Moonspell unleash their signature gothic metal to end the second day of Doom Over London

Doom Over London 2016

Friday 25th to Sunday 27th March 2016
The Dome, Tufnell Park, Camden, Greater London, NW5 1HL, England MAP
£37.50

The second day of the UK’s premier doom metal happening Doom Over London is the festival proper, opening up to three stages – The Dome, The Boston Music Room and the Aces and Eights - with the number of attendees considerably larger than the first day all eager to indulge in a feast of the multifaceted genre of music that is doom metal.

London death doom metallers Eye of Solitude play the Boston Music Room. Combining heavy melancholic riffs with melodic guitar leads, gothic keyboards and double bass drumming, the band proffers an atmospheric variety that sustains attention and harnesses creativity in abundance. The size of the crowd for one of the earlier bands of the festival is testament to their impressiveness.

At the Dome are sludge band Conjurer, formed in 2010 with one album to their name. They employ a meat-and-potatoes approach to heavy sludge with rocky rhythms to entice the listener into headbanging. A two-pronged vocal delivery beefs up the abrasion of the music but contrasts nicely against some of the melodic guitar work. A robust performance indeed.

Next up at the Dome is Sea Bastard from Brighton, not a rare sight in London and possessing quite the following for a youthful band. With songs frequently clocking in over the ten minute mark, the set is one that takes its time. Their doom is somewhere between traditional and sludge with pained rasps for vocals. The venue is particularly busy for this bludgeoning set and for good reason.

Up next at the Boston Music Rooms is Slabdragger not too dissimilar from the sludge oppression espoused by the previous act. With the venue filled up, this trio crank up the distortion and have particularly catchy rhythms that see the members bouncing around on stage. A blues influence is incorporated into their sound so seamlessly that it seems remarkable that more bands have not realised the compatibility of these two genres. The punters’ response following the end of each song is very appreciative and for good reason.

Returning to the Dome, My Silent Wake erase the aforementioned punishing sounds with gothic doom metal. Their sound may not reinvent the wheel but the moody guitars and deep growls pay homage to the English gothic doom heritage, namely old Paradise Lost, My Dying Bride and Anthema. Song structures are varied and remain interesting throughout and the audience certainly appear captivated. Straying into the epic, eerie and ethereal, My Silent Wake contrast beautifully with the today’s bill thus far and they are a welcome change of pace.

Next up is Officium Triste from the Netherlands, having formed in 1994 and influencing the fledging death doom metal scene. Slow and atmospheric melancholia is what this band trades in and while it is pleasant, the music occupies the same headspace with little in the way of variety or surprises, which seems to reduce the spectators’ collective attention as the set winds on. Although they were particularly influential in broadcasting this sound in the early days, other bands since have surpassed their efforts (including some at this very festival), which renders them less than essential listening for death doom aficionados.

At the Boston Music Room are Bossk, from Kent. They have a loyal following in London and the room is busy with punters. Creatively reimaging sludge metal as atmospheric with post rock elements marks them as a unique band amongst their peers. With the scent of incense wafting through the rammed room, the music cascades over the audience, largely instrumental with assortments of crystalline and angular guitar passages with the odd interrupting rasped vocals. This is an excellent exhibition of the imagination of a young band and a highlight of the festival.

One of the largest draws for tonight is Finland’s horror film devotees Hooded Menace, a death doom band that has the underground death metal world howling with commendation. This is their third time in the capital and adherents of extreme metal have purchased day tickets with the sole intention of seeing them in the flesh. Bedecked in hoods to honour their namesake, the quartet bleed out prime cuts including ‘Fulfil the Curse’, ‘Never Cross the Dead’, and ‘Curses Scribed in Gore’, alternating between bombastic old school death metal and a suffocating doom choke. The results are extremely rewarding and position Hooded Menace as one of the best retro bands paying homage to classic death metal while laying claim to a sound uniquely their own. Another outstanding artist at this festival.

Finally headliners Moonspell take the stage to unleash their signature gothic metal on London once again. With a discography likely to turn off a sizeable portion of this festival’s attendees, the organisers were brave to book them. The turnout is strong but does not match the levels of crammed that the band usually enjoy at the more intimate Underworld. The setlist is full of crowd favourites and songs from throughout their storied career. Prime cuts include fan favourite ‘Opium’, the later ‘Extinct’, the seductive ’Vampiria’ and the folk-tinged ‘Alma Mater’, the older more black metal songs evoking a stronger reaction than the others. Frontman Fernando Ribeiro possesses a dynamic stage presence full of movement and emotion, eager to stir his fans into a frenzy. Indeed the fans clearly adore the show but there are some less enthused people towards the back of the venue who leave before the end. Closer ‘Full Moon Madness’, which displays a particularly doom metal vein that suits the festival more so than anything else featured on the set, is a fantastic way to conclude the second day of Doom Over London.

review by: Elena Francis