Reviews

Like many heavy metal sub-genres, doom metal treads a fine line sometimes between being weighty and fresh or instead just being a parody of itself and its forefathers. Album number one for Castle Rat, Into The Realm from 2024, almost felt a bit gimmicky - not so much based on its musical quality - but more so on its short 32 minute run time and overly shlock sword and sorcery visuals. There was also that fact the frontwoman The Rat Queen (Riley Pinkerton) reveals a lot more than just her vocal skills in the outfits she wears. Pulling off a worthy, or even better, second album was critical to the longevity of the band - mainly to prove they aren't just another tear drop in a sea of lost one-album wonders. The album opens with 'Phoenix I', a complete song, but also just an intro in function. If features some slick guitar harmonies and builds some anticipation and tension. Oddly, it fades out rather than ending abruptly, and all that building tension is broken by the white noise between it and next track 'Wolf I'. The first proper song on the album, it is slow and broody. It builds like a great oil painting, layering texture on texture until the entirety of the breadth of the album to come is on display. It's the type of song that on first listen doesn't sound like it should lead the album into battle, but by its close it shows why it is the most worthy warrior the album has. 'Wizard' is massive and beautiful and everything a good doom metal song should be. The riffs are big and fat, but never outstay their welcome. There is a chance the retro 70's thing could come off as a little on the nose, and at times it is a bit much - but for the most part it is done with such a driving urgency that it really works. Sure, there is some Black Sabbath worship here, but it is hard to play lumbering down-tuned riffs without that sound coming through at times. The ending solo is a perfect solo in every way, showing just how good new guitarist The Count is for the band. There are a few lumbering moments here, with 'Unicorn', the album's longest song being a good example. It isn't by any means a bad song on its own - but amongst twelve other songs with a similar style and tempo it does feel like it is on the verge of outstaying its welcome. It is hard to imagine listeners staying engaged at a live show, but that is probably why the rat-headed and scantily clad Rat Reaperess takes the stage to entertain, like some 1970s Hawkwind throwback. At the center of the album is 'Serpent', which is one of the more accessible songs, but the main reason for it deserving a mention is the Malmsteen-esque solo that ends the track. It is a true masterpiece, and is unfortunately faded out. There are quieter interlude moments like the short 'Path Of Moss' and 'Summoning Spell'. They are far from essential tracks, but they do break the momentum enough to allow the listener to come up for air. 'Sun Song' has a massive ending for the album, not just in isn't heaviness, but in the huge crescendo that it closes everything with. It is actually a shame that the final track, 'Phoenix II', is just another short and soft instrumental. Overall, although it is a well written and wonderfully executed set of performances, it isn't an album for every day. Like most doom metal you need to be in the right mood to appreciate it fully, and at just under 50 minutes it can be a demanding listen. That being said, doom metal shouldn't be an easy listen - and Castle Rat have proven on this album the reward is in the perseverance of the listener, and in their ability to stay focused on the rich and rewarding music whilst ignoring some of the gimmicky dress ups and album art. Some tracks are a tad samey, mainly due to the mostly monotone vocals and the tempo of many being the same, but they do have enough variance to stand apart once you get to know them. Doom metal megafans will probably claim there are more genuine doom bands out there, but are there any that are quite so 'fun' to listen to? Probably not.

Cult Of Luna is a band I'd taken a mild interest to in the period called 'post-metal' if there is a meaning to that. There were several bands labelled this, but I didn't have much of an interest in it. The bands and the music on offer, while somewhat appealing, also needed a significant investment in the 'genre' highlighted by mostly 8 plus minute songs wavering through all types of sounds and moods. There were a number of bands that stood out with one of them being ISIS (that I recently reviewed). Of CUL's discography I chose The Beyond to review as it is considered a close replica of ISIS - Panopticon (2004). After a very short introduction, the band hit hard with 'Receiver', again bringing a blast of music and gritty vocals followed a minute or so later by an interlude of drums and guitars bringing the anger down a little but has the listener hanging on the edge of what is about to happen next. Eventually returning to the start, the desperation in the vocals continues, screaming for attention. Sure you need the liner notes to read what is being sung, but really you do get the idea of what the band is trying to portray, accompanied with the music. A brilliant starter, setting up the listener for what is to come. Or is it? Next track opens with a mellow, plodding sound, giving every intention of drowning vocals which have the listener feel they are climbing a mountain too impossible to climb. With track 2, 'Gensis', prepare to hang in for over 11 minutes of desperation, sorrow and anger. Certainly there is much more vocal involvement in the song structures which I don't mind. Highlights include the bass line that runs through 'The Watchtower'. The remainder of the album covers 7 to 11 minute songs along the same lines as what you would have heard to now. Again, taking into account this is a release for a band still young in their music journey (2nd full-length after their self-titled debut 2 years ago), the maturity shown is impressive. The band has very early captured the sound they want to present to fans and have a lot of upside coming to them in the years to come.