Quite often I re-indulge myself in a scene that has grown out of favour with me, as doom is one such genre but decided to take the plunge with German band Zeit to try and rekindle my affection for the genre. Now Zeit do have doom structuring to their music but within that menacing sufferance is a blackened influence that enables every song to be that more distressing and disturbing. You only have to look at the matt black digipak and bleak art work to know that Zeit are not going to uplift your mood preferring to immerse you in a torrent of obsidian malfeasance that kicks off with ‘Schweigen’. The opening doom riffing is distraught, possessing misery and grief in equal amounts but as the song evolves it unfurls something quite different with blackened speed tinging the edges until the blasted section and therein lies the uniqueness of Zeit, that ability to weave despairing doom despondency with befouling black toxicity.
‘Stirn’ has a proper black metal riff to start it as the song shifts gear to double bass loading with the vocals taking on a ghoulish cavernous style, before plummeting into a slower more purposeful pace as a cruising guitar hook threads its way through the song that I particularly liked. The doom riff that ensues on ‘Babylon’ is wonderfully morphed into a speedier workout with catchy double kick billowing into the song before the blast beat. I loved the riff changes in this song, they flow bituminously (I made that word up) as the vocals chant the title ominously and threateningly.
“Granne” is immense, that catchy double bass I’ve mentioned, is in full throttle here as the song utilises the continuous barrage to great effect peppering riffs and hooks onto the mass before slowing down momentarily. The song actually has heavy metal qualities but the density belies that aspect because it is so damn heavy as “357” ends the album with eight minutes plus of luxuriating doom subjugation that has a slow permeating riff and barren barbaric vocals. The songs sloth like pace is dirge like but purposeful as a funereal quality is experienced where the subtle shift to double bass is excellent and accompanied by a brief riff change that escalates the tension and overriding power. Another facet I like about this album is the humungous drum sound where every hit is felt like a hammer blow as the song shifts again to a more Sabbath like atmosphere but with some very quirky drumming and cymbal work.
There is something monstrous about this release, a terrifying and horrifying cloying nature that grasps you by the neck and sucks the very essence of your soul leaving you a shell of your former self.
(8.5/10 Martin Harris)
Leave a Reply