Archives For candlemass

Today, doom is more popular now than it ever has been, across all fronts.

There are over forty years of legendary bands and songs to jam out on, and there will always be musicians who love to write a killer riff. There will likely always be an audience for that too, as long as mainstream music continues to fail at satisfying this need. But life in a doom metal band can be quite hard. Many of these musicians work second jobs to keep a roof overhead and the lights on, producing their work independently due to lack of mainstream label interest. Even a successful doom musician like Scott Weinrich has an arrangement with his wife to be a stay-at-home dad with his kids when he isn’t on tour.

This has fostered a DIY ethos traditionally associated with punk rock and a small, though strong and knowledgeable community of fans. Many bands these days are embracing old technology anew with the organic warmth of tube amps and other traditional methods of recording. You could call it “retro” or “vintage” if you wanted, or even cynically suggest that they are only fetishizing analog methods to play to the disenfranchisement with the new. But if they want to create this music, do they really have much choice?

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Last time in Part 1, we introduced the proverbial Big Four of doom metal. Though “big” is a word that certainly applies to their elite stature among the subgenre, it did not apply to their sales figures. Even Epicus Doomicus Metallicus, the Candlemass debut record that is often considered doom metal’s finest hour, was a commercial flop upon its 1986 release. Though it’s a phrase that originally applied to the Velvet Underground, I think it’s fair to say that “not many people heard those early albums, but everyone who did went out and started a band.”

One of those copies of Epicus reached Messiah Marcolin, who sang for a band called Mercy with a booming, intense, opera-like voice. He called Leif Edling in the middle of the night, sang him “Solitude” over the phone, and offered to sing for Candlemass. While dressed as a medieval monk.

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It was late on a freezing winter night, and I wanted to listen to some metal.

But I was in the mood for something a little different. My usual go-tos like Judas Priest, Iron Maiden, and anything involving Ronnie James Dio were all in heavy rotation already, and I had also been listening to a lot of death metal and black metal so I wasn’t really feeling those either.

Into that need for something a little different stepped Candlemass, my first true experience with what we call “doom metal.”

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I have a confession to make…I was not always a fan of doom metal. Before receiving this album as a Christmas gift, I was uninterested in doom metal, believing it to be just a rehash of things that Black Sabbath and Pentagram had already done.

You can guess what my attitude was after my first listen to “Epicus Doomicus Metallicus.”

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Every Memorial Day weekend for four sweat-drenched days, metalheads take over the city of Baltimore.

Every Baltimore location I had visited leading up to the festival had at least one or two (frequently many more) heavy metal fans present with their leather, band shirts and long hair.

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If “Psalms For the Dead” is indeed the final Candlemass album (and I sure hope it isn’t), the group can look with fondness back on a career that showed them truly making the best of the time that was given to them.

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