At 56-plus minutes, it would have been easy to drop 2 or 3 tracks to deliver a leaner, meaner release, but that isn’t the Novembers Doom way. This is a mood piece kind of listen, though, and if you’re in the right state of mind, it will all drift by without much resistance.

As ever, Paul Kuhr is the epicenter of the band’s sound, and he does his usual first-rate job. His singing voice is so perfect for doom that he should run a clinic on it.1 He sounds so desperately hurt and broken on “Mercy” that you can’t help but want to give him a big hug and tell him everything will be OK. At times, his singing reminds me a lot of the late great Eric Wagner of Trouble, and that’s great company to be in. His death roars are also as good as ever, big, booming, nasty, and venomous. His transitions between extremes are smooth and well-timed, and he knows how to wring a song for the maximum emotional impact. Lawrence Roberts and Vito Marchese wield potent riff hammers that often feel like they belong on a caveman death metal platter. When they do lapse into doom and melancholic sadboi mode, they deliver the goods there too. On cuts like the title track, “Mercy,” and “Bleed Static,” you can feel the pathos dripping from their fretboards. I just wish they spread that quality more evenly across the whole record.

Albums like Major Arcana can end up a frustrating experience because you get a few really amazing songs and the remainder ends up looking pale in comparison, even if nothing is bad. Novembers Doom have struggled with this issue over their career, and both 2019s Nephilim Grove and this one are held back by inconsistent songcraft. This is a good release with really high points, but you’re left feeling it could be so much more. I want MOAR leaf doom, dammit!

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Prophecy Productions
Websites: novembersdoom1989.bandcamp.com | facebook.com/novembersdoom1989 | instagram.com/novembersdoom
Releases Worldwide: September 19th, 2025

#2025 #30 #AmericanMetal #DoomMetal #FieldsOfNephilim #MajorArcana #NovembersDoom #ProphecyProductions #Review #Reviews #Sep25 #WoodsOfYpres

Angry Metal Guy May 8, 2025

Esox – Watery Grave Review

By Thus Spoke

Pikes—the genus Esox—are perfect predators whose size and ferocity have made them somewhat legendary. However, as an emblem, they are somewhat understated and powerful but unobvious: literally hidden under the surface of the water, part of the sempiternal and vital river ecosystem. This lends weight to the already evident fact that Esox is an incredibly personal project for its creator, Federico Sturiale. 5 years in the making, Watery Grave tells the story of a suicidal drowning, with the drowner’s final reflections making up the album’s acts. It’s a tale that feels every bit as organic and raw as it ought to.

Watery Grave is atmoblack in the same way The Mantle-era Agalloch and Pursuit of the Sun-era Woods of Ypres were: unpolished, warm, and vaguely folky. It’s also somewhat gazey at times, channeling a little Alcest, albeit through a less glossy production. Coarse growls resonate over the blurred mélange of washing tremolos and pattering drumbeats, and cleans murmur softly over keyboard chords. There is little aggression beyond the harsh vocals and the odd fracas of blastbeats. A linear approach to songwriting, which yet maintains consistent themes, means tracks flow on with only subtle melodic reprises, if any. And on they do run, with half extending past ten minutes, and the closer grazing twenty. This fits with the overall river imagery, and complements the musical style as something to drift off to, as Esox indulges in many a meandering melodic tangent of mellow strums and dreamy synth.

Watery Grave is rough around the edges, but in a charming and organic way confined to its resonant, raw production and unshowy, deceptive simplicity of arrangements. Esox demonstrate a proficiency to craft truly beautiful little worlds of introspection, where gentle melodies weave between washes of tremolo, the harsh and soft styles blending brilliantly in builds and releases (“As I Descend Below the Water,” “Esox Lucius” “The River Nihilist”); it’s amazing how calming it can feel. Sometimes, it’s pure post, gazey, synthy peace (“Walden”); sometimes, more dynamic. Comparatively intense blackened passages give way to gentle ambience and plucking (“As I Descend…” “Livyatan Melvillei”), or melancholic post-metal (“The River Nihilist”), or a solemn, hazy section bursts into a colourful solo (“Esox Lucius,” “The River Nihilist”). The sounds of water, bubbles, and whale song amplify the insulation created by the unpolished master and peaceful themes, and the undulating current between the claustrophobically dense and the meditative spacious is felt dramatically, which deepens immersion. Emotion is tangible at such apexes, and this, in tandem with the sense of serenity, evokes well the notion of our protagonist sinking downwards, coming to peace with the world.

As pleasant to listen to as Watery Grave generally is, it hits a few snags that harm its flow. It seems a tad unfocused, mainly due to an apparent reluctance to edit. Synth-led “The Unbearable Cry of the Sea,” feels like an unnecessary interlude that flattens the impact of brilliant opener “As I Descend…”; continuing directly into “Livyatan Melvillei” would strengthen things substantially. Comparing this track to the other instrumental, “Walden,” it is clear from the latter that Esox can write a beautiful and moving interlude without sacrificing movement and mood. The longer cuts could all stand to lose a few minutes, but in particular, it is closer “The River Nihilist,” that suffers the most for its length. It goes through so many evolutions, via bridges of ambience and samples, that it seems to lose its way. The song’s potent and beautiful segments, which in isolation might be highlights—lose some of their shine, and the progress it does develop is awkwardly obscured. In a similar vein, “Livytan Melvillei” can strike the ears awkwardly in its more aggressive, organ-synth-accented first act, which is all but forgotten by its melodious second; again, it feels like coherence was an afterthought. This all makes Watery Grave a little frustrating, given other stirring and ethereal movements.1

And yet any imperfections Watery Grave may possess are easily forgivable, because of its poignancy and charm. This is a daydreamer album, and its blurred edges suit that perfectly. What it lacks in immediacy and strikingness, it makes up for in heart. There’s promise in here that I look forward to seeing developed next time Esox pull us underwater.

Rating: Good
DR: 9 | Format Reviewed: wav
Label: Self-Release
Websites: Bandcamp | Facebook
Releases Worldwide: May 9th, 2025

#2025 #30 #Agalloch #Alcest #Ambient #AtmosphericBlackMetal #BlackMetal #Blackgaze #Esox #ItalianMetal #May25 #Review #Reviews #SelfReleased #Shoegaze #WateryGrave #WoodsOfYpres