Had Amorphis picked a sound somewhere between Tales from the Thousand Lakes and Elegy, they might’ve hedged what Novembers Doom have splendidly harvested themselves, particularly on the latter’s current release Into Night’s Requiem Infernal.
Fans of Novembers Doom know what to expect through seven records now including their celebrated
To Welcome the Fade and
The Pale Haunt Departure. Novembers Doom knows it’s savvier to work outside-the-box numbers into their bludgeoning death metal infrastructure instead of dedicating whole albums to said risk. With
Into Night’s Requiem Infernal, they satisfy both the headbanger’s ravenous lust as well as their own voraciousness for dark sensuality.
The title track is one of the densest songs Novembers Doom has yet penned and it doesn’t cease from there. “Empathy’s Greed,” “The Harlot’s Lie” and the stamping “Lazarus Regret” will provoke rhythmic noggin nods with sinewy riffs, alt-psych tucks and raging vocals from mastermind Paul Kuhr. “The Harlot’s Lie” is especially given attention in all departments to make it as dankly epic as possible.
When Novembers Doom wants to change up their scheme, they succeed admirably with the sensual quietude of “The Fifth Day of March” where both Pink Floyd and The Moody Blues figure into Kuhr and company’s superbly off-kilter tactics. Exquisitely delivered (particularly the trippy note plunges from Vito Marchese and Larry Roberts), Novembers Doom takes the same chance on the closing number “When Desperation Fills the Void,” which wails into a crowning snarl after winding bars of reticence.
At this point, left-of-center artistry in death metal is surprising to no one; in fact, bands such as Novembers Doom are expected by attrition to challenge the genre’s norms with their fearless cross-dressing of tranquility and brutality. Glad to know they’re way up to the task.
(released July 7, 2009 on The End Records)
