The Gates Of Slumber
The Wretch

Someone, a long time ago, invented doom. Perhaps they did not imagine creating an actual musical genre. Discussing who, how, when, and why it began does not matter and would only create confusion and biases.

Over the years that have relentlessly passed, several bands have influenced its course in one way or another, tweaking its sounds or approach methods. Among them, we remember Candlemass for the more classical side, Cirith Ungol for the epicness and unparalleled acidity, and My Dying Bride for the more romantic and "19th-century" aspect. Then there are bands like Pentagram and Manilla Road, which, albeit to a lesser extent, have largely influenced and perfected doom metal. Following the footsteps of these two realities are The Gates of Slumber, a band that, despite the quality of their work, has not yet managed to establish itself concretely, despite having a good following in Europe (even though its members are American).

A further reason to know the band is the release of their latest album, "The Wretch," officially distributed from May 10, 2011 by Rise Above. The first notable factor is yet another drummer change: since 1998 (the year of "The Awakening" release), the doomsters from Indianapolis have repeatedly changed drummers. First Chuck Brown, then Chris Gordon. Eventually, even when Bob Fouts (with whom they released two albums) seemed to be the stable element, he also left the group, promptly replaced by Clyde Paradis.

The new release shows how much the three members are tied to metal considered first and foremost as a "lifestyle". Alcohol, rawness, and power (what one might call clichés...) all strongly channeled into music that perpetually balances the dark epicness of Manilla Road's "Mystification," the shrillness of Cirith Ungol, and the oppressive aggressiveness of Orodruin. A diverse ensemble yet always linked to a sonic classicism easily detectable from the initial "Bastards Born", where the slowness of doom combines with a haze that brings to mind the fungoid rhythms in Saint Vitus style. The graceless voice of Karl Simon (also guitar) contributes well to the "basement" vibe: an atmosphere that is emphasized and explodes with "The Scovrge Ov Drvnkenness," a powerful doom ride through the Rocky Mountains.

Compared to the previous "Hymns of Blood and Thunder," The Wretch leans more towards doom shores and less epic: however, there is a common point, that preference for the sudden psychedelic insertion within very hard stones. "Castle of the Devil" opens its doors, highlighting the retro taste and in a certain sense less "extreme" of Simon and associates. Without a shadow of a doubt the masterpiece of the CD, which holds itself at good levels (though not excellent) with the quick "Coven of Cain" and the pressing pace of the title track. No moment to breathe, but only spurts of riff upon riff that prevent the listener from having any respite. However, it also highlights the only real flaw of The Wretch: the lack of a more varied riff section, with solutions that sometimes (see "Bastards Born" and the title track) spiral into a guitar saturation that descends into the tedious.

"The Wretch" is an oasis of scorching metal, lava, and alcohol. In it, you will find neither refreshment nor hope. First, there is a need to overcome an impenetrable sound wall, which decomposes intermittently only to leave some gaps for the psychedelic ghosts of an America distant in time and dust.

1. "Bastards Born" (6:48)
2. "The Scovrge Ov Drvnkenness" (5:57)
3. "To The Rack With Them" (3:15)
4. "Day Of Farewell" (7:14)
5. "Castle Of The Devil" (7:55)
6. "Coven Of Cain" (3:44)
7. "The Wretch" (8:18)
8. "Iron And Fire" (12:44)