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TO WELCOME THE FADE - REVIEWS
From www.thedarkesthours.com
After their brilliant 'The Knowing', Novembers Doom are back with their new opus, 'To Welcome the Fade'. In my opinion, they had a lot of work to do to make a better record than 'The Knowing' because I really really like this record! The question is, is it better? Well, I think that 'To Welcome the Fade' is as good as 'The Knowing'. They stick to their guns and gave us a wonderfull piece of work. Again, deep atmosphere, dark vide, depressive, beautiful melodies, melancholy...are the words that comes to my mind when I'm listening to that album. Clean male vocals, death vocals and female vocals are all blend together and that's again a great mix! The production is awesome, it sounds so powerfull! The killer melodies of 'Not the Strong', the atmosphere and angelic female vocals in 'Broken', the powergroove of 'Lost in a day', the darkness of 'Within my flesh' , the beautiful atmosphere and soft melodies that makes me dream in 'If forever' ,'Torn' & 'Dreams to Follow' and the closing, the doomiest track ever, 'Dark Fields of Brilliant', makes that album a true masterpiece....
From: http://www.whitetrashdevil.com
Review by Gloomchen
It would be far too easy to say "Listen If You Like My Dying Bride" when talking about Novembers Doom. Luckily, the band is smart enough to point out their own similarites before everyone can call them blatant followers or copycat artists. Oh yeah, they sound a lot like Anathema, too. Glad I got that out of my system.
It's easy to be cynical and quick to say, hey, they're Americans. Not only that, but they're from the midwest (Chicago, to be exact). Who in the hell are they to have any sort of connection to a death/black scene? Well, as a fellow midwesterner, let me just say that all of the suffering and pain in Novembers Doom's lyrics could not possibly more readily experienced by people living in another part of the US, maybe even the world. It's a sad, sad existence in the middle of nowhere. It's only natural that we would find comfort in the music of entire countries that live like us.
Slow and dark, To Welcome The Fade encapsulates touches of symphonic doom with the mid-to-older sounds of... bands I mentioned previously. It's not nearly as adventurous as their more well-known contemporaries have become, but it's a sound that has proven time and time again to be an influence and a favorite among the death community. Not only that, but these guys do it pretty damn well. There's no lack of songwriting skill -- nothing sticks out throughout the entire album like a sore thumb. Solid throughout, it's easily sure to be an emphatic recommendation by people who like... those other bands. Christ, is it even possible to describe these guys without coming back to those damn Brits?
To mention "highlights" of the album almost seems like blasphemy, as there is nothing either high or lit about the entire disc -- this is a crawl in the corner, mope, and lament album. Although one might be fooled by the tempo of the opening track "Not the Strong," after that, it's all sludge. "Broken," "Dark Fields For Brilliance," and "The Spirit Seed" are all pure tragedies, epic in length and sound. But overshadowing all of those, "The Lifeless Silhouette" is even more brutally dismal, nearly an inspiration for some grand murder/suicide. It just doesn't get any darker and abysmal than that.
The only real complaint about the album would be lyrically. With an easily understandable growl, it's a little too easy to find the ridiculous among the band's otherwise decent wordsmith skills. With Linkin Park in mind, I have to force back a chuckle when I hear, "I WISH MY MOTHER KNEW THE REAL ME" in "Not the Strong." Barring these moments of Geocities-esque poetic blundering, there's plenty of talk of blood and mutilation among the suffering and sorrow to make up for the occasional slip. Still, one would hope that someone out there is taking notes and in the future will spare us from the musings of Angsty McWhiner, Age 15.
There may be nothing particularly new or innovative among the work of Novembers Doom, but if you know what you like and you want more of what you like, To Welcome The Fade can't disappoint. You know, if you like My Dying Bride. In case you didn't catch that the first time around.
From: http://www.appropriateapocalypse.com
There are very few times in the life cycle of a band where things come together perfectly. This convergence of talent, skill, and emotion is what every band thrives for. For November’s Doom, To Welcome The Fade is their moment. Everything is perfect place, from the wonderful production, to the incredibly emotional vocals this record will define their career. They can no longer be called a Doom metal band, as their evolution has taken them into uncharted territory. Where My Dying Bride and Paradise lost comparisons were valid for he band’s first few records, Novembers Doom is no longer following. The are leading. The band has a distinct sound that borrows from no one. To Welcome The Fade sees a shift away from the more progressive leanings of The Knowing in favor of a stripped down, more accessible sound. Yes, there is a definite emphasis on accessibility, but not at the expense of the band’s trademark melancholy. With this record, they have finally shed the Doom metal tag, and moved into a realm all their own. Vocalist Paul Kuhr has never sounded better, from his usual morose death vocals, to his chilling spoken word, the man conveys more emotion than just about any singer working today. The guitars, courtesy of the wonderful production c/o Neil Kernon, are heavy, yet expressive. The melodies work to convey the excellent lyrics. Standouts include “Not The Strong”, “Broken” and the wonderfully morose “Dark Fields For Brilliance”, but every track is worthy of a listen. Indeed, this record really needs to be experienced from beginning to end. A stunning achievement by a seasoned, talented band. Well worth your time.
-rhavin2112
From: www.corridorofcells.com
NOVEMBERS DOOM "To Welcome The Fade" Dark Symphonies
8 / 10
Years have passed since this band's classic "Amid Its Hallowed Mirth" debut floored doom metal fans back in the early 1990s. Since then band has been on-and-off in terms of its existence, but this new epic release should put them squarely back in the focus of many fans. Produced by Neil Kernon (who has worked with the likes of Nevermore and Cannibal Corpse), "To Welcome The Fade" features extremely polished and powerful production, as good and and as professional as anything million-dollar recording mainstream artists could afford. It's obvious that both Novembers Doom and their label Dark Symphonies believed in this new material and were willing to hire a (presumably) more expensive producer, but from a sound quality point of view the end result was definitely worth it: everything from the drums to the guitars to vocals sounds simply pristine. Musically, this is a very diverse album that definitely has a doomy feeling to it, but the mid-tempo nature of many songs probably means that Novembers Doom can't be really described as a traditional doom/death metal band anymore, as they have clearly gone beyond that simple label. The album starts off with "Not the Strong", "Broken" and "Lost in a Day", three fairly dynamic pieces highlighted by some excellent hooks with a slight atonal touch to them...reminded me somewhat of Germany's avant/doom/death metallers Disbelief, but performed in a more convincing fashion. Besides the thick guitar riffs the band tastefully blends in subtle gothic keyboards and acoustic guitar passages, which serve as a perfect counter-weight to the heavier sections and the brutal death vocals. Next track "With The Flesh" is more reminiscent of November Doom's earlier recordings, preferring a slow, steady rhythm that shows these guys still definitely feel the doom. After this heavy first half, "To Welcome the Fade" switches to a more melancholic mood with the acoustic "If Forever", a beautiful folky/gothic ballad highlighted by passionately romantic clean singing. The album returns to a darker mood in the second half, still skillfully oscillating between heaviness, doomy acoustic melancholy and gothic beauty. An extremely impressive comeback CD from a band that is long overdue for some massive exposure. Highly recommended.
From: http://www.urkraft-webzine.net/
NOVEMBERS DOOM - TO WELCOME THE FADE
Dark Symphonies, 2002
Now this is right up my alley! Heavy, doom influenced gothic metal with deep dark growls to top it off! Wunderbar!!! Although an American quartet (at the moment at least) Novembers Doom seem to draw most of their influences from the European metal scene and the British in particular. Classic albums with dignities like My Dying Bride, Anathema and Paradise Lost must have found their way into these gentlemen's stereos more than once! Not to say they are a total rip-off though but it's obvious that they have sought and found inspiration from the islands of Great Brittain. The production handled by Neil Kernon (who has worked with greats such as Kansas, Yes and Judas Priest in the past) is mega thick and further improves their massive wall of sound. A wall decorated with the finest of melodies and harmonies! This album is a must-have for all fans of doom metal in a time when the aforementioned (MDB excused!) acts have drifted off into a world of pop and electronica. "To Welcome the Fade" will haunt my mind for a long long time! Can't wait for November to arrive with its doom...
Rating: 8 of 10 - Reviewed by Stefan Lejon
Review From: http://www.sonicdeath.co.uk/
Ten years since they were formed, Novembers Doom decided to recruit the award-winning producer Neil Kernon for their fourth full-length album. Kernon has worked with many bands of different styles, from Queensryche and Judas Priest to Cannibal Corpse. Now, if you were to mix those three you'd probably end up with a genre like 'Progressive Brutal Power Gore' or something. With no offence to any PBPG bands out there, I can't quite imagine that, though I like to think I'm open-minded...
Not surprisingly, Novembers Doom is still a Doom Metal act. It's not unheard of for Doom bands to experiment, often successfully, but this one seems to be satisfied with the style they've developed over the years. As well they should be, being one of the top bands of their genre. I'm not familiar with the previous works of Novembers Doom but I've often seen them compared to the great My Dying Bride, which is something any band can be proud of. However, I found "To Welcome the Fade" much more in the vein of Opeth, or at least somewhere in between the two. Though mournful and mainly slow, there are long instrumental and acoustic parts that create an atmosphere that is more in the style of Opeth than My Dying Bride, in my opinion. A wide range of vocals is used, including female, but on the whole this album is too heavy to be considered Gothic Metal, it's definitely still Doom.
There's one absolutely outstanding track here for me, and that's "Within My Flesh". It starts with a slow acoustic intro before thunderous, drawn-out distortion and some great death vocals full of emotion come in. Unfortunately, this is the only song on the album in classic doom metal style and I couldn't help feeling they went overboard with the acoustic parts ("If Forever" is completely acoustic). Perhaps I just wanted more tracks like "Within My Flesh" and prefer that style of Novembers Doom to their more gothic metal side. Still, the balance is perfectly acceptable and had they chosen one musical direction over the other, maybe it would have taken away a part of the atmosphere that Novembers Doom have obviously worked hard to create.
Although I can't compare this to their previous releases, I found "To Welcome the Fade" to be a high quality album, definitely worth a listen if you're into atmospheric doom. Opeth fans wouldn't be disappointed either, although I can't say I heard much My Dying Bride influence here as earlier suggested. Personally, I think somewhere in between those two bands would always be good but if you happen to disagree then this album probably won't be for you. Finally, if Anathema decides to release a 'Progressive Brutal Power Gore Death Metal' album in the future, it was my idea.
Mike Cartmell - 26/08/2002
From: http://embark.to/tartareandesire
November's Doom - To Welcome The Fade
Dark Symphonies, 2002 7/10
As a band that influenced most, if not all, of today's biggest doom metal bands, Chicago's November's Doom can easily compete with your Opeth's and My Dying Bride's. Vocalist Paul Kuhr does more death metal vocals than the commonplace clean type, though he is fairly enunciated in his growls. "The Lifeless Silhouette" is probably his most angry performance to date, and session helper Nora O'Conner adds some mystique to numbers like "Last In A Day". The song "Broken" has one of those long Novembers Doom build-ups, weaving through bars of climbing intensity before climaxing in a crushing ending. The tempos of the album are slow, but not in the extreme, and many of the songs could be a musical extention of their last full-length "The Knowing". With Neil Kernon behind the dials, the band was able to capture a very clean finished product. My only complaint with his work is the dull snare sound, though that might be due to the playing of the instrument as much as his production. Kernon even appears as a player on this album. Though the band has gone through a little bit of a line-up change, they remain the Western Hemisphere's heavyweight doom metal champions with "To Welcome The Fade." FAVORITE TRACKS: "The Spirit Seed", "Lost In A Day".
From: LotFP zine
NOVEMBERS DOOM To Welcome the Fade
10- 54:56 Dark Symphonies
Melodic death/doom. If you’ve read the interview first, you’ll notice I said I didn’t hear the song differentiation as on the past album. Ignore that. I did the interview a week after having the album, and another month and some close listening has opened up this album’s true spirit to me, and it is undoubtedly the most complete, and most meaningful Novembers Doom album to date, filled with distinct songs. As for the usual comparisons this band gets, they are definitely all out the window as this sounds nothing like MY DYING BRIDE, ANATHEMA, or PARADISE LOST, old or new, they are a million miles away from being anything resembling MOONSPELL, although can’t deny a song or two sounds like KATATONIA (Lost in a Day, most notably) might if they were a death metal band these days and I guess any band that uses plenty of acoustic guitars along with their heaviness is going to get OPETH comparisons but you’d really have to stretch it to go there. Happy, Paul? Anyway. The basic style is a slower, melodic style with great thick doom guitar work with flourishes of acoustic guitars and more airy passages. Within My Flesh is just trudging, painful doom, and also has the key to the inspiration behind the album’s lyrics. I learned off the record what it’s about, and while I can’t blame the band for not wanting the real story out in public (mainly because the metal scene is full of morons who listen to too much extreme metal and take great joy in pain and suffering and don’t take the time to distinguish between reality and bullshit metal lyrics), the general idea shouldn’t be too difficult to guess and this song spells it out most clearly I think. Probably the most gutwrenching of the songs on offer, with the lack of melody in contrast to the sorrowing acoustic intro (and the rest of the album, actually) just crushing. That goes into If Forever, a more acoustic type song with keyboard backdrop where the vocals are entirely cleanly sung, which may be a first for the band. If Forever going into The Spirit Seed going into Torn right in the middle of the album probably had me questioning song identity to begin with, because If Forever ends with acoustic guitar work, Spirit Seed opens with it, the last verse of Spirit Seed has the female vocals, and Torn opens with plenty of female vocals so if one isn’t paying attention the songs there will blend a bit while the track counter keeps advancing. Other than that, rock solid in playing (especially the cleaner stuff, no guitar squeaking all over the place, and you have no idea how long I sat around trying to figure out what was ‘missing.’ Vocally the primary style is still the big throaty growl, which I like more than most because it sounds natural and not a ‘fake’ death voice. It’s broken up by clean singing, spoken bits, and then some female vocals here and there, which frankly don’t seem to match the atmosphere of the rest of the album, being a bit to bright and cheery sounding, and whenever the female vocals come in it’s kind of jarring. Maybe that’s what they went for, I don’t know, but something a bit more low key would have been called for? So it’s probably not surprising that with Neil Kernon producing this one that the sound quality is the richest the band has ever had, and the return of Travis Smith’s artwork is suitably (and intentionally) painful on the eyes. Both sound and artwork completely complement the album itself and present the correct environment for the album to be effective. Bottom line is the album has real meaning, and is really good. No, it’s not a happy album, nor could it be, really. No excuse for you not to have it., as it’s far more real, and far better than most, metal released today.www.novembersdoom.com
from http://www.deadtide.com
I knew of Novembers Doom as a heartland doom band, high on My Dying Bride worship, and prone to the weaknesses of most doom bands, specifically, a lack of restraint in songwriting, and excessive melodrama. It's with some surprise that I listen now to "To Welcome the Fade," and hear a band finally finding it's soul.
Following up on three solid albums of decent doom, Novembers Doom lost bassist Mary Bielich to homesickness, got some spiritual encouragement from Trouble's Ron Holzner, brought in producer Neil Kernon's [Hall & Oates, Judas Priest, Nevermore, Cannibal Corpse], and spent some late Autumn days last year ensconced in the Sonic Ranch down in Texas, recording "To Welcome the Fade." I'm not sure which one or combination of those elements contributed to this rebirth, but a rebirth it certainly is.
From the outset, it's clear that they've mastered their game. Gone are the pointless plodding sections and evil vibes, and in their place we find emotional, despairing verses, triumphant choruses, galloping grooves that even Trouble would be proud of, and a sound that's both vast and intimate, with a strong focus on the rhythm section. The song structures are simpler and more focused, and Novembers Doom reap huge rewards for it. The use of female vocals, clean male vocals, spoken word passages [done well, for once], warm, softly overdriven texture guitars, and myriad of other details add depth to the mix and make the whole album worth listening to over and over again.
An entrancing album, and - at the risk of sounding sentimental - more than a little heartwarming to see a band that's worked so hard finally get it's just rewards.
MUXLOW
STANDOUT TRACKS
Broken
Lost in a Day
The Lifeless Silhouette
Dark Fields for Brilliance
From: metalcrypt.com
Melancholic, relaxing, depressing, melodic, aggressive... All adjectives that can be used to describe this latest album from Chicago doomsters Novembers Doom. This album catches my attention more than its excellent predecessor, "The Knowing", which says a lot. The album kicks off on a fast and aggressive song and there you begin a journey that'll make you go through just about every emotion (OK, maybe not happiness - this is doom after all ). From heavy, aggressive guitars with death-like but still understandable growls, to light acoustic passages with clean, "sad" vocals, you'll also be treated with mid-paced material and occasional female vocals (very well done soul-reaching vocals). I guess the overall release could be summed up as "beautiful music" (as un-metal as this may sound - hehe), I've rarely run into an album that is so effective at bringing out so many types of emotions.
The music is helped by a very good production which could hardly be better. Having heard a few of their previous albums, I can say the band have outdone themselves as musicians and songwriters, just one more proof that a band can evolve without resorting to gimmicks or going commercial. Being far from a doom metal expert, I won't venture into making any comparisons with other doom bands, although I have seen My Dying Bride mentioned here and there - but that's just hearsay. This album is definitely one of the top releases so far in 2002. Highly recommended - but I didn't need to say that, did I?
From: www.ancientspirit.de
Translated from German:
After I heard the CD 3 times I was sure that I can write a review about "To Welcome the fade". I strongly believed that NOVEMBERS DOOM hadn´t reached the quality of their previous album "The Knowing" and accordingly I wanted to judge the CD. But as I wanted to go to work I noticed" Hey, a little Moment: This album is yet great! And as I heard the CD 2 times again I noticed that it is genious! How was I astray! Somehow the songs remind me strongly of ANATHEMA's "The Silent Enigma", as well the vocals and musically, whereby also some MY DYING BRIDE and PARADISE LOST elements arise. But you also can notice the "American way of life" in the arrangements, because they are similar to the ones of MORGION! Sometimes there are also some
OPETH elements, for example in "The Spirit Seed". What I like most in the songs like "Not the Strong", "Lost in a Day" or "Torn" are the dreamy but also depressed moments, where the feelings of the musicians were offered! You notice that the guys of NOVEMBERS DOOM don´t limit themselves, but let their thoughts be free! Sadly they don´t have a deal here in Europe, where the purchase of "To Welcome the Fade" is a little bit difficult, but I think, that it is possible to get it in some well sorted mailorders.
SasH 10.5 out of 12 possible points!
The Review got also a "tip", which only outstanding albums get!
The following review will be appearing in issue #20 of Unrestrained Magazine: www.unrestrainedmag.com
NOVEMBERS DOOM - _To Welcome the Fade (Dark Symphonies) - First off, this has to be one of the most depressing CDs I have heard in ages. The music, the lyrics and the entire vibe seeping out of Novembers Doom's latest effort 'To Welcome the Fade' is so emotionally heavy and draining at times. I am not one to get into lyrics, but these lyrics just hit you like a sledgehammer to the head. Along with the lyrics, the talented four-piece doom metal act led by lead singer/lyricist Paul Kuhr draws you in with their hypnotic musical arrangements and wonderful craftsmanship. The album is made up of a variety of styles, heavy set numbers and slow passages, that mesh together with ease. Tracks worthy of note would be "If Forever," "Within My Flesh," "Lost In a Day" and the disheartening closer "Dark Fields of Brilliance." An added bonus is the angelic vocals of Nora O'Connor sewn throughout the record, a complimenting voice going up against Kuhr's darkened bellows. This band has an incredible back catalog and they seem unstoppable right now. Of note, producer Neil Kernon (Nevermore, Cannibal Corpse) did a great job bringing out all the graceful texture that their music warrants. 'To Welcome the Fade' is the kind of sadness we should all embrace at one time or another this year. -8.5- ADRIAN BROMLEY
L'Édition Métallique - www.metalzine.com
November's Doom - To Welcome The Fade
By Roadkill
November’s Doom is a Melodic Doom Metal band with already four albums released. « To Welcome The Fade » presents the essence of the chosen genre : a calm, moody and depressive music. Beginning with a heavy and catchy riff, typical Doom-style, this album’s beginning hooked me on.
Things gets worse however. Bass playing is quickly withdrawn to the back, and drumming drowns in repetitiveness, being nearly absent on some songs. It’s like it actually follows the deadly depressive patterns the music soon embark on. Lyrics are also depressive, presenting the artist’s own emotions and personal problems. Vocals are the biggest weakness though. Sounding a bit like Deicide’s Glen Benton, they just aren’t powerful or aggressive enough.
On the positive side of things, this album shines as a neat HDCD (high definition compact disk) Neil-Kernon-signed (Cannibal Corpse, Nevermore, Judas Priest, etc) production, a fact which gives it a perfect sound quality. Musical execution is also quite good.
« To Welcome The Fade » is a nice album, but not an excellent nor an original one. It however remains a good buy for Doom Metal fans. 7/10
This in-depth review appears at Rainbow's Flame Metal Domainhttp://www.geocities.com/SoHo/Studios/2786/
Novembers Doom’s latest release, entitled “To Welcome the Fade” should be made into a model of what doom metal with death vocals should sound like. TWtF is Novembers Doom’s 6th release (Amid it’s Hollowed Mirth was re-released in 2000 after original publication in 1995) and what a release it is. The album creates a wonderful dark, brooding atmosphere, and mixes in the death vocals quite well, and not being a big fan of death vocals, that element was key. A breakout album in my opinion, this band is one of the rare American bands that has the ability to match and sometimes surpass what their European counterparts consitently put out on the market today.
The band, founded in 1988 by vocalist Paul Kuhr, blends many different influences in creating their unique sound. Mixing sounds from well-known British doom metal bands Anathema, My Dying Bride, and in some instances, Paradise Lost, Novembers Doom creats a very atmospheric type of sound, one which makes the listener feel a bit of sorrow and forlorn as Novembers Doom sings of matters that many of us have faced over time. The music, though not overly technical, though no doom metal really is, does its job and does it well. Perhaps the best part of the band is the guitarists, who along with the keyboards, are the main instruments in creating the sound Novembers Doom aims to create ,though not to take away from the bassist and drummer, who hold down the rhythm section very well. The vocals are really well done, and this is coming from someone who really is not into death vocals at all. To give some who are familiar with death metal vocals, Paul Kuhr has been compared to Mikael Akerfeldt, vocalist for the death metal band Opeth. Their similarities come in two distinct ways, one, they both growl in a very deep fashion, something most death metal vocalists do anyways, but what sets these two apart is the way they do their best in trying to make the lyrics understandable to the listener, something that doesn’t happen very often in the world of death metal. Many times when death vocals are used the lyrics sound muffled and understanding them is a task. However, there are no problems with that type of vocal here on this album. Song wise, there really is no let down song on this album. Though they have no real long songs like Opeth, this actually may be a positive thing, because the album never has a moment where interest fades or wears away. The band does a nice job of keeping songs long enough to fulfill technical qualities, but short enough to where one does not lose interest of the songs. Novembers Doom even mixes in some clean vocals as well as female vocals to give the music a further dimension. Songs such as “Not the Strong,” “Dark Fields for Brilliance,” “Broken,” and finally “Forever” are some of the bands highlight songs, all combining excellent guitar work and keys to help in creating a beautifully atmospheric album though don’t mistake me by thinking those are the only good songs, the whole album is excellent, those are just some of the songs that really stick out during a listen to the band. “Broken” is one of the songs where the female vocalist, Nora O’Connor, comes in along with Paul Kuhr’s clean vocals come in. The mixture is chilling with Kuhr almost talking in a foreboding way while O’Connor contrasts his vocals with a more angelic approach. Mix this with the darkness of the music and you got yourself a killer song. “Forever” is a nice change of pace song, with Kuhr singing only with his clean vocals. “Not the Strong” is perhaps the hardest most fast paced song with crunching guitars through parts of the song, but this quickly moves into a more melodic sound as the chorus moves in. “Dark Fields for Brilliance” is also a nice switch in that it actually begins with clean vocals and uses parts of the chorus in death vocals, while other songs on the album did the opposite, death first then clean, if their were any on that particular song, later on in the album. Perhaps the only fault in the album is that it is probably best heard when in the mood for this type of music. For me, this album cannot be heard at all times, and perhaps will hit more much better when one is properly ready for what is too come, if not, the music may come off as boring, though it really is not. Finally I must not neglect mentioning the excellent production from Grammy award winning producer Neil Kernon (Flotsam and Jetsam, Queensryche among others). He does a brilliant job in making every instrument audible and clear during the listen, without sacrificing the overall sound and tightness of the band itself.
So all in all, this album is essential for anyone who like doom metal with the death metal vocals added on top. Opeth fans should really enjoy this album a good amount, as they are the band that comes to mind first when hearing this album. Even prog fans may appreciate the bands creation of wonderful atmospheres in the music. Musically excellent in what they try to accomplish, and lyrically very emotional and from the heart this album is one of the top doom/death metal albums for the year. Check this album out you will not be disappointed.
9.0/10 RICHARD SIMONS
(For what they do, they do it very well, and though I am not the biggest death metal fan, this album is one of the best I have heard in this genre.)
This review of "To Welcome the Fade" can be found atwww.metalreview.com
November's Doom is well experienced in the realm of making albums. "To Welcome the Fade" is their sixth official release and combines elements of melodic metal with doom inspired passages and overall sound. I must say that "November's Doom" is the absolute perfect name for this band. Their music transposes a very cold and sorrow filled visual in my mind.
As I listen, I imagine an old man struggling through windswept snow drifts under a dark and gloomy sky. Reaching out for a frozen black rose that seems just out of grasp, but it is something that continues to remain elusive. Every step requiring more effort than the last, still the old man trudges onward.
The vocals consist of a somewhat toned down guttural rasp sound, separated by smooth, clean vocals with the occasional spoken passages. Very heavy and dark! The vocals offer a nice contrasting combination that project an extremely intense experience. I like the feel that the vocals carry, but some of the lyrics are quite sappy. There are times when a female backing voice is used and that, again, carry the dark ambiance that helps define November's Doom. If the lyrics were a little better, I'd be very impressed overall. As it stands, I'm fairly impressed.
There's not a whole lot to say about the musicianship in November's Doom. Each instrument, while not extraordinary, is consistent and fully adequate. Everything is well represented here and portrays a complete melancholy ambiance. Whether it be the bottom heavy riffs, the smooth harmonized chords or the clean acoustic; it all sounds very good and well balanced.
There are lots of backing tracks that do a great job in support of the songs. Keyboards are used about the perfect amount. Backing guitar tracks are very complimentary as well. This a very well thought out and executed album, aside from some of the lyrics. But, the backing and diverse vocals make up for much of what the lyrics lack.
The album is very consistent, so it's hard to single out a song as a favorite. That's a good sign for an album. Most songs switch between the heavy doom and the smoother melodic style a few times and that helps make things a little more interesting. I will say that this is an album that I have to be in the mood for. Basically, if you're feeling energetic, this album will seem a bit slow.
This album is about feeling. Not speed, not technical ability; just plain feeling. The album is very well produced with very focused drums and diverse strings and vocals. This album has a very full tone and all instruments are heard clearly. A very solid production! I highly recommend this album if you like darker, slower tempo and melodic metal. Light a candle, dim the lights and crank up the volume!
Production: 5.5/6
Lyrical Content: 4/6
Overall: 5/6
Reviewer: WHITE KNUCKLE WIZARD
This is the English translation of the Portuguese review found athttp://www.metalvox.com/home/default.asp
NOVEMBERS DOOM - TO WELCOME THE FADE _(NOTE: 4.5/5)
(DARK SYMPHONIES)
The Novembers complete Doom this year with its ten years of life. Nothing better to commemorate this decade than to launch a new album, in this particular case in the room of its career - beyond a MCD. Consolidating the name of the ND as a great exponent of the Doom Metal in all this worthless planet. The melancholic feelings of these Americans are passed shiningly in its musics which possesss a climatic variation and of perfect intensity. Of fact the band reaches its intention with care and devotion. In this question the band shows all its seriousness, therefore a winner of a Grammy brought "to manage" the production: Neil Kernon (Kansas, Yes, Queensryche, Judas Priest, Nevermore and Cannibal Corpse). The citizen is involved in such a way with all the processes of the writing, that makes one drown in the music and guitar solo of _"Dark Fields For Brilliance" or the "emotional attachment" of the vocals in "If Forever." The sum of their Doom art is a grand album of the ND, highly recommendable for the connoisseur of sorrowful Metal! _(JA - 18/08/2002)
Review can be found at:http://digitalmetal.com/reviews.asp?cid=3609
To Welcome the Fade
(Dark Symphonies)
Credit should be given to tiny Dark Symphonies for signing this band, one of the U.S.'s most respected doom/death acts, and shame on other labels for not giving these talented veterans a look. "To Welcome the Fade", is the fifth album from Chicago's' morose sons, and if there was a "safe" album that has no surprises, fulfills expectations and continues with predictable excellence, this is that album. If you own their last two efforts Of Sculptured Ivy and Stone Flowers and The Knowing, you pretty much know what to expect here. While Novembers Doom seem to be considered doom metal, I think it's unfair to compare them to true doom acts like classic My Dying Bride, Morgion, or Shape of Despair, despite the melancholy lyrics focused on the more tragic side of human nature and emotions. The music is far more varied than true doom metal. To be honest, structure-wise the songs are more akin to atmospheric death metal like Garden of Shadows, Daylight Dies and even Rapture. Despite the often saddened lyrical stance, the pace is actually often fairly up-tempo, but it's the clever use of the riffs, acoustics and especially the vocals that present a dolorous feel; although the songs never lumber into the drawn out agony and angst of true doom. This shows how talented Novembers Doom is, as the mid-paced material does belie a far more sorrowful atmosphere within its oppressive underside. It all begins with vocalist Paul Kuhr: who, in my opinion, has the most perfect voice for this type of music. His very gruff yet understandable growl portrays the loss, love and sunken hope of the lyrics perfectly. However, his clean croon isn't quite as effective in conveying the mood. Speaking of the lyrics, this is the only real letdown for me. Despite Kuhr's superb delivery, the contrived lyrics of lovelorn tragedy, loss, and general woe aren't that deep or meaningful; I was writing this kind of stuff as a forlorn, angst ridden teen years ago. But it suits the music, and again, Kuhr simply gives them depth all by himself. Musically, guitarists Eric Burnley and Larry Roberts mix a sobering delivery of oppressive riffs and delicate melodies that mix Sabbathian vastness and Anathema-like harmonies, all with a bit of added U.S. pacing. "Not The Strong", opens with a quick riff, and gets straight to the point, something The Knowing never really did, and its surprisingly upbeat pace displays the band as far more than simple two note dirge mongers. "Broken" and "Lost In a Day" follow suite, again with a faster pace, leaving this listener honestly agape at the immediacy of the first three songs. The latter, having more in common with some of the recent accessible goth rock coming out of Finland (Downfall, Charon, HIM). It's not until "Within My Flesh", where Novembers Doom come up with something resembling doom metal. Possibly the album's best track, it reeks of classic Anathema, with an absolutely heart rending acoustic intro and wonderful layered main riff. They take a bit of a step back with the wandering acoustic track, "If Forever" that uses purely clean vocals and an acoustic guitar that essentially removes all the things that ND do well leaving a stark, lifeless "ballad" that was better suited to The Knowing. They make things right with "The Spirit Seed", which starts the album's slide into more gloomy territory. "If Forever" is probably the only real filler song on the album (other than a very short piano only "Dreams Will Follow"), and appears to be a turning point in the album, as it takes a turn towards the more gloomy side, with less of the commercial feel of the album's first few tracks. It also seems include female voice Nora O'Connor a little more, which gives the album more balance. Her voice isn't as cliched as many of the dual female/growl combos, as she is far more bluesy, a lot like Marian Aas Hansen on Fleurety's Min Tid Skal Komme (still an unsurpassed female performance on a metal album) and offers a subtle contrast to Kuhr's powerful growl. They end the album with the slightly disappointing "Dark Fields for Brilliance" (it's the album's only let down), as it seems to follow the same drawn out lack of direction that surfaced on The Knowing, and doesn't have the immediate impact of the rest of this album's more focused tracks. Either way, this is a pretty darn good album from a band that has found a formula, perfected it and knows how to tread a fine line between doom and death metal. I only wish they wouldn't play it so safe, and would be a little more adventurous or progressive. I'd love to hear would these guys could do with a real string section or some other elements, but I must not grumble, as they are excellent at what they do. Add to the formula a pristine production, and you have a winning album that should please fans of the band and maybe entice some new ones to the somber world of Novembers Doom.
[Erik Thomas]
http://digitalmetal.com/reviews.asp?cid=3609
This is the English translation of the Polish review to appear in the next issue of Retiarius Zine (to be out at the end of 2002):
NOVEMBERS DOOM "To Welcome the Fade" (Dark Symphonies)
These guys from the US, who had followed a path of ANATHEMA, KATATONIA
and few other so-called European fames of doom-alike music, have
decided to move forward. So they used Neil Kernon (a guy who was
responsible for production of QUEENSRYCHE, NEVERMORE, JUDAS PRIEST
and CANNIBAL CORPSE albums) to produce "To Welcome the Fade." The band wrote
10 brand new tracks and now we do know that they have left the whole lot
of the other bands behind, and I dare to tell you that the same they
have done with the masters (the aforementioned ANATHEMA and KATATONIA
which starts to eat their own tail since some time). First of all,
NOVEMBERS DOOM are focused on atmosphere, which, combining with
unbelievable heaviness and growlings of Paul Kuhr has been done
perfectly. In contrast with that, the guys used a female voice of
Nora O'Conner from time to time. And some people say that this kind
of singing fades away and bands of that kind only use choirs, not too
well done clear vocals and so called women shrieks and shit like
that... Anyway, already "Not the Strong" leaves no illusion; it will
be a solid metal album. Until "Dark Fields of Brilliance" which
actually ends this recording, everything flows like one, let's say
it, a very sad tale of life in suffering. It's the best depicted in a
very emotional and heavy as heaviest brick "Lost in a Day" or "Within
My Flesh," and a very silent "If Forever" song. As a bonus taster we
have here a guest appearance of a producer Neil Kernon. Perhaps the
only one thing it makes this perfect picture broken a little bit are
too silent acoustics here and there. In my opinion, this should have
been exposed much more, especially as we know that the overall
production and musicianship are just fucking great.
The author: Wojciech "Diovis" Szymañski
This review can be found at Walls of Fire webzine:www.wallsoffire.de
November´s Doom - To Welcome The Fade (Dark Symphonies) _
Author's Rating: 4/5 Stars
Release Date: September 2002 _
Doom Death in a kind of autumnal mood is offered us by Novembers Doom and the band from the United States has several fellows there. "To Welcome The Fade" wants to make the change into the dark season easier for us as the title says and in general it continues the style of their previous album "The Knowing" .
Slow and powerful November Doom are and take care to be melodic always. The vocals reach from growls to clean and spoken passages, sometimes the band uses female vocals and overall they deliver the massive amount of emotions the lyrics have, which are written by vocalist Paul Kuhr. Overall the songs are mainly arranged "downtempo" but they offer much pressure, what is emphasized by the production quite well. But the well- arranged structures are in some moments one point to criticise on this album, for Novembers Doom sometimes take too much wind out of their own sails - the somehow progressive structures calm down in almost every track and sometimes the track loses much of its power.
A quite unusual song on this album is "If Forever". Even if the song is not bad it does not play in the same class as most of the other tracks. "To Welcome The Fade" could be a great album if it included more tracks like "The Lifeless Shilouette" or "Dark Fields For Brilliance".
But nevertheless the album offers many very good tracks, many good ideas and impresses very much in most moments. Novembers Doom try to keep their own note and they do this very well - even if the album could have been slightly better.
I think "To Welcome The Fade" could be a good album for Opeth Fans and for all of you that are searching for an "autumnal" album to dream a little bit. 8 points for a very good album that will without doubt rotate very often in the player of many of you - even if there are more bang- compatible albums.
Author: [aragorn]
This is the English translation of the Spanish review found atwww.MetalPlanet.cl:
Novembers Doom “To Welcome The Fade”
(Dark Symphonies) Release Date 2002 _
Fourth full length (second one under Dark Symphonies) from these Death Doomsters from USA. They keep alive this style, together with other giants like Morgion, Evoken and others, in the States. After listening the album several times, I decided to write these words while I get inspired looking at my girlfriend’s tender face. _
Some info, nowadays they have a new guest bassist who recorded this work because the woman bass player left the band after the recording sessions of “The Knowing” (personal stuff, she moves to other city). Straight to the point, in “To Welcome The Fade” the Opeth influences are very notorious and it is important to said that the production has a more compressed sound, not so ambient like his predecessor album. An example are the drums whose sound very compressed, it remembers me a lot the second album "Of Sculptured Ivy And Stone Flowers", but I insist… only in the sound matter not other. _
Although my female boss hates the “track by track” reviews, I will describe the transcendent songs for me, in order of apparition. The fifth track "If Forever" is a very interesting acoustic song where the vocalist Kuhr highlights for first time in the band, he sings with a lot of inspiration, like never before. I ever feel that a general opinion is that the Kuhr’s vocals are the lowpoint in the N.D.’s music, so this progress is a good thing. The sixth track "The Spirit Seed" is other good one (ever the sixth!) it would be my favourite one, with a lot of Opeth influences again, with a lot of acoustic guitar lines, several kind of grunts, clean male and female vocals, an intelligent game of intensities... in all sense a great composition. In the next song, "Torn", apart of the female vocals performed by a guest vocalist (like it is tradition in N.D.), Paul experience with high registers, not usual in his style (I suppose he’s Paul!). From the track 8 and between the 2 and 5, the album turns a bit boring and the songs pass one after other until the last one "Dark Fields For Brilliance" a very emotional song, with a final great riff, a genial work._
Seems like a voice whisper me in the ear: “tell about the monotony”, I have to be honest. Like a follower of the band for years, giving the responsibility of the monotony (almost a karma in the N.D.’s music in this full length) to Kuhr wouldn’t be just. I have the sensation of a extreme using of typical structures, there is something in the composition, maybe the continue using of recurrent ideas. Seems like they consume their resources quickly and in spite of they have all the weapons to give us a cult album, unfortunately they only impress in the beginning and almost always the songs decay in the middle. Maybe it is the thing that not allow that N.D. can access to the top metal bands considering the years they have in the scene. Anyway this is a very personal opinion and I don’t want to be unjust or insolent, but I believe that “The Knowing” is superior in variety, contrasts and originality, although the current one is more dynamic. _
Finishing this review, I have to mention that the production is great, the album sounds powerful and giant, maybe for the work of the producer Neil Kernon, a famous one known by their prizes and work with monsters like: Kansas, Yes, Queensryche, Judas Priest, Nevermore and Cannibal Corpse. I also have to mention the wonderful artwork of the master Travis Smith, who again give a great plus to the production, like he did it in “The Knowing”. A must for the fans of the November ones. __
Mystical Corpse Lover_
This review can be found at: http://www.bludgawd.com/index2.html
NOVEMBERS DOOM
"To Welcome The Fade"
Dark Symphonies
I had heard these guys in the past and didn't mind them at all. This new disc reminds me alot of Paradise Lost and other bands of that genre. The songs are written really well musically and the harmonies are absolutely incredible. With layers of dark shadowing and orchestrated keyboards, Novembers Doom can depress even the happiest person. This is a fresh break from the metal I normally listen to and I am very impressed at the musical abilities of all the band members. The female vocals on this are amazing and sound really chilling, not like that operatic style which I despise so much, but well sung back up vocals. If you are looking for something refreshing, something a little more moody and less angry than your average metal band than I would recommend checking this out. While it isn't my forte in the least I can sit hear and enjoy listening to it all the same.
This review can be found at: http://www.starvox.net/cdr/nd.htm
“To Welcome The Fade” is the fourth full-length studio release from November’s Doom, the unsung veterans of America’s relatively small Gothic/Doom metal scene. It has been a long, wearisome journey for founding member and lyricist Paul Kuhr, who has seemingly met with every possible obstacle – both within the band and the constant rotating line-up but his own personal experiences have threatened to slow him down. Thankfully for those of us who lie hypnotized by the sounds of emotion laden and atmospheric metal, the band has pressed on, receiving favourable critical attention and sincere praise with each successive release. After the crushingly bleak and blissfully dark lamentations of their debut “Amid It’s Hallowed Mirth” (my personal favourite release from the band), November’s Doom has developed its own unique sound. Their densely layered and harmonic guitar sound instantly sets them apart from contemporaries. With this latest release, the band’s sound seems to have reached a pristine perfection - rich in melody, intensely personal and magnificently expressive.
Though the band is pure Doom in atmosphere and spirit, there are many bands currently active with a greater fidelity to harsher, colder funereal oppressiveness. While certainly nowhere near the realms of reaching commercial success, the band’s latest collection of material is their most accessible yet, having the same progressive yet melodic qualities as Opeth, Katatonia, Dark Tranquility, and later My Dying Bride. The band’s appeal will surely not be limited to fans of Doom alone, but the material comprising “To Welcome The Fade” stands alongside some of the greatest and authentic Gothic metal albums of the past decade.
“Not The Strong” forebears any lengthy, long winded album intros, and instead plunges right into the thick of things with a burst of snapping drums and sweeping guitar galloping, accompanied by intelligible death growls. The song’s lyrics are sensitive, yet stripped of any flowery pretense. They are straightforward testaments of vulnerability:
If only my mother knew the real me
Her heart would break, for I am shame
Not the strong man she raised from birth
A coward, a child, a scared soul.
The song marches along through a melodic dual guitar serenade before sinking into a groove-oriented Sabbath-esque jam. Finally, it tumbles back into the moody melancholic harmonies that characterize the chorus and leave the listener mesmerized. “Broken” is also comprised of many rhythmic shifts, from the epic, shuffling crunch that starts the song to a slow watery guitar interlude that introduces the first clean male vocals on the disc, as well as the first appearance of female vocals. The female vocals at first did not sit very well with me. They weren’t the usual willowy, weak angelic whines that many metal bands employ, nor were they an attempt at grandiose operatic soprano work. Though barren of the usual clichés, I at first found the vocals to be rather average, mid ranged alto vocals with nothing all that remarkable in character. The overall techniques and style would be more at home on any given pop rock, or dare I say, contemporary country record. Not what you would expect in a dark metal band, and at first they definitely seem painfully out of place. It is not until you get to “The Spirit Seed” and especially the album’s outstanding highlight “Torn” that they begin to make sense. But I jump ahead of my critique.
“Lost In A Day” continues along with cool shades of watery guitars and dense, fiery walls of heavy guitars. “Within My Flesh” is the album’s ‘doomiest’ track, with a lush acoustic intro that bursts into a sluggish, heart wrenching crescendo of gargantuan guitars and pounding drums. Venomous vocals deliver more pensive lyrics:
My bride to comfort me when all seems lost
A kiss upon my brow to soften my suffering
She means so well I haven’t the heart to tell her
My smile was forced
My mother cries for me when no one will
Her words of compassion swell my eyes
‘It’s not fair this has happened to you
And I’d do anything to take away your pain.
“If Forever” is a lovelorn acoustic ballad, with a powerful clean vocal performance and warm enveloping choir synths to thicken the sound. There is nothing remotely metal about the track, though a weighty and moving effort despite the absence of the band’s usual morose metallic arsenal. “The Spirit Seed” flows through various movements, funneling down from a thick heavy collage of guitars and striking vocal harmonies into a churning sea of acoustic and chorused electric guitar passages, and a more effective use of Nora O’Conner’s vocals.
But it is indeed “Torn” which stopped me dead in my tracks and riveted my attention from the first note to the final dissonant echo of power chords. A deceptive indie rock jangle opens the track before an encompassing swell of electric guitar arpeggios and deep drums break the silence for a sequence of multi-layered darkness. The song sports three vocal styles, each representing a different ‘character’ – the female vocals sing of ‘life’ where predictably the guttural vocals represent ‘death.’ But in between is one of the sweetest and moving clean male vocal harmonies to represent ‘torn.’ As I had mentioned, the female vocals here finally shine, and the simplicity and ‘common’ realism that I at first disliked about them is exactly what makes them so poignant – the female figure is within reach, and attempts to calm the raging emotions of the song’s protagonist. She represents strength, healing, and caring, and the beauty of this is in the optimistic hint that such a blessing is attainable. But the vocalist’s darker and ugly side is skeptical, afraid, and resisting in order to prevent himself from being hurt again. And then there is the part of him that is ‘torn’ and yearns to be safe and finally begin the process of healing. But his fear ultimately prevents him from being saved. “It would take an eternity in Hell for my heart to rest in peace.”
Sure, you can read in to nearly any song, but few bands actually inspire their listeners to do so. November’s Doom actually provide their listeners with enough noteworthy lines to read between. For that, this band should surely be recognized – not to mention the fact that they provide such remarkably appropriate music to accompany the lyrics as they unfold.
“Dreams To Follow” is a brief solo piano interlude, paving the way for the murky guitar arpeggios that ring out mournfully at the onset of the album’s final track “Dark Fields Of Brilliance.” The final track is tragically animated by a bittersweet mood, hinting simultaneously of hope and defeat. The female vocals float alongside the clean vocals, until the guttural vocals sever their partially formed bond. The gloom builds for one final chilling and sonic climax of interweaving guitars and frigid synths, and then silence. The listener is left in a state of deep musing, emotionally devastated yet musically and artistically enlightened. You want more, and yearn for more, but are left hanging by the proverbial thread.
For all the nights I lie awake
And stare into the void
Just once I wish to grasp
Some glimmer of hope
Continuing to build on the majesty and grace that enriched their previous and masterfully hailed release “The Knowing,” “To Welcome The Fade” is a giant leap forward conceptually, musically, artistically, and lyrically for November’s Doom. Though the album might be ‘light’ for extreme Doom purists, it is nevertheless an unquestionable triumph for the progress of the band. This is a startlingly mature and well-written album that will enrich the collections of moody dark music fans the world over. Highly recommended to not only fans of Doom and Gothic Metal, but to all bleeding heart Romantics, regardless of their usual musical interests.
This Review found at: http://www.musicextreme.com
It is amazing how each time that November´s Doom makes a new album they achieve great results....their previous "The Knowing" was really brilliant, and this one is even better. Here we have ten tracks of pure November´s Doom style metal with all what that means: Good riffs, excellent melodies, strong vocals and a great klnowledge of song structure. Plus this time we have Neil Kernon producing this album and adding some great mixing. Each of the songs here has that depressive quality that November´s Doom´s music has and that have made them an unique band. And that is due to the combination of one heavy guitar with some melodies and because of the use of some keyboards and some clean guitars. Plus, to add to the anguished and dark feeling of the recording we have the female ethereal vocals by Nora O´Conner in some palces adding a lot of beauty and darkness with her voice. A must
From: http://www.live4metal.com/
Novembers Doom - To Welcome The Fade (Dark Symphonies) Review By Steve
For whatever reason(s) I found this a daunting prospect to review. At first I didn't have the time to give it my fullest attention and there is so much going on, it demands to be listened to. Secondly Novembers Doom flit between styles effortlessly and that kinda threw me as well. But after I absorbed everything, I wandered what all the fuss was about, because this so accessible and a joy to listen to. Novembers Doom are essentially influenced by the (then) "Big Three of UK Doom". My Dying Bride, Anathema and (old) Paradise Lost. The latter being the more obvious. Add to that, their own unique qualities and a touch of folk, and you onto something very special indeed. Not The Strong comes out of the blocks with a full on Voi Vod inspired riff, the energetic foundation is merged into captivating Death/Doom that hasn't surfaced since Paradise Lost's Icon album. The guitars are to the fore, transferring from huge riffs to sublime leads with ease. And vocalist Paul Kuhr reminds you how good Nick Holmes once was before he started to croon. Broken sees the introduction of guest female vocalist Nora O'Conner, her gentle folky voice takes the ND sound off onto yet another tangent. Acoustic guitars and spoken word passages lighten the mood, her mesmerizing voice fills the background and Utopia is reached.
Within My Flesh sees another melodious acoustic intro, you're completely entranced before a monstrous Bride approved riff kicks in. The melancholic guitars weep gently and it's if the last 10 years never happened. Forget the commercial crap that masquerades as Metal these days, this is the real thing.
I did a search on Nora O'Conner on Google. All I got was info on an Irish folk singer of the same name. One and the same? Maybe. The folk part is obvious. Her captivating voice can transform a song in an instant. It's clarity and innocence reduces any aggressive intent to a soothing and calm oasis within seconds. Torn sees her take the spotlight before the clean vocals of Paul Kuhr join the fray for a heartfelt duet, before long his menacing growl returns. He flits between the two styles in glorious fashion. This is one of those releases I could rave about all day.
Novembers Doom have the quality to go as far as Paradise looked likely too before they lost the plot. After surviving ten years in a volatile industry, they deserve all the plaudits bestowed upon them.
From: http://brotheris.host.sk/music-rvw-fade.php
You can love them or hate them, this won't change a fact that they are trying to do something different with each new album. Having lost their bass player (she rocked imho) Novembers Doom lost a small bit I loved in The Knowing. Anyway... Sometimes I think that with this album Novembers Doom tried to copy their last work (some tracks are very similar). The word 'copy' doesn't belong here really, because I think that band tried to take best they could from The Knowing. Album on the whole is quite different. Some will call its sound more 'gothic', but I won't do that. 'If Forver' may give you this impression, but I'd like to call it 'Candlemass compatible' :-) That is just doom, this is how it evolves.
Guitar sound changed, first impression wasn't very good (demo tracks 'Not the Strong' and 'Dark Fields of Briliance'), but while listening I found that I like it. It is different to what I used to hear, it is softer. Ofcourse not all tracks sound this way. My favourite 'The Spirit Seed' isn't that soft on the guitar side. Non standard patterns, variety of voices (death,etc), The Scream (...liiives...) are wonderful. I would like to see more experiments come into this side (has a little black metal tunned in imho).
Overal this album sounds nice, has variety of songs which don't sound the same.
Lyrics mostly are simple, but who can blame them, it is doom, they don't pretend to write philosophical works (although not all songs are simple structured, just check out 'Torn'). Words expres feelings, you just have to open your mind and relive it all with music. Isn't it nice ?
Good work guys/gals, applauds go to you, I just have a wish: please don't turn into Yet Another Anathema Clone.
From: http://www.geocities.com/anarchyapathy/index2.html
Ever listen to a CD and just know that the band truly feels what they write musically and lyrically? Just one listen to Novembers Doom's new CD, "To Welcome the Fade" (Dark Symphonies) will remind you just how rare of a find these are. "Not the Strong" will fill you with the true pains of doom metal, personal lyrics, and crisp production...and the rest of the CD will follow in its footsteps. You'll be hearing alot of this CD on my show, so i'm recommending it highly to any metal fan!
This review can be found at http://www.aversionline.com
Novembers Doom "To Welcome the Fade" CD
8/10 - [Dark Symphonies]
I had been waiting for this record ever since I first heard "The
Knowing", which totally blew me away. "To Welcome the Fade" continues in a
similar vein, though the band is definitely heading more in their own
direction this time out, shedding some of the obvious musical influences
(granted there are still many Opeth-isms herein) and adding more substance
to the "doom" tag. Things open incredibly powerfully with "Not the Strong",
a doom epic that paves the way for "Broken" - which brings in a lot of
dynamic shifts, including some clean riffing that has that token Novembers
Doom vibe, as well as some subtle female vocal textures. "Within My Flesh"
is a bit slower, starting out with nice acoustic guitars that lead into an
array of midpaced chord progressions that bring in a lot of creative melodic
devices, and "If Forever" is even what could be considered a "ballad" in
some ways - utilizing soft acoustic guitars and carefully executed
background synths with singing/spoken vocals and minimal percussion. Things
tend to take a more mellow turn towards the latter half of the record, with
a great deal more of the softer guitars and some excellent female lead vocal
appearances in both "The Spirit Seed" and "Torn". The production (handled by
producer extraordinaire Neil Kernon) is of course quite amazing. I don't
have any gripes. The bass is just a tad more audible than it was on the last
record (I'd still turn it up a bit to give more substance to the center of
the mix), the drums sound warm and full, the guitars are insanely crisp,
etc. Excellent work, and it's an HDCD to boot. The layout is not so unlike
that of their last album, using a lot of abstract imagery (with recognizable
elements) and consistent textures/colors throughout. There are plenty of
band photos and the text is crisp, my only minor complaint is that they
could have saved space by making everything a bit more compact. The font
used for the song titles is awesome, but the font used for the lyrics
doesn't work as well, and the text is slightly bulky - taking up a lot more
space than it needs too. The band photos (one member on every other page)
are also a bit large, I would have preferred to see more artwork, as
visually it's quite strong. Lyrically things run the emotional gamut from
shame to rage, and a glimmer of hope. However there are portions that
express pure contempt, ".I damn your life, And I pray you suffer long, And
all the angels turn their backs from the sight of your pitiful face, No god
will save your soul, For there is no love for you, You left all that behind
the day you learned to fucking speak." In the end it's very, very hard for
me to decide whether or not I like this record or "The Knowing" better.
Where "The Knowing" struck a nerve instantly, "To Welcome the Fade" takes
time to sink in - the more you listen to it, the more you appreciate it, and
the more its diversity shines through. I miss that immediate impact, though.
so, at least for now, I'd have to rank this a very close second to "The
Knowing". This is another stupendous release, however. Make no mistake.
Running time - 54:51, Tracks: 10
[Notable tracks: Not the Strong, Broken, Torn]
This review can be found at http://www.vampire-magazine.com
Reviewed by Serge on December 17, 2002.
It took me quite a while to get To Welcome The Fade in my possession, since the album has been released for a number of months already. But, it was worth the wait. Novembers Doom is a relative new band for me, I got acquainted with the Chicago-based band previous year with the album The Knowing, their previous release of 2000. The slightly romantic doom/deathmetal gripped me from the start, and it didn't take me long to get familiar with the other albums of this terrific band. Novembers Doom has followed about the same path as did most doom/deathmetal bands. Like the big trio My Dying Bride, Anathema and Paradise Lost, Novembers Doom started out as a dark and heavy band and they progressed to be a little less extreme, more melody etc.
To get back to their latest album To Welcome The Fade, it is a logical progression (I'd almost say extension) from The Knowing. The Knowing is a little more raw, while To Welcome The Fade emphasizes more on the emotions in the music. And a fine result it is. I'm enjoying this album immensely, and I dare say it's my favorite Novembers Doom album to date!
As can be expected by the band, the sound and production is in perfect balance, as are the song compositions. To Welcome The Fade turns out to be quite the varied album, with both slower and faster songs and all kinds of emotions and speeds in between. I'm especially fond of the vocals by Paul Kuhr, who have become more powerful since The Knowing, and have been better mixed with the rest of the music. The only minority are the lyrics, that can be weird at times (to put it mildly). On the other hand, lyrics on tracks such as Not The Strong (a terrific opener!) and Dark Fields For Brilliance (a terrific ending song of the album) are good; personal and emotional.
With music, sound etc all covered now, rests me to say the artwork's brilliant (a good portrayal of the atmosphere the music breathes) and this release is especially interesting for fans of My Dying Bride and older Anathema. I want more!
This review can be found at:http://www.zenial.nl/review/towelcom.htm
Well, 'the Knowing' was a very good album and my expectatives were very high. This release is a total triumph !
Definitely, Novembers Doom have their own style, far from the early MDB sound, and this time the music are more experimental, with major presence of acoustic guitars and female vocals.
The first part of the album is similar to 'the Knowing', but with 'if forever', the fifth song, the sound takes other direction followed by the totally brilliant 'the Spirit seed' and the beautiful 'Torn'.
By the way, the album is produced by a grammy winner, so if you like emotional and depressive music don't miss this.
Review by: danchloe
This review can be found at: http://hot.ee/voit/Week38.htm
NOVEMBERS DOOM - TO WELCOME THE FADE (DARK SYMPHONIES) (170.00)
With already 3 full lengths under their belt NOVEMBERS DOOM is already a well known band in the death/doom metal scene! Starting out as a slow death metal act, they kept on introducing more and more interesting genre-exceeding musical elements with each release, much to the appreciation to the many fans of the band! With 'Welcome to the fade' they made their strongest album to date, massive melancholic metal tracks with nostalgic riffing and astonishing powerful accompaniment, topped with emotional grunting vocals! Recommended!
Translated from French (and poorly I may add):http://vsolutions.free.fr/
The doom of November, it is like the new beaujolais wine, that returns every year at the same date. This year, it is a little advances some, it arrived to us as of October and one will not complain any. Déja the fourth album for the group, time passed since "Amid its hallowed mirth" left in 1995 at Avantgarde music but it is especially with "The knowing" a third album unanimenent greeted that NOVEMBER' S DOOM had acquired a certain fame. It is thus with a certain apprehension that this album was awaited. For those which would have passed to with dimensions from NOVEMBER' S DOOM here a crash course of correction: good step of trap, it is well doom about which it all is, of the precise doom-death and to be succeeded, because one can really place this American group (and yes...) at the cotès of MY DYING ATTACHES or the ANATHEMA period doom-death. Here not of violins or piano (except on instrumental "the Dreams to follow" which is precisely only piano). Just some rare keys of synthès or female song but the principal place is occupied here by the guitar. This new opus guard the same receipt a brilliant alternation of passages atmospheric, heavy, with the environments of darkest and depressive, with clear song or more generally death but always filled up of sincere and great emotion, and faster passages, with the riffs among most leaded which are. The very good melodies really haunt you the head a long time after the end of the listening of the album. It is difficult to leave a title the batch, so much the wafer as a whole is good, not titles of fillings here but let us quote all the same "Not the strong" which opens the album, "The lifeless silhouette" and its passage spoken which pointed out BEYOND to me DAWN of "Pity coils" or very simple "Dark fields for brilliance" in its structure but of a frightening effectiveness with its imparables gone up in power which majestueusement close an album which one cannot prevent oneself from recovering... You will see never again November of the same eye after having listened this momument of the doom-death.
[ Posted by : Sheb | Note: 17/20 |Nb of readings: 2858 ]
This review was translated from Italian. Original review at:
http://www.hmportal.it/
I'm sorry if I can tell you only right now about this new Novembers Doom's release, but several things made this cd stay far from me...
Anyway... many years have passed since the debut of these american doomsters, that 'Amid Its Hallowed Mirth' (1995, now reissued by their label Dark Symphonies).
From then, the band continued to walk the path they started, with good and bad moments of course, but I think the most important one is now, with the release of the beautiful 'To Welcome The Fade'. Magisterially produced by that genius that's Neil Kernon (Nevermore and Cannibal Corpse), I think that this album can show it's unquestionable resources.
It's sound is simply marvellous: from drums to the guitars, the production makes the sound so clear and power that it's difficult to stop listening at it.
From a musical point of view, we've got something new from Novembers Doom: as now I think that them who have always considered'em My Dying Bride's american alter-egos will be disappointed (even if the similarities between Kuhr's vocals and Stainthorp's are sometimes strong), finding a band that instead of living in the shadows of the other, has lit their own star in the metal music sky.
Their death-influenced doom metal approach is now fully developed in something that embraces also gothic and atmosferic kinds of music, making of each song a lil story with own life.
The album starts with fast and aggressive songs such as "Not The Strong", "Broken" or "Lost In A Day", three speed songs with a "heart" made of catchy rhythms that conquer at first time.
Compared to the brutality of the vocal style of Paul Khur, they create catchy atmosferes thanks to the keyboards (played by Eric Burnley) that give the sound a gothic approach, and classic guitar arpeggios, while there are songs, such as "With The Flesh", that remind me of the early productions of the band, slower and more doom-related.
After this first half, in the second part of the album we find a break with the acoustic and yet melodic "If Forever", where we can listen to the beautiful voice of the female singer Nora O' Conner.
'To Welcome The Fade' gets back its dark mood with the next tracks that show how lethal could be the union between the aggressiveness and violence of death/doom and the melancholy and beauty of gothic.
A great comeback for Novembers Doom, a band that has lived for too many years in the shadows of bigger names, and that maybe this time they can get what they deserve.
Highly recommended
TECNIQUE: 4/5
SONGWRITING: 4,5/5
PRODUCTION: 5/5
INNOVATION: 4/5
RATING: 86/100
Review by Evil Frons (evil_frons@hmportal.it)
This review can be found at: http://www.quintessence.sh/
Novembers Doom
To Welcome the Fade
Dark Symphonies
Here we`ve got Novembers Doom`s fourth full-length and once again this American Doom/Death act has released a magnificent album. This band around vocalist Paul Kuhr have suffered from numerous line-up changes but always managed to record new albums that maintained the high standard this band realized starting with their debut. Over the years they`ve changed a bit. In their early years they were mainly influenced by My Dying Bride but after a while some Opeth influences came into their music as well. They can`t be labelled as a rip-off because they have their own particular sound which they firmly hold on to. Using Neil Kernon as producer for this album makes sure this album sounds very mighty, a real pleasure to listen to. Great artwork by Travis Smith makes this album complete. Truely one of the best doom/death-acts emerging from the States. So if you`re into My Dying Bride and Opeth I really advise you to get this album. You won`t be disappointed.
Pim
Direct link to review:http://www.metalgospel.com/Reviews/ndtowelcome.html
NOVEMBERS DOOM - To Welcome The Fade (Dark Symphonies~2002)
What a fantastic Death / Doom Metal band these guys are! They haven´t yet disappointed me throughout their entire career and they certainly don´t disappoint with "To Welcome The Fade". This is a great new album that features awesome growling Death vocals, keyboards used with care and kept as more of a background instrument the way it should be in most cases, subtle use of female vocals and an enveloping, dark and very emotion filled atmospheric aura. Reminds me a lot of MY DYING BRIDE or old ANATHEMA so fans of those two in particular would want to check out NOVEMBERS DOOM.
-Cheryl
This review can be found at Chronicles of Chaos -http://www.chroniclesofchaos.com
Novembers Doom - _To Welcome the Fade_
(Dark Symphonies, 2002)
by: Pedro Azevedo (9 out of 10)
By consolidating their sound and tightening their focus, Novembers Doom have created an album which is the culmination of their career so far. Having witnessed from afar the evolution and tribulations of this band over the years, I am thoroughly pleased with their achievement. _To Welcome the Fade_ comes presented in very suitable Travis Smith artwork (some of his best to date), and boasts the production talents of Grammy award winner Neil Kernon as well as top notch digital equipment. The album does sound very good, but it is the consistent quality Novembers Doom manage to deliver throughout that makes all the difference. A stronger effort all around than its promising predecessor _The Knowing_, _To Welcome the Fade_ shows an experienced band that is on top of their style and no longer seems to feel the need to 'expand' their sound. True enough, "The Spirit Seed" sports quite a bit of an Opeth influence that couldn't be found before, but all in all the album does have a very consistent character. The band's doom/death can break hearts and crush bones with similar ease on _To Welcome the Fade_. There are some remarkable gems to be found within the CD, most notably the superb "Within My Flesh" -- one of the best doom metal tracks of recent years -- which follows the more than suitable start provided by "Not the Strong" and "Broken". This is a thoroughly competent and inspired album from Novembers Doom, and a must for any doom metal fan.
(article submitted 3/21/2003)
This review can be found at: http://www.tragenda.net/
Very interesting come back for this North American band. ?To Welcome the Fade? is their best achievement so far. Novembers Doom play a very melodic, atmospheric, melancholic kind of mid to fast-paced death metal. The use of soft parts helps the overall emotional and melancholic atmosphere of the album, although they get quite pompous at times. Guitars are very, very melodic, and are easily the main feature of their music. There are also some acoustic guitar parts, usuallymelancholic and felt. As for vocals, Paul is a growler, but sometimes he uses clean vocals: on the whole both this vocals fit the music quite nicely. Worth to mention is also the gloomy artwork by Travis Smith. In closing, all I have to say is this: if you like melodic death metal and Opeth in particular you should look into Novembers Doom's music, because this album is an excellent release for one of the best Usa?s band.
This review can be found at:http://www.sinisterweb.co.uk/esoter.../apr272003.html
Novembers Doom - To Welcome the Fade (Dark Symphonies)
Novembers Doom, despite persistently clinging to an incorrectly-apostrophised name, have spent a few years now, since Dark Symphonies picked them up, enjoying the status of a respected underground band. One can only assume that not many metallers are particularly stringent grammarians. To Welcome the Fade is a strong step forward from their previous album The Knowing, and indeed is a solid and generally enjoyable listen, but there are some disturbing aspects to it which lead me to suspect that Novembers Doom are cementing themselves into a niche from they will never be able to emerge; they are highly proficient musicians, adept at absorbing influences, amalgamating them and producing quality albums on which one can hardly see the joins between those influences. However, do they have it in them to transcend this face-dancer phase and really produce something that really has character of its own? Unfortunately, I doubt it. The question for you, dear reader, is to decide whether or not that's the sort of thing that bothers you.
Certainly, The Knowing was well-received here at Esoterica. Its emulation of My Dying Bride's mid-period moments combined with that curiously endearing naïveté many underground US acts possess had a certain inescapable charm, and indicated that on our hands was an act which had really created a solid base on which it could construct a series of enjoyable albums. It's really quite ironic, and probably totally inexplicable at first, that delivering a significantly better follow-up album has left me scratching my head wondering how good this band truly its at its core. There's no question whatsoever that To Welcome the Fade isn't a good album, on many levels; it's packed with well-written, melodic (but not noodly) riffs, delicate acoustic interludes, fluid, coherent songwriting and is immaculately recorded with a perfectly balanced sound. The thing is, that sentence is a pretty good description of any of Opeth's albums, and it would be ridiculous to deny that the all-conquering Swedish maestros had not had a profound impact on Novembers Doom since the latter's last release. This is a very Opeth album indeed, in contrast to The Knowing being a very My Dying Bride album. It seems, therefore, that Novembers Doom are content to flit around between metal styles, picking out shiny bits from the metal spoil-heap like magpies and changing direction on a whim depending on what they've been listening to most lately. The only rational deduction to be made is that Novembers Doom are seriously lacking in internal inspiration, and without a bit of a re-think can probably never hope to move forward from the position I mentioned earlier, of respected underground name, to prime-moving, idea-generating genre leader. In this respect they remind very much of the similarly-named Novembre, another band with their retinue of faithful fans who nonetheless are more widely perceived as playing second fiddle to Opeth, with many ideas worth hearing but, it must be admitted, several passages of numb ordinariness regarding which we must be grateful for the invention of the skip button.
But does it really matter? Maybe not. To fans of Opeth and My Dying Bride, Novembers Doom can do nothing but entertain, despite its relative lack of character. To Welcome the Fade is simply not in possession of the intangible essence of a great record, but is an extremely well-played pastiche of some killer bands, replete with some genuinely beautiful musical moments, and if you're going to pick two bands to emulate, far better they be Bride and Opeth than, say, Gardenian and Night in Gales. The final decision is, as ever, in your hands.
Harry
This review can be found at:http://www.ultimatemetal.com/forum/...4%23post1667364 andhttp://www.rawnervepromotions.co.uk...755&sort=latest
Novembers Doom ? To Welcome The Fade
Dark Symphonies ? dark18 ? 2002
By Russell Garwood
Novembers Doom hail from Chicago, and recently released their latest album through US label Dark Symphonies. Unsurprisingly "To Welcome The Fade" is doom based, but the melodic, death-influenced sound also contains gothic touches, which makes for a more original sound.
Vocals come courtesy of Paul Kuhr, whose easily decipherable growls match the morose music to perfection, while hoarsely whispered and spoken sections show Anathema parallels. Singing adds further variation and respite from harsher sections, often supported by acoustic guitars which give the music a Gothenburg feel. Instrumental sections also remind me of early doom, with occasional female vox (Nora O?Connor) adding more atmosphere in a sound already drowning in sheer hopelessness. Guitars by Eric Burnley (who also plays keyboards) and Larry Roberts switch between melodic yet heavy distorted lines, which speak of longing and anger, and clean/acoustic phrases swathed in wistful melancholy. Bass is provided by session musician Brian Gordon, whose a solid low end gives the music impact, while drums from Joe Nunez are precise and direct.
This well rounded and unexpectedly varied sound is cemented by the top quality production of Niel Kernon (Nevermore, Cannibal Corpse, Judas Priest, Kansas, Yes, Queensryche) which is well balanced, clear and, above all, powerful. Throughout the smooth dynamic changes and differing sounds the recording is excellent, and the music is gelled by a disheartening streak which runs throughout. My only complaint would be the lyrics, which - while poetic - at times I?m not too keen on. But as they match the music well in feeling, this is largely immaterial. All in all "To Welcome The Fade" is an accomplished album, which fans of both melodic death and doom will appreciate, as well as many lovers of emotional music in general.
this review can be found at:http://www.full-strength.net/world_...embersdoom.html
Novembers Doom 'To Welcome The Fade'
2002 | Dark Symphonies| Reviewer: Krozza
Anyone remember Paradise Lost - the Gothic metal band? Remember ?Icon? and to a lesser extent, ?Draconian Times?? You know how they completely lost the plot from then on - well here is a band that exists to fill the void. Now, I am at pains to paint Chicago?s Novembers Doom as pure copyists (and it?s not an overly new observation) of the PL style - they most certainly are not - but as an act that forges a path that PL ?could? have taken, then Novembers Doom do it better than any other act I?ve heard.
The name ?Novembers Doom? might be a new name to you, yet this is their sixth official release and fourth full length. I?ve been a little slow on the uptake myself, however I specifically ordered this new album in on the strength and conviction of the bands previous effort - 2000?s ?The Knowing?. It is still an album I regularly play due to its magnificent melancholy atmosphere. One track, in particular stood out - ?Silent Tomorrow? - it is pure emotional heaviness at it?s best. The rest of ?The Knowing? was just as captivating for me and I knew this was a band I needed to keep my eye on - Hence my excitement at laying my hands on this new one ?To Welcome The Fade?.
Needless to say really, but WTTF is everything and more of what I expected from this band. The spellbinding aura of despair and misery that ?The Knowing? displayed has been captured in a whole new light on this new album. WTTF is an album that just drips with ?feeling? and emotive power - from the mellow, morose piano/acoustic elements and the folk inspired aspects, to the haunting female vocals (Nora O?Conner), to the desperate atmospheric melodies that form the red line through each of the 10 tracks written here.
Unbelievably, WTTF is an even more mature and confident release than ?The Knowing? - this band has a formula that works immeasurable wonders. The song writing, their structure and dynamics have improved, allowing an even more all-enveloping sound to be created. And the production! - Seriously punters, the utter weight and power that this album has is mind blowing. Heavy? Fucking hell - the guitar production (from Neil Kernon (Nevermore, Cannibal Corpse) delivered on WTTF is crushingly heavy. There are many examples - but the opening riff of ?Lost in a Day? is outstanding. This heaviness only adds to the all out effect that this band conveys. Never moving far from slow to mid tempo rhythms, WTTF is a monstrous ?doom? laden affair - check the Candlemass-like mid-section of the opening track ?Not the Strong? for evidence. Elements of My Dying Bride are also evident in ND?s music - the slower guitar riff components giving rise to the comparison. This is offset via the gentler folk/acoustic, atmospheric moments that remind of mid-period Anathema, such is the feeling developed.
There is always something interesting about ND?s song writing on WTTF - in particular, the use of their dynamics that bring their songs from raging hulking doom beasts to serene, soothing morose passages and back again without ever feeling forced or contrived. The final track ?Dark Fields for Brilliance? is a stunning example of this - it?s a magnificent track that builds throughout to a powerful ending - In my opinion, just about the best thing they?ve written (other than ?Torn? - see further down). Add the aforementioned use of Nora O?Conner?s sweet vocals and the result is pure magic - Nora is not a typical opera-style singer, and therefore, for me at least, adds a more human element to her lyrics. Working solo and in tandem with Paul Kuhr?s powerful growl, the effect is mesmerizing and is one of the more outstanding components of this sensational band. It is the track ?Torn? which highlights this astounding pairing of vocals - mellow and captivating, doom laden yet inspiring, ?Torn? is a simply amazing track. No matter what your tastes in music, this track will melt hearts in an instant such is its quality.
WTTF is one of the heaviest albums I?ve heard this year. It is also one of the best releases for 2002. It has surprised me in it?s quality - I was prepared for something of note, but really, as I continue to listen to this album, it has become an even more powerful affair than I ever expected. For fans of ultra heavy, doom-laden music, intelligently constructed and swathed in pure emotive grace and power, WTTF comes highly recommended. Who needs Paradise Lost?they could never have been this good?.
This review can be found at:http://www.metal-observer.com/gb/reviews/rev3497.html
Novembers Doom - To Welcome The Fade (9/10) - USA - 2003
This third release from NOVEMBERS DOOM arrived on my desk the day before their first two arrived by mail-order. Normally, when possible, I like to review a band after becoming familiar with as much material as I can get but I went about this backwards and due to time constraints lately, I have yet to explore the older CDs. Besides, it makes no difference as far as this opus is concerned…it's brilliant.
My expectations were certainly high upon witnessing the beautiful cover artwork. It is instantly recognizable as a Travis Smith work…see OPETH, KATATONIA, NEVERMORE and many others or better yet check out all his work at www.seempieces.com. This piece cries of pain, tragedy and sombreness and should be enough to indicate the type of listening ears the music should grace.
I was immediately alerted to the OPETHIAN similarities in this band. Please do not get me wrong, they are not a clone. They are similar in vibe, atmosphere and perhaps the harsh vocals. They share the love for the acoustic/heavy inter-mix but they manage to make their style their own. Spoken male vocals as well as soft, sweet female vocals are also used periodically to add both depth and ambience. I find the songs a bit more straightforward in terms of general song-writing, time signatures, etc and generally the tracks are shorter than those of OPETH…not a bad thing at all, just different.
The production is absolutely spectacular as I have come to expect from Neil Kernon. The drum sound is very solid and profound and the heavy guitar has a thick sound that few can get but all would love to have. The acoustic elements are absolutely clear and beautiful. When graced with the voice of guest vocalist Nora O'Connor, it feels like she is sitting right in front of me. Need I say more?
Upon repeated listens, I find myself at a loss as far as picking out standout tracks. I realize this is simply because that is not what they are about. They create dark, tragic, sombre music that is about mood and feeling. The lyrics however do stand out…they are appropriate to the music, thoughtful and even stunning at times. The tracks vary a great deal as far as heaviness is concerned however, the band never lose sight of this musical goal and vision. I don't doubt with dozens of listens, favourite tracks shall emerge but for now I am happy reporting it as conceptually all very strong.
"To Welcome The Fade" is an amazing work of beautiful music. This belongs in all collections that contain any OPETH or KATATONIA. Although NOVEMBERS DOOM definitely are all their own, these are the bands that I think they most closely resemble in genre. Perhaps Avantgarde Metal if you will. Regardless of classification…they are absolute Class! (Online October 10, 2003)
