Ancient Doom Metal

Russian outfit Scald's debut album, Will of Gods Is a Great Power, is a somewhat legendary release in the epic doom canon. Unfortunately the band were never able to capitalise on it as the death of singer Agyl in 1997 inevitably led to the band calling it a day. 2019 saw them reform in order to perform at the Hammer of Doom festival with chilean vocalist Felipe Plaza Kutzbach of Procession stepping into the not inconsiderable shoes of Agyl. Things went so well that the band kept going, releasing a placeholder EP in 2021 and finally their sophomore full-length in this, Ancient Doom Metal.

Comparisons with the debut are inevitable, but aren't really useful as that was twenty-seven years ago now and times have changed. That said, whilst this is unlikely to overhaul "Will of Gods.." in the hearts of epic doom enthusiasts, it certainly doesn't tarnish it's legacy either and is a worthy release in it's own right. It gives off a lot of Solstice vibes, particularly later material like White Horse Hill and the Death's Crown Is Victory EP with the riffs and guitar tone having a lot of similarity to Rich Walker's work and that's a big positive in my book because anyone who knows me knows how highly I rate him. Those riffs are impressively huge-sounding with a satisfying solidity and depth to the tone, towering over the listener like the imposing walls of a medieval castle, which is really the requisite for any self-respecting epic doom riff. The riffs aren't the only game in town however, with dual guitarists, Ivan "Harald" Sergeev and Vladimir "Karry" Ryzhkovskiy, skillfully weaving some gorgeously melodic harmonies over the solid base provided by those looming riffs and when they let loose with their solos both guys soar high and far with uplifting and imperious instrumental work.

Naturally, vocalist Felipe Plaza Kutzbach is under the spotlight, as the replacement for the now legendary Agyl, but he proves to be a perfect fit for the band as his style is very similar to the former vocalist and his previous experience with Procession and Capilla Ardiente stands him in good stead and it is difficult to see how anyone else could have pulled this off better. I don't know when these tracks were written, whether they are partially written tracks from the initial incarnation of the band brought to completion or if they are newly-composed and I guess that indicates the consistency between this later collection and the original band's output which, considering the more than quarter century since the former appeared, is no mean feat. Obviously where this new release scores over the debut is in the huge improvement in the production values, with the original sounding almost demo-like compared to modern recordings. In some forms of metal this is no hindrance (and even a plus in some cases) but epic doom undoubtedly benefits from good production and that holds true here too with the increased depth of the sound giving the album a majestic quality that "Will of Gods Is a Great Power" can only really hint at.

Overall then, despite some initial apprehension for a follow-up to such a legendary release, I have to give Ancient Doom Metal a big thumbs up. The title is very fitting and it really does feel like doom metal that is reaching back through centuries of history to a time of mighty warriors, daring deeds and of blood and steel, in other words, all that great epic doom should be.

It has been almost 30 years since the release of Will of Gods Is a Great Power and the tragic passing of Agyl, the voice of Scald. The world has changed drastically since then; with internet access becoming such a widespread phenomenon, music fans have been able to both share and unearth ancient goodies, which led to old, forgotten bands becoming more popular than ever, with both old and new fans (re-)discovering their material and an ever-increasing demand for reformations, reissues, etc. that didn't go unnoticed by artists and labels. Unsurprisingly, the legacy of Scald has steadily and inevitably grown over time and such interest has led the band to reform in 2019 featuring every original member and new vocalist Felipe Plaza Kutzbach. Up until earlier this year, I actually had no idea the band were active again. I mean, yes, it says on the band status that they're ACTIVE but I kind of just assumed they played a handful of shows and that was about it. The news of a new album caught me completely by surprise, a pleasant one at that but not without my fears: would they be able to recapture the magic of their debut and write new, passionate material or would we be getting new songs just for the sake of it?

Fortunately for us, the band make a triumphant return and deliver killer performances. It's not perfect (I'll get to that), but any fan of the genre, old or new, should find something to enjoy here. The band's development actually reminds me of Dawn, the Swedish melodic black metal band, which were obviously surrounded by a completely different context but nonetheless had a similar evolution. Both had an honest, organic debut record with plenty of atmosphere but on their sophomore both expanded their melodic palette and made it deliberately more epic and grand. That is not to say it sounds "forced", however it becomes a bit of a one-trick-pony, who, rest assured, does it with enough conviction, heart and talent to warrant a spot in any fan's music collection. Scald had a unique sound which makes this a worthwhile record by default.

To address the elephant in the room: how does the new vocalist sound? I'll start by saying if you're expecting to hear Agyl 2 you might as well not bother with the record and move on to something else. Replacing a vocalist is never easy, but, with that said, Felipe is a more than apt, if a bit less distinguishable, replacement. He sings with a lot of power, conviction and does justice to the songs, though he could use a little more range. I'd say the band made the right choice by getting him on board. The atmosphere is as imposing and mighty as ever, undeniably epic, with dual (sometimes more) guitar harmonies, at times melancholic, others heroic, and soaring melodies that are to die for. The guitars cut through with heaviness and clarity, a towering sound that effortlessly makes you feel as if you are taken to the album's artwork, surrounded by the strength of the sea. There's also some keyboards that give the compositions more texture but these never become overbearing, a trap in which lots of bands seem to fall into. As expected, the pace is mostly kept to a minimum but Scald don't need fast drums or fancy tricks to achieve an epic and exhilarating sound, and we wouldn't have it any other way anyway. He is a simple yet effective drummer who does exactly what is expected of him. Then again, this is Scald, you already knew what to expect (as if the artwork didn't give it away anyway). It is slow, heavy and monumental, what else could you ask for?

For highlights, the opener wastes no time in setting the mood and, right away, the spirit of old Scald is alive and well. Epic is the word here, the chorus is intense and powerful, Felipe certainly proves his credentials, which smoothly transitions into soul-piercing guitar action. The band are at their best when they focus on instrumental brilliance instead of relying on vocal melodies for a hook, which they certainly do at times, and Young God Resurrected is a great example of the former, containing an epic buildup that leads to an extended solo and an instrumental verse, which already made its appearance but is made all the more powerful the way these sections effortlessly segue into one another. However, they left their best and mightiest for last: The Liberating Spells of Fire is the most energetic and powerful song on the record. Felipe is at his best and we are treated with monumental harmonies for days. It is impossible to stay indifferent to such a huge and glorious performance. (As a side-note, I swear I recognize that main melody from somewhere but for the life of me I can't figure out from where, but that's besides the point). The same can be said for The Enemy Among Us, one of the best cuts and I can't believe it got reduced to a mere bonus track. The packaging itself is great. You can tell they spent a lot of time and dedication to make something worthy for not only the fans but to honor their own legacy. There is lots of art inside the booklet, all sharing the same theme of old Slavic mythology, along with the lyrics.

As great as the album may be, it's not without its flaws. I'll start by addressing the most criticized aspect: the production. Being a record of 2024, it is difficult to put your music on tape and make it sound natural and pure, at least comparatively to old metal bands who, more often than not, were seemingly able to effortlessly achieve a warm, smooth sound by default. Will of Gods is a Great Power was an organic, if a bit muddy, recording with a production that greatly contributed to and enhanced the atmosphere. Of course, it is futile to try and replicate such a sound, and, while I wouldn't call this "artificial" or "plastic", it is a bit overproduced and very loud, to the point where, while it doesn't clip, you can hear some distortion in a few places. The drums are very polished, so polished in fact that it doesn't sound like a real drummer and, instead, it feels like I'm listening to a drum machine. There is nothing wrong with the drummer or his way of playing, there's just no life to the drums at all, which is a shame because they are a key component in achieving the epic sound Scald were going for. The bass also suffers from the recording, you can hear it but it is kind of just there and doesn't really do anything to stand out. The bassist is effectively reduced to a nothing-player because his contributions are seldom felt. This isn't to downplay his skills, he's just buried beneath everything and he has one of the weakest bass tones I've ever heard. Another critique is the mix, which favors the vocals a bit too much and doesn't give the other instruments too much room to breathe. Even though everything sounds loud and clear, when Felipe sings it can be a bit difficult to discern what they are playing, especially when they're buried under tons of harmonies. Perhaps it is a bit of a smoother experience on an analog format, I only have the cd so I can't comment on it. I know I might lead you to think the production is horrible but really it is not that bad, it's just that it could've been better, it's certainly not a deal-breaker though.

This brings me to yet another issue which is the songwriting. I mentioned it earlier but the band tend to build the songs almost exclusively around the vocals, which is something I was afraid of. To reiterate, there is nothing wrong with his vocals, I just think Scald excel especially during instrumental passages, which are there but songs like The Master of the Lake rely too much on it. It is not a bad song but certainly one of the weakest here (relatively speaking because I do not believe there's a bad song here). Epic bands tend to make the vocalist the center of attention but it sounds so deliberate and lazy that it kind of loses its intended impact. Take bands like Candlemass, Dark Quarterer, the aforementioned Dawn (on their debut anyway) or even Will of Gods..., which never needed a vocalist to create such huge epic grandness but used them to complement the music instead of taking over. I don't know if that's more of a personal preference or an actual criticism but I thought it was enough to warrant some words. Also, again, the band went for a more deliberately epic approach. I saw a comment on the Youtube upload of the album and they said it best: an epic album doesn't have to be epic all the time in order to achieve the desired atmosphere. All the aforementioned bands had real buildups, climaxes, rises in tension, etc., which elevated them above all the others who could only hope of achieving such might. Ancient Doom Metal is epic all throughout, making it a bit tiring to get through if you're not in the right mood, in comparison to their debut which was the result of organic playing and chemistry, though this one certainly ends on a high note.

I know I likely spent more time talking about the negatives, I just have an easier time expanding on them, but the truth is this is a great record and nothing short of a success. I had my hopes for this record and they were mostly met and, for that, I can't complain. The record is epic, formidable and memorable. The legacy of Agyl lives on through these new compositions and I can't imagine anyone being too disappointed by this. It doesn't necessarily reach the heights of their debut, but, as far as follow-ups go, especially from a band who was inactive for many years, they did a great job and with enough conviction to prove they are here to stay. Some of my criticisms, admittedly, boil down to my own personal taste but, even for people who didn't enjoy this very much, I'd recommend giving it another chance and letting it grow on you because more Scald is always a welcome addition for any fan of this style. And, hey, when the record is endorsed by Leif Edling himself you know you're in for a treat.

Russian epic doom metal heathens Scald finally offer their second album, the debut dating back to 1997. Although there has been a split and EP in the interim, their career has been a quiet yet heavily admired one. This new opus is out now via High Roller Records.

Melancholy guitars soar into life with enormous drums punctuating their striking blows. Haunting vocals join the mix with a certain roughness filled with emotion, invoking a battle-torn spirit. The band has a majestic command of melody and yet their primitive heart of pummelling Heavy Metal is beating strong. The enchanting guitar leads and equally impactful riffing is superb. Everything feels marvellously well orchestrated and lively even with their slow, lumbering pace. Synths subtly add to their tapestry of sonic swordsmanship, enriching the soundscape further. Harkening back to times of Candlemass, Solstice and Pagan Altar with a truly epic take on doom metal played with passion and tradition as its core assets with unwaveringly tight musicianship to boot. The beginning of Scald’s new adventure will certainly have you strapped in for the long haul if you love old school doom metal or any epic, melodic Heavy Metal.

To return from the abysses of a hiatus that was caused by the death of a band member is never easy. To rekindle the music after the loss of a brother is no simple feat. Yet Scald majestically return after these years with Felipe evoking the bands strengths in an honourable way that shows they were not mistaken in choosing him for the role. Agyl’s spirit can live on in such great music. The rest of the classic lineup remains intact, impressively, continuing the band as if no time had passed. Indeed the music feels timeless and like a moment was never lost. Their chilling and unique sound ringing through the battlefields of mythology and wonder. A spellbinding delivery and atmosphere is certainly present, as we reach further into the past with this gem of obscure Russian metallic triumphs.

Unfortunately, the major drawback for me is the mixing of the vocals. The vocals themselves are killer, but the dryness sets them out a bit haphazardly. This doesn’t ruin the record, I still definitely enjoy it. But that one change could have launched it to far greater heights. Each track is a solid cut of archaic doominess, forging together in the form of a record to give us a far grander picture. There is a sense of melancholic bitterness shrouded in triumph throughout that is conveyed wonderfully. Pagan spirits of old tie to the crashing waves of musical might to spectrally infuse this record with something far older than the band itself. doom metal really needs to haunt me to keep my attention and Scald are one such band who make something more than uninspired slow Metal, they have that flare that Candlemass made a hallmark and essential tenet of the genre. Right until its climax, this record retains both animalistically percussive blows consistently landing alongside the flowing voices and melodies. Both intertwine harmoniously to see us through until the end of the journey.

A strong, pounding and haunting listen of very good doom metal. Scald may have been gone for some time, but their crushing return is certainly not to be ignored. I love it when an obscure older band returns with a superb new offering and this is one such case that feels like it has reanimated the name of the band rather than bury it. Hail "Ancient Doom Metal"!

Written for www.nattskog.wordpress.com

In the years after its 1997 release, Scald’s debut album ‘Will of Gods Is a Great Power’ grew into a small sensation in the epic doom metal community, though to these ears, it has always sounded like ‘Twilight of the Gods’ era Bathory with a much better singer rather than second or third generation Black Sabbath worship. Unfortunately, it was the untimely death of that singer, Maksim ‘Agyl’ Andrianov, at the age of only 24 that ended Scald that same year. ‘Ancient Doom Metal’ features all four surviving members of the band, and feels like a proper follow-up for the 21st century.

Filling Andrianov’s shoes is the biggest specialist when it comes to slow metal with mournful clean lead vocals of the current era: Felipe Plaza Kutzbach of Procession and Capilla Ardiente. He has been fronting Scald ever since the surviving members reformed to play the Hammer of Doom festival in 2019, and really, I think he is the only sensible choice. Especially when you consider that a lot of this material sounds like it could have – and even might have – been worked on around the time the debut album came out. Despite that, ‘Ancient Doom Metal’ never sounds like nostalgia bait.

Musically, the album follows a similar template as the debut. The riffs are generally slower than is common for epic doom metal, and they have a majestic quality. That just shows how appropriate the cover art is, as they often feel like the waves of the ocean are just towering over you, especially when paired with lead guitar parts that also make the best out of a handful of long-held notes. Occasionally, the music sounds slightly closer to what epic doom metal sounds like these days, though admittedly, it could be the crisp, yet heavy production job doing that.

One of those songs that has a slightly more traditional doom sound is my personal favorite ‘Young God Resurrected’. Guitarists Ivan ‘Harald’ Sergeyev and Vladimir ‘Karry’ Ryzhkovsky weave a gorgeous harmonic guitar tapestry, the song builds up tension expertly, and the lengthy guitar solo is just incredible. Other highlights include the clearly folk-influenced, yet strangely not that folky ‘Master of the Lake’, the moving ‘ALU (My Protection)’, and the flawless second half of ‘Far Northern Corner’, which builds from an expertly arranged dual guitar solo to a massive, borderline choral finale. Each of the six long songs – seven on the cd version – are very much worth hearing, though.

As far as a comeback album goes, ‘Ancient Doom Metal’ is nearly perfect. It gives fans of Scald’s first album more of what they liked, updated to contemporary production standards, without losing what made the band special in the first place. If we’re splitting hairs, I don’t think the title track is the best choice for an opener, and some melodic progressions are quite similar, but in the grand scheme of things, those very minor issues don’t really matter. If an immersive downtempo metal experience with a distinct viking feel is what you are looking for, there isn’t much better than this.

Recommended tracks: ‘Young God Resurrected’, ‘Master of the Lake’, ‘Far Northern Corner’

Originally written for my Kevy Metal weblog