Into Night's Requiem Infernal - Reviews

[Novembers Paul]

Rating 8.1 / 10
Author: Bruce Moore
Pure Grain Audio

Into Night's Requiem Infernal is a very interesting and intriguing disc indeed. I think the best way to describe it is as a hybrid of sorts. There are elements of stoner metal, death metal and even a touch of a phsycadelic influence. This combination may seem a bit odd, but honestly, it seems to work quite well.

Musically Novembers Doom is slow-burning, gloomy, riff-driven and heavy as hell. There are lots of good lead breaks and lines, a good example of these can be found in the track “Eulogy For The Living Lost.” Vocally they are all over the map, incorporating a clean vocal with a dark growl that reminded me of any one of the numerous death metal bands that are on the scene these days.

The one thing that I found real interesting on this disc is that in the midst of the aural pummeling the band inserts two very mellow songs, ("The Fifth Day Of March" and "When Desperation Fills The World"), that are acoustic-based with super clean vocals... both of which reminded me a lot of a Chicago band called Trouble. These songs are interesting too, because not only to they offer a brief respite from the pounding, but they also stand alone as really well-written tunes.

I like the depth and the variety on Into Night's Requiem Infernal and feel as though this is a disc worth checking out. It is heavy, but still manages to offer more than just speed and distortion

 

[Novembers Paul]

Rating 8.5 / 10
Author: Darren Cowen
Blistering.com

Chicago’s masters of down tempo death metal, November’s Doom have returned with another spirit-crushing album, Into Night’s Requiem Infernal. The eight tracks that comprise the said album strike a balance between melody, atmosphere, burlesque ringing chords and vicious death metal, thus painting numerous emotions into their musical palette.

With Into Night’s Requiem Infernal, November’s Doom not only traverses many moods, the group does it with exquisite skill. The title track and “Lazarus Regret” adhere to a strict death metal formula, often breaking down the tempo into hugely proportioned doom metal sections. “Lazarus Regret” shows the band incorporating thrashing death metal rhythms, which the group expertly transitions into a stop-and-start-then-go time change. They end the track with ringing chords and a psychotic growl-scream dual. Guitarists Lawrence Roberts and Vito Marchese display the album’s best collection of riffs on the title track, working in an ominous guitar lead during the slowest parts and vintage Stockholm-Sweden death metal riffing during the up-tempo passages.

Like a skitzo receiving his bedtime meds, “The Fifth Day of March” and “When Desperation Fills the Void” show the group mostly relinquishing their death metal grip in favor of soft-yet-sulking pieces. Each guitarist switches off his distortion while the vocals transform into beautiful, clean harmonies. Following the tradition of Tiamat and Anathema, November’s Doom takes cue from Pink Floyd on the blues-laced “The Fifth Day of March.”

November’s Doom mostly adheres to one mood on the above tracks, although there is a spattering of hard parts within the soft and vice-versa. While the group successfully pulls off both ends of the spectrum on these tracks, they are at their best when continually switching moods within each song. “Empathy’s Greed” and “I Hurt Those I Adore” keep the listener swaying to serene harmonies until the group angry projects their harsh death metal side.

In the not-so-vaunted doom metal scene, few bands have endured and excelled as November’s Doom. Into Night’s Requiem Infernal exemplifies why this group continues onward while so many similar bands (especially in America) have folded or faded into obscurity. This album is a good example because it features doom metal with all the trimmings: large chord structures, melody, clean and death vocals and atmosphere, yet the band’s death metal side should find favor with those who only take it hard and rough. Into Night’s Requiem Infernal is definitely one of the year’s highlights for The End Records!

 

[Novembers Paul]

Rating 3.5 / 5
Author: Christopher R. Weingarten
Revolver Magazine

Chicago's grungy death-rattlers November's Doom have been speeding up since the loamy sludge of their 1995 debut, Amid Its Hallowed Mirth, even hitting a spright;y death-metal gallop for 2007's The Novella Reservoir. Their seventh album has the quartet crashing back into the swamp - or at least back to Mastodon tempos - with a grimmer outlook and more disgusting sound. Sure, death riffs are still present. but they are lugged and tugged like heavy sacks across the forest floor. With more room to breathe, lead vocalist Paul Kuhr sings with desperation and despair, even approaching tender ballad "The Harlot's Lie" like a disemboweling.


(I think he meant "When Desperation Fills the Void" and not "The Harlot's Lie.")

 

[Novembers Paul]

Author: Clint Listing
Absolute Zero Media

Though I haven't spoken to the members in Novembers Doom for a good 3yrs now I still call Paul and Larry friend as in the late 90's/ early 21st century my old band Long Winters Stare were label mates with them on Dark Symphonies and we played many times together. So I start with this is a very different Novembers Doom from those days. I would very little call them a Doom band and more as more a Dark Death Metal/ Experimental metal band with the much more aggressive and progressive elements going through out the band. It's also down to just Paul and Larry from those days with all new members. There are still some very doomy moments but ND like to add so many more sonic layers to the production as a whole and the songs are no longer at a snails pace with heavy string or synths. Novembers Doom now walk the path were bands like Opeth, Dan Swano & Morbid Angel walk the like between the Brutal and the fragile and let me tell you " Into Nights Requiem Infernal" is the most expansive release to date for Novembers Doom. I hope ND never reverts back to the days of old . Let the past be the past and grow with each album some will follow and I'm sure even more people will add to the fold. Long live Novembers Doom ....

 

[Novembers Paul]

Rating 7/10
Author: Jim Burt
Rock Sound

Understated stalwarts Novembers Doom return for a seventh lesson in the classy execution of doom / death metal, and by the sounds of things are still feeling empowered. With an awesome production showcasing their powerful song-writing, Paul Kuhr is again pushed high in the mix to showcase his thought-provoking lyrics, strong vocal range and versatility. They've never quite reached the heights of some of their contemporaries, but their style is certainly nothing to sniff at, and their latest release is another example of the quality in their ranks, and will only cement their status as one of the leading lights in their field.

 

[Novembers Paul]

Rating 2/5
Author: Austin Tasseltine
The Skinny

For sure, death/doom is an unusual amalgam of two already esoteric genres. Add to that the grandiose barkings of November's Doom founder member Paul Kuhr and his tales of Lazarus' Regret and The Harlot's Lie, and what emerges might well be a little hard to swallow for the non-Gothic masses. These guys have been around the block. Formed in 1989 and pioneering that aforementioned meeting of death metal and doom, they are indeed masters of their craft. It's just difficult to know what to make of that craft as the rest of metal moves on, not least since nu-metal's '90s dominance consigned much of the more technical bands to the sidelines; at that point these guys were already an outside bet. Thus Into Night's Requiem Infernal is unlikely to go interstellar but it's a solid representation of a niche genre and will probably even light some fires among disciples of Scandinavia's black metal scene.

 

[Novembers Paul]

Rating 8/10
Author: Trevor Fisher
Illinois Entertainer

They've finally done it. Novembers Doom made their essential record - two decades to the year after forming in suburban Chicago. That's not to say there haven't been good (2007's The Novella Reservoir) or really good (2002's To Welcome the Fade) efforts along the way, but every Novembers Doom album, no matter how good, has always been one song, one chorus, one melody, one part from great. Not this time. Songs such as "Empathy's Greed," "The Harlot's Lie," and the title track are the perfect alliance of guttural death metal, epic doom, and haunting goth - the elements with which the group have always experimented but never mixed this precisely. Debilitating stenosis is wrecking frontman Paul Kuhr's spine, but his voice remains mighty. And incredibly versatile. The way he darts from rough to clean within "I Hurt Those I Adore" is effortless, and only Opeth (whom Novembers Doom pull seniority on) go from beauty to beast with the same tact Kuhr and crew do on "The Fifth Day of March" to "Lazarus Regret." It's Novembers Doom's 20th anniversary, but we're the ones getting a present.

 

[Novembers Paul]

Rating 3/5
Author: Matt Murphy
Decoy Music

Novembers Doom has undergone a subtle transformation of sorts since their first demo was released in 1995. Originally rooted firmly in the traditional doom aesthetic pioneered by My Dying Bride, the group now bares a greater resemblance to doom-tinged melodic death metal bands like Insomnium and Daylight Dies. With that stylistic change, the Novembers Doom of late has injected a bit of energy and urgency into their songwriting that they successfully maintain on their latest album, Into Night's Requiem Infernal.

The album’s title track kicks things off in rollicking fashion as the group lumbers through a fairly straightforward death metal number interspersed with lighter moments that serve as reminders of the group’s earlier melodic leanings. Peter Kuhr’s harsh bellows, not altogether unlike Mikael Åkerfeldt’s demonic pipes, comprise the only use of vocals on the track, a not-so-subtle reminder of the group’s recent stylistic change. The band wastes no time demonstrating their penchant for balancing death metal riffing and slower, mournful melodies more commonly associated with the doom genre. Though the “soft-loud-soft” aesthetic may sound elementary, in the hands of an experienced group like Novembers Doom it comes across as listenable and dynamic.

“Empathy’s Greed” and “I Hurt Those I Adore” put the bipolar nature of the group on full display with soulful acoustic leads and clean singing slotted between double bass-fueled riffs and Kuhr’s throaty growl. “The Fifth Day of March” and “When Desperation Fills the Void” take a more somber approach by dropping all traces of death metal and adding some Pink Floyd-esque riffing and harmonious vocals to their doom-laden sound, a welcome change of pace for fans of the band’s earlier releases. The heaviest song on the album, “Lazarus Regret” takes the opposite approach by utilizing a thrashier, up-tempo style in place of the melodic tinges found on earlier tracks.

Into Night's Requiem Infernal is another worthy addition to the group’s growing discography. At this point in their career, however, despite several impressive releases, Novembers Doom has yet to show that they have the ability to hang with the genre’s heavy-hitters. While this album most likely won’t catapult the group to elite status within the genre, it should cement their place as one of metal’s more consistent acts. Fans along the lighter side of the metal spectrum would do well to give this a listen, while others may be better off waiting on the new Novembre and Insomium albums.

(Note: Who the fuck is Peter Kuhr?)

 

[Novembers Paul]

Author: Laura Wiebe Taylor
exclaim.ca

This winter, instead of touring with Rotting Christ, Novembers Doom recorded a new album. As much as I would have enjoyed a live performance, I'm not sorry they hit the studio instead. Into Night's Requiem Infernalfeatures Chicago's heavyweight masters doing what they do best. There's a touch more old school death/doom rage on this latest record, maybe inspired by vocalist Paul Kuhr and drummer Sasha Horn dabbling in These Are They on the side. Still, Into Night's Requiem Infernal no more aggressive than anything else the band have done lately, although the record has a few brutal moments, along with some slower-paced heft. The difference is really about eased tension, a degree of raw comfort and a sense of sonic space that lets the album morph easily between the poundingly heavy and the laidback. And there are multiple versions of laidback here, ranging from clean vocal harmonies overtop thick, distorted guitars to vintage Pink Floyd-esque interludes. As usual, Dan Swanö makes a good mixing match for Novembers Doom, this time letting Into Night's and contrasts emerge organically from the songwriting and performance. This doesn't make for instant satisfaction. Into Night's Requiem Infernal is more of a slow cooker — better after it's had a little time to simmer.

 

[Novembers Paul]

Rating: 4/5 stars
Author: Ray Van Horn, Jr.
About.com

Had Amorphis picked a sound somewhere between Tales from the Thousand Lakes and Elegy, they might’ve hedged what Novembers Doom have splendidly harvested themselves, particularly on the latter’s current release Into Night’s Requiem Infernal.

Fans of Novembers Doom know what to expect through seven records now including their celebrated To Welcome the Fade and The Pale Haunt Departure. Novembers Doom knows it’s savvier to work outside-the-box numbers into their bludgeoning death metal infrastructure instead of dedicating whole albums to said risk. With Into Night’s Requiem Eternal, they satisfy both the headbanger’s ravenous lust as well as their own voraciousness for dark sensuality.

The title track is one of the densest songs Novembers Doom has yet penned and it doesn’t cease from there. “Empathy’s Greed,” “The Harlot’s Lie” and the stamping “Lazarus Regret” will provoke rhythmic noggin nods with sinewy riffs, alt-psych tucks and raging vocals from mastermind Paul Kuhr. “The Harlot’s Lie” is especially given attention in all departments to make it as dankly epic as possible.

When Novembers Doom wants to change up their scheme, they succeed admirably with the sensual quietude of “The Fifth Day of March” where both Pink Floyd and The Moody Blues figure into Kuhr and company’s superbly off-kilter tactics. Exquisitely delivered (particularly the trippy note plunges from Vito Marchese and Larry Roberts), Novembers Doom takes the same chance on the closing number “When Desperation Fills the Void,” which wails into a crowning snarl after winding bars of reticence.
At this point, left-of-center artistry in death metal is surprising to no one; in fact, bands such as Novembers Doom are expected by attrition to challenge the genre’s norms with their fearless cross-dressing of tranquility and brutality. Glad to know they’re way up to the task.

 

[Novembers Paul]

Rating: 4.5/5
Author: combustion07
sputnikmusic.com

Novembers Doom have been tearing through the doom/death genre since 2005. (Note by Paul: 1989) One would believe that after all of these years Novembers Doom would lose their spark and become dull, with some bands this may be the case with Novembers Doom however it is not. It is extremely hard to believe that at what point this band was playing in a more thrash influenced band called Laceration, because it seems as though with how masterful the band plays their brand of music they have been playing this style of music since they could walk. They are back and more intense than ever before.

Doom isn't exactly what I would call my area of expertise, but with the little doom I have heard it is very apparent that they do what they do well. The most eye catching thing on this record is the vocals. The vocalist plays both roles of beauty and the beast. His style consist of fairly deep growls and soaring cleans, that are so gloomy they might just make you want to cry. He also pronounces ever word so clear that even a first time listener to harsh vocals can understand every word spewing out of his mouth. He is heard throughout the majority of the record in the foreground with the epic instrumental backing him deeper into his despair.

The lyrics on the record are very depressing and gloomy for the most part; this is most noticable on the track "I Hurt Those I Adore" but it is present throughout the whole album. You can truly tell the vocalist is venting about personal situations in his life throughout the record whether it be metophorically or just flat out spoken. The band utilizes the cleans mainly in the choruses, which I must say are beyond epic. The drumming on the record isn't exactly the most technical, but it blends very well with the other elements that make up the band's sound.

The band executes both heavily distorted electric guitar, clean guitar passages, and beautiful acoustic moments. This mainly helps the album dodge the deadly draggy sound that many bands in the genre fall victim to. The melodic moments on the album are amazing, mainly when the clean guitar comes in. "The Fifth Day of March" is the only song on the album that uses absolutely no distortion, and it shows that even without the extreme influences Novembers Doom can still remain interesting and relevant. All these elements add up to make this Novembers Doom's best release to date, fans of the band will not be let down.

This album never really gets too heavy for anyones taste unless you cannot tolerate growls period. This should get this album a wider variety of listeners than the typical heavy band. The bottom line is that Novembers Doom do what many death/doom bands have done but they do it better than most bands in recent memory. Overall I give this a 4.5 out of 5, at first this seemed to be more in the 3.5/4 range but after many listens this grew on me and I have to say I am officially addicted.

The only things that take away from the album is the fact that the drumming could of improved a bit, and at times some may find the depressing lyrics to get a bit tedious. I can honestly say that this is in my top 10 metal albums of the year thus far, this may seem a little ridiculous due to how short of a time this has been out but this is in fact the most epic record of 2009 yet. All sputnikmusic members should hear this as soon as possible.

 

[Novembers Paul]

Rating: 4/5
Author: heavy2thebone2
Metal Underground

Novembers Doom has been a band regaled to second-fiddle throughout their career, upstaged by the Opeth’s and My Dying Bride’s of the musical world. The Chicago band’s influence on mixing the grim atmosphere of doom with the brutal nature of death metal can’t be understated. For years, Novembers Doom has tolled away, honing in their sound and finding a stable balance between the two genres. In that time, the band has released one stellar album after another, hitting their creative high with 2007’s “The Novella Reservoir.” From the explosive opener “Rain” to the soothing, darkly melodic closer “Leaving This,” there was nary a dull moment to be found.

Their seventh album, “Into Night's Requiem Infernal,” is more of an extension of their last album than a full-on evolution. Novembers Doom has found their niche and is more than content to stick to it, with a little stretching out here and there to showcase their melodic side. The album flows by at a smooth pace, even when the songs get near the seven-minute range. Even though vocalist Paul Kuhr is the only original member left, the band has a strong chemistry that makes the songs engaging and worthy of repeated listens.

The slow-burning introduction to the title track puts the listener in a false sense of security, as the song turns explosive, never letting up. No clean vocals or acoustic guitars are present on this metal monster, with returning drummer Sasha Horn fitting in with his precise double bass work and intricate fills. While the other songs have melodic elements scattered throughout, “Lazarus Regret” is the only other pure death metal track. The most intense song to date from Novembers Doom, Kuhr’s deep growls pierce through flesh, with no mercy for those expecting a clean break. It is placed perfectly in the context of “Into Night's Requiem Infernal,” as it follows the softest song on the album, “The Fifth Day Of March.”

A good portion of the material is structured similarly in the direction the band was heading on “The Novella Reservoir.” Songs like “I Hurt Those I Adore” and “Empathy’s Greed” straddle the line between acoustic bliss and destructive chaos. Novembers Doom does attempt to diversify their sound, experimenting with harsh vocals and clean guitars together on “A Eulogy For The Living Lost” and Pink Floyd-ish vocal harmonies on “The Fifth Day Of March.” None of these sonic enhancers sound forced or gimmicky, a true gauge of the band’s immense talent.

The lyrics are as downtrodden and gloomy as previous albums, arguably even more so than “The Novella Reservoir.” While that album had some hopefulness attached to it, mostly in the ballad “Twilight Innocence,” that air of positive emotions is replaced by a dark cloud of guilt, torment, and lost. Kuhr showers the negativity with a pitch-perfect performance, a prime example of a vocalist getting better with age, ala Mikael Åkerfeldt.

“Into Night's Requiem Infernal” continues the streak of great Novembers Doom albums that stretches back to their debut “Amid Its Hallowed Mirth.” While the band has changed their sound over the years, dropping much of their doom sound and embracing a melodic death metal style, the level of quality material churned out is still top-notch. “Into Night's Requiem Infernal” not only appeals to die-hard followers of the band, but is accessible enough to reach a wide audience that enjoys aggression with a thick slice of melody.

Highs: Strong balance between aggression and melody, Kuhr's best vocals to date, not a dull moment to be found.

Lows: Bass is low in the mix, a little more experimentation would have been welcomed.

Bottom line: Another stellar album from the underrated doom/death metal band and worthy of any metal fan's collection.

 

[Novembers Paul]

Author: Shane Wolfensberger
Teeth of the Divine

Celebrating 20 years in existence, Chicago’s Novembers Doom have always delivered. Starting their career in gothic/death/doom, this band has cultivated a sound and veered their career to new levels in recent years. The balance of straightforward death metal and the bands signature discouragement has been perfected in the past two releases and Into Nights Requiem Infernal is yet another solid release form what I’ve always considered an underrated act.

Since 2007’s The Novella Reservoir, not a whole lot has changed. The band is still aiming for a deeper aggression and abandoning their slow plodding riffs from earlier in their career. Before, November’s Doom sounded afflicted and lamentable and was one of the few American acts to grasp the sound of the European doom masters My Dying Bride, Paradise Lost, and Anathema. What the band has harnessed in recent years is more bold and resilient, demanding attention, yet keeping a firm melodic base, and never completely abandoning their roots.

The opener and title track “Into Night’s Requiem Infernal,” is a no-frills death metal driver that is reminiscent of Bloodbath. Things progress and the records abstract nature starts to show on “A Eulogy for the Living Lost.” Energetic and brutal “Lazarus Regret” slams right back into the death metal a la Edge of Sanity and marks one of the angriest songs the band has ever done. Honestly, this record in general is the most furious thing I think the band has done.

Guitarist Larry Roberts shines on Into Nights Requiem Infernal with solos unlike anything we have heard from the band before. Tastefully written and executed, fret work like this is icing on the cake. The guitar work shines throughout this disc with excellent song structures, breaking from distortion to clean numerous times, and allowing Paul Kuhr to utilize is immense vocal abilities as he switches from death gutturals to clean tones. Paul is a powerful and underestimated vocalist.

“When Desperation Fills the Void” is a classic sorrowful ballad with clean vocals that we have come to expect from this band and ends this record on a crushing death doom note. The last minute of this record is well worth the listen.

Into the Nights Requiem Infernal is a very good album. There is so much to like about this bands discography that I can only say it is better than The Novella Reservoir. Fans of the band will not be disappointed. If you have never taken the time to listen to Novembers Doom this is a great time to start.

 

[Novembers Paul]

Rating: 3.5/5
Author: Christopher Beaumont
blogcritics.org

Forming in 1989, the doom/death metal hybrid that's November's Doom has taken the long route to reaching my ears. As so many bands in recent years, this group of immensely talented musicians are brand new to me. The frequency with which this happens has made me question my fandom of metal. Still, I guess we all have to start somewhere and late is better than never. It may even help me to bring a new perspective to the table, without the years of baggage a life steeped in the genre would accumulate. In any case, November's Doom is a strong group with an equally strong focus on what they want to create.

You may not want to listen to this if you are depressed, as it would likely push you over the brink into despair before yanking you into a state of awe over the solid musicianship, creating an emotional yo-yo that would threaten anyone's grip.

As I listen to the eight tracks that comprise Into Night's Requiem Infernal Night, I could not help but have a strange sense of deja vu. I knew I hadn't heard them before, but there are moments throughout that reminded me of something. I wracked my brain as the quintet burned with a dark fire through tracks like "A Eulogy for the Living Lost" and "Lazarus Regret." Then it hit me: I was getting flashes of Opeth and Solitude Aeturnus blended with a little Tiamat and Pink Floyd. All of these bands swirled in my head while the band played on with great intensity, somehow retaining a fresh sound.

The crossing over of doom and death metal seems like a natural combination, and while there are a number of bands practicing it, it is not a genre that has ever or will likely ever burn up the charts. Despite that, I am thankful for the tastes I have gotten and I have a growing desire to investigate more. It is an intriguing blend of in-your-face heaviness and darkly delicate melody. Attempted by a lesser band and the result would likely be disastrous. In the capable hands of November's Doom, though, the result is captivating and just a little depressing.

The album opens with the title track, an explosive blast of heavy death metal complete with brutal riffs, driving drums, and some growled lyrics that deliver a different perspective on the child king born two-thousand years ago. I cannot claim to have heard all of the lyrics, but the subject certainly is a little on the dark side. That is followed by a faster, slightly more upbeat riff filled "A Eulogy for the Living Lost." This track begins to mix things up by introducing some clean melody and singing, while retaining the dark lyrical content.

As good as the opening three tracks are, it is the third one that really opened my eyes to their talent and versatility. The song is called "The Fifth Day of March" and it is almost as if Pink Floyd took a trip to the dark metal side. The song is not fast, brutal, nor in your face. Rather, it slows everything down to a crawl, turns off the distortion, tones down the drums, and is sung in a clean and melodious voice, all this while still sounding like the band that had just burned through "Empathy's Greed." A truly beautiful track.

And so it goes, November's Doom delivers a strong collection of songs that work as a great example of what a doom/death metal act can do. The album features strong production values and has a timeless quality that makes this a keeper.

 

[Novembers Paul]

Author: Erik Thomas
metalreview.com

With 2007's The Novella Reservoir, doom/death stalwarts Novembers Doom branched away from their more mournful, gothic tinged death/doom stylings and delivered a sterner, more direct death metal album. That development has continued with excellent results for the band’s 7th album.

With a minor line-up change that sees current Metal Review staffer Sasha Horn take over drums, Into Night's Requiem Infernal has the same death metal hues as The Novella Reservoir, but also has the same somber undercurrent as their past albums and injections of truly effective ballads, mostly in part to Paul Kuhr’s always amazing, evocative vocals. The production from bassist Chris Djuricic is full, bolstered by the help of Dan Swano’s mixing efforts and the end result comes together as a fluid death metal release that shows how good Novembers Doom really are – able to release stellar albums in two genres over a 15 year span to boot.

Starting with the thunderous title track, Novembers Doom get right to it with a lean mean number that grabs your attention with a classic death metal rumble signaling with a force that The Novella Reservoir was no fluke. “Eulogy for the Living Lost” sees the band settle down a bit and flock the gruff chugs with some acoustics and some of Kuhr’s clean croons, showing the band’s doom roots are not completely forgotten. And so goes the rest of the album, fluctuating between stern, full on death metal (“Lazarus Regret,” “The Harlot’s Lie&#8221 and a more delicate variation that gives the death metal an austere sense of somber regality and beauty as displayed on “Empathy’s Greed” and “I Hurt Those I Adore.”

As with The Novella Reservoir, one of the highlights is the ballads (for me at least). As with the “Twilight of Innocence” on The Novella Reservoir, “The Fifth Day of March” sees Kuhr baring his soul in a personal way, and while “Twilight…” was an obvious (at least to any father) nod to his daughter(s), “The Fifth Day of March” seems to be directed at some loss or death of a close friend of family member. “When Desperation Fills the Void” is this album’s “Leaving This,” closing the album with a depressive, contemplative fade out – again showing the band and Kuhr’s versatility.

While Daylight Dies seems to (deservingly) get the lions share of praise within the US doom/death genre, the truth is Novembers Doom have been better longer, and now with their more aggressive style, that still contains their trademark solemness, Novembers Doom virtually stand peerless as one of US metal's most consistent, quality acts in a genre they have made their own.

 

[Novembers Paul]

Rating 3 / 5
Author: Sammy O'Hagar
www.metalsucks.net

NOVEMBERS DOOM COMPOUND A SUMMER OF MISERABLE WEATHER INTO AN HOUR OF DEATH/DOOM ON INTO NIGHT’S REQUIEM INFERNAL

It takes a lot of balls to put the music you play right in your name: sometimes it works (see: Death) and sometimes it doesn’t (see: the Rockstar Mayhem Festival, which confusingly decides not to include the black metal band with whom they share a name in its roster year after year, or even Methods of Mayhem). Novembers Doom claim ownership of the necessary balls, though: they’re slow, menacing, classy doom metal with a well-integrated melodeth twist, managing to pique interest even in their most dull moments. Their latest, Into Night’s Requiem Infernal, is the sort of well-crafted metal that can only come from a band that’s been at it for two decades (albeit with a few lineup shifts), admirable even to those that aren’t affected by the material. Dark without becoming meandering and epic without overstaying its welcome, the album is a fine slab of doom, perhaps perfect for those sick of ambient post-funeral doom sludge and just want their gloomy brethren to cut to the point.

The MVPs of Into Night’s Requiem Eternal are guitarists Vito Marchese and Lawrence Roberts, packing thundering-yet-lilting doom riff atop thundering-yet-lilting doom riff. Shifting back and forth between droning chords and Scandinavian harmonizing, they manage to make the semi-bloated songs on the album (all but one range between five and six minutes) flow incredibly smoothly. Second place goes to drummer Sasha Horn, keeping sly and inventive rhythm beneath the deluge of riffery. Between the almost oceanic thrashing drums and big riffs, Novembers Doom occasionally come off as a moodier Amon Amarth, a no-bullshit alternative to a genre occasionally known for force-fed melodies and reliance on pretentious attempts at creating mood. The furious opening title track, “Empathy’s Greed,” and the last minute and a half of “When Desperation Fills the Void” perfectly illustrate what the band do right.

Of course, Into Night’s Requiem Eternal isn’t completely sans bullshit. For some (this writer included), the melodrama will bubble over the top, like in the groan-inducing ballad “The Fifth Day of March” or the unfortunate first five and a half minutes of “When Desperation Fills the Void.” The band trip over themselves when lost in their own brooding, usually signaled by the inclusion of clean singing (of course, this isn’t to say there aren’t cheesy moments with their death vocals as well). But a few listens (also assisted by the skip button in terms of “The Fifth Day of March&#8221 allow the cheesiness to subside and leave only the monolithic doom riffs to stick, which is exactly what should. If you’re looking for a game-changer, this isn’t it. But if you like your doom acceptably slow, brooding, and (most importantly) heavy, Into Night’s Requiem Eternal is perfect rainy day music for you, you grouchy bastard.

 

[Novembers Paul]

Rating: 9.5 / 10
Author: Jason Wick
Project Dissection

Novembers Doom has been a band that has always been successful with combining crushing death passages with melodic, dark, and emotional essences. And with the release of The Pale Haunt Departure they showed they were not scared to push brutally honest concepts within their music, no matter what the ‘scene’ may say. The Novella Reservoir continued this, though musically the album took a much faster, unrelenting method into hand.

It was these two albums that defined Novembers Doom as their own, unique, thriving entity within the metal community for me. And now they have brought us more with the release of Into Night’s Requiem Infernal…and all I have to say is the massive amount of anticipation for this release wasn’t let down in the slightest. This album mended with and surpassed all the hopes I had for it.

We start off with the ominous sound of the album title track slowly bearing in on you. Into Night’s Requiem Infernal captures the darkest portions of TPHD album and puts them into one track. Immediately you can feel a difference in the music, though it is unmistakably Novembers Doom. The drums prove to hold a completely new feel as they still mesh with the feel of the sound…immediately the album proves that Sasha was indeed a good addition to the Novembers Doom outfit. Paul’s increasingly haunting; articulate growls carve out this track though, letting you know this is the Novembers Doom experience multiplied.

A Eulogy for the Living Lost kicks in hard right afterwards. Once again, the new addition on drums shines through quite brilliantly, giving this track perfect flow, while keeping it uncompromising, even in its lighter moments. Though perhaps this was the most surprising revelation within the track, it also holds two other revelations that tell me Novembers Doom are indeed peaking. First, Paul’s vocals have definitely improved greatly since previous efforts. His cleans have past a ‘good set of pipes’ and hit the ‘something to be envied’ status. His growls, though they always have been some of the best out there, continue to improve greatly. Second, the production is flawless at this point. Everything comes through exactly how it should to give this album the perfect overall sound, and along with the superb musicianship and writing, making it flow effortlessly.

This experience continues on, track by track upping the bar continually. The Pale Haunt Departure and The Novella Reservoir seem to have collided, leaving Into Night’s Requiem Infernal in their wake. Everything good about the band has indeed remained intact and evolved.

The changes vocally are perhaps strongest in the albums climax, ‘When Desperation Fills the Void.’ Thomas Jensen from Saturnus couples with Paul on said track, adding in an extremely effective spoken word verse under Paul’s lightly soaring clean vocals. I truly believe the step Kuhr has taken in this album will open Novembers Doom to a whole new array of listeners. I have always loved Paul’s vocal work; however there was never any doubt that his unique style was most definitely not accessible by the vast public. Now though I believe he has reached a point, after these past couple releases, where more and more will be able to latch on, and truly feel his every word.

Through the touching calm of ‘The Fifth of March’, the thrashing pain of ‘Lazarus Regret’ to the adhesive ND feel of ‘I Hurt Those I Adore’, Paul and crew have proven they have not welcomed the fade.

 

[Novembers Paul]

Rating: 7/10
Terrorizer

Now in their twelfth year, and with only vocalist Paul Kuhr remaining from the original line-up, Chicago's Novembers Doom slowly but surely evolved from the simple 'cut and paste' of the early 90's British doom/death invasion to a more refined and subtle mix of goth, melodic death metal, doom and prog. On album number seven they have now totally achieved the kind of slick, focused and well-written mid-period Opeth/Katatonia mix Daylight Dies have been helplessly trying to nail down for years. They might wear their influences on their sleeve - indeed similarities between Kuhr and Mikael Akerfeldt is sometimes too strong to be ignored, especially since Novembers Doom have been working with Opeth producer Dan Swano for three albums. Still they've avoided both self indulgence and mindless aping, and the fact that they have come with their own 'Damnation' pocket sized acoustic ditty ('fifth day of march') and have still got a away with it speaks volumes about their talent.

 

[Novembers Paul]

Rating: 5/5
Author: Mak28
Metallus Maximus

About 15 years ago, as a young lad, I began my life long search into the underground of metal. At the time we were actually on the net and what few resources there were I searched. Hungry for reviews on any new bands I could find, I bought album upon album based on great reviews. Over the next few years the supply seemed endless and my tastes grew more extreme. From my first Sepultura, to my first Obituary, eventually to my first Paradise Lost, the underground scene was endless and full of sounds I never imagined possible. With each new step I dug deeper into their catalogs and, where many bands made a twists and turns, going from Draconian Times back to Shades of God and back was huge! I soon found myself digging into not only Paradise Lost but also their compatriots My Dying Bride and Anathema. The morose, the brutal, tortured sound of doom death had crept into my hardening metal heart.

Today despite my love for all things burning and blazing within thrash and power metal, doom death is my retreat. I feel bad that it would be years later before I would discover America’s own originator November’s Doom but, to be honest, I’m a doom metal snob. When I grab for it, I want to be pounded into submission or crushed by it’s sheer weight. It’s the reason why As The Flower Whithers remains my favorite My Dying Bride, the reason why new releases from bands like Evoken and Skepticism are such anticipated albums and I didn’t always find November’s Doom in that company.

Beginning with The Knowing, a well crafted album with an intriguing concept, I never felt like I fully got their sound. I still consider it a solid release but I wasn’t bowled over or blown away. What I did know is I dug the atmosphere and lead singer Paul Kuhr’s brutal death vocals. As time has gone on the band has focused their sound again and again, the songs growing more tortured, more angry, more to my liking. To Welcome the Fade had a monster sound, tight and punishing. It was followed by The Pale Haunt Departure which mixed the moodiness of The Knowing with the more death tinged crunch of To Welcome The Fade. November’s Doom was creeping into the picture as one of my favorite doom death acts. With 07’s The Novella Reservoir, all questions were answered and my expectations and hopes where laid to waste. The band brought it big time! Tortured, ravenous and as painful as can be, lyrically and musically, November’s Doom rolled me over like a zombie doomed Bolt Thrower. Their most straight forward and crushing release to date and today one of my favorite doom death releases. So, here we are, two years on, with a new release charged with the feet of topping such an awesome album.

Into Night’s Requiem Infernal is on task to make good on a promise, to conquer the scene for themselves. The rest of the forefathers have left their vicious beginnings behind but from the opening title track Paul, Larry and the boys come out hammering. Never has the band sounded more vicious. If you could ever feel physical pain coming through in audio form Paul’s vocals would exude every bit of it. That pain is the common thread running through a more complex album than it’s predecessor. Requiem tests every element of the band’s sound. It’s reflective, it’s powerful, even monumental. The opening track comes out pounding but the next track, 'Eulogy for the Living Lost' mixes in grunts and and lilting acoustics through the verses and speedy double bass and layered clean vocals on the chorus. The band has come into it’s own, running in a smooth groove to the point that everything sounds right. Back and forth from tortured and torn, to the reflective and somber new highlights are around every turn. For as much as I stated my snobbery related to punishing sound, one of the best tracks here is the fourth, a smooth acoustic ballad, 'The Fifth Day of March'. It’s Paul’s greatest performance and by a wide margin their best ballad. 'Twilight Innocence' from The Novella Reservoir touched a lot of people but the loss here and how this song comes off is brilliant. This band has come so far and I do believe they have yet to hit their peak. Sitting here in an empty room, I don’t think I could find myself listening to anything better. A top runner for my year end list, an album for those who want to be rolled over steam roller style, filled to the brim with punishing riffs and vocals just as much as it’s made for those who just want to sit back in silence and enjoy the pain.

 

[Novembers Paul]

Author: Chris Dick
Decibel Magazine

Heavy, moody and really fucking dynamic (the riffs in “Empathy’s Greed” and the title track are genius), Into Night’s Requiem Infernal, perhaps like The Novella Reservoir, unpigeonholes Novembers Doom. They’re no longer just a bunch of mopey longhairs who let drop-tuned power chords resonate for a day or two while they wait for their frilly shirts to be dry cleaned. They’re actually writing songs. Up-tempo brawlers, in fact. The title track is a vicious galloper. “Lazarus Regret” could be mid ’90s Swede-death. And “The Harlot’s Lie” slides in Morbid Angel-inflected militant riff themes throughout. Yeah, Novembers Doom have got large cojones.

But don’t fret, old faithful. There are plenty of downers to go around, including a mid-album ballad, replete with awesome bluesy solo interludes (think Gilmore/Åkerfeldt quality). “The Fifth Day of March” walks a fine singer/songwriter line—especially in the Kuhr/Roberts harmony lines—but never completely fesses up. Closer “When Desperation Fills the Void” is slightly less naked in its Saturnus-like vocal hum ‘n’ strum.

With Into Night’s Requiem Infernal, Novembers Doom illustrate—with great variety—that there’s still plenty of life left in doomed-out death; the For Lies I Sire record we slobbered over a few issues back just got eclipsed.