It's not often that I talk about compilations, but for the following collection I will gladly make an exception. I stumbled over it through my love for the disbanded sludgorchestral doom giant(esse)s SubRosa and the doom'n'roll couple Year Of The Cobra.
The title which the New Mexican label Blues Funeral Recordings found for this collection doesn't leave a lot of questions concerning the content. In their own words "Women of Doom" is meant to be a celebration of "badass female artists whose creativity and heaviness has been blowing our minds and our speakers for years."
The title which the New Mexican label Blues Funeral Recordings found for this collection doesn't leave a lot of questions concerning the content. In their own words "Women of Doom" is meant to be a celebration of "badass female artists whose creativity and heaviness has been blowing our minds and our speakers for years."
WOMEN OF DOOM (compilation) (download) (2020)
Derived from the two aforementioned bands there are three tracks, where I could already put a face to the artist's name.
Those are Amy Tung Barrysmith, bass player and singer of Year Of The Cobra, whose solo composition "Broken" is a mellow yet dark ethereal piano ballad, SubRosa's front woman Rebecca Vernon with her new project The Keening, and the complete other four fifths of the band as The Otolith.
The latter start their track "Bone Dust" with an intro (taking in fact half of the song), in which the combination of simple clean guitar and the twin violins of Kim Pack and Sarah Pendleton leaves no doubt about where they are coming from. Neither do the slow stomping heaviness nor the familiar vocals which follow. And yes, it's good to hear them again, even though drummer Andy Petterson also has that exciting Insect Ark gig going on. (Damn, that duo is almost missing here.)
The Keening on the other hand omits Vernon's former role as guitarist and vocalist with a purely instrumental, beautiful piano piece.
SubRosa's footprint on this sampler still remains huge though, as several of the other tracks evoke their memory. "A Curse To Be Broken" by Besvärjelsen is very close to their style, while Doomstress Alexis mixes strings with more traditional Sabbathisms and vocals akin to Johanna Sadonis (Lucifer) or the grand Devilmother Jinx Dawson of Coven.
The same description almost works for Deathbell, even though their song sounds quite different alone by adding a clerical horror flick (and at the same time 70s rock) vibe with a swirling organ.
The opener "Astral Hand" by Heavy Temple is pure Candlemass worship, even down to the voice of singer Nighthawk.
Frayle's "Marrow" is clearly influenced by Chelsea Wolfe with its ghostly vocals and the heaviness of our mysterious queen's "Hiss Spun" album.
Those are Amy Tung Barrysmith, bass player and singer of Year Of The Cobra, whose solo composition "Broken" is a mellow yet dark ethereal piano ballad, SubRosa's front woman Rebecca Vernon with her new project The Keening, and the complete other four fifths of the band as The Otolith.
The latter start their track "Bone Dust" with an intro (taking in fact half of the song), in which the combination of simple clean guitar and the twin violins of Kim Pack and Sarah Pendleton leaves no doubt about where they are coming from. Neither do the slow stomping heaviness nor the familiar vocals which follow. And yes, it's good to hear them again, even though drummer Andy Petterson also has that exciting Insect Ark gig going on. (Damn, that duo is almost missing here.)
The Keening on the other hand omits Vernon's former role as guitarist and vocalist with a purely instrumental, beautiful piano piece.
SubRosa's footprint on this sampler still remains huge though, as several of the other tracks evoke their memory. "A Curse To Be Broken" by Besvärjelsen is very close to their style, while Doomstress Alexis mixes strings with more traditional Sabbathisms and vocals akin to Johanna Sadonis (Lucifer) or the grand Devilmother Jinx Dawson of Coven.
The same description almost works for Deathbell, even though their song sounds quite different alone by adding a clerical horror flick (and at the same time 70s rock) vibe with a swirling organ.
The opener "Astral Hand" by Heavy Temple is pure Candlemass worship, even down to the voice of singer Nighthawk.
Frayle's "Marrow" is clearly influenced by Chelsea Wolfe with its ghostly vocals and the heaviness of our mysterious queen's "Hiss Spun" album.
Finally there is Mlny Parsonz, singer of Royal Thunder, who contributes two songs to the compilation. Musically she gives me hints of doomish country (or let's call it uhm... blues), while as a singer she delivers the most earnest, honest and touching performances of the whole bunch.
I'll leave it to you to pick your own favorites, but what I can surely say is that all ten tracks are without a doubt good or even great stuff, and that this release also works as a whole.
"Women of Doom" is available on vinyl and CD from the US or the UK - or for import postage savers like me as a digital copy/stream on Bandcamp.
I'll leave it to you to pick your own favorites, but what I can surely say is that all ten tracks are without a doubt good or even great stuff, and that this release also works as a whole.
"Women of Doom" is available on vinyl and CD from the US or the UK - or for import postage savers like me as a digital copy/stream on Bandcamp.
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