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Released on October 5, 2015 via Doomanoid Records
Doom is a peculiar genre of metal. It’s a place where all manner of strangeness manifests itself. It spans a wide spectrum from drone to sludge and everywhere between. It’s difficult to keep track of it all. So, what do West Yorkshire’s Iron Void bring to the party? Well, they are the epitome of traditional doom (think Trouble and Sabbath). They don’t mess around with occult imagery or brass sections or violins. They seem to revel in doom and live for the sheer joy of heavy metal.
Jonathan ‘Sealey’ Seale formed Iron Void in November 1998 with the aim of creating an old-school doom metal band. The band reformed in 2007; playing live across the UK and building a loyal fan base. They went on to issue their debut EP, entitled Spell of Ruin in 2010 via Doomanoid Records. Released in October 2015 again via Doomanoid Records Doomsday is hot on the heels of their 2014 self-titled debut album.
It was recorded and mixed at Skyhammer Studio in Cheshire, UK with renowned producer Chris Fielding (Conan, Winterfylleth, Electric Wizard), mastered by James Plotkin (Khanate, Saint Vitus, Earth), with cover artwork and layout by Goatess Doomwych (Church of Misery, Pentagram, Harvest Bell). The album’s 11 tracks are a mix of brand new songs and many forgotten classics. These tracks disappeared from the band’s live set in recent years following a series of line-up changes.
As you would expect the 7.5 minute opening and title track has bowel rumbling riffs which slither and writhe from the guitar, crashing on top of each other, wave after relentless wave. The familiarity of these slow pounding riffs is a delight to hear. The clarity of power behind them is as pure as a virgin’s kiss. The melody and vocals complement the unadulterated doom. Nothing particularly new here, just passionate and well done. Things get a little faster with a cool retro vibe and some tasty solos.
‘Path to Self Destruction’ has an excellent Rush influenced groove and hook to it. Clean guitars open the tune, then the 70s fuzz kicks in at the solo. Next up is ‘The Devil’s Daughter’ which sounds reminiscent of proto-metal Pentagram in the Ram Family or perhaps the High Voltage eras. This song shows where the roots of Iron Void lie.
As you listen to the album you can hear snatches of Motörhead, Cathedral and Venom. But, of course, all this builds on a foundation of a solid, slab of doom. Tracks like ‘The Gates of Hell’ and ‘The Answer Unknown’ are fast for an album like this and they are a nice contrast to the rest of the songs.
Releasing two robust albums in around a year highlights that this band has determination and drive. Love classic doom? Love traditional metal? Then what are you waiting for? Treat your ears to this for Christmas. In fact, buy an extra copy and give it to your granny.
