Welcome back to Alternate Doomensions where all of your doom needs are met. Read on and listen to the music and traverse Alternate Doomensions with an open mind.
Doom is always a trip, whether it is right in your face and aggressive or if it gives you a euphoric floating feeling. For Low Flying Hawks the latter is true and can be pinned to them. The style of doom that they play takes your mind soaring high in the sky for it to never return to your cranium. Kofuku is the name of this release, and what it gives you is an odd state of euphoria. It is a relaxing ride from beginning to end. There are no startling movements or sudden changes at all. Through and through this album is just a smooth and slow ride through the clouds. Kofuku almost puts you in a dream like state. Each song infects your mind with psychoactive music, dilates your pupils and takes you through wondrous soundscapes. Low Flying Hawks is one of those bands that you don’t need to be on anything to see and explore colorful soundscapes as the music just does that for you. Kofuku is heavy and plodding and it really makes you pay attention to the detail that was put into it. Through the ten songs that are present here, you get low and slow psychedelic doom that takes your mind through different dimensions even after it is all said and done. The instrumentation is great as heavy murky riffs crash over you, thick bass lines spill out of your speakers, the drum performance is solid and the vocals are dissonant and dreamy. The dream like vocals push this release over the top and really makes you feel as though you are in an induced dream like state. Much like the rest of the music, the vocals are smooth and soft and yet they are commanding at the same time. Having that smooth but commanding balance is great to have, and Low Flying Hawks does a great job of using that to take control of your being and let your mind roam free. This is a relaxing listen, one you can get lost in the woods to and one that you can just sit and appreciate as well. Kofuku is an interesting listen and it is an album that commands your attention as well.
Hailing from Chicago is Ikaray and with them they tote along their self titled release. This release is four tracks long of abrasive and melancholy doom. The entire record is riddled with bleakness and harrowing melancholy. Whether that was the intention or not, I don’t know, but the atmosphere that is portrayed with these songs is that of a heavy fog. Ikaray lay into you for quite some time with their self titled release. Even though there are only four songs, each song is quite long and gives them plenty of time to sink into you. Whether you like it or not, Ikaray sink their talons into you and don’t let you go until the end, and even then you feel the need to play it again. Each song subjects you to an array of emotions and each song walks you through bleak soundscapes of the apocalyptic nature. When listening you get a sort of isolated feeling, as though you are standing in the wake of pure destruction. Every minute of this release is dissonant and powerful, and Ikaray buzzes their way right through your skull. What you get here is a murky, thick sound that sticks to you even after the wall of noise is done bombarding you. Ikaray plays low and slow and they shroud you in a thick and heavy suffocating fog. The way in which Ikaray plays makes you feel as though the walls are caving in and the floor is crumbling beneath you. Each riff is destructive, the bass lines are obese and not to be reckoned with, the drums are heavy and pelvis shattering and the vocals are ripping all on their own. This EP is massive and not meant to be taken lightly. It is a behemoth of an EP and can crush you under its sheer weight if it so decides.
Like an acid trip gone wrong, Dead Elephant storms out of the gate with their release Heavy, Huge and Rotten. The title of the album suits what the music inside is like perfectly. Heavy, Huge and Rotten is quite massive and when listening it makes you feel terribly small. Dead Elephant plays a dirty and grimy style of doom mixed with an appropriate amount of sludge. A lot of the album is played low and bone crushingly slow, but when needed they kick the pace up and stomp your face in with a murky sludge filled romp. Even through the very first couple of minutes there is no denying that the release is heavy. It stomps you into the ground whenever it gets the chance and pulverizes you almost at every turn. Dead Elephant provides you with romping madness and with six tracks on this release you get more than your fair share of headbanging, skull crushing murky doom and thick sludge. Dead Elephant does a great job of mixing both genres to give you plenty of variety and diversity through Heavy, Huge and Rotten. You get a little caught off guard at times because at one minute you will be getting the gritty doom and in the blink of an eye you get steamrolled by the heavy riffage of the sludge. Nothing that these doom fiends do is quiet as they hit you with a sledgehammer of noise right from the get go and never stop or slow down one bit. Dead Elephant isn’t subtle as they bully you with buzzing bulldozing riffs, a thick and commanding bass, solid drumming and a vocal performance that is wholly throat ripping. If you are looking for a little bit of grit to go with your doom, Dead Elephant has more than enough of it.
Worship of Keres hails from California and Bloodhounds for Oblivion is their debut three track EP. This EP is filled with mysticism and pumped full of spells and other supernatural powers. This release is powerful and commanding and really makes you listen to it. As buzzing and crunching as the tunes are, the EP is fluid and you just get caught up in the waves of doom that they dish out. Once the EP starts you know it is going to be heavy and unfortunately it is three songs long. The deeper into the music that you sink the longer you want it to be. Instead of one listen, you need multiple to get your fix. Bloodhounds for Oblivion is a low and slow ride to the end that takes you mind and melts it down and allows you to explore the far reaches of the cosmos. Through each song you get heavy grizzly riffage, rhythmic drumming, buzzing bass lines and vocals that cast a spell over you. As soft as the vocals are they make you do their bidding and as smooth as the music itself is, it is still heavy, crunching and entirely commanding. You can’t go wrong with Bloodhounds for Oblivion and within the first couple of seconds you get sucked in and towed along for the ride. As mentioned before, three songs just don’t cut it, so you end up racking up the listens. This EP knows how to infect your mind and stay there for days to come, and if only three tracks does that to you, imagine the damage that a full length could do.