Search - Novembers Doom :: To Welcome the Fade

One of the best Gothic Metal CDs of 2002!

Matthew | Pittsburgh | 12/07/2002

(5 out of 5 stars)

""To Welcome The Fade" is the fourth full-length studio release from November's Doom, the unsung veterans of America's relatively small Gothic/Doom metal scene. The band has been receiving favourable critical attention and sincere praise with each successive release. After the crushingly bleak and blissfully dark lamentations of their debut "Amid It's Hallowed Mirth" (my personal favourite release from the band), November's Doom has developed its own unique sound. Their densely layered and harmonic guitar sound instantly sets them apart from contemporaries. With this latest release, the band's sound seems to have reached a pristine perfection - rich in melody, intensely personal and magnificently expressive.Though the band is pure Doom in atmosphere and spirit, there are many bands currently active with a greater fidelity to harsher, colder funereal oppressiveness. While certainly nowhere near the realms of reaching commercial success, the band's latest collection of material is their most accessible yet, having the same progressive yet melodic qualities as Opeth, Katatonia, Dark Tranquility, and later My Dying Bride. The band's appeal will surely not be limited to fans of Doom alone, but the material comprising "To Welcome The Fade" stands alongside some of the greatest and authentic Gothic metal albums of the past decade. "Not The Strong" forebears any lengthy, long winded album intros, and instead plunges right into the thick of things with a burst of snapping drums and sweeping guitar galloping, accompanied by intelligible death growls. The song marches along through a melodic dual guitar serenade before sinking into a groove-oriented Sabbath-esque jam. Finally, it tumbles back into the moody melancholic harmonies that characterize the chorus and leave the listener mesmerized. "Broken" is also comprised of many rhythmic shifts, from the epic, shuffling crunch that starts the song to a slow watery guitar interlude that introduces the first clean male vocals on the disc, as well as the first appearance of female vocals. The female vocals at first did not sit very well with me. They weren't the usual willowy, weak angelic whines that many metal bands employ, nor were they an attempt at grandiose operatic soprano work. Though barren of the usual clichés, I at first found the vocals to be rather average, mid ranged alto vocals with nothing all that remarkable in character. The overall techniques and style would be more at home on any given pop rock, or dare I say, contemporary country record. Not what you would expect in a dark metal band, and at first they definitely seem painfully out of place. It is not until you get to "The Spirit Seed" and especially the album's outstanding highlight "Torn" that they begin to make sense. "Lost In A Day" continues along with cool shades of watery guitars and dense, fiery walls of heavy guitars. "Within My Flesh" is the album's `doomiest' track, with a lush acoustic intro that bursts into a sluggish, heart wrenching crescendo of gargantuan guitars and pounding drums. "If Forever" is a lovelorn acoustic ballad, with a powerful clean vocal performance and warm enveloping choir synths to thicken the sound. "The Spirit Seed" flows through various movements, funneling down from a thick heavy collage of guitars and striking vocal harmonies into a churning sea of acoustic and chorused electric guitar passages, and a more effective use of Nora O'Conner's vocals. But it is indeed "Torn" which stopped me dead in my tracks and riveted my attention from the first note to the final dissonant echo of power chords. A deceptive indie rock jangle opens the track before an encompassing swell of electric guitar arpeggios and deep drums break the silence for a sequence of multi-layered darkness. The song sports three vocal styles, each representing a different `character' - the female vocals sing of `life' where predictably the guttural vocals represent `death.' But in between is one of the sweetest and moving clean male vocal harmonies to represent `torn.' As I had mentioned, the female vocals here finally shine, and the simplicity and `common' realism that I at first disliked about her performance is exactly what makes them so poignant - the female figure is within reach, and attempts to calm the raging emotions of the song's protagonist. She represents strength, healing, and caring, and the beauty of this is in the optimistic hint that such a blessing is attainable. But the male vocalist's darker and ugly side is skeptical, afraid, and resisting in order to prevent himself from being hurt again. And then there is the part of him that is `torn' and yearns to be safe and finally begin the process of healing. But his fear ultimately prevents him from being saved. "It would take an eternity in Hell for my heart to rest in peace."Sure, you can read in to nearly any song, but few bands actually inspire their listeners to do so. November's Doom actually provide their listeners with enough noteworthy lines to read between. For that, this band should surely be recognized - not to mention the fact that they provide such remarkably appropriate music to accompany the lyrics as they unfold. "Dreams To Follow" is a brief solo piano interlude, paving the way for the murky guitar arpeggios that ring out mournfully at the onset of the album's final track "Dark Fields Of Brilliance." The final track is tragically animated by a bittersweet mood, hinting simultaneously of hope and defeat. The female vocals float alongside the clean vocals, until the guttural vocals sever their partially formed bond. The gloom builds for one final chilling and sonic climax of interweaving guitars and frigid synths, and then silence. The listener is left in a state of deep musing, emotionally devastated yet musically and artistically enlightened. You want more, and yearn for more, but are left hanging by the proverbial thread. Continuing to build on the majesty and grace that enriched their previous and masterfully hailed release "The Knowing," "To Welcome The Fade" is a giant leap forward conceptually, musically, artistically, and lyrically for November's Doom. Though the album might be `light' for extreme Doom purists, it is nevertheless an unquestionable triumph for the progress of the band. This is a startlingly mature and well-written album that will enrich the collections of moody dark music fans the world over. Highly recommended to not only fans of Doom and Gothic Metal, but to all bleeding heart Romantics, regardless of their usual musical interests.*..."

Doom Perfection

Shanus Jr. | Sun Valley, ID | 11/18/2002

(5 out of 5 stars)

"I've said before I'm no doom expert, but I love music that combines intelligence with emotion, and this is top of the line in both aspects. The feeling I get from this album is similar to Saturnus and My Dying Bride's most recent albums, mixed with some Opeth-grade originality and overall perfection. In fact, if Opeth is a bit too dissonant or "jazzy" for your tastes, this might be exactly what you need. The guitarists (Eric Burnley and Larry Roberts) state some unusual influences on the band's website, including Squirrel Nut Zippers, Cheap Trick, and Bjork, but don't let that scare you. Variety is healthy for any musician. The riffs are, for the most part, melodic and original, something extremely rare in this day of In Flames-recycling. A few riffs resemble recent Opeth material, while others reach back to My Dying Bride and Anathema. The main vocal style is a gutteral growl, but there are several moments of clean singing and a beautiful female voice. Vocalist Paul Kuhr shows an excellent vocal performance matched with lyrics that are very deep and personal. Bass and drums are nicely done, but kind of "standard" (which doesn't hurt anything in this case). To sum things up, if you enjoy Saturnus, My Dying Bride, Anathema, and Opeth, don't screw around, just buy this disc..."