The return of Stygian Crown has come just at the right time. Their 2020 album, “Stygian Crown” saw them obtain my second best record of 2020, and I’ve been waiting for an excellent epic doom album since the last Thronehammer LP.
Opener “Funeral for a King” is an instrumental intro, but contains some seriously catchy, low-tempo be-deathed riffing, which lets you know that the heaviest doom band in Los Angeles are back. “Bushido” really does kick off where their self-titled left off, with some massively Earache records-era Bolt Thrower riffing being filtered through the Solitude Aeturnus school of doom. Melissa Pinion’s voice is once more a highlight; being at once mournful, but also capable of real operatic power. Hearing her on the none-more-doom track “Scourge of the Seven Hills” is a real treat that brings to mind Nightfall-era Candlemass.
Following a short interlude, “Let Thy Snares Be Planted”, we get “The Bargain”, in which axemeisters Nelson Miranda and Andy Hicks get to produce some vintage “Ivth Crusade” riffs, slow them doen to 33rpm and then have Jason Thomas’ bass and Rhett Davis’ drumming pin this back into doomsville. This thing is heavier than Giant Haystacks riding a wooly mammoth in a lead overcoat. Seriously, when the riff(tm) kicks in at around the four minutes mark, I guarantee you’ll find yourself confused. What should you do? Headbang, or grimace? This is, of course, a trick question. The answer: do both.
“Where the Candle Always Burns” is perhaps the most epic doom track on an epic album of epic doom. While it sails perilously close to “Mirror Mirror” at parts (nothing wrong with a bit of homage), it manages to turn away just at the moment where less discerning heads might be wondering about breaking out the plagiarism label. “Blood Red Eyes” is a real left turn – just piano, vocals and violin feature – but in the context of the album still manages to make things very heavy indeed. “Beauty and Terror” is then bound to come in – riffs heavier than listening to Crowbar with a bad hangover, while album closer “Straits of Messina” has the most classic rock influence, with some really interesting progressive moments that could have easily have come from Maiden’s “Seventh Son” era.
You already know that as a Cruz Del Sur release, the production on this bad boy is warm, aggressive and clear. I’ve had the album for a week and listened to it while away on a training course, and it’ revealing fresh treats at every turn. As it is, I think it’s a great release, and I look forward to it getting better each time. Essential.
(9/10 Chris Davison)
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