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Death-doom

Death-doom metal is a subgenre of heavy metal music that fuses the slow, heavy tempos and brooding, melancholic atmosphere of doom metal with the aggressive, riff-driven intensity and guttural, growled vocals of death metal, often evoking themes of despair, mortality, and emotional anguish.^[1]^[2] Emerging in the mid-to-late 1980s as extreme metal evolved, the genre originated from death metal bands experimenting with slower paces influenced by pioneers of doom like Black Sabbath, Celtic Frost, and Hellhammer, resulting in a sound that emphasizes oppressive weight and sonic gloom over speed.^[1]^[2] Early trailblazers included the American band Dream Death, whose 1987 album Journey into Mystery is widely regarded as the first true death-doom release, blending thrashy death riffs with doomy plodding.^[2] By the early 1990s, the style gained prominence through the "Peaceville Three"—British bands Paradise Lost, My Dying Bride, and Anathema—whose debuts like Paradise Lost's Lost Paradise (1990), My Dying Bride's As the Flower Withers (1992), and Anathema's Serenades (1993) incorporated gothic and romantic elements, violin passages, and atmospheric depth, solidifying death-doom's identity.^[2]^[1] Key characteristics of death-doom include downtuned guitars creating thick, sludgy tones; mid-paced to funeral-march rhythms that build tension; and vocals ranging from deep death growls to clean, mournful croons, often layered with keyboards, orchestrations, or ambient effects for an immersive, somber mood.^[1] The genre's lyrical focus on loss, isolation, and existential dread distinguishes it from faster death metal variants, while its emotional vulnerability sets it apart from traditional doom's stoner or epic leanings.^[1] Influential albums beyond the pioneers, such as Winter's Into Darkness (1990) for its raw sludge and Disembowelment's Transcendence into the Peripheral (1993) for ambient psychedelia, highlight the style's diversity and enduring cult appeal.^[1] Over time, death-doom has spawned substyles like gothic doom (with romantic, violin-driven melancholy) and funeral doom (even slower, more drone-like and oppressive), influencing modern acts such as Swallow the Sun and Evoken, who expand its sonic palette with progressive structures and symphonic touches while preserving the core blend of brutality and beauty.^[2]^[1] Despite its niche status, the genre remains vital in underground metal scenes, celebrated for its cathartic exploration of human frailty through heavy, introspective soundscapes.^[1]

Characteristics

Musical elements

Death-doom metal is characterized by slow, plodding tempos that typically range from 40 to 80 beats per minute (BPM), creating a dragging and oppressive atmosphere inherited from doom metal while adapting death metal's intensity to a reduced pace.^[3] This deliberate slowness emphasizes weight and inevitability, often slowing further in sections to below 60 BPM for heightened emotional depth, as seen in the genre's foundational structures.^[3] Such tempos distinguish death-doom from the faster aggression of pure death metal, fostering a sense of entrapment through sustained rhythmic grooves.^[4] Guitar work forms the core of death-doom's sonic identity, featuring low-tuned, heavily distorted instruments that deliver palm-muted riffs and dissonant chord progressions, including minor seconds and tritones for a tense, unresolved quality.^[3] These riffs draw from death metal's complexity—such as intricate, repetitive patterns—but execute them at a languid speed, producing a thick, bass-heavy tone that amplifies melancholy and heaviness.^[5] Layered guitar arrangements often sustain notes to build dense textures, evoking a crushing gravitational pull rather than speed-driven fury.^[3] Drumming in death-doom adapts death metal's double-kick patterns into a slowed, pounding rhythm that matches the genre's tempo, providing a steady, deliberate anchor without the rapid blasts typical of its parent style.^[6] This approach creates a rhythmic foundation that feels laborious and immersive, occasionally incorporating d-beat variations for subtle propulsion while maintaining an overall plodding momentum.^[3] The result is a percussive element that reinforces the music's oppressive weight, blending aggression with restraint.^[7] To enhance atmospheric gloom, death-doom frequently incorporates keyboards, synthesizers, or orchestral elements such as violins, which add layers of contrast and depth beyond standard guitar-bass-drums setups.^[4] These additions, evident in early works like Paradise Lost's recordings, create ethereal swells that underscore the genre's mournful tone without overpowering the heavy riffing.^[5] Production techniques in death-doom prioritize thick, layered guitar tones and reverb-heavy mixes to amplify a sense of vast, echoing melancholy, often resulting in a cavernous sound that envelops the listener.^[5] This style, prominent in mid-1990s UK acts, employs minimalism to heighten contrast between dense riffs and sparse ambient spaces, demanding active engagement to fully appreciate the oppressive immersion.^[4] Such approaches ensure the music's heaviness permeates both structure and sonics, setting death-doom apart through its balanced fusion of brutality and brooding.^[7]

Lyrical themes

Lyrical themes in death-doom metal predominantly revolve around despair, loss, mortality, and existential dread, often rooted in personal anguish or philosophical introspection rather than graphic horror or violence. These themes evoke a profound sense of emotional weight, emphasizing human vulnerability and the inevitability of suffering, which aligns with the genre's atmospheric intent to immerse listeners in melancholy. For instance, bands draw from introspective explorations of isolation and emotional isolation, reflecting broader existential concerns about existence and decay.^[8] Vocal delivery in death-doom typically features deep, guttural growls and harsh death metal-style vocals, which amplify the raw intensity of these themes while maintaining an air of brooding restraint. This style, pioneered in the late 1980s through early 1990s by acts blending death metal aggression with doom's slowness, uses low, rumbling growls to convey torment without the frantic speed of pure death metal. Occasionally, these are contrasted with clean or female vocals to layer emotional nuance, creating a "beauty and the beast" dynamic that heightens vulnerability and introspection, as seen in Paradise Lost's Gothic (1991), where Nick Holmes' roars interweave with Sarah Marrion's melodic lines to underscore themes of dark landscapes and melancholy.^[9]^[8] The lyrics themselves often adopt a poetic, introspective quality influenced by gothic literature, favoring evocative imagery of isolation and inner turmoil over explicit narratives. In Gothic, Paradise Lost delves into explorations of personal isolation and emotional desolation, drawing parallels to gothic motifs of shadowed psyches and eternal longing, which set a template for the genre's literary depth. Over time, vocal techniques have evolved from predominantly pure growls in early works—emphasizing unrelenting harshness—to incorporating more melodic clean elements in later death-doom, allowing for greater expression of emotional vulnerability and philosophical resonance, as evidenced in bands like Katatonia transitioning toward cleaner deliveries to enhance themes of mental health and perseverance.^[8]^[10]

History

Origins in the 1980s

The origins of death-doom emerged in the mid-1980s as a hybrid style, drawing from the ponderous, atmospheric heaviness of doom metal pioneers such as Black Sabbath, whose riff-driven sound laid the groundwork for slow, oppressive tempos, and Candlemass, whose 1986 debut Epicus Doomicus Metallicus elevated epic doom with brooding orchestration and themes of despair. This foundation merged with the raw aggression and guttural vocals of proto-death metal bands like Hellhammer, whose 1984 demo Apocalyptic Raids introduced extreme dissonance and speed, and Celtic Frost, whose 1984 album Morbid Tales blended black metal ferocity with sludgy rhythms, influencing the genre's incorporation of harsh, low growls over deliberate pacing. Early exemplars of this fusion appeared in the underground, with Dream Death's 1986 self-titled demo from Pittsburgh marking one of the first blends of thrash-infused doom riffs and aggressive vocals, predating their 1987 full-length Journey into Mystery, which featured slowed breakdowns and anthemic choruses that hinted at death-doom's core elements.^[11]^[12] Similarly, New York's Winter, formed in 1988, released demos that year showcasing ultra-slow tempos paired with deathly growls, culminating in their 1990 album Into Darkness, often cited as a foundational death-doom recording for its monolithic, oppressive structure.^[13] Autopsy contributed proto-death-doom through late-1980s experimentation, particularly on their 1989 debut Severed Survival, where tracks like "Service for a Vacant Coffin" incorporated sludgy, doom-laden passages amid gore-obsessed death metal, bridging the styles with dirty, mid-tempo grooves.^[14] The style took root primarily in the US and UK underground scenes, where cassette trading networks allowed bands to share raw demos and foster innovation without major label support, enabling isolated acts to exchange influences across the Atlantic.^[15] Early metal festivals and local gigs in these regions, such as the UK's nascent extreme metal gatherings and US East Coast shows, provided platforms for exposure, though the genre remained niche until the late decade. A pivotal moment came with the formation of Paradise Lost in Halifax, UK, in 1988, whose initial death-doom sound on demos like Mourned Life ignited the British wave by combining Celtic Frost-inspired extremity with Candlemass-like melancholy.^[16]^[17]

Peak in the 1990s

The 1990s represented the zenith of death-doom metal, driven prominently by UK bands on Peaceville Records such as Paradise Lost, My Dying Bride, and Anathema (often collectively referred to as the "Peaceville Three" despite lacking formal ties).^[18] These bands defined the genre through their fusion of death metal's growled vocals and heavy riffs with doom metal's sluggish, atmospheric pacing and themes of despair. Paradise Lost's debut album Lost Paradise (1990) exemplified this sound, featuring extended song structures and a raw production that captured the genre's oppressive essence.^[18] My Dying Bride followed with As the Flower Withers (1992), introducing violin and keyboard elements to enhance the melancholic, funeral-like dirges, further establishing death-doom's signature blend of aggression and sorrow.^[19] Peaceville Records played a crucial role in the genre's expansion during this period, providing dedicated support that facilitated wider distribution across Europe via partnerships like Music for Nations and enabling international tours for its acts. This infrastructure allowed these bands to reach audiences beyond underground circuits, solidifying the UK scene's dominance while incorporating gothic influences such as romantic lyrics and orchestral flourishes, which led to early fusions with emerging styles. Anathema's Serenades (1993) marked a notable melodic shift in this vein, emphasizing cleaner harmonies and emotional depth amid the genre's heaviness.^[20]^[21] Australian band Disembowelment's Transcendence into the Peripheral (1993) added ambient and psychedelic elements to the genre.^[1] Commercial breakthroughs further highlighted the decade's peak, as seen with Paradise Lost's Icon (1993), which blended death-doom's core with accessible gothic and grunge-inspired grooves, attracting mainstream attention from critics and MTV while achieving some charting success in Europe (e.g., #31 in Germany).) This album's broader appeal helped propel the genre toward wider metal audiences. The style's global dissemination was evident in contributions from other regions, including early US pioneers like Winter with their crushing Into Darkness (1990), and Scandinavian acts such as Katatonia's Dance of December Souls (1993), which added atmospheric melancholy to the sound.

Evolution since the 2000s

By the mid-2000s, pioneering acts like Paradise Lost and Anathema had largely transitioned away from death-doom toward gothic metal and alternative rock influences, leading to a perceived decline in the genre's mainstream visibility as these bands explored cleaner production and more atmospheric structures.^[8]^[22] A resurgence emerged in underground scenes after 2010, fueled by digital distribution platforms that enabled broader access to niche releases and events like the Roadburn Festival, which showcased death-doom alongside other extreme metal styles to foster revival interest.^[23] This period saw increased incorporation of progressive elements into death-doom, building on Opeth's early work in their 1996 album Morningrise, where death metal aggression blended with extended compositions and acoustic passages, inspiring later hybrid sounds that mixed intricate arrangements with doom's heaviness.^[24] Advancements in production during the mid-2010s to 2020 allowed for cleaner mixes and subtle electronic integrations, evident in reformed bands and new acts that balanced raw aggression with polished atmospheres to appeal to contemporary listeners.^[25] Regional expansions gained momentum in the 2020s, particularly in Latin America and Asia, where local scenes produced death-doom tracks featured in compilations highlighting global doom variations.^[26]

Notable bands and albums

Pioneering acts

Dream Death, formed in 1985 in Pittsburgh, Pennsylvania, United States, is widely recognized as one of the earliest pioneers of death-doom metal with their 1987 album Journey into Mystery, which blended thrash-influenced death metal riffs with slow, doomy tempos. Their raw, oppressive sound laid foundational groundwork for the genre's fusion of aggression and melancholy, influencing subsequent acts before the band evolved into Penance.^[27] Paradise Lost, formed in 1988 in Halifax, West Yorkshire, England, emerged as one of the earliest architects of death-doom metal by fusing the aggressive death growls and riffing of death metal with the ponderous, atmospheric tempos of traditional doom.^[28] Their raw, primitive sound, influenced by the slowing down of death metal's velocity, helped define the genre's anguished and introspective core during the late 1980s and into the 1990s.^[1] Active continuously since their inception, the band remained pivotal in the 1990s before gradually incorporating gothic and alternative elements, yet their foundational work solidified death-doom's emotional and sonic framework.^[18] My Dying Bride, established on June 6, 1990, in Bradford, West Yorkshire, England, quickly became synonymous with death-doom's gothic undercurrents through their integration of violin and poetic, despair-laden lyrics drawn from literary sources like Shakespeare and Keats.^[29] As part of the influential "Peaceville Three" alongside Paradise Lost and Anathema, they championed a slower, more emotionally resonant strain of the genre, emphasizing tragedy, romance, and faithlessness in their themes.^[18] The band's consistent output from the early 1990s onward, evolving from pure death-doom to gothic-doom hybrids, underscored their role in elevating the subgenre's artistic depth and sensitivity.^[1] Anathema, founded in 1990 in Liverpool, England, contributed to death-doom's melodic evolution by blending harsh death metal vocals with brooding, progressive doom structures that hinted at atmospheric and emotional transitions.^[18] Like their Peaceville labelmates, they focused on themes of introspection and sorrow, helping to establish the Northern English scene's dominance in the genre during the early 1990s.^[30] Their early work laid groundwork for death-doom's shift toward more accessible, progressive elements, influencing subsequent bands while maintaining a core of melancholic heaviness through the decade.^[1] Disembowelment, formed in 1989 in Melbourne, Australia, pioneered an atmospheric strain of death-doom through their incorporation of ambient, psychedelic elements and ultra-slow, cavernous riffs inspired by early death metal and doom. Active until 1993, their sole album Transcendence into the Peripheral exemplified the genre's potential for immersive, otherworldly gloom, exerting a profound cult influence on later funeral and atmospheric doom acts.^[1] In the United States, Winter formed in 1988 in New York City, delivering a raw, sludgy iteration of death-doom that rejected the era's thrash-influenced death metal trends in favor of ultra-slow, apocalyptic riffs inspired by Celtic Frost.^[31] Their aggressive yet funereal approach, centered on themes of darkness and wintery desolation, positioned them as pioneers of the American strain of the genre, active primarily from 1988 to 1992 before a brief reunion in the 2010s.^[1] Winter's cult influence stemmed from their uncompromised heaviness, inspiring later acts to explore the subgenre's more extreme, low-tuned territories. Autopsy, originating in 1987 in Concord, California, bridged the gap between pure death metal and doom through their incorporation of grotesque, slow-paced passages and morbid atmospheres in late-1980s output.^[1] By slowing down death metal's brutality with doomy, horror-infused elements, they inadvertently shaped death-doom's visceral foundations, influencing the genre's thematic focus on decay and apocalypse.^[32] Active until 1995 with reunions thereafter, Autopsy's early innovations provided a transatlantic counterpoint to the UK scene, emphasizing raw aggression over melody.^[18]

Influential albums

Winter's Into Darkness (1990) stands as an early prototype in death-doom, merging the aggression of death metal with the deliberate, oppressive tempos of traditional doom. Recorded by the New York-based band formed in 1988, the album features raw production, guttural vocals, and crushing riffs that emphasize atmospheric heaviness over speed, influencing subsequent acts by demonstrating how death metal's intensity could be slowed to evoke despair.^[33]^[1] Its reissues in the 1990s further amplified its reach, cementing it as a foundational work for the genre's raw edge.^[34] Paradise Lost's debut Lost Paradise (1990) defined key elements of death-doom through its integration of growling vocals and slow, downtuned riffs, establishing a UK standard for the subgenre's sound. Released on Peaceville Records, the album draws from death metal influences like Celtic Frost while incorporating doom's melancholic pacing, with tracks like "Dead Emotion" showcasing the blend of brutality and brooding atmosphere that would shape the Peaceville "Three" collective.^[35]^[1] Its impact lies in codifying death-doom as a distinct fusion, inspiring bands to explore emotional depth within extreme metal frameworks.^[36] My Dying Bride's Turn Loose the Swans (1993) expanded death-doom's atmospheric scope by incorporating acoustic passages, violin, and lyrics centered on themes of loss and sorrow, marking a shift toward gothic sensibilities. The album's production emphasizes mournful dirges and clean vocal interjections alongside growls, as heard in the title track, which helped broaden the genre's emotional palette beyond mere aggression.^[37]^[1] This release solidified My Dying Bride's role in evolving death-doom into a more introspective style, influencing the incorporation of orchestral elements in later works.^[38] Anathema's Pentecost III EP (1995) highlighted the melodic potential of death-doom, blending harsh vocals with soaring clean passages and atmospheric keyboards to enhance the genre's emotional range. Recorded in 1994 and released on Peaceville, tracks like "Kingdom" and "Lovelorn Rhapsody" showcase a progression from raw death-doom toward gothic and progressive influences, demonstrating how melody could amplify themes of despair.^[39]^[40] Its concise format made it a pivotal release for bands seeking to infuse death-doom with accessibility and depth.^[41] Katatonia's Brave Murder Day (1996) proved influential in fusing melodic death-doom with black metal elements, bridging early 1990s aggression to the more nuanced sounds of the 2000s. Featuring guest vocals from Opeth's Mikael Åkerfeldt, the album's tracks like "Murder" combine mid-tempo riffs, clean melodies, and poetic lyrics on isolation, expanding death-doom's sonic palette.^[42]^[43] This work's emphasis on melody and structure influenced the genre's evolution toward progressive and atmospheric variants.

Contemporary bands

In the 21st century, death-doom has maintained a dedicated following through bands that blend the genre's foundational heaviness with evolving atmospheric and ritualistic elements, as evidenced by releases from longstanding acts continuing to tour and record into the 2020s.^[44] These contemporary groups often emphasize slow, oppressive riffs and mournful melodies, reflecting the genre's enduring appeal in underground metal scenes worldwide. Evoken, formed in 1994 in New Jersey, United States, remains a cornerstone of American death-doom with its funeral-influenced sound characterized by crushing, dissonant passages and themes of suffering and nihilism.^[45] The band's 2012 album Atra Mors exemplifies modern death-doom's intensity through its layered, sludge-like production and unrelenting tempo, while their 2018 release Hypnagogia further innovates with conceptual storytelling centered on disillusionment and entrapment.^[46] Evoken's ongoing activity, including their 2025 album Mendacium released in October, underscores their role in sustaining the genre's heaviness amid broader doom evolutions.^[47] Mournful Congregation, established in 1993 in Adelaide, Australia, has solidified its status as a global death-doom pillar through ritualistic, hymn-like compositions that prioritize expansive slow passages and ethereal keyboards.^[48] In the 2010s, albums like the 2011 compilation The Unspoken Hymns and the 2016 live recording The Epitaph of Dispersion highlighted their mastery of funeral doom's meditative depth, drawing on influences from early death metal while emphasizing atmospheric despair.^[48] Their 2023 full-length The Exuviae of Gods – Part II continues this trajectory, reinforcing the band's influence on international death-doom with its somber, processional structures. October Tide, originating in Sweden in 1994 and featuring ex-Katatonia guitarist Fredrik Norrman, represents a melodic revival within death-doom, incorporating clean vocals and soaring guitar harmonies over downtuned riffs. The 2016 album Winged Waltz—often noted for its emotional intensity—revitalized the band's sound post-hiatus, blending post-Katatonia melancholy with death-doom's brooding pace to create accessible yet heavy tracks like "Our True Tune."^[49] This release marked a contemporary shift toward more progressive melodic elements while staying rooted in the genre's core gloom. Formed in 2012 in Portland, Oregon, United States, Bell Witch offers a drone-infused take on death-doom, utilizing bass-heavy instrumentation and ambient swells to evoke vast, haunting soundscapes centered on themes of loss and the supernatural.^[50] Their 2017 album Mirror Reaper, a single 83-minute composition dedicated to a late bandmate, masterfully integrates funeral doom's slowness with experimental drone, earning acclaim for its immersive emotional weight.^[51] Bell Witch's approach highlights the genre's adaptability in the 2010s and beyond, influencing newer acts with its boundary-pushing minimalism. Regionally, Finnish bands like Shape of Despair and Swallow the Sun exemplify death-doom's vitality in Europe, with the former's 2022 album Return to the Void delivering classic funeral doom through dirge-like tempos and female-led sorrowful vocals.^[52] Swallow the Sun's early works, such as the 2003 debut The Morning Never Came, established their death-doom foundation with melodic aggression and atmospheric melancholy, influencing subsequent generations despite later progressive shifts.^[53] These acts demonstrate the genre's ongoing global reach, particularly in Scandinavia, where slow, emotive heaviness persists in underground releases.

Subgenres and derivatives

Funeral doom

Funeral doom emerged in the early 1990s as a slower and more ambient variant of death-doom metal, incorporating influences from dirge music and emulations of pipe organs to create a profoundly mournful atmosphere.^[54] This subgenre saw key early developments in Finland and the UK but quickly spread, building on death-doom's heaviness while emphasizing glacial pacing and atmospheric depth over aggression.^[54] The style is defined by extremely low tempos, often below 60 beats per minute, which evoke a sense of inexorable procession, alongside extensive use of keyboards to replicate the somber tones of church organs.^[54] Song structures are characteristically prolonged, with tracks frequently surpassing 10 minutes to allow for gradual thematic development and immersive, crushing riffs that prioritize emotional weight over speed.^[54] These elements distinguish funeral doom as an ultra-slow extension of its parent genre, fostering a hypnotic, ritualistic quality.^[54] Pioneering acts include the British band Esoteric, whose 1993 demo Esoteric Emotions – The Death of Ignorance and debut album Epistemological Despondency (1994) introduced psychedelic and ambient layers to the substyle, and the Finnish bands Thergothon and Skepticism, whose respective albums Stream from the Heavens (1994) and Stormcrowfleet (1995) are widely recognized as early full-fledged funeral doom releases for their dirge-like intensity and monolithic compositions.^[54] These releases solidified the genre's foundations in the mid-1990s, blending death-doom's growls with expansive, funereal soundscapes.^[54] Lyrically, funeral doom centers on death rituals, profound grief, and themes of infinite sorrow, evoking ceremonial mourning and existential despair in contrast to the more individualized personal anguish found in standard death-doom.^[5] This focus amplifies the subgenre's ritualistic essence, often portraying death as an eternal, impersonal void.^[55] In the modern era, bands like Shape of Despair have advanced the style with Angels of Distress (2001), incorporating ethereal female vocals and harp-like keyboard elements to heighten its melancholic, otherworldly allure.^[56] This album exemplifies how funeral doom has evolved to blend traditional dirge influences with subtle symphonic touches while retaining its core emphasis on unrelenting sorrow.^[56]

Gothic metal influences

In the early 1990s, death-doom bands began transitioning toward gothic metal by incorporating clean vocals, symphonic arrangements, and melodic structures that softened the genre's inherent aggression.^[28] This evolution was exemplified by Paradise Lost, whose 1991 album Gothic introduced orchestral elements and depressive, romantic lyricism, laying foundational groundwork for the subgenre while retaining death-doom's slow, heavy riffs.^[57] Similarly, My Dying Bride's 1995 release The Angel and the Dark River marked a pivotal shift, featuring violin integrations, spoken-word passages, and themes of love intertwined with decay, which emphasized mid-tempos and emotional depth over relentless double-kick drumming.^[29] These fusions extended to the use of female vocals and operatic cleans, creating a more theatrical and accessible sound that distinguished gothic metal from pure death-doom. Norwegian band The Sins of Thy Beloved, active in the late 1990s, exemplified this blend on their debut Lake of Sorrow (1998), combining death-doom growls with soaring female soprano lines and violin-driven atmospheres centered on gothic romanticism. Such stylistic choices reduced the emphasis on extreme aggression, prioritizing melody and symphonic layering to evoke sorrowful beauty.^[58] The atmospheric foundations established by death-doom pioneers enabled gothic metal's commercial expansion in the 2000s, influencing symphonic-infused acts like Nightwish, who drew from these melodic and orchestral precedents to achieve widespread success.^[59] This shift highlighted gothic metal's departure from death-doom's raw intensity toward a more harmonious, romance-infused expression, fostering broader appeal while preserving themes of despair.^[38]

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Into Darkness - Winter | Album - AllMusic
Rating 8.2/10 (34) Into Darkness by Winter released in 1993. Find album reviews, track lists, credits, awards and more at AllMusic.
[34]
Winter - Into Darkness - Encyclopaedia Metallum
Oct 3, 2024 · Winter ; Release date: 1990 ; Catalog ID: FSCD 8000 ; Label: Future Shock ; Format: CD ; Reviews: 13 reviews (avg. 89%).
[35]
Lost Paradise - Album - AllMusic
Rating 6.5/10 (89) Lost Paradise by Paradise Lost released in 1990. Find album reviews, track lists, credits, awards and more at AllMusic.
[36]
Lost Paradise - Reviews - Encyclopaedia Metallum
Like a slower version of Autopsy at the time, Paradise Lost's debut album would become ground zero for a new fusion genre of death metal called death-doom.
[37]
Turn Loose the Swans - My Dying Bride | Album - AllMusic
Rating 8.5/10 (123) Turn Loose the Swans by My Dying Bride released in 1994. Find album reviews, track lists, credits, awards and more at AllMusic.
[38]
Turn Loose the Swans - Review by Gothic_Metalhead
While Paradise Lost was still talking about angry things at the time they released "Icon," My Dying Bride made both death-doom and gothic metal more sensitive ...
[39]
Pentecost III - Anathema | Album - AllMusic
Rating 7.4/10 (71) Pentecost III by Anathema released in 1995. Find album reviews, track lists, credits, awards and more at AllMusic.
[40]
Pentecost III - Review by FOrbIDen - Encyclopaedia Metallum
Aug 5, 2019 · Anathema's Pentecost III, though recorded and scheduled for ... influential death-doom metal band. Personally, I tend to gravitate ...
[41]
Anathema - Pentecost III - Reviews - Encyclopaedia Metallum
And the key to this EP's success is just that, the harnessing of epic doom metal, touches of Fields of the Nephilim style goth, to straight up death/doom riffs; ...
[42]
Brave Murder Day - Katatonia | Album - AllMusic
Rating 8.3/10 (138) Brave Murder Day by Katatonia released in 1997. Find album reviews, track lists, credits, awards and more at AllMusic.
[43]
Brave Murder Day - Review by Gothic_Metalhead - The Metal Archives
With sophisticated poetry, dark guitar tone, and a perfect mix of doom, death, and black metal tempos and vocals make this an influential album among death-doom ...<|control11|><|separator|>
[44]
Funeral Doom Archives - Decibel Magazine
Funeral Doom ; ONLY 90 AVAILABLE! Pre-Order EVOKEN's New Album 'Mendacium' on Decibel-Exclusive Vinyl! August 18, 2025 · Breaking News, Vinyl ; Track Premiere: ...<|separator|>
[45]
Evoken - Encyclopaedia Metallum: The Metal Archives
Jul 19, 2002 · Formed in: 1994 ; Genre: Funeral Doom/Death Metal ; Themes: Death, Suffering, Dissolution, Hatred, Negativity, Nihilism, Fear ; Current label: ...Embrace the Emptiness · Antithesis of Light · Hypnagogia · Quietus
[46]
Album Review: Evoken - "Hypnagogia" - Decibel Magazine
Nov 5, 2018 · Hypnagogia is a fully realized concept album. Dig it: A dying WWI soldier enlists the help of a malevolent deity to turn his journal into an inescapable mind ...
[47]
Five For Friday: October 17, 2025 - Decibel Magazine
Oct 17, 2025 · It's a loaded week for new metal releases with the latest from Evoken, Coroner, Internal Bleeding and more!
[48]
Mournful Congregation - Encyclopaedia Metallum: The Metal Archives
Sep 18, 2002 · Mournful Congregation. Country of origin: Australia; Location: Adelaide, South Australia; Status: Active; Formed in: 1993. Genre: Funeral Doom ...
[49]
October Tide - Winged Waltz Review - Angry Metal Guy
Apr 19, 2016 · Winged Waltz is far from a bad October Tide album and there's definitely quality to be found within. The problem is they've shown themselves capable of much ...
[50]
Bell Witch - Encyclopaedia Metallum
Oct 30, 2011 · Bell Witch ; Formed in: 2010 ; Genre: Funeral Doom Metal ; Themes: Suffering, Pain, Death, Ghosts ; Current label: Profound Lore Records ; Years ...
[51]
Bell Witch - Mirror Reaper - Reviews - Encyclopaedia Metallum
Mirror Reaper by Bell Witch is one of the best doom metal songs I have heard in a while, and that is saying a LOT knowing me. I've praised Bell Witch before ...
[52]
Review: Shape of Despair - Return To The Void - Sputnikmusic
Mar 13, 2022 · ... modern releases. I say this because Return to the Void is ... funeral doom. While it's more difficult to argue that the “simple ...<|separator|>
[53]
10 best Swallow the Sun songs - Soliloquium
Sep 27, 2017 · 1. Out of This Gloomy Light (“The Morning Never Came”, 2003) The ultimate Swallow the Sun song, and one of the best death/doom metal songs ever.
[54]
A Guide To The Glorious, Miserable World Of Funeral Doom
Oct 31, 2018 · The story of funeral doom, however, truly begins in Finland, with the work of Thergothon and Skepticism. Thergothon formed first, and were for ...
[55]
Occultism in Heavy Metal Lyrics: Analysis and Esoteric Connections
Grave Miasma This British death metal band is acclaimed for its dark mysticism and ritualistic funeral themes. Their lyrics reveal a fascination with occultism ...
[56]
The 11 Best Debut Albums in Doom Metal - Loudwire
Nov 13, 2024 · It's also a very influential album for our first few songs and, for me, the best Finnish funeral doom album ever. Shape of Despair, Angels of ...Missing: characteristics | Show results with:characteristics
[57]
Paradise Lost Songs, Albums, Reviews, Bio & Mo... - AllMusic
Explore Paradise Lost's discography including top tracks, albums, and reviews. Learn all about Paradise Lost on AllMusic.Missing: Gothic | Show results with:Gothic
[58]
The Sins of Thy Beloved - Lake of Sorrow - Reviews
It underscores a period where the developing Gothic metal sound was still tied to its death/doom roots, though downplaying the death metal elements while still ...
[59]
Perfect Sound Forever: Paradise Lost - Furious.com
In 1993, the band released Icon, to my mind the best PL album and one of Metal's most brilliant works. Icon is characterized by a very unique and mysterious ...