The Gates of Slumber

The Gates of Slumber’s sixth full-length may have a simple presentation in its self-titling and snappy thirty-five minutes length, but there’s still a fair amount to unpack here. In addition to this being their first album since 2011’s The Wretch, the lineup alongside vocalist/guitarist Karl Simon is a neat mix of old and new as early member Chuck Brown returns for drum duties while Steve Janiak takes up bass in place of Jason McCash (RIP). It was nigh unthinkable for them to come back after everything they’d endured across their initial run but it’s also intriguing to see what sort of doom they’ll bring to the table.

Considering their initial comeback tours focused on revisiting their earliest material, it makes sense for this album to sound the most like The Awakening. The atmosphere is similarly grimy, the riffs are bottom-heavy and downtrodden, the drums maintain a loose but hard-hitting feel, and the vocals are full of sardonic venom. The songwriting also remains dedicated to classic doom methods set to a fairly linear flow as the opening one-two of “Embrace The Lie” and “We Are Perdition” is punchy yet plodding, “Full Moon Fever” and “At Dawn” are upbeat holdouts between the former’s beefy shuffle and the latter’s trudging chugs, and things end with the slow descents of “The Fog” and “The Plague.”

As expected, Janiak’s contributions prove to be the album’s biggest wildcard compared to past Gates efforts. His bass playing is right in line with McCash’s, boasting a gritty tone that often stands on near equal footing with the guitars and gets plenty of emphasis points. However, him putting a share of lead vocals is what makes things interesting. It invokes the synergy that he and Brown have had together as co-vocalists in Apostle of Solitude, providing an extra dimension to trade-offs and layers even when it’s just mirroring the dour lower range.

There’s a very ‘what you see is what you get’ sort of veneer on The Gates of Slumber’s self-titled comeback, but it never feels like the band sounds too plain or plays it too safe. Its displays of workman traditional doom are certainly in line with what they’ve done before but the songwriting feels even more bitter while the extra vocals give it a unique flair. It’s ultimately true to the band’s long-standing ethos, seemingly come full circle but also suggesting room for future development. It’s not an exact replica but it sure feels like a solid homecoming.