The British band Moss
(guitarist Dom Finbow, drummer Chris Chantler, vocalist Olly Pearson)
released one of the most
creative albums of doom-metal in the new century:
The 21-minute Crypts of Somnambulance unleashes minute after minute of
slow burning guitar riffs,
catatonic drum beats and miasmatic spasms.
The monotony is broken only at the eight-minute mark by a drilling glissando.
The 30-minute The Gate is even more agonizingly slower, basically
a symphony of one buzzing drone with some howling maniac in the background
(the last 14 minutes are silent).
Sub Templum (Candlelight, 2008) contains
the 23-minute Subterraen, in which the vocals actually try to
tell a story and the rhythm acquires a factory-like quality,
the nine-minute Dragged to the Roots, which is more of the same (and
it is not clear why it constitutes a separate track),
and the 35-minute three-movement suite Gate III, as
glacial, solemn and suspenseful as it is uneventful.
The EP Tombs Of The Blind Drugged (Candlelight, 2009) added three
lengthy meditations on death (and a Discharge cover). The slow bass rumble of
the first two albums is a little less obsessive.
Nonetheless, Skeletal Keys is so anemic that it continuously feels like
it is going to collapse. In their tradition,
Tombs Of The Blind Drugged, is simply the second part of the same kind
of slow decay, except that it finally yields to a transition: an organ rises
where the guitars disappear.
Eternal Return restarts from a crackling guitar distortion and martial
drumming and achieves a much more devastating effect.
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