Doom Metal Albums - Page 2

Down's third album, from September 2007, also known as Down III: Over the Under. Its anger comes out of New Orleans after Hurricane Katrina.

Paradise Lost's eleventh album and their first for Century Media, released on 21 May 2007: a turn back towards their earlier sound, as their Japanese label put it.

Wolves in the Throne Room's second album, issued by Southern Lord in 2007. The recording makes almost no use of digital effects or manipulation.

Shot to Hell builds Black Label Society around Zakk Wylde’s thick guitar, low rolling rhythm, and rough vocal style.

Celtic Frost's sixth album, from May 2006. It was their first new recording in sixteen years and their last studio album.

Wounds Wide Open combines To/Die/For’s cold guitar color, sunken rhythm, and melancholy vocal character.

Witch's debut album, issued by Tee Pee Records in 2006. J Mascis of Dinosaur Jr. plays the drums.

Mafia anchors its sound in heavily distorted guitar, low groove and Zakk Wylde’s rough vocal character.

Cathedral's eighth album and first for Nuclear Blast, from September 2005: female vocals, violins and the 27-minute closing epic "The Garden".

Paradise Lost's tenth album and the one that bears the band's own name, released on 17 March 2005: the first with Jeff Singer on drums.

IV uses dark guitar, low-set rhythm and melancholy vocals to build gothic-metal shade.

Hangover Music Vol. VI steps away from Black Label Society’s usual riff-heavy attack toward acoustic guitar, piano and melancholy melody.

Witchcraft's debut album, issued by Rise Above Records in 2004. It is the first record by a group that began as a one-song tribute band.

The Blessed Hellride joins Zakk Wylde’s thick riffing and Southern-blues feeling to a dragging, heavy groove.

Swallow the Sun's debut album, issued by Firebox Records in 2003. This Finnish death-doom record was made in three weeks.

Jaded combines heavy guitar, cold programming and shadowed vocals to build a melancholic world.

1919 Eternal joins Zakk Wylde’s enormous guitar riffs with Black Label Society’s bluesy, shadowed sense of melody.

Cathedral's seventh album, released in October 2002 and their first after leaving Earache. Recorded with Kit Woolven, it is more melodic and varied.

Down's second album, issued by Elektra in March 2002. The subtitle comes from the lyrics of Led Zeppelin's "Stairway to Heaven".

Forgotten Tomb's first album, issued by Selbstmord Services in 2002. All five pieces were recorded and produced by one man alone.

Paradise Lost's ninth album, released on 21 October 2002: their first for GUN / Supersonic Records, produced by Rhys Fulber.

Cathedral's sixth album, released in February 2001. Produced by Billy Anderson, it strips the band back to the dark, heavy doom of their early days.

Paradise Lost's eighth album, released by EMI Electrola on 26 February 2001 and produced by John Fryer; the band remixed and remastered it in 2018.

Epilogue layers gothic-metal darkness with accessible melody in To/Die/For’s characteristic way.

Stronger Than Death pushes Black Label Society further into thick riffs, low-slung groove and Zakk Wylde’s southern-metal grit.

Electric Wizard's third album, issued by Rise Above Records on 25 September 2000. It was recorded in three days.

Ningen Isu's ninth album, from 2000. It is a concept album built on Edogawa Ranpo, whose novels lie under nearly every title and lyric.

Sonic Brew establishes Black Label Society through weighty riffs, earthy blues feeling and rough vocal delivery.

Cathedral's fifth album, released in January 1999 and produced by Andy Sneap, with songs drawn from a Hammer horror film and The Omega Man.

Katatonia's fourth album, issued by Peaceville in 1999. It moves away from metal towards alternative rock, and it is the turn in their course.

Paradise Lost's seventh album, released by EMI Electrola on 24 May 1999, with electronics ahead of the guitars: their most adventurous work yet, as the band said then.

All Eternity introduces To/Die/For through heavy guitars, shadowed keyboards and low, emotional vocals.

Electric Wizard's second album, issued by Rise Above Records in January 1997. It was made deliberately rough, and it is one of the far points of 1990s doom.

Paradise Lost's sixth album, released on 14 July 1997: electronics to the fore, a top-ten album across much of Europe, and the occasion of a tour of Japan.

Cathedral's fourth album, released in October 1996. Recorded straight off a long tour with almost no preparation, it includes songs drawn from sci-fi.

Sleep's third album: one piece of about an hour, split into six parts, held back for years by a dispute with the band's label.

Forbidden centers on Tony Iommi’s heavy riffs while bringing together the melodic side of the Tony Martin era and a harder mid-1990s edge.

Cathedral's third album, released in September 1995: the first with Leo Smee and Brian Dixon, with Tony Iommi playing guitar on "Utopian Blaster".

Down's debut, issued by EastWest in 1995. The title abbreviates New Orleans, Louisiana, and the record keeps the damp of the American South inside it.

Paradise Lost's fifth album, issued by Music for Nations in 1995. It binds the shade of gothic rock to the weight of heavy metal in one thing.