Portland progressive doomsters LORD DYING released their third album Mysterium Tremendum in 2019 to much critical acclaim. Fast forward to 2024 and the world is a very different place. Thanks to a global pandemic, global fuel and food crisis and all the war currently destroying various parts of the globe, it’s perhaps unsurprising that the theme of Death plays a huge part in LORD DYING’s new record Clandestine Transcendence.
This is not a new idea for the band though, as their last record was a full-on concept album that told the story of The Dreamer, an immortal being tired of living forever and finally seeking death’s embrace, and this new album acts as a direct sequel in terms of the concept. This time The Dreamer has finally died but now must go on a journey beyond death itself. This story is told well through the music and lyrics and makes for a progressive and eclectically deep journey, especially when the album is enjoyed in one sitting.
Given the theme, you would be right to expect a dark and heavy-hitting sound to the songs, thanks in part to the excellent work of producer Kurt Ballou of CONVERGE. Unlike more traditionally progressive rock, there is a rawness and a weight to the sound of these songs that gives them an organic, ‘live’ feel, despite the complexity of the arrangements and the variety of musical styles on display.
It is not an understatement to call this album ‘eclectic’. Compositions veer from complex, progressive and technical modern rock in the style of MASTODON and HIGH ON FIRE, to more retro-styled, melodic doom and stoner fare reminiscent of scene legends THE SWORD, before ramping up the heaviness and driving forward into sludgy, death metal-inspired pieces. Initially, this varied approach to songwriting can be a little bewildering, but those that stick with it will find themselves reaping wondrous rewards.
Opening track The Universe Is Weeping sets things up perfectly – a melancholy, echoing introduction of soothingly picked guitars before the pounding drums of Kevin Swartz crash the party, joined by the galloping bass of Alyssa Maucere and the twin riff attack of founding members Erik Olson and Chris Evans. Olson’s unearthly howls and growls also pair brilliantly with Maucere’s harmonising vocals to create something really original in tone and atmosphere.
Second track I AM NOTHING I AM EVERYTHING continues along a similarly bruising path, really underlining the heavier side of LORD DYING’s output, particularly the powerful chaos of the coda which is far more death than doom metal. Olson’s vocal performance continues to be a highlight for the rest of the album, moving between bluesy, gothic baritone to unholy, bowel-shaking guttural growls, all the while interweaving perfectly with the impressive musicianship that envelops them.
Album closer The Endless Road Home is another standout track and brings together everything that has come before it in a perfect blend – the brooding, doomy atmosphere, the twisting guitars, the driving rhythm section and the melancholy beauty of the melody, at once both desolate and hopeful. If you are open minded about your heavy music and are looking for something genuinely original to accompany the darkest of dark days in the bleak, British mid-winter, then you’d be a fool to miss out on this. Brutal, bold and beautiful in equal measure, it is a fascinating journey through modern heavy music and one that gets better with every listen.
Rating: 9/10
Clandestine Transcendence is set for release on January 19th via MNRK Heavy.
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