Doom Snake Cult - Love Sorrow Doom (Nuclear War Now! Productions)

All hail our new (old) bass-centric overlords...
Release Date: 
14 May 2015 - 11:30pm

Originally a 1990 recording, released in 1992 (I think), re-released in 2004 and now re-jigged for your listening pleasure, Doom Snake Cult bring you deliciously fat bass driven black doom sludgy drone psychedelia and I love it. Existing parallel, and in the same time-stream, with Goatlord (and indeed sharing vocalist Ace Still's unique throaty stylings), Low Sorrow Doom is a lovely thick slice of four string goodness. Starting with the trippy intro of Enchanted Cerebral Forest, the tune soons degenerates (in a good way) into some sinister, almost death/black number with the bass snaking about the place while Still roars, gasps and squeezes all manner of venom from his neck-pipes. It's thick and whiffs of badness. The guitars are fuzzed out and while the tempo isn't exactly speeding, it still hits the mark. There's so much bass that I'm grinning like a madman. Fertility Rite starts slow, again the bass is leading the way - it bloody well oozes out of the stereo - all slow and langorous like a cat stretching after a long nap. Suddenly it all goes nuts and goes faster and faster. There's some excellent drumming and guitarist Nelg uses his skill to lay crisp guitars over the bass (which will always be the star on here); Nelg comes up with some genius solos on this album too. It's so fat and gelatinous - it's musical pork belly, that's what it is!

Tribal Se'ance actually starts with the guitars while the bass throbs in the background. The drums slip in and then come the gasping vocals; it's almost got a groove to it. A frightening groove but groove nonetheless. There's something deliciously un-nerving about this stuff but I can't exactly put my finger on what it is - perhaps this is part of the attraction? I'm enjoying it no end and if you missed this album the first and second time around, then third time should be the charm. There's a weird 'slow but not slow' pace to the tracks and both Love and Doom show these bizarre contradictions off perfectly (though the latter is much slower than the former; or is it? I just don't know...). I do know that Doom has some sweet soloing in it though.

Thus runs the entire album pretty much; massive fat bass, helter-skelter guitars and rasping vocals. I really, really enjoyed this and heartily endorse it - though others may find the repetitive style a bit, well; repetitive, and should perhaps go off and listening to something a little less challenging.