Discuss Reviews for "To Welcome the Fade"

[Novembers Paul]

This review can be found at: http://www.tragenda.net/

Very interesting come back for this North American band. ?To Welcome the Fade? is their best achievement so far. Novembers Doom play a very melodic, atmospheric, melancholic kind of mid to fast-paced death metal. The use of soft parts helps the overall emotional and melancholic atmosphere of the album, although they get quite pompous at times. Guitars are very, very melodic, and are easily the main feature of their music. There are also some acoustic guitar parts, usuallymelancholic and felt. As for vocals, Paul is a growler, but sometimes he uses clean vocals: on the whole both this vocals fit the music quite nicely. Worth to mention is also the gloomy artwork by Travis Smith. In closing, all I have to say is this: if you like melodic death metal and Opeth in particular you should look into Novembers Doom's music, because this album is an excellent release for one of the best Usa?s band.

 

[Novembers Paul]

Is it just me, or was that review like a back handed compliment?

"although they get quite pompous at times" to "excellent release for one of the best Usa?s band"

"Very interesting come back for this North American band." We never went anywhere to comeback from.

 

[Novembers Paul]

This review can be found at: http://www.sinisterweb.co.uk/esoterica/reviews/apr272003.html


Novembers Doom - To Welcome the Fade (Dark Symphonies)

Novembers Doom, despite persistently clinging to an incorrectly-apostrophised name, have spent a few years now, since Dark Symphonies picked them up, enjoying the status of a respected underground band. One can only assume that not many metallers are particularly stringent grammarians. To Welcome the Fade is a strong step forward from their previous album The Knowing, and indeed is a solid and generally enjoyable listen, but there are some disturbing aspects to it which lead me to suspect that Novembers Doom are cementing themselves into a niche from they will never be able to emerge; they are highly proficient musicians, adept at absorbing influences, amalgamating them and producing quality albums on which one can hardly see the joins between those influences. However, do they have it in them to transcend this face-dancer phase and really produce something that really has character of its own? Unfortunately, I doubt it. The question for you, dear reader, is to decide whether or not that's the sort of thing that bothers you.

Certainly, The Knowing was well-received here at Esoterica. Its emulation of My Dying Bride's mid-period moments combined with that curiously endearing naïveté many underground US acts possess had a certain inescapable charm, and indicated that on our hands was an act which had really created a solid base on which it could construct a series of enjoyable albums. It's really quite ironic, and probably totally inexplicable at first, that delivering a significantly better follow-up album has left me scratching my head wondering how good this band truly its at its core. There's no question whatsoever that To Welcome the Fade isn't a good album, on many levels; it's packed with well-written, melodic (but not noodly) riffs, delicate acoustic interludes, fluid, coherent songwriting and is immaculately recorded with a perfectly balanced sound. The thing is, that sentence is a pretty good description of any of Opeth's albums, and it would be ridiculous to deny that the all-conquering Swedish maestros had not had a profound impact on Novembers Doom since the latter's last release. This is a very Opeth album indeed, in contrast to The Knowing being a very My Dying Bride album. It seems, therefore, that Novembers Doom are content to flit around between metal styles, picking out shiny bits from the metal spoil-heap like magpies and changing direction on a whim depending on what they've been listening to most lately. The only rational deduction to be made is that Novembers Doom are seriously lacking in internal inspiration, and without a bit of a re-think can probably never hope to move forward from the position I mentioned earlier, of respected underground name, to prime-moving, idea-generating genre leader. In this respect they remind very much of the similarly-named Novembre, another band with their retinue of faithful fans who nonetheless are more widely perceived as playing second fiddle to Opeth, with many ideas worth hearing but, it must be admitted, several passages of numb ordinariness regarding which we must be grateful for the invention of the skip button.

But does it really matter? Maybe not. To fans of Opeth and My Dying Bride, Novembers Doom can do nothing but entertain, despite its relative lack of character. To Welcome the Fade is simply not in possession of the intangible essence of a great record, but is an extremely well-played pastiche of some killer bands, replete with some genuinely beautiful musical moments, and if you're going to pick two bands to emulate, far better they be Bride and Opeth than, say, Gardenian and Night in Gales. The final decision is, as ever, in your hands.
Harry

 

[Novembers Paul]

Boy, did I read this on the wrong day....

OK, let's begin, shall we Harry?

<<Novembers Doom, despite persistently clinging to an incorrectly-apostrophised name, have spent a few years now, since Dark Symphonies picked them up, enjoying the status of a respected underground band. One can only assume that not many metallers are particularly stringent grammarians.>>

I'm glad this bothers you. You must be the same clown who dwelled on this the last time. I hope you lose sleep over it.

<<Its emulation of My Dying Bride's mid-period moments>>

Here we go again.

<<and it would be ridiculous to deny that the all-conquering Swedish maestros had not had a profound impact on Novembers Doom since the latter's last release. This is a very Opeth album indeed, in contrast to The Knowing being a very My Dying Bride album.>>

Ridiculous as it may seem to you, we have been around, playing the same style of music, as long as, if not LONGER then the above mentioned bands. Take a look in the liner notes to Turn Loose the Swans, and tell me what band name appears in the thanks list. Is this not proof we were playing the SAME style before the mighty TLtS CD came out? As far as Opeth comes in, it's pretty funny how you missed the actual influence by a mile. We sound NOTHING like MDB, and NOTHING like Opeth. We know both bands quite well, and they don't seem to think so either. Maybe if you had a wider range of musical knowledge, you would hear the actual influences in our music. Did you ever stop to think, it just may be possible, that some of our influences come from the same bands as Opeths? Have you listened to Of Sculptured Ivy and Stone Flowers, which was written in 1997, before the big Opeth hype? Hmmmmm.... That material oddly has the same style to it! We must be fucking wizards, to see into the future and rip off Opeth before they wrote their songs!

<<But does it really matter? Maybe not. To fans of Opeth and My Dying Bride, Novembers Doom can do nothing but entertain, despite its relative lack of character. To Welcome the Fade is simply not in possession of the intangible essence of a great record, but is an extremely well-played pastiche of some killer bands, replete with some genuinely beautiful musical moments, and if you're going to pick two bands to emulate, far better they be Bride and Opeth than, say, Gardenian and Night in Gales. The final decision is, as ever, in your hands.>>

Everyone is entitled to their opinion. You just happen to be wrong on most of your assumptions. I would have expected more homework from a writer at Terrorizor.

In general, I see this more often then not, that a European writer can't possibly stretch his imagination far enough to believe that an AMERICAN band in this style could possibly have created their own style. They MUST have ripped of, or copied a style from a European band!

As long as it's printed, it must be true!

 

[Novembers Paul]

This review can be found at: http://www.ultimatemetal.com/forum/showthread.php?postid=1667364%23post1667364 and http://www.rawnervepromotions.co.uk/reviews/reviews.php?id=755&sort=latest


Novembers Doom ? To Welcome The Fade
Dark Symphonies ? dark18 ? 2002
By Russell Garwood

Novembers Doom hail from Chicago, and recently released their latest album through US label Dark Symphonies. Unsurprisingly "To Welcome The Fade" is doom based, but the melodic, death-influenced sound also contains gothic touches, which makes for a more original sound.

Vocals come courtesy of Paul Kuhr, whose easily decipherable growls match the morose music to perfection, while hoarsely whispered and spoken sections show Anathema parallels. Singing adds further variation and respite from harsher sections, often supported by acoustic guitars which give the music a Gothenburg feel. Instrumental sections also remind me of early doom, with occasional female vox (Nora O?Connor) adding more atmosphere in a sound already drowning in sheer hopelessness. Guitars by Eric Burnley (who also plays keyboards) and Larry Roberts switch between melodic yet heavy distorted lines, which speak of longing and anger, and clean/acoustic phrases swathed in wistful melancholy. Bass is provided by session musician Brian Gordon, whose a solid low end gives the music impact, while drums from Joe Nunez are precise and direct.

This well rounded and unexpectedly varied sound is cemented by the top quality production of Niel Kernon (Nevermore, Cannibal Corpse, Judas Priest, Kansas, Yes, Queensryche) which is well balanced, clear and, above all, powerful. Throughout the smooth dynamic changes and differing sounds the recording is excellent, and the music is gelled by a disheartening streak which runs throughout. My only complaint would be the lyrics, which - while poetic - at times I?m not too keen on. But as they match the music well in feeling, this is largely immaterial. All in all "To Welcome The Fade" is an accomplished album, which fans of both melodic death and doom will appreciate, as well as many lovers of emotional music in general.

 

[mattt]

http://www.full-strength.net/world_review_novembersdoom.html

 

[Novembers Paul]

this review can be found at: http://www.full-strength.net/world_review_novembersdoom.html

Novembers Doom 'To Welcome The Fade'

2002 | Dark Symphonies| Reviewer: Krozza

Anyone remember Paradise Lost - the Gothic metal band? Remember ?Icon? and to a lesser extent, ?Draconian Times?? You know how they completely lost the plot from then on - well here is a band that exists to fill the void. Now, I am at pains to paint Chicago?s Novembers Doom as pure copyists (and it?s not an overly new observation) of the PL style - they most certainly are not - but as an act that forges a path that PL ?could? have taken, then Novembers Doom do it better than any other act I?ve heard.

The name ?Novembers Doom? might be a new name to you, yet this is their sixth official release and fourth full length. I?ve been a little slow on the uptake myself, however I specifically ordered this new album in on the strength and conviction of the bands previous effort - 2000?s ?The Knowing?. It is still an album I regularly play due to its magnificent melancholy atmosphere. One track, in particular stood out - ?Silent Tomorrow? - it is pure emotional heaviness at it?s best. The rest of ?The Knowing? was just as captivating for me and I knew this was a band I needed to keep my eye on - Hence my excitement at laying my hands on this new one ?To Welcome The Fade?.

Needless to say really, but WTTF is everything and more of what I expected from this band. The spellbinding aura of despair and misery that ?The Knowing? displayed has been captured in a whole new light on this new album. WTTF is an album that just drips with ?feeling? and emotive power - from the mellow, morose piano/acoustic elements and the folk inspired aspects, to the haunting female vocals (Nora O?Conner), to the desperate atmospheric melodies that form the red line through each of the 10 tracks written here.

Unbelievably, WTTF is an even more mature and confident release than ?The Knowing? - this band has a formula that works immeasurable wonders. The song writing, their structure and dynamics have improved, allowing an even more all-enveloping sound to be created. And the production! - Seriously punters, the utter weight and power that this album has is mind blowing. Heavy? Fucking hell - the guitar production (from Neil Kernon (Nevermore, Cannibal Corpse) delivered on WTTF is crushingly heavy. There are many examples - but the opening riff of ?Lost in a Day? is outstanding. This heaviness only adds to the all out effect that this band conveys. Never moving far from slow to mid tempo rhythms, WTTF is a monstrous ?doom? laden affair - check the Candlemass-like mid-section of the opening track ?Not the Strong? for evidence. Elements of My Dying Bride are also evident in ND?s music - the slower guitar riff components giving rise to the comparison. This is offset via the gentler folk/acoustic, atmospheric moments that remind of mid-period Anathema, such is the feeling developed.

There is always something interesting about ND?s song writing on WTTF - in particular, the use of their dynamics that bring their songs from raging hulking doom beasts to serene, soothing morose passages and back again without ever feeling forced or contrived. The final track ?Dark Fields for Brilliance? is a stunning example of this - it?s a magnificent track that builds throughout to a powerful ending - In my opinion, just about the best thing they?ve written (other than ?Torn? - see further down). Add the aforementioned use of Nora O?Conner?s sweet vocals and the result is pure magic - Nora is not a typical opera-style singer, and therefore, for me at least, adds a more human element to her lyrics. Working solo and in tandem with Paul Kuhr?s powerful growl, the effect is mesmerizing and is one of the more outstanding components of this sensational band. It is the track ?Torn? which highlights this astounding pairing of vocals - mellow and captivating, doom laden yet inspiring, ?Torn? is a simply amazing track. No matter what your tastes in music, this track will melt hearts in an instant such is its quality.

WTTF is one of the heaviest albums I?ve heard this year. It is also one of the best releases for 2002. It has surprised me in it?s quality - I was prepared for something of note, but really, as I continue to listen to this album, it has become an even more powerful affair than I ever expected. For fans of ultra heavy, doom-laden music, intelligently constructed and swathed in pure emotive grace and power, WTTF comes highly recommended. Who needs Paradise Lost?they could never have been this good?.

 

[Novembers Paul]

http://www.full-strength.net/world_review_novembersdoom.html

Thanks much for this link! I posted the entire review for all to read. Im not sure if you wrote this, or you just found it, so forgive me if this isnt directed directly to you...

For once I'm pretty speachless, and overwhelmed with your reaction to this CD. I'm not even upset with the comparrisons to other bands in this review, because they were used to help describe a moment, and not to judge the band, or call us a clone. Thanks for that.

The ONLY gripe... Its TWTF, not WTTF. hahahah!

 

[chupe666]

you know, when people still mention similar acts being paradise lost, opeth, mdb, etc. i can't help but marvel that after listening to the fop song no one mentions radiohead.

still, really good reviews!

 

[NvmbrsDoom5]

...Because I think that 98% of the people who listen and/or review us either A.) dont listen to enough different kinds of bands to be able to pick up on those influences, or B.) just couldnt FATHOM that we'd be influenced by anything other than the bands they repeatedly mention. Not one person ever mentions Pyogenesis, Celtic Frost "Pandamoneum" era, or Trouble when reviewing us....and let me tell y'all, there's definately some serious influence there from those three in my songwriting! And yeah Eric, noone ever picks up on your Radiohead influence nor the other influences that I would've thought we're more audible in your songwriting. Well like I said, maybe the reviewers just aren't familiar enough with those bands to notice it *shrug*
But yes, the reviews have been good overall and I agree with Paul that its quite alright when people namecheck other bands in order to describe a general sound, just not when we're accused of stealing or copying (which like we've mentioned before, is pretty funny considering we've been around playing and writing the kinds of songs we have since well before half of the bands mentioned were around or known by us!)
I still don't hear the Paradise Lost thing with us though, personally *shrug* But hey at least someone mentioned Candlemass for once! -I-

 

[chupe666]

And yeah Eric, noone ever picks up on your Radiohead influence

it doesn't bother me, i just find it really odd considering that particular song. it's like i'm running through the streets naked with a stolen widescreen plasma tv or something and no one sees it. not that i'd ever do such a thing on purpose or outside of dreams.

I still don't hear the Paradise Lost thing with us though, personally *shrug* But hey at least someone mentioned Candlemass for once! -I-

yeah, i still don't own a single paradise lost record. i wish i'd have seen that candlemass show. i'm looking for that DVD they have, but i heard it's not coded for the states. i thought dvd players played both codes though?

 

[FrostGiant]

I myself have never picked up on the Radiohead influence probably because I've never heard Radiohead (except for that one song they had on the radio back around 95, but I don't even remeber what it sounds like).

 

[Novembers Paul]

i wish i'd have seen that candlemass show. i'm looking for that DVD they have, but i heard it's not coded for the states. i thought dvd players played both codes though?

Larry has it, and as soon as he remembers to bring it to me, I can rip it to the comp, remove the code, and burn new DVDs, playable on our systems. Blame Larry... He's the hold up.

 

[chupe666]

Larry has it, and as soon as he remembers to bring it to me, I can rip it to the comp, remove the code, and burn new DVDs, playable on our systems. Blame Larry... He's the hold up.

HOLY CRAP. LARRY!! MOVE ON IT!!! (plzthx.)

 

[LuminousAether]

I've never even heard of Pyogenesis, I have only heard one Celtic Frost song, and I've never heard Trouble. I guess I fit in with the metal reviewing public here... but I've never reviewed Novembers Doom before. I have reviewed Lacrimas Profundere though... now THAT'S an Anathema clone for the aspiring metal reviewers out there.

 

[NvmbrsDoom5]

Well Im not saying that there's anything wrong with not knowing who Pyogenesis are, etc, because Im sure theres tons of people who are in the same boat as you.....I guess more specifically what Im referring to are the writers/reviewers, especially the european ones, who really ought to know a little better about those sorts of things, but they're just so quick to dismiss us as copycats of bands that we don't copy or even have much influence from. If someone said "The slow riffs in 'Last God' show a definite Winter influence" or something like that, then I would say "Hell yeah! Thats totally where I got my influence for that stuff from!" It seems obvious to me, I guess...But when writers dont just suggest but practicaly INSIST that we copped it all from P.Lost and Anathema, well its just not accurate, thats all. I think its more of the case that we have the same influences that those bands had, and we've been around almost as long, so the similarities are more natural than they realise.
And more to the point is that there's stuff in mine and Eric's songwriting thats almost blatant at times in showing its influence (*coughRADIOHEAD*cough*LifelessSilhouette*) and yet noone ever picks up on it......its pretty funny! Just like that comment made about Eric running naked through the street with a stolen TV....now THAT would be pure comedy!
Lastly, sometimes I hear bands that do sound blatantly like another band, and sometimes, its not a bad thing! All of those Finnish goth-metal bands kind of sound alike (H.I.M, The 69 Eyes, To Die For) and yet I really like the whole lot of them. If some american bands started doing that sound, I wouldnt mind checking it out.

 

[Novembers Paul]

This review can be found at: http://www.metal-observer.com/gb/reviews/rev3497.html

Novembers Doom - To Welcome The Fade (9/10) - USA - 2003

This third release from NOVEMBERS DOOM arrived on my desk the day before their first two arrived by mail-order. Normally, when possible, I like to review a band after becoming familiar with as much material as I can get but I went about this backwards and due to time constraints lately, I have yet to explore the older CDs. Besides, it makes no difference as far as this opus is concerned…it's brilliant.

My expectations were certainly high upon witnessing the beautiful cover artwork. It is instantly recognizable as a Travis Smith work…see OPETH, KATATONIA, NEVERMORE and many others or better yet check out all his work at www.seempieces.com. This piece cries of pain, tragedy and sombreness and should be enough to indicate the type of listening ears the music should grace.

I was immediately alerted to the OPETHIAN similarities in this band. Please do not get me wrong, they are not a clone. They are similar in vibe, atmosphere and perhaps the harsh vocals. They share the love for the acoustic/heavy inter-mix but they manage to make their style their own. Spoken male vocals as well as soft, sweet female vocals are also used periodically to add both depth and ambience. I find the songs a bit more straightforward in terms of general song-writing, time signatures, etc and generally the tracks are shorter than those of OPETH…not a bad thing at all, just different.

The production is absolutely spectacular as I have come to expect from Neil Kernon. The drum sound is very solid and profound and the heavy guitar has a thick sound that few can get but all would love to have. The acoustic elements are absolutely clear and beautiful. When graced with the voice of guest vocalist Nora O'Connor, it feels like she is sitting right in front of me. Need I say more?

Upon repeated listens, I find myself at a loss as far as picking out standout tracks. I realize this is simply because that is not what they are about. They create dark, tragic, sombre music that is about mood and feeling. The lyrics however do stand out…they are appropriate to the music, thoughtful and even stunning at times. The tracks vary a great deal as far as heaviness is concerned however, the band never lose sight of this musical goal and vision. I don't doubt with dozens of listens, favourite tracks shall emerge but for now I am happy reporting it as conceptually all very strong.

"To Welcome The Fade" is an amazing work of beautiful music. This belongs in all collections that contain any OPETH or KATATONIA. Although NOVEMBERS DOOM definitely are all their own, these are the bands that I think they most closely resemble in genre. Perhaps Avantgarde Metal if you will. Regardless of classification…they are absolute Class! (Online October 10, 2003)

 

[NvmbrsDoom5]

That was a great review. Now there's an example of how someone uses other bands like Opeth and Katatonia as a reference point, and not trying to claim that we're just copying them or second rate versions of them. As much as we get the Opeth comparisons these days, I'm really surprised we don't hear Katatonia more often. I myself hear similarities between us and them, plus both Eric and I are fans of theirs.

 

[ColdDarkNord]

Nice review

 

[Novembers Paul]

Review found at http://www.royalcarnage.com/

Doom Metal is definitely not my bag but one thing that I can succinctly articulate about this album is its meddling interference with my previous love affair for OPETH’s Blackwater Park and AGALLOCH’s Of Stone, Wind and Pillor. The interference has reached such a crisis point that I feel my next outburst may have me confined to a straight jacket. I've realized that the craftsmanship of this album is much better than the two aforementioned albums and its songs have been purposely designed to make a permanent fixture upon my brain.


So who are NOVEMBERS DOOM? Formed in 1989, the band secured their first deal with Regress Records in 1992. Their later albums were recorded under Avantgarde/Nuclear Blast banners but that relationship ended in 2000, when they became an official member of the Dark Symphonies family. Their albums to date include: Amid Its Hallowed Mirth (1995), For Every Leaf that Falls (1997), Of Sculptured Ivy and Stone Flowers (1999), The Knowing (2000), Amid Its Hallowed Mirth (Re-release 2001). To Welcome the Fade is their most recent (2002) and was produced by Neil Kernon - Grammy award winning producer who’s other credentials include working with QUEENSRYCHE, JUDAS PRIEST and YES. The artwork on the album was created by the legendary Travis Smith, of NEVERMORE, KATATONIA, OPETH and DEATH album cover fame, if indeed that sort of thing interests you.


The reason why this album, in my opinion, plays so well is because each track culminates in an amazing climax. The listener is gravitated to the tracks because of an identifiable hook that is placed within the first 10 to 60 seconds of each track’s opening. Once the listener has been ensnared, the track begins to unveil itself through the differing layers of music that set up a real expectation of what is to come. Snippets of melody are delivered modestly at appropriate moments – just enough to relieve the emotional stress of the constant impending doom. I like the fact that each track has an agenda and that it delivers on its promise, instead of going off at a tangent – which was always my biggest gripe with OPETH, where they really just became a band that could tie several acts together without paying much attention to the overall storyline. (See Blackwater Park for a perfect example of a band just going through the motions). Also, the endearing vocals on To Welcome the Fade have far more depth and emotion than Of Stone, Wind and Pillor, an album I previously regarded as a stunning mish-mosh of vocal dreams and nightmares. Again, I may be drawing comparisons that are out of my league and understanding of this particular genre, but I know what feels right and this album sits very well on my current most-played album list. That's all that matters.


The chorus that is played during “Not the Strong” portrays a deep sense despair which at times not only buries the listener in darkness but entombs him. “Broken” borrows drumming from an ancient tribe and sets an almost primordial tone to the track. “Lost in a Day” has an incredible chorus with lines like, ‘I give into my life and colour it black.’ The dark emotions rivet the listener into believing that they are attending their own funeral. “Within my Flesh” depicts how we as a society are actually zombies -moving through life with no sense of purpose. With “If Forever”, the low, evenly-spaced drums hint at a heartbeat that is slowing down and in its last dying moments a flamenco guitar comes as a saviour from imminent death. “The Spirit Seed” utilises a ‘dead-weight’ guitar sound that plays slightly off-key to give an impression of unwavering death. “Torn” opens as if it’s a country song - very off balancing. The track does go back to its roots, however, and then we hear death vocals emitting an emotional distress signal. In “The Lifeless Silhouette”, the piano sections lift the track beyond any form of verbal articulation. “Dark Fields for Brilliance” has soft vocals against a guitar sound that has been induced with copious amounts of alcohol. The track is capitalising on its ease of which it can sustain a listener and is filled with peaks & troughs which amplify as we reach mid-point. The female vocalist heeds the advice of the other instruments as we reach climax and then suddenly a final burst of catastrophe is thrown through the speakers – sheer brilliance.


To Welcome the Fade captures the intense feelings of imminent doom leading to claustrophobic fears of paranoia and mental degeneration. It's a beautiful thing.