THE NOVELLA RESERVOIR - REVIEWS

[Novembers Paul]

Novembers Doom- The Novella Reservoir-CD (The End Records)

So Paul, Larry and Joe the soul of the band as I called since the days of old when Erik and Mary Departed. Come to us with long time guitars Vito and new Bassist Chris to give us The Novella Reservoir. Again Knobs turned by Dan Swano (Edge of Sanity , Moontower, Unicorn etc for* Mixing* and Mastered by James Murphy ( Testament, Death etc). Novembers Doom at one time were a doom/death band to match the likes of My Dying Bride, Anathema, Morgion etc. Now on what I think is there 6th CD we have a release that mixes Melodic Death Metal, Symphonic Metal elements and Sweeping and Lush Gothic Doom. The melody plays a huge role this time were the last time out on " The Pale Heart Departure" It was a lot more a mix of Brutality and darkness. The Growls and Crushing riffs are there but they mix a lot of the harmony guitars and cleaner vocals into the brutal moments as well. I really feel that November Doom has taken their sound to all there own. Novembers Doom no longer sound like another band mixed with other styles . They stand in a small group of bands like Opeth, In Flames, Dio , Judas Priest, Iron Maiden were from the 1st riff to last song you know its NOVEMBERS DOOM . The Novella Reservoir* is the closest thing to a magical almost genre changing release as you going to get in 2007 . Two Horns raised high!!!!

http://absolutezeromedia.us/

 

[Novembers Paul]

Novembers Doom - The Novella Reservoir

Novembers Doom is back with their 6th full length album, The Novella Reservoir. Everything I have heard from them I enjoyed, but never left me craving more. I must say, this album has me craving more. It is dark, dynamic, atmospheric and heavy as hell. This album feels faster and more aggressive than the other material I heard by them. For those who have never heard Novembers Doom, think of a more direct version of Opeth. They don't sound like an Opeth clone, but they use aspects of death, doom, folk and prog to create a similar atmosphere. Novembers Doom puts more focus on the death and doom and less time on the folk and prog even though it is still in there.

The songs are pretty concise and bleak as hell. The riffs are pretty brutal and the solos are very melodic. The heavy riffs really compliment Paul Kuhr's low growl. He has one of the most intense growls in the business. They also make good use of acoustic sections/interludes in songs. They are always well placed and never overused. The two mellow songs on the album (Twilight Innocence and Leaving This) really show off Paul Kuhr's clean vocals. Twilight Innocence gives me a huge Anathema vibe. Good stuff.

I am happy to officially be a Novembers Doom fan. This album has it all without dragging. All of the songs are solid and flow real well into each other. I highly recommend this to fans of: Opeth, Anathema, Katatonia and Dark Suns.

Reviewed by: Jake Rosenberg
Transcending the Mundane
www.basementbar.com

 

[Novembers Paul]

Chicago's death/doom masters November's Doom have returned with a powerful new CD entitled "The Novella Reservoir". While staying true to the style they have established with the past releases, this new album is just fierce. More speed, more brutality, more raw energy. This is definitely a heavier record than their last effort, "A Pale Haunt Departure".

This gargantuan epic begins with "Rain". Right off the bat, it's easy to hear the heavier path they have taken. There are absolutely no clean vocals in this track, just deep, roaring growls and powerful screams. The second track is "The Novella Reservoir". This track begins in something remeniscent of November's Doom's previous releases: sweet acoustic guitar and majestic layers that make way for a medium paced "chunk" moment. There are also clean vocals in this piece which sound absolutely great.They fit with the harsher moments perfectly and flow seemlessly into one another. This track also showcases a tight and attention-grabbing solo. The next track begins in total brutality. Quick double kicks, shredding guitars and belowing growls. Surprisingly, this track also brings in an impressive solo. The fourth composition is entitled "Twilight Innocence" and provides a welcomed break from the heavier tracks. This acoustic serenade is sweet, calming, and peaceful. It is really a beautiful song.

The next track returns to heavy distortion and pounding drums. While "The Voice of Failure" is not the fastest of songs, it is progressive, well thought through, and incredibly recorded. The harmonized clean vocals create an eerie soundscape that contrasts the instruments well. "They Were Left to Die" follows and sticks passionately to the classic November's Doom style. Not overtly heavy, not soft either, it goes from one end of the spectrum to the other throughout the length of he song. The second to last track is "Dominate The Human Strain". This sinister track packs on the sense of dread with steady tempo's, moving guitars and memorable hooks. The final track is entitled "Leaving this" and showcases amazing clean vocals over distortioned, yet melodic guitars marked with slower grooves, and progressive elements.

While I would have liked a more powerful ending to this album, I must say that I am thoroughly impressed with it. Just like the promo package says, it's a natural progression for November's Doom and nothing in this album seemed forced. It fits them, it shows evolution, and it sounds good.

This is a definite buy for fans of November's Doom, Opeth, Swallow the Sun, and the like.

http://www.darksoul7.com/

 

[Novembers Paul]

Let me be the first to point out that there are changes on the move with the last Novembers Doom album. While these Chicago, IL, doomsters have been steadily rising in popularity, the band decided to make a step forward by looking back. The latest album The Novella Reservoir is nothing like I have heard before from Novembers Doom and I happen to own their every album starting with 1999 Of Sculptured Ivy and Stone Flowers. The roots of the Chicago death metal scene, the bands like Usurper, Disinter and Jungle Rot, must have beckoned to Novembers Doom. The Novella Reservoir can not be confused with unrelenting blitzkrieg death metal, but this is the fastest and the most aggressive the band has ever been.

You can almost feel it coming from the first moments of the opener Rain. If you are a melodic doom band, aren’t you supposed to start the album, especially giving the opening track title, with some soft sounds of falling water? Forget it. Instead of a wimpy shower we get a pounding gale, a masculine storm with steady death metal riffs, soaring growl mixed with some higher shrieks and “rain” exhales in the chorus. There is only one little opening this song gives, and if you missed it, too bad, you are now sucked into the vortex and must go through with the whole album, because you are going to be hooked.

And there is definitely more to come in this vein on The Novella Reservoir. More urgent shredding double bass supported thrashing riffs on Drown the Inland Mere, The Voice of Failure and Dominate the Human Strain, the pressing single note melody on Drown the Inland Mere, the dark harmony apocalyptic Kataklysmic chorus of Dominate the Human Strain – this record breathes vitality and forcefulness. Sure enough, there are cleaner moments blended in, the acoustics on the title track, the catchy chorus of The Voice of Failure. Yet, this is the record of newfound vigor and strength, the song like meandering They Were Left to Die not meshing well with the rest of The Novella Reservoir intensity. Something completely appropriate on Pale Haunt Departure, They Were Left to Die, on its own, is a strong doom cut, but here it feels like That Thing That Should Not Be on Master of Puppets, you want to get to Welcome Home (Sanitarium) as soon as you can (no idea if my analogy is appropriate).

You have got to love how the step up in speed and intensity overload does not interfere with the band’s playing emotionally. It is not how fast you play, but how much of yourself is poured into the song. When Novembers Doom is melodic on The Novella Reservoir, they are going all out. Solos on the title track and Drown the Inland Mere are longing, tuneful lounges. Leaving This is beautiful with its My Dying Bride distorted wall of sound, clean singing, subtle background chorus and woven in piano at the end. Paul Kuhr’s tribute to his daughter Rhiannon, Twilight Innocence, albeit simple sonically with its acoustic melody, gets me on its lyrics every time. Just like a true father, Paul understands that not only we inspire our children, but we are, in return, are inspired by them to be better men. His are the thoughts I often have staring at my 6-year old when she is sleeping.

When not being tender, Paul’s growl has become ever more towering, especially reaching its Akerfeldt/Swano devouring qualities on Rain and Dominate the Human Strain. Aforementioned Dan Swano is responsible for the album’s mixing and, along with bass player/producer/an important man in the Chicago’s metal scene Chris Djuricic, the production on The Novella Reservoir has that atmospheric death quality found on the early Opeth albums. If only that Joe Nunez’s kick drum was as heavy during fast portions as it is on the slower churns of the title track.

Novembers Doom is probably tired of the comparisons, but if you are looking for the early Opeth feeling, if not in the riffs or compositions, then at least in attitude, The Novella Reservoir is a gift. The comparison is actually flattering for Novembers Doom as their songs are, in fact, songs, not random compositions, and what they give up in the progressive nature and acoustics, they gain in the songwriting tightness.

At first I thought I may not like one of my favorite American melodic doom bands go deathy on me. Having swallowed the first listen and getting the point across my brain, I have been enjoying the atmospheric death of The Novella Reservoir ever since. A quick note to The End Records – although we, reviewers, are a greedy bunch and do not deserve the full works of the promo, like booklet, etc., it would have been really good to include it, especially for the band with the “thinking man’s” lyrics of Novembers Doom.

Reviewed by Alex - 90/100
CD OF THE MONTH
http://www.metalreviews.com/

 

[Novembers Paul]

Novembers Doom: The Novella Reservoir

It's very early in 2007, but The End Records have already come up with the two early contenders for metal albums of the year with Melechesh's latest Emissaries and this monster release from Chicago's Novembers Doom. The Novella Reservoir is indeed just that, a monster album of death and doom metal, with plenty of progressive and atmospheric elements to help it appeal to a broader audience. If you thought their previous The Pale Haunt Departure is something special, you haven't heard anything yet.

On The Novella Reservoir the band have speeded up their sound a bit and added in some proggy bits, so if you are looking for more of slow, doomy, sludge ridden and morose style of previous albums you might be in for a surprise. Working with James Murphy and Dan Swano on the mastering and mixing seems to have injected a healthy dose of classic death metal as well as progressive metal vibe on this album. Honestly, how can the presence of Swano not influence any band? There's a certain Edge of Sanity type feel to many of these songs, as well as Opeth and My Dying Bride as far as some of the varied arrangements and vocal styles. In addition to some of the slower, more melancholy pieces that almost combine Pink Floyd with Katatonia, like on "Leaving This" and "Twilight Innocence", there's plenty of crushing death metal that features awesome guitar riffs, nimble rhythms, and a healthy mix of gutteral death growls and melodic clean passages. Look no further than the rampaging "Rain" and the heavy title track, the latter complete with keyboards and massive riffs, as prime examples of wonderful progressive and doomy death metal, again, sounding like a head on collision between Edge of Sanity, Opeth, and My Dying Bride. If you like you metal speedy and with a "take no prisoners" attitude, look no further than "Drown the Inland Mere", which features some of the best growls on the album from Paul Kuhr. The band mixes in acoustic passages, keyboard interludes, and changes in vocal styles throughout the album (check out the crushing & haunted tone of "They Were Left to Die"), making this one hell of an intriguing listen that keeps you coming back for more.

To say that Novembers Doom have seemingly hit paydirt here is an understatement. The Novella Reservoir is an outstanding extreme metal release. One look at the great Travis Smith designed cover and you instantly are aware that something special is going on here. The hour of doom is upon us, and the metal world will never be the same.

There's a new player on the scene folks, and the name is Novembers Doom.

Review by Pete Pardo
4.5 / 5
http://www.seaoftranquility.org/

 

[Novembers Paul]

Novembers Doom has been around for quite some time, forming in 1989 and The Novella Reservoir being their seventh release. Their previous effort, The Pale Haunt Departure, was received well by fans and critics. On the musical direction of this album, the band has stated that they took “a step forward in speed and aggression, while still retaining the same sound they've had over the course of their career.” Comparisons have been made to Opeth or Paradise Lost due to the band’s epic style of doom metal, mournful but beautifully written.

Starting with the heavy opening riffs and up-tempo pace of “Rain,” this isn't your stereotypical doom metal like that of My Dying Bride. It surely won't make your eyes heavy. The deathly vocals, along with the double bass and rough guitar sound remind me of Moonspell's latest offering, Memorial, minus the goth appeal. Lead vocalist Paul Kuhr can bellow death metal growls but also can sing a clean, hypnotic melody or chorus, which is rare in metal these days. The Opeth comparison rears its head here, as his growl is similar to lead vocalist, Mike Akerfeldt.

“Drown the Inland Mere” is perhaps the heaviest song of the album (listen here). The first part of this record has no doom metal reference whatsoever, other than the clean and catchy Floydian chorus in the “The Novella Reservoir” or the occasional acoustic guitar. It's not until “Twilight Innocence,” a full-on acoustic ballad, that things change up. This song is neither doom nor metal and it's inclusion at this point in the album is strange. Nevertheless, Kuhr, who is not a perfect fit for this style, holds his own as the focal point of the track. “Voice of Failure” is along the lines of Paradise Lost with its epic chorus. “They Were Left To Die” is a brooding, evil slab of doom metal and one of the album's strongest songs. “Dominate the Human Strain” is straight-up death metal. The eight-song album closes with “Leaving This,” an acoustically-driven number which has a slow build and gives the listener a sense of impending doom—mission accomplished, I suppose. Kuhr's vocals are at his strongest here, pulling in and hypnotizing the listener from start to finish.

Novembers Doom should maybe call themselves Novembers Death for the sake of this release, as the bulk of the album is just that. I am rather intrigued to hear the band's previous material after hearing “Leaving This.” The inclusion of material more along these lines seems to make more sense for this band. Don't get me wrong; their death-oriented material is strong—better than actual death metal bands even—but it causes them to blend in more with an already crowded scene.

This is not my preferred style of metal by any means, but of the bands I have mentioned, Novembers Doom’s material is most appealing to me. With My Dying Bride's last effort being less than spectacular, Paradise Lost playing more of a Metallica style and Opeth's material too long and involved for my taste, it's an easy choice to go with The Novella Reservoir.

6.5 / 10
Review by Jeff Maki
http://www.live-metal.net/

 

[Novembers Paul]

Don't you kind of hate it, when you receive a highly anticipated release, full of expectations and then when you actually listen to the album you do not necessarily feel disappointed, but rather unsure of your own opinion about the effort at hand? "The Novella Reservoir" is one of these CDs.

Now Ohioan NOVEMBERS DOOM never had been known as a stagnant band by any means, just looking at the evolution between the pure Doom/Death of their debut "Amid Its Hallowed Mirth" from 1995 up to 2005's highly anticipated release of "The Pale Departure" proves this, but even the band's announcement to have gone for a faster, more aggressive approach to their music did not prepare me for the opening sounds of "Rain", the first song off their brand new album "The Novella Reservoir".

Having said debut in my possession, I know that Paul Kuhr can grunt with the best of them, but albeit good, "Rain" sounds more like many other Death Metal bands out there, not really like NOVEMBERS DOOM... The following title track loosens things up a lot, though, going back to the Doomy moods and coupling the again very prominent deep growls with smooth clear vocals and also some great ethereal guitars, so there still is a connection to the past. A connection that you seriously start to doubt, though, once "Drown The Inland Mere" kicks into motion, which is heavy, pretty fast and once again features Kuhr's harsh vocals, was the title track a fluke and we have NOVEMBERS DEATH in the player? There are some more melodic (also vocally) passages, but they rather emphasize the heaviness of the rest of the song than anything else. And then the truly excellent "Twilight Innocence", completely acoustic, with soft vocals as crass contrast, I am getting very confused here!

The NOVEMBERS DOOM of old come to mind, though, with "They Were Left To Die", which is slow and heavy, with this typical Doom vibe and both harsh and clear vocals, while the guitars of "Dominate The Human Strain" are heavy as heavy can be and despite being heavier than what we were used to from the Americans, it fits perfectly with the song! Actually one band that comes to mind in the heavier passages are UNLEASHED, as the pound-heavy riffing and the deep Death Metal voice remind me of the Swedes and Johnny Hedlund, might be just me, though.

Now how do you gather your thoughts after an album like this and come to a conclusion? Well, "The Novella Reservoir" definitely is not what I had expected it to be, but even in its very Death Metal influenced songs they sound better than the majority of bands actually gunning for this sound and the Doom has not yet exited the band's sound, so thumbs up from me, but beware, if you only discovered the band recently, you might be in for a surprising ride!

Review by Alex
7.5 / 10
http://www.metal-observer.com/

 

[Novembers Paul]

The pallid haunting architecture of The Novella Resevoir from Chicago's crestfallen, sculptured icons - Novembers Doom - is a sanguine escapade into the dudgeon of darkest delights. The precipitation of languid tears and lacrimose melodies will dominate the human's train of thought with it's desolate voice of failure. This tempest of prosaic passion echoes in the dark heart, while the gale force of emptiness engulfs souls in the absence of grace. Teetering on the edge of sanity forlorn, this dirge of sorrow's soliloquoy will welcome the fade to black bliss, and saturate you in sorrow with its sullen hue. Come hither lugubrious spirit and drown in the mere solitude.

Novembers Doom have been suffering their dark art over several decayed tenures of almost 20 years. I have always longed to enjoy their brooding silence, but somehow, I was always a day late, and dolour short. I have been in the knowing of their presence for quite sometime, being good friends with Matt Chapman and Alan Scott from Covington, Kentucky's other doom lords Thorns Of The Carrion.

The Novella Reservoir is the epic follow up to the acclaimed - The Pale Haunt Departure from 2005. Novembers Doom play slow and heavy, with a sound which actually encouraged such acts as Opeth and Katatonia to blossom. Their trademark white squalor has also inspired newcomers Swallow The Sun and Daylight Dies. Main wordsmith Paul Kuhr, who has also laboured with Em Simfonia, sings with that deep baritone bated breath like Ola Lindgren from Grave. He also personifies that Dan Swano/Michael Akerfeldt vigour. Even without a lyric sheet before me, I can easily discern his somber leaden tone. At times he even shares the metal apocalyptic utterance of Nathan Explosion - singer of animated idols - Dethklok. Paul also registers with a range similar to Felix Stass of Crematory; but the music of Novembers Doom resembles only the earliest work of Crematory's sojourn. Guitarists Vito Marchese and Larry Roberts indulge in aggressive riffs which pound and reverberate with a pellucid quietus; leaving this listener more melancholy. Drummer Joe Nunez zones in with the double bass sadistic to increase the chiming syndrome.

Novembers Doom dwell in darkness with unopened eyes. There is nothing earthly about their dismal euphony and forgotten serenity. Bands like Opeth and Katatonia may generate a tremenduous cult following, but it is artists like Novembers Doom who establish the precedent. I have seen Opeth and Katatonia live, on stage they linger through a staid performance of prolonged ineptitude. Novembers Doom have a style much more appealing and consistent; I have heard that their live shows are quite inviting. Their music sets its own archaic course.

Novembers Doom have added to their ranks full time bass player Chris Djuricic, a considerable figure among the Chicago metal milieu. He also recorded The Novella Resevoir, which was then mixed by Dan Swano, and mastered by James Murphy. Musically these opaque landscapes of dread are steeped in a death like silt enticing and luring the listener into the mire, 'neath the canopy of pique puissance.
Songs like Drown The Inland Mere or The Voice Of Failure, and the preening Dominate The Human Strain should satiate any hunger for human tepidity. The title track begins with an acoustic interlude, while maintaining its dejected, sluggsh pace. This CD is mostly an array of dilatory diatribes of dissonance and disconsolation with gradual chorus interludes. The cover artwork and booklet is the undertaking of Travis Smith who laboured longingly to bring Paul's theme of water to life in contrast and flow.

Twilight Innocence detracts from the languor and woeful pine to address a more serious and personal concern: a fathers love for his child. Here the portrait of the concerned parent Paul is faithfully portrayed. I envision a vigilant father watching over his sleeping beautiful daughter Rhiannon, as he reflects on her life while she dreams. I participate in his reflection over his mission and duty to her, motivated by unconditional service . It is this dialogue with the stark priviledge of parenthood which moves me to tears of joy as the purity of innocence pervades.

The End Records is offering a very special edition pre-order for The Novella Reservior which will include a full colour book - The Wayfaring Chronicles (limited to 1000), signed by Paul himself, with a poster. The first 300 include the 6"x9" book and CD enclosed in a vevet pouch. The Wayfaring Chronicles is 84 pages replete with lyrics and their detailed explanantions; as well as photos from every era of the band's incarnation, including live and promo shots, with some never before seen depictions. The book with CD is only $39.99 USD; but mega demand may bring the price down even lower. So, if you relish epic death tones, and impelling doom, come submerge your self in the novel elegance of reserved noir - the cistern of adumbrate rectitude.

Review by Michael Francisco
7 / 10
http://www.metalcovenant.com/

 

[Novembers Paul]

February 20th marks the month for the release of Novembers Doom new LP "The Novella Reservoir" These guys have been at it since way back in 1989. I have honestly never heard of Novembers Doom, but let me tell you they have quite a bit of accomplishments under their belt. If you were under a rock like me you can find footage of these guys all over the web. You Tube hosts some live feeds of bootleg like clips from their European Tour, and their Myspace page contain a killer cool tour diary from the guys. I seemed to of bonded with the song "Drown The Inland Mere", it was filled with enmity as he says "You'll be underwater."

This amazing album was recorded with Chris Djuricic and masterfully mixed by Dan Swano who has worked with "Edge Of Sanity" and "Bloodbath." Novembers Doom seemed to of broken free from their past musical taste and have evolved slightly since their last record and have been inspired this time by old 90's Chicago metal roots. "The Novella Reservoir" is the 9th release from this band and they have no intentions of slowing it down anytime soon, they plan to keep going strong.

I admit I was a little disappointed that there were only eight tracks, I wanted the experience to last but what can you do? I can see myself listening to this many more times in the near future, it is just too good to waste by placing it on my CD rack to just collect dust. This band was another causality of the many line up changes but sometimes you need to search far and wide for just the right ingredient. Well peeps, I think they have found it. Hopefully the boys will choose to slide thru the states so some of us can witness them in the flesh. If not I guess I will just have to settle with trying to play catch up and getting a hold of all the CD's I haven't heard yet.

These guys still like the doom scene it is just not their creative style anymore. Some critics try and claim that these guys are full on copying other bands such as "Paradise Lost," "Opeth," or "My Dying Bride." I really don't find this to be at all true. I think they are totally there own band and maybe the fans should be the ones doing the judging here.

Reviewed by Kristin
http://www.bacstagepass.com/

 

[Novembers Paul]

Do not compare November's doom with Opeth. Not unless it's to say something like 'Opeth meets My Dying Bride' ... and even that's a stretch.

Yes, they play heavy extreme metal - powerful death growls and all - and they mix them up effectively with mellower parts and clean vocals. But the similarity stops there. As the band's name suggests, November's Doom is a doom-metal band, with the slow, often sludgy, morbid melodicism of an Anathema or My Dying Bride. Opeth in contrast is far more progressive, angry rather than gloomy, introspective rather than brooding.

Oh, sure, The Novella Reservoir is faster and more death-metal oriented than their prior releases, more symphonic, diverse, energetic, and frankly, a whole lot more mature. But this is still doom metal. Very good doom metal at that, and quite possibly the best America has to offer.

Other than the two ballads, this music is characterized by crushing riffs, some of the deepest and most brutal growling in the business, darkly atmospheric, and make no mistake, it's heavier 'n hell. Deeply distorted guitars, drumming that ranges from elegant through aggressive, and broody clean vocals sung in the low registers. Yet - there are also clean guitar lines, cleanly sung multi-part choruses, pretty acoustic guitar work, and a few wonderfully emotional lead guitar solos.

Two tracks stand out. the title track starts with a strummed acoustic guitar, then quickly breaks into the heavy stuff - and then those booming growls. But they're interspersed with clean-sung chorused lines that break the monotony of the death sounds, and the transitions are seamless. It closes with a short, slow guitar solo that drips with emotion and will have you wondering why there isn't more of that sound on the record. Then there's "Twilight Innocence" - apparently, singer Paul Kuhr's tribute to his young daughter. Once again there's a soft acoustic guitar intro, and the vocals are gentle and low and sweet. But in the multi-part chorus - despite the upbeat melody and lyrics - these guys can't get away from their signature gothic doomy tones. The piece features particularly nice guitar work and probably showcases the band's musicianship more effectively than any of the heavier tracks.

One look at the cover art and you'll recognize Travis Smith's hand - and yes, that may be another valid Opeth comparison, since Smith illustrates their albums too.

Review by Duncan Glenday
4 / 5
http://www.seaoftranquility.org/

 

[Novembers Paul]

Long revered in doom/death circles, Novembers Doom is now unbelievably onto its sixth album, titled The Novella Reservoir. I’ve always thought Novembers Doom is kinda like the US version of My Dying Bride and, much like that UK collective’s latest work, The Novella Reservoir finds Novembers Doom taking some chances, chances that have paid off nicely. Adding speed and a newfound sense of strength to the somber proceedings, Novembers Doom has put together a record that both deals with its internal turmoil but also revels in its overt assertions of independence and vigour – like, all the buzz this album is getting is totally merited. At once highly hummable/listenable but also filled with tons ‘o despair, The Novella Reservoir is a classy effort that reminds how effective and strong songwriting can pull a group up into the top tier. When Novembers Doom discusses the voice of failure on the track of the same name, you wholly want to assure the band that failure is the furthest thing from your mind.

Review by David Perri
8.5 / 10
http://www.bravewords.com/

 

[Novembers Paul]

February 2007 will see the much anticipated sixth full-length effort from Chicago's uncompromising metal guardians, Novembers Doom. Few albums at all this (new) year have consumed and captivated the forecasts of the prophets in the media as much as _The Novella Reservoir_, coming off the heels of their insurmountable 2005 release _The Pale Haunt Departure_ -- with which Novembers Doom set the standard to which few could escape comparison, including themselves.

Too often the media portrays this and that as "unclassifiable" or "defying classification". This too could be said for Novembers Doom, specifically _The Novella Reservoir_; however this is not exactly truthful and more-or-less just a touch on the lazy side.

Novembers Doom have made a name for themselves building upon each album using the best of their technique to craft a perplex practice capable of dropping an insightfully complicated, but clearly thorough work onto a less-than-expecting audience; look no further than _Of Sculptured Ivy and Stone Flowers_, as well as _The Knowing_, for evidence of this undisputable reality. In 2002, _To Welcome the Fade_ seemingly supplied Novembers Doom with a vehicle driving toward the pinnacle of their career -- yet this achievement too was destined to be overcome. _The Pale Haunt Departure_ was released in 2005 to diligent touring, massive acclaim, and worldwide applause.

_The Novella Reservoir_ constitutes Novembers Doom's second release on The End Records. How does a band, even as incredibly talented and skilled as ND, set out to accomplish the daunting task of following an effort like _TPHD_? The answer can only be found by looking deeper into their collective being as a group.

Lyrically similar to their previous offering, Novembers Doom embarks down a somberly crushing path toward an approach bordering on "perplexity thru clarity" -- a description from which they've become nearly inseparable. The duality, complexity and balance found on _The Novella Reservoir_ creates a hauntingly beautiful yet morosely enchanting eight track experience. Not unlike _TPHD_, _TNR_ utilizes ND's uniquely dark styling and texture. The difference between the two releases comes on the form of "musical antagonism" on this album; without little doubt _TNR_ ratchets up the pure power contained within the disc's forty-six minute sonic escapade.

Where the waves of diverse atmosphere on _TPHD_ wash over the listener in a fashion rarely, if ever, experienced before, _The Novella Reservoir_ takes a moderately edgier approach. _TNR_ is so much more than just the next logical step in this band's powerful career -- it is indeed an evolution of proficiency in progress.

Review by Aaron McKay
9.5 / 10
http://www.chroniclesofchaos.com/

 

[Novembers Paul]

As just a starting point to this review let me say this album is way better than the bands previous full length ‘The Pale Haunt Departure.’ Where The Pale Haunt Departure sounded like band going through some serious progression, it seems with the bands latest effort they’ve finally progressed to where they want to be and have released a regularly enjoyable album.

Since Novembers Doom has been fading away from Doom metal in recent releases, ‘The Novella Reservoir’ finally sees Novembers Doom leaving doom metal behind in favor of a sound that’s faster, more melodic, and I guess if your looking for a genre label you could probably call this progressive/melodic death metal. Besides ‘Twilight Innocence,’ which is an acoustic piece, the rest of the songs are speedy heavily melodic death metal songs with deep growling vocals while some sound more progressive and Opeth-ish to my ears with softer parts and clear singing.

This may seem odd if you haven’t heard Novembers Doom since 2000’s ‘The Knowing, which was their last full-on doom release, but it’s not entirely hard to picture what you’re getting with this release. Funny thing is as this release again bares similarities to Opeth, its way better than the last Opeth album, and it’s nice to see that there are other bands able to create a similar sound whether it be intentional or coincidence. I wouldn’t expect snobby Opeth elitists to agree with me since there always of the opinion that Opeth are gods among gods, but as far as I’m concerned Novembers Doom definitely holds their own on this recording. There are plenty of great melodic riffs, enjoyable solos, and vocalist Paul Kuhr has wrote some interesting lyrics as he usually does and he sings and growls them perfectly.

I suppose Novembers Doom will continue to be labeled as doom metal even as they have left that sound behind, but I’m much excited about this new album and I’m quite sure it will bring their music to a much wider audience. Look for it on February 20th from The End Records.

Review by JJM
8 / 10
blizzard.ionhosting.com/~joelh/

 

[Novembers Paul]

After 6 albums, November’s Doom have been one of the most consistent acts in the US doom/death scene and along with Daylight Dies have made some international noise and comparisons. However, they have never really taken that true step forward (as Daylight Dies did with Dismantling Devotion), but now with album number 6, the rock solid act has indeed changed things up.

Glossed with a stunning all-star production/mastering job by Dan Swano and James Murphy, November’s Doom have now loped into more aggressive death metal territory. Not to say The Novella Reservoir is suddenly all blast beats and burps, but the influence of Swano and Murphy’s many projects appears to seep through the still melancholy tinged material.

The higher tempos, burlier percussion and overall, less moping overtures are immediately evident as opener “Rain” rumbles into view but the tracks are still flocked with synths and Paul Kuhr’s mix of unmistakable growls and clean crooning. “Drowning the Inland Mere”, “Voice Of Failure”, “Dominate the Human Strain” follow suite with surprisingly ample heft. And each is a standout in its own right. The band hasn’t forsaken their roots completely as tracks like the doomier “The Novella Reservoir” and “They Were Left to Die” saunter with the bands former depressive gait.

That all being said, two standout tracks, ballads if you will, show the band has not forgotten their roots as the tear inducing (for those of you like myself and I believe Mr. Kuhr, that have young daughters) “Twilight of Innocence” and mournful dirge of “Leaving This” show Kuhr at the top of his lyrical and singing game.

The Novella Reservoir is yet another superb success for one of the scene’s most deserving bands. But it also shows a band not afraid to tweak their sound just enough to warrant continued growth and excellence.

Review By Erik Thomas
http://www.digitalmetal.com/

 

[Novembers Paul]

Surprise! “November’s Doom” latest release is faster and more aggressive then ever before, but the cagey veterans still maintain a quality and uniqueness their fans have cherished for the last two decades. Their seventh album is very dark and has a strong bass like presentation, the riffs are memorable and doomy- and the death vocals have an interesting appeal. It is indeed a death album. There are some interesting turns throughout this work including clean vocals and acoustical spots which are needed to draw the listener back in and they are well placed.

“Drown the Inland Mere” is a hard metal cut that makes a clear statement that this group wants to bang. The audience will be treated to an epic feel and will be reminded of the great Opeth and even Moonspell in certain places. I definitely recommend this album to any death fan looking to branch outward without losing the sense of style this group maintains.

Reviewed by: John Mahofski
www.1340mag.com

 

[Novembers Paul]

Chicago’s Novembers Doom unleashes their sixth full-length release, The Novella Reservoir, courtesy of The End Records. Be prepared for an aural attack that goes from overly brutal doom, to quiet, moody acoustic bits and covers pretty much everything in between. Novembers Doom prefers not to be lumped into any specific category of metal, and it’s for a good reason, as they offer a wide and varying array of sounds here.

“Rain” opens up with brutally heavy riff, and equally brutal vocals. The band perfectly combine monstrously heavy riffs with ringing melodies and superb guttural vocals, then completely switches gears mid-song with a quiet passage, before the heaviness returns to finish off a great opening track. The title track follows, and it’s a good bit different from “Rain”. Sure, there is a huge and heavy riff behind it, but there are also acoustic guitars aplenty, lots of clean vocals used here, and finishes off with a great guitar solo. “Drown the Inland Mere” follows with an all out brutal attack. Grab the MP3 from the band's website if you want to hear more (better yet, buy this disc when it comes out February 20th; it’s more than worth it).

“Twilight Innocence” follows - it’s all acoustic/clean guitars, all clean vocals, showcasing the versatility of the band as musicians and songwriters as well. It presents a perfect and welcome departure and great placement in the middle of the disc for a bit of a break. “The Voice of Failure” and “Dominate the Human Strain” completely lay waste to your ears, and it’s pretty much a toss-up between the two for best track on the disc. “Leaving This” is a great track to close the disc out. Mostly a slow-paced, quiet and moody affair, there are bits of huge heaviness thrown in, and some incredibly good drumming as well.

Production quality on the disc is outstanding. Mixing was handled by Dan Swanö, and mastering by James Murphy, who both have stellar track records with making music sound good. With the quality of the music here, I think a slightly trained chimp could’ve made it sound good, but Novembers Doom made good selections. Overall an amazing release that I’ll probably be revisiting it when the time comes to make a best of 2007 list this time next year.

Reviewed by Goz
A-
http://gaspetc.com/TraxPix_Winter07.html

 

[Novembers Paul]

Fast, aggressive. Two words you wouldn't normally associate with Novembers Doom, yet here they are. Hell, the opening sounds like the Carcass classic Genital Grinder, though with a much thicker production and drums that sound like the hammers of Hell. Paul Kuhr brings back his usual growl, combining it with a nice rasp and some excellent clean vocals as he did on their last masterpiece, The Pale Haunt Departure. The music here is the main difference as this, for them anyway, is rather fast and aggressive. The seventh song Dominate the Human Strain is a real treat for those of you who loved Arch Enemy's Burning Bridges. The main riff owes a bit to the classic Pilgrim. There are plenty of mellow passages that are mixed in throughout the album, expertly of course. The bass is a bit low in the mix but you don't miss it all that much given the assault that the drums and guitars provide. The vocals are the main part of the mix, as they should be when you have a vocalist this good. It is odd though that an album this doomy has very little in the way of actual dirge on it. The last song, Leaving This is the only slow on of the bunch and it's not crushingly heavy by any stretch. In fact this is downright mellow, accompanied by the clean singing of Kuhr. He also speaks quite a bit on this little burst of melancholy, again to great effect. It's a wonderful closer to a masterful album, however it is also the only real misstep on the album as the ending of it runs way too long. In fact the last two minutes and change could have been dropped from it. This is also a rather short album, with eight songs in 46 minutes so the overrun won't kill you. It's a little bizarre in terms of tempo but once you get over that you end up with one hell of a record. They need to get their asses out east pronto because I must see this live. This is an early contender for Album of the Year.

Review by K.Huckins
http://deadtide.com

 

[Novembers Paul]

On their sixth album, Novembers Doom is moving away from the genre in their name and more toward melodic death metal. There are still doom metal influences on The Novella Reservoir, but the band also explores their progressive side on this album.
The songs have a good balance of darkness and intensity along with melody and prog elements. Novembers Doom also speeds up the tempos on several tracks. The band shows their diversity by using acoustic passages in some of the songs.

The vocals are also very diverse. They range from gurgling but understandable death metal growls to baritone melodic vocals. One of the biggest cliches artists use in interviews is that their latest work is "heavier, but also more melodic." In this case it's absolutely true. Novembers Doom is able to pull off slow and mellow ballads or fast and aggressive death metal with equal skill.

Reviewed by Chad Bowar
3.5 / 5
http://heavymetal.about.com/od/cdreviews/fr/novembersdoom.htm

 

[Novembers Paul]

2005’s The Pale Haunt Departure was considered by many to be these gothic-doom stalwarts’ most focused and honest work to date. For the new one, the Doomsters have basically played it safe and delivered The Pale Haunt Departure II, a shiny, massively produced hammer of UK-influenced death/doom à la My Dying Bride, Opeth, and Katatonia. But staying true to what worked before is less a sign of stagnation than a representation of wisdom: Songs have been trimmed of the fat—the sometimes too meandering melodic passages that plagued them in the past—and most numbers are mid- to up-tempo, sometimes approaching thrash speeds. Basically, all the various badass components have been honed, truncated, and allowed to flow freely throughout a song. For example, one of Novella’s best, “The Voice of Failure,” fluidly runs from a Trouble-ing funereal drone intro to a massive cruising-with-the-top-down-on-the-hearse death chug to a melodic doom chorus and back again to the chugs. On that track, as well as album closer “Leaving This,” vocalist/lyricist Paul Kuhr continues his painfully honest warts-and-all personal confessions, which, for extreme tuneage, takes a lot of cojones. Once again, ND deliver the production and the songs—like the hooky crunch fiesta opener “Rain”—that in a just world would make these guys huge in Europe and allow them to outgrow their well-deserved, but outgrown cult status.

Reviewed by D. Shawn Bosler
http://www.decibelmagazine.com/reviews/mar2007/novembersdoom.aspx

 

[Novembers Paul]

With six albums under their belt and acclaim only coming from the underground scene, Novembers Doom stand as an extremely underrated band. There is a distinct progression with every record the group releases. With The Novella Reservoir, the doom is still there, but the songs are sped up, a huge difference from what the last record, The Pale Haunt Departure, was. Not to mention the production is pristine due to help from metal greats Dan Swano and James Murphy. This album is probably one of the strongest the band has put forth yet and definitely will be the one that receives the most spins from me. The melodies and riffs are catchy, haunting, beautiful and most importantly, brutal.

Reviewed by Bryer Wharton
http://www.slugmag.com