Reviews for "To Welcome the Fade" [locked thread]

[Novembers Paul]

From www.thedarkesthours.com

After their brilliant 'The Knowing', Novembers Doom are back with their new opus, 'To Welcome the Fade'. In my opinion, they had a lot of work to do to make a better record than 'The Knowing' because I really really like this record! The question is, is it better? Well, I think that 'To Welcome the Fade' is as good as 'The Knowing'. They stick to their guns and gave us a wonderfull piece of work. Again, deep atmosphere, dark vide, depressive, beautiful melodies, melancholy...are the words that comes to my mind when I'm listening to that album. Clean male vocals, death vocals and female vocals are all blend together and that's again a great mix! The production is awesome, it sounds so powerfull! The killer melodies of 'Not the Strong', the atmosphere and angelic female vocals in 'Broken', the powergroove of 'Lost in a day', the darkness of 'Within my flesh' , the beautiful atmosphere and soft melodies that makes me dream in 'If forever' ,'Torn' & 'Dreams to Follow' and the closing, the doomiest track ever, 'Dark Fields of Brilliant', makes that album a true masterpiece....

 

[Novembers Paul]

From: http://www.whitetrashdevil.com

Review by Gloomchen

It would be far too easy to say "Listen If You Like My Dying Bride" when talking about Novembers Doom. Luckily, the band is smart enough to point out their own similarites before everyone can call them blatant followers or copycat artists. Oh yeah, they sound a lot like Anathema, too. Glad I got that out of my system.

It's easy to be cynical and quick to say, hey, they're Americans. Not only that, but they're from the midwest (Chicago, to be exact). Who in the hell are they to have any sort of connection to a death/black scene? Well, as a fellow midwesterner, let me just say that all of the suffering and pain in Novembers Doom's lyrics could not possibly more readily experienced by people living in another part of the US, maybe even the world. It's a sad, sad existence in the middle of nowhere. It's only natural that we would find comfort in the music of entire countries that live like us.

Slow and dark, To Welcome The Fade encapsulates touches of symphonic doom with the mid-to-older sounds of... bands I mentioned previously. It's not nearly as adventurous as their more well-known contemporaries have become, but it's a sound that has proven time and time again to be an influence and a favorite among the death community. Not only that, but these guys do it pretty damn well. There's no lack of songwriting skill -- nothing sticks out throughout the entire album like a sore thumb. Solid throughout, it's easily sure to be an emphatic recommendation by people who like... those other bands. Christ, is it even possible to describe these guys without coming back to those damn Brits?

To mention "highlights" of the album almost seems like blasphemy, as there is nothing either high or lit about the entire disc -- this is a crawl in the corner, mope, and lament album. Although one might be fooled by the tempo of the opening track "Not the Strong," after that, it's all sludge. "Broken," "Dark Fields For Brilliance," and "The Spirit Seed" are all pure tragedies, epic in length and sound. But overshadowing all of those, "The Lifeless Silhouette" is even more brutally dismal, nearly an inspiration for some grand murder/suicide. It just doesn't get any darker and abysmal than that.

The only real complaint about the album would be lyrically. With an easily understandable growl, it's a little too easy to find the ridiculous among the band's otherwise decent wordsmith skills. With Linkin Park in mind, I have to force back a chuckle when I hear, "I WISH MY MOTHER KNEW THE REAL ME" in "Not the Strong." Barring these moments of Geocities-esque poetic blundering, there's plenty of talk of blood and mutilation among the suffering and sorrow to make up for the occasional slip. Still, one would hope that someone out there is taking notes and in the future will spare us from the musings of Angsty McWhiner, Age 15.

There may be nothing particularly new or innovative among the work of Novembers Doom, but if you know what you like and you want more of what you like, To Welcome The Fade can't disappoint. You know, if you like My Dying Bride. In case you didn't catch that the first time around.

Here's her picture...

her favorite bands are: Dream Theater, Chroma Key, The Gathering, Björk, Depeche Mode, Anthrax, Wumpscut, Apocalyptica, Babes In Toyland, Pink Floyd, Black Crowes, that dog., White Zombie, Oomph!, Led Zeppelin, Galactic Cowboys, Madonna, Sepultura, Rush, Fates Warning, Blind Melon, Stahlhammer, Queensrÿche, Front Line Assembly, Amorphis, Blümchen, Cathedral, Haujobb, L7, Mentallo & the Fixer, Liz Phair, Trouble, Weezer/The Rentals, Spock's Beard, Kenny Wayne Shepherd, and MOTHERFUCKING PHIL COLLINS, YEAH!

And if you would like to respond to this FINE review, to agree , or to tall her differently, write her at: gloomchen@whitetrashdevil.com

 

[Novembers Paul]

From: http://www.appropriateapocalypse.com

There are very few times in the life cycle of a band where things come together perfectly. This convergence of talent, skill, and emotion is what every band thrives for. For November’s Doom, To Welcome The Fade is their moment. Everything is perfect place, from the wonderful production, to the incredibly emotional vocals this record will define their career. They can no longer be called a Doom metal band, as their evolution has taken them into uncharted territory. Where My Dying Bride and Paradise lost comparisons were valid for he band’s first few records, Novembers Doom is no longer following. The are leading. The band has a distinct sound that borrows from no one. To Welcome The Fade sees a shift away from the more progressive leanings of The Knowing in favor of a stripped down, more accessible sound. Yes, there is a definite emphasis on accessibility, but not at the expense of the band’s trademark melancholy. With this record, they have finally shed the Doom metal tag, and moved into a realm all their own. Vocalist Paul Kuhr has never sounded better, from his usual morose death vocals, to his chilling spoken word, the man conveys more emotion than just about any singer working today. The guitars, courtesy of the wonderful production c/o Neil Kernon, are heavy, yet expressive. The melodies work to convey the excellent lyrics. Standouts include “Not The Strong”, “Broken” and the wonderfully morose “Dark Fields For Brilliance”, but every track is worthy of a listen. Indeed, this record really needs to be experienced from beginning to end. A stunning achievement by a seasoned, talented band. Well worth your time.

-rhavin2112

 

[Novembers Paul]

From: www.corridorofcells.com

NOVEMBERS DOOM "To Welcome The Fade" Dark Symphonies
8 / 10
Years have passed since this band's classic "Amid Its Hallowed Mirth" debut floored doom metal fans back in the early 1990s. Since then band has been on-and-off in terms of its existence, but this new epic release should put them squarely back in the focus of many fans. Produced by Neil Kernon (who has worked with the likes of Nevermore and Cannibal Corpse), "To Welcome The Fade" features extremely polished and powerful production, as good and and as professional as anything million-dollar recording mainstream artists could afford. It's obvious that both Novembers Doom and their label Dark Symphonies believed in this new material and were willing to hire a (presumably) more expensive producer, but from a sound quality point of view the end result was definitely worth it: everything from the drums to the guitars to vocals sounds simply pristine. Musically, this is a very diverse album that definitely has a doomy feeling to it, but the mid-tempo nature of many songs probably means that Novembers Doom can't be really described as a traditional doom/death metal band anymore, as they have clearly gone beyond that simple label. The album starts off with "Not the Strong", "Broken" and "Lost in a Day", three fairly dynamic pieces highlighted by some excellent hooks with a slight atonal touch to them...reminded me somewhat of Germany's avant/doom/death metallers Disbelief, but performed in a more convincing fashion. Besides the thick guitar riffs the band tastefully blends in subtle gothic keyboards and acoustic guitar passages, which serve as a perfect counter-weight to the heavier sections and the brutal death vocals. Next track "With The Flesh" is more reminiscent of November Doom's earlier recordings, preferring a slow, steady rhythm that shows these guys still definitely feel the doom. After this heavy first half, "To Welcome the Fade" switches to a more melancholic mood with the acoustic "If Forever", a beautiful folky/gothic ballad highlighted by passionately romantic clean singing. The album returns to a darker mood in the second half, still skillfully oscillating between heaviness, doomy acoustic melancholy and gothic beauty. An extremely impressive comeback CD from a band that is long overdue for some massive exposure. Highly recommended.

 

[Novembers Paul]

From: http://www.urkraft-webzine.net/

NOVEMBERS DOOM - TO WELCOME THE FADE
Dark Symphonies, 2002

Now this is right up my alley! Heavy, doom influenced gothic metal with deep dark growls to top it off! Wunderbar!!! Although an American quartet (at the moment at least) Novembers Doom seem to draw most of their influences from the European metal scene and the British in particular. Classic albums with dignities like My Dying Bride, Anathema and Paradise Lost must have found their way into these gentlemen's stereos more than once! Not to say they are a total rip-off though but it's obvious that they have sought and found inspiration from the islands of Great Brittain. The production handled by Neil Kernon (who has worked with greats such as Kansas, Yes and Judas Priest in the past) is mega thick and further improves their massive wall of sound. A wall decorated with the finest of melodies and harmonies! This album is a must-have for all fans of doom metal in a time when the aforementioned (MDB excused!) acts have drifted off into a world of pop and electronica. "To Welcome the Fade" will haunt my mind for a long long time! Can't wait for November to arrive with its doom...
Rating: 8 of 10 - Reviewed by Stefan Lejon

 

[Novembers Paul]

Review From: http://www.sonicdeath.co.uk/

Ten years since they were formed, Novembers Doom decided to recruit the award-winning producer Neil Kernon for their fourth full-length album. Kernon has worked with many bands of different styles, from Queensryche and Judas Priest to Cannibal Corpse. Now, if you were to mix those three you'd probably end up with a genre like 'Progressive Brutal Power Gore' or something. With no offence to any PBPG bands out there, I can't quite imagine that, though I like to think I'm open-minded...

Not surprisingly, Novembers Doom is still a Doom Metal act. It's not unheard of for Doom bands to experiment, often successfully, but this one seems to be satisfied with the style they've developed over the years. As well they should be, being one of the top bands of their genre. I'm not familiar with the previous works of Novembers Doom but I've often seen them compared to the great My Dying Bride, which is something any band can be proud of. However, I found "To Welcome the Fade" much more in the vein of Opeth, or at least somewhere in between the two. Though mournful and mainly slow, there are long instrumental and acoustic parts that create an atmosphere that is more in the style of Opeth than My Dying Bride, in my opinion. A wide range of vocals is used, including female, but on the whole this album is too heavy to be considered Gothic Metal, it's definitely still Doom.

There's one absolutely outstanding track here for me, and that's "Within My Flesh". It starts with a slow acoustic intro before thunderous, drawn-out distortion and some great death vocals full of emotion come in. Unfortunately, this is the only song on the album in classic doom metal style and I couldn't help feeling they went overboard with the acoustic parts ("If Forever" is completely acoustic). Perhaps I just wanted more tracks like "Within My Flesh" and prefer that style of Novembers Doom to their more gothic metal side. Still, the balance is perfectly acceptable and had they chosen one musical direction over the other, maybe it would have taken away a part of the atmosphere that Novembers Doom have obviously worked hard to create.

Although I can't compare this to their previous releases, I found "To Welcome the Fade" to be a high quality album, definitely worth a listen if you're into atmospheric doom. Opeth fans wouldn't be disappointed either, although I can't say I heard much My Dying Bride influence here as earlier suggested. Personally, I think somewhere in between those two bands would always be good but if you happen to disagree then this album probably won't be for you. Finally, if Anathema decides to release a 'Progressive Brutal Power Gore Death Metal' album in the future, it was my idea.

Mike Cartmell - 26/08/2002

 

[Novembers Paul]

From: http://embark.to/tartareandesire

November's Doom - To Welcome The Fade
Dark Symphonies, 2002 7/10

As a band that influenced most, if not all, of today's biggest doom metal bands, Chicago's November's Doom can easily compete with your Opeth's and My Dying Bride's. Vocalist Paul Kuhr does more death metal vocals than the commonplace clean type, though he is fairly enunciated in his growls. "The Lifeless Silhouette" is probably his most angry performance to date, and session helper Nora O'Conner adds some mystique to numbers like "Last In A Day". The song "Broken" has one of those long Novembers Doom build-ups, weaving through bars of climbing intensity before climaxing in a crushing ending. The tempos of the album are slow, but not in the extreme, and many of the songs could be a musical extention of their last full-length "The Knowing". With Neil Kernon behind the dials, the band was able to capture a very clean finished product. My only complaint with his work is the dull snare sound, though that might be due to the playing of the instrument as much as his production. Kernon even appears as a player on this album. Though the band has gone through a little bit of a line-up change, they remain the Western Hemisphere's heavyweight doom metal champions with "To Welcome The Fade." FAVORITE TRACKS: "The Spirit Seed", "Lost In A Day".

 

[Novembers Paul]

From: LotFP zine

NOVEMBERS DOOM To Welcome the Fade
10- 54:56 Dark Symphonies
Melodic death/doom. If you’ve read the interview first, you’ll notice I said I didn’t hear the song differentiation as on the past album. Ignore that. I did the interview a week after having the album, and another month and some close listening has opened up this album’s true spirit to me, and it is undoubtedly the most complete, and most meaningful Novembers Doom album to date, filled with distinct songs. As for the usual comparisons this band gets, they are definitely all out the window as this sounds nothing like MY DYING BRIDE, ANATHEMA, or PARADISE LOST, old or new, they are a million miles away from being anything resembling MOONSPELL, although can’t deny a song or two sounds like KATATONIA (Lost in a Day, most notably) might if they were a death metal band these days and I guess any band that uses plenty of acoustic guitars along with their heaviness is going to get OPETH comparisons but you’d really have to stretch it to go there. Happy, Paul? Anyway. The basic style is a slower, melodic style with great thick doom guitar work with flourishes of acoustic guitars and more airy passages. Within My Flesh is just trudging, painful doom, and also has the key to the inspiration behind the album’s lyrics. I learned off the record what it’s about, and while I can’t blame the band for not wanting the real story out in public (mainly because the metal scene is full of morons who listen to too much extreme metal and take great joy in pain and suffering and don’t take the time to distinguish between reality and bullshit metal lyrics), the general idea shouldn’t be too difficult to guess and this song spells it out most clearly I think. Probably the most gutwrenching of the songs on offer, with the lack of melody in contrast to the sorrowing acoustic intro (and the rest of the album, actually) just crushing. That goes into If Forever, a more acoustic type song with keyboard backdrop where the vocals are entirely cleanly sung, which may be a first for the band. If Forever going into The Spirit Seed going into Torn right in the middle of the album probably had me questioning song identity to begin with, because If Forever ends with acoustic guitar work, Spirit Seed opens with it, the last verse of Spirit Seed has the female vocals, and Torn opens with plenty of female vocals so if one isn’t paying attention the songs there will blend a bit while the track counter keeps advancing. Other than that, rock solid in playing (especially the cleaner stuff, no guitar squeaking all over the place, and you have no idea how long I sat around trying to figure out what was ‘missing.’ Vocally the primary style is still the big throaty growl, which I like more than most because it sounds natural and not a ‘fake’ death voice. It’s broken up by clean singing, spoken bits, and then some female vocals here and there, which frankly don’t seem to match the atmosphere of the rest of the album, being a bit to bright and cheery sounding, and whenever the female vocals come in it’s kind of jarring. Maybe that’s what they went for, I don’t know, but something a bit more low key would have been called for? So it’s probably not surprising that with Neil Kernon producing this one that the sound quality is the richest the band has ever had, and the return of Travis Smith’s artwork is suitably (and intentionally) painful on the eyes. Both sound and artwork completely complement the album itself and present the correct environment for the album to be effective. Bottom line is the album has real meaning, and is really good. No, it’s not a happy album, nor could it be, really. No excuse for you not to have it., as it’s far more real, and far better than most, metal released today. www.novembersdoom.com

 

[Novembers Paul]

from http://www.deadtide.com


I knew of Novembers Doom as a heartland doom band, high on My Dying Bride worship, and prone to the weaknesses of most doom bands, specifically, a lack of restraint in songwriting, and excessive melodrama. It's with some surprise that I listen now to "To Welcome the Fade," and hear a band finally finding it's soul.

Following up on three solid albums of decent doom, Novembers Doom lost bassist Mary Bielich to homesickness, got some spiritual encouragement from Trouble's Ron Holzner, brought in producer Neil Kernon's [Hall & Oates, Judas Priest, Nevermore, Cannibal Corpse], and spent some late Autumn days last year ensconced in the Sonic Ranch down in Texas, recording "To Welcome the Fade." I'm not sure which one or combination of those elements contributed to this rebirth, but a rebirth it certainly is.

From the outset, it's clear that they've mastered their game. Gone are the pointless plodding sections and evil vibes, and in their place we find emotional, despairing verses, triumphant choruses, galloping grooves that even Trouble would be proud of, and a sound that's both vast and intimate, with a strong focus on the rhythm section. The song structures are simpler and more focused, and Novembers Doom reap huge rewards for it. The use of female vocals, clean male vocals, spoken word passages [done well, for once], warm, softly overdriven texture guitars, and myriad of other details add depth to the mix and make the whole album worth listening to over and over again.

An entrancing album, and - at the risk of sounding sentimental - more than a little heartwarming to see a band that's worked so hard finally get it's just rewards.

MUXLOW


STANDOUT TRACKS

Broken
Lost in a Day
The Lifeless Silhouette
Dark Fields for Brilliance

 

[Novembers Paul]

From: metalcrypt.com

Melancholic, relaxing, depressing, melodic, aggressive... All adjectives that can be used to describe this latest album from Chicago doomsters Novembers Doom. This album catches my attention more than its excellent predecessor, "The Knowing", which says a lot. The album kicks off on a fast and aggressive song and there you begin a journey that'll make you go through just about every emotion (OK, maybe not happiness - this is doom after all ). From heavy, aggressive guitars with death-like but still understandable growls, to light acoustic passages with clean, "sad" vocals, you'll also be treated with mid-paced material and occasional female vocals (very well done soul-reaching vocals). I guess the overall release could be summed up as "beautiful music" (as un-metal as this may sound - hehe), I've rarely run into an album that is so effective at bringing out so many types of emotions.

The music is helped by a very good production which could hardly be better. Having heard a few of their previous albums, I can say the band have outdone themselves as musicians and songwriters, just one more proof that a band can evolve without resorting to gimmicks or going commercial. Being far from a doom metal expert, I won't venture into making any comparisons with other doom bands, although I have seen My Dying Bride mentioned here and there - but that's just hearsay. This album is definitely one of the top releases so far in 2002. Highly recommended - but I didn't need to say that, did I?

 

[Novembers Paul]

From: www.ancientspirit.de

Translated from German:

After I heard the CD 3 times I was sure that I can write a review about "To Welcome the fade". I strongly believed that NOVEMBERS DOOM hadn´t reached the quality of their previous album "The Knowing" and accordingly I wanted to judge the CD. But as I wanted to go to work I noticed" Hey, a little Moment: This album is yet great! And as I heard the CD 2 times again I noticed that it is genious! How was I astray! Somehow the songs remind me strongly of ANATHEMA's "The Silent Enigma", as well the vocals and musically, whereby also some MY DYING BRIDE and PARADISE LOST elements arise. But you also can notice the "American way of life" in the arrangements, because they are similar to the ones of MORGION! Sometimes there are also some
OPETH elements, for example in "The Spirit Seed". What I like most in the songs like "Not the Strong", "Lost in a Day" or "Torn" are the dreamy but also depressed moments, where the feelings of the musicians were offered! You notice that the guys of NOVEMBERS DOOM don´t limit themselves, but let their thoughts be free! Sadly they don´t have a deal here in Europe, where the purchase of "To Welcome the Fade" is a little bit difficult, but I think, that it is possible to get it in some well sorted mailorders.
SasH 10.5 out of 12 possible points!

The Review got also a "tip", which only outstanding albums get!

 

[Novembers Paul]

The following review will be appearing in issue #20 of Unrestrained Magazine: www.unrestrainedmag.com

NOVEMBERS DOOM - _To Welcome the Fade (Dark Symphonies) - First off, this has to be one of the most depressing CDs I have heard in ages. The music, the lyrics and the entire vibe seeping out of Novembers Doom's latest effort 'To Welcome the Fade' is so emotionally heavy and draining at times. I am not one to get into lyrics, but these lyrics just hit you like a sledgehammer to the head. Along with the lyrics, the talented four-piece doom metal act led by lead singer/lyricist Paul Kuhr draws you in with their hypnotic musical arrangements and wonderful craftsmanship. The album is made up of a variety of styles, heavy set numbers and slow passages, that mesh together with ease. Tracks worthy of note would be "If Forever," "Within My Flesh," "Lost In a Day" and the disheartening closer "Dark Fields of Brilliance." An added bonus is the angelic vocals of Nora O'Connor sewn throughout the record, a complimenting voice going up against Kuhr's darkened bellows. This band has an incredible back catalog and they seem unstoppable right now. Of note, producer Neil Kernon (Nevermore, Cannibal Corpse) did a great job bringing out all the graceful texture that their music warrants. 'To Welcome the Fade' is the kind of sadness we should all embrace at one time or another this year. -8.5- ADRIAN BROMLEY

 

[Novembers Paul]

L'Édition Métallique - www.metalzine.com

November's Doom - To Welcome The Fade

By Roadkill

November’s Doom is a Melodic Doom Metal band with already four albums released. « To Welcome The Fade » presents the essence of the chosen genre : a calm, moody and depressive music. Beginning with a heavy and catchy riff, typical Doom-style, this album’s beginning hooked me on.

Things gets worse however. Bass playing is quickly withdrawn to the back, and drumming drowns in repetitiveness, being nearly absent on some songs. It’s like it actually follows the deadly depressive patterns the music soon embark on. Lyrics are also depressive, presenting the artist’s own emotions and personal problems. Vocals are the biggest weakness though. Sounding a bit like Deicide’s Glen Benton, they just aren’t powerful or aggressive enough.

On the positive side of things, this album shines as a neat HDCD (high definition compact disk) Neil-Kernon-signed (Cannibal Corpse, Nevermore, Judas Priest, etc) production, a fact which gives it a perfect sound quality. Musical execution is also quite good.

« To Welcome The Fade » is a nice album, but not an excellent nor an original one. It however remains a good buy for Doom Metal fans. 7/10

 

[Novembers Paul]

This in-depth review appears at Rainbow's Flame Metal Domain http://www.geocities.com/SoHo/Studios/2786/

Novembers Doom’s latest release, entitled “To Welcome the Fade” should be made into a model of what doom metal with death vocals should sound like. TWtF is Novembers Doom’s 6th release (Amid it’s Hollowed Mirth was re-released in 2000 after original publication in 1995) and what a release it is. The album creates a wonderful dark, brooding atmosphere, and mixes in the death vocals quite well, and not being a big fan of death vocals, that element was key. A breakout album in my opinion, this band is one of the rare American bands that has the ability to match and sometimes surpass what their European counterparts consitently put out on the market today.

The band, founded in 1988 by vocalist Paul Kuhr, blends many different influences in creating their unique sound. Mixing sounds from well-known British doom metal bands Anathema, My Dying Bride, and in some instances, Paradise Lost, Novembers Doom creats a very atmospheric type of sound, one which makes the listener feel a bit of sorrow and forlorn as Novembers Doom sings of matters that many of us have faced over time. The music, though not overly technical, though no doom metal really is, does its job and does it well. Perhaps the best part of the band is the guitarists, who along with the keyboards, are the main instruments in creating the sound Novembers Doom aims to create ,though not to take away from the bassist and drummer, who hold down the rhythm section very well. The vocals are really well done, and this is coming from someone who really is not into death vocals at all. To give some who are familiar with death metal vocals, Paul Kuhr has been compared to Mikael Akerfeldt, vocalist for the death metal band Opeth. Their similarities come in two distinct ways, one, they both growl in a very deep fashion, something most death metal vocalists do anyways, but what sets these two apart is the way they do their best in trying to make the lyrics understandable to the listener, something that doesn’t happen very often in the world of death metal. Many times when death vocals are used the lyrics sound muffled and understanding them is a task. However, there are no problems with that type of vocal here on this album. Song wise, there really is no let down song on this album. Though they have no real long songs like Opeth, this actually may be a positive thing, because the album never has a moment where interest fades or wears away. The band does a nice job of keeping songs long enough to fulfill technical qualities, but short enough to where one does not lose interest of the songs. Novembers Doom even mixes in some clean vocals as well as female vocals to give the music a further dimension. Songs such as “Not the Strong,” “Dark Fields for Brilliance,” “Broken,” and finally “Forever” are some of the bands highlight songs, all combining excellent guitar work and keys to help in creating a beautifully atmospheric album though don’t mistake me by thinking those are the only good songs, the whole album is excellent, those are just some of the songs that really stick out during a listen to the band. “Broken” is one of the songs where the female vocalist, Nora O’Connor, comes in along with Paul Kuhr’s clean vocals come in. The mixture is chilling with Kuhr almost talking in a foreboding way while O’Connor contrasts his vocals with a more angelic approach. Mix this with the darkness of the music and you got yourself a killer song. “Forever” is a nice change of pace song, with Kuhr singing only with his clean vocals. “Not the Strong” is perhaps the hardest most fast paced song with crunching guitars through parts of the song, but this quickly moves into a more melodic sound as the chorus moves in. “Dark Fields for Brilliance” is also a nice switch in that it actually begins with clean vocals and uses parts of the chorus in death vocals, while other songs on the album did the opposite, death first then clean, if their were any on that particular song, later on in the album. Perhaps the only fault in the album is that it is probably best heard when in the mood for this type of music. For me, this album cannot be heard at all times, and perhaps will hit more much better when one is properly ready for what is too come, if not, the music may come off as boring, though it really is not. Finally I must not neglect mentioning the excellent production from Grammy award winning producer Neil Kernon (Flotsam and Jetsam, Queensryche among others). He does a brilliant job in making every instrument audible and clear during the listen, without sacrificing the overall sound and tightness of the band itself.

So all in all, this album is essential for anyone who like doom metal with the death metal vocals added on top. Opeth fans should really enjoy this album a good amount, as they are the band that comes to mind first when hearing this album. Even prog fans may appreciate the bands creation of wonderful atmospheres in the music. Musically excellent in what they try to accomplish, and lyrically very emotional and from the heart this album is one of the top doom/death metal albums for the year. Check this album out you will not be disappointed.

9.0/10 RICHARD SIMONS

(For what they do, they do it very well, and though I am not the biggest death metal fan, this album is one of the best I have heard in this genre.)

 

[Novembers Paul]

This review of "To Welcome the Fade" can be found at www.metalreview.com

November's Doom is well experienced in the realm of making albums. "To Welcome the Fade" is their sixth official release and combines elements of melodic metal with doom inspired passages and overall sound. I must say that "November's Doom" is the absolute perfect name for this band. Their music transposes a very cold and sorrow filled visual in my mind.

As I listen, I imagine an old man struggling through windswept snow drifts under a dark and gloomy sky. Reaching out for a frozen black rose that seems just out of grasp, but it is something that continues to remain elusive. Every step requiring more effort than the last, still the old man trudges onward.

The vocals consist of a somewhat toned down guttural rasp sound, separated by smooth, clean vocals with the occasional spoken passages. Very heavy and dark! The vocals offer a nice contrasting combination that project an extremely intense experience. I like the feel that the vocals carry, but some of the lyrics are quite sappy. There are times when a female backing voice is used and that, again, carry the dark ambiance that helps define November's Doom. If the lyrics were a little better, I'd be very impressed overall. As it stands, I'm fairly impressed.

There's not a whole lot to say about the musicianship in November's Doom. Each instrument, while not extraordinary, is consistent and fully adequate. Everything is well represented here and portrays a complete melancholy ambiance. Whether it be the bottom heavy riffs, the smooth harmonized chords or the clean acoustic; it all sounds very good and well balanced.

There are lots of backing tracks that do a great job in support of the songs. Keyboards are used about the perfect amount. Backing guitar tracks are very complimentary as well. This a very well thought out and executed album, aside from some of the lyrics. But, the backing and diverse vocals make up for much of what the lyrics lack.

The album is very consistent, so it's hard to single out a song as a favorite. That's a good sign for an album. Most songs switch between the heavy doom and the smoother melodic style a few times and that helps make things a little more interesting. I will say that this is an album that I have to be in the mood for. Basically, if you're feeling energetic, this album will seem a bit slow.

This album is about feeling. Not speed, not technical ability; just plain feeling. The album is very well produced with very focused drums and diverse strings and vocals. This album has a very full tone and all instruments are heard clearly. A very solid production! I highly recommend this album if you like darker, slower tempo and melodic metal. Light a candle, dim the lights and crank up the volume!

Production: 5.5/6
Lyrical Content: 4/6
Overall: 5/6

Reviewer: WHITE KNUCKLE WIZARD

 

[Novembers Paul]

This is the English translation of the Portuguese review found at http://www.metalvox.com/home/default.asp

NOVEMBERS DOOM - TO WELCOME THE FADE _(NOTE: 4.5/5)
(DARK SYMPHONIES)

The Novembers complete Doom this year with its ten years of life. Nothing better to commemorate this decade than to launch a new album, in this particular case in the room of its career - beyond a MCD. Consolidating the name of the ND as a great exponent of the Doom Metal in all this worthless planet. The melancholic feelings of these Americans are passed shiningly in its musics which possesss a climatic variation and of perfect intensity. Of fact the band reaches its intention with care and devotion. In this question the band shows all its seriousness, therefore a winner of a Grammy brought "to manage" the production: Neil Kernon (Kansas, Yes, Queensryche, Judas Priest, Nevermore and Cannibal Corpse). The citizen is involved in such a way with all the processes of the writing, that makes one drown in the music and guitar solo of _"Dark Fields For Brilliance" or the "emotional attachment" of the vocals in "If Forever." The sum of their Doom art is a grand album of the ND, highly recommendable for the connoisseur of sorrowful Metal! _(JA - 18/08/2002)

 

[Novembers Paul]

Review can be found at: http://digitalmetal.com/reviews.asp?cid=3609

To Welcome the Fade
(Dark Symphonies)

Credit should be given to tiny Dark Symphonies for signing this band, one of the U.S.'s most respected doom/death acts, and shame on other labels for not giving these talented veterans a look. "To Welcome the Fade", is the fifth album from Chicago's' morose sons, and if there was a "safe" album that has no surprises, fulfills expectations and continues with predictable excellence, this is that album. If you own their last two efforts Of Sculptured Ivy and Stone Flowers and The Knowing, you pretty much know what to expect here. While Novembers Doom seem to be considered doom metal, I think it's unfair to compare them to true doom acts like classic My Dying Bride, Morgion, or Shape of Despair, despite the melancholy lyrics focused on the more tragic side of human nature and emotions. The music is far more varied than true doom metal. To be honest, structure-wise the songs are more akin to atmospheric death metal like Garden of Shadows, Daylight Dies and even Rapture. Despite the often saddened lyrical stance, the pace is actually often fairly up-tempo, but it's the clever use of the riffs, acoustics and especially the vocals that present a dolorous feel; although the songs never lumber into the drawn out agony and angst of true doom. This shows how talented Novembers Doom is, as the mid-paced material does belie a far more sorrowful atmosphere within its oppressive underside. It all begins with vocalist Paul Kuhr: who, in my opinion, has the most perfect voice for this type of music. His very gruff yet understandable growl portrays the loss, love and sunken hope of the lyrics perfectly. However, his clean croon isn't quite as effective in conveying the mood. Speaking of the lyrics, this is the only real letdown for me. Despite Kuhr's superb delivery, the contrived lyrics of lovelorn tragedy, loss, and general woe aren't that deep or meaningful; I was writing this kind of stuff as a forlorn, angst ridden teen years ago. But it suits the music, and again, Kuhr simply gives them depth all by himself. Musically, guitarists Eric Burnley and Larry Roberts mix a sobering delivery of oppressive riffs and delicate melodies that mix Sabbathian vastness and Anathema-like harmonies, all with a bit of added U.S. pacing. "Not The Strong", opens with a quick riff, and gets straight to the point, something The Knowing never really did, and its surprisingly upbeat pace displays the band as far more than simple two note dirge mongers. "Broken" and "Lost In a Day" follow suite, again with a faster pace, leaving this listener honestly agape at the immediacy of the first three songs. The latter, having more in common with some of the recent accessible goth rock coming out of Finland (Downfall, Charon, HIM). It's not until "Within My Flesh", where Novembers Doom come up with something resembling doom metal. Possibly the album's best track, it reeks of classic Anathema, with an absolutely heart rending acoustic intro and wonderful layered main riff. They take a bit of a step back with the wandering acoustic track, "If Forever" that uses purely clean vocals and an acoustic guitar that essentially removes all the things that ND do well leaving a stark, lifeless "ballad" that was better suited to The Knowing. They make things right with "The Spirit Seed", which starts the album's slide into more gloomy territory. "If Forever" is probably the only real filler song on the album (other than a very short piano only "Dreams Will Follow"), and appears to be a turning point in the album, as it takes a turn towards the more gloomy side, with less of the commercial feel of the album's first few tracks. It also seems include female voice Nora O'Connor a little more, which gives the album more balance. Her voice isn't as cliched as many of the dual female/growl combos, as she is far more bluesy, a lot like Marian Aas Hansen on Fleurety's Min Tid Skal Komme (still an unsurpassed female performance on a metal album) and offers a subtle contrast to Kuhr's powerful growl. They end the album with the slightly disappointing "Dark Fields for Brilliance" (it's the album's only let down), as it seems to follow the same drawn out lack of direction that surfaced on The Knowing, and doesn't have the immediate impact of the rest of this album's more focused tracks. Either way, this is a pretty darn good album from a band that has found a formula, perfected it and knows how to tread a fine line between doom and death metal. I only wish they wouldn't play it so safe, and would be a little more adventurous or progressive. I'd love to hear would these guys could do with a real string section or some other elements, but I must not grumble, as they are excellent at what they do. Add to the formula a pristine production, and you have a winning album that should please fans of the band and maybe entice some new ones to the somber world of Novembers Doom.
[Erik Thomas]

http://digitalmetal.com/reviews.asp?cid=3609

 

[Novembers Paul]

This is the English translation of the Polish review to appear in the next issue of Retiarius Zine (to be out at the end of 2002):

NOVEMBERS DOOM "To Welcome the Fade" (Dark Symphonies)

These guys from the US, who had followed a path of ANATHEMA, KATATONIA
and few other so-called European fames of doom-alike music, have
decided to move forward. So they used Neil Kernon (a guy who was
responsible for production of QUEENSRYCHE, NEVERMORE, JUDAS PRIEST
and CANNIBAL CORPSE albums) to produce "To Welcome the Fade." The band wrote
10 brand new tracks and now we do know that they have left the whole lot
of the other bands behind, and I dare to tell you that the same they
have done with the masters (the aforementioned ANATHEMA and KATATONIA
which starts to eat their own tail since some time). First of all,
NOVEMBERS DOOM are focused on atmosphere, which, combining with
unbelievable heaviness and growlings of Paul Kuhr has been done
perfectly. In contrast with that, the guys used a female voice of
Nora O'Conner from time to time. And some people say that this kind
of singing fades away and bands of that kind only use choirs, not too
well done clear vocals and so called women shrieks and shit like
that... Anyway, already "Not the Strong" leaves no illusion; it will
be a solid metal album. Until "Dark Fields of Brilliance" which
actually ends this recording, everything flows like one, let's say
it, a very sad tale of life in suffering. It's the best depicted in a
very emotional and heavy as heaviest brick "Lost in a Day" or "Within
My Flesh," and a very silent "If Forever" song. As a bonus taster we
have here a guest appearance of a producer Neil Kernon. Perhaps the
only one thing it makes this perfect picture broken a little bit are
too silent acoustics here and there. In my opinion, this should have
been exposed much more, especially as we know that the overall
production and musicianship are just fucking great.

The author: Wojciech "Diovis" Szymañski

 

[Novembers Paul]

This review can be found at Walls of Fire webzine: www.wallsoffire.de

November´s Doom - To Welcome The Fade (Dark Symphonies) _
Author's Rating: 4/5 Stars
Release Date: September 2002 _

Doom Death in a kind of autumnal mood is offered us by Novembers Doom and the band from the United States has several fellows there. "To Welcome The Fade" wants to make the change into the dark season easier for us as the title says and in general it continues the style of their previous album "The Knowing" .
Slow and powerful November Doom are and take care to be melodic always. The vocals reach from growls to clean and spoken passages, sometimes the band uses female vocals and overall they deliver the massive amount of emotions the lyrics have, which are written by vocalist Paul Kuhr. Overall the songs are mainly arranged "downtempo" but they offer much pressure, what is emphasized by the production quite well. But the well- arranged structures are in some moments one point to criticise on this album, for Novembers Doom sometimes take too much wind out of their own sails - the somehow progressive structures calm down in almost every track and sometimes the track loses much of its power.
A quite unusual song on this album is "If Forever". Even if the song is not bad it does not play in the same class as most of the other tracks. "To Welcome The Fade" could be a great album if it included more tracks like "The Lifeless Shilouette" or "Dark Fields For Brilliance".
But nevertheless the album offers many very good tracks, many good ideas and impresses very much in most moments. Novembers Doom try to keep their own note and they do this very well - even if the album could have been slightly better.
I think "To Welcome The Fade" could be a good album for Opeth Fans and for all of you that are searching for an "autumnal" album to dream a little bit. 8 points for a very good album that will without doubt rotate very often in the player of many of you - even if there are more bang- compatible albums.

Author: [aragorn]

 

[Novembers Paul]

This is the English translation of the Spanish review found at www.MetalPlanet.cl:

Novembers Doom “To Welcome The Fade”

(Dark Symphonies) Release Date 2002 _


Fourth full length (second one under Dark Symphonies) from these Death Doomsters from USA. They keep alive this style, together with other giants like Morgion, Evoken and others, in the States. After listening the album several times, I decided to write these words while I get inspired looking at my girlfriend’s tender face. _

Some info, nowadays they have a new guest bassist who recorded this work because the woman bass player left the band after the recording sessions of “The Knowing” (personal stuff, she moves to other city). Straight to the point, in “To Welcome The Fade” the Opeth influences are very notorious and it is important to said that the production has a more compressed sound, not so ambient like his predecessor album. An example are the drums whose sound very compressed, it remembers me a lot the second album "Of Sculptured Ivy And Stone Flowers", but I insist… only in the sound matter not other. _


Although my female boss hates the “track by track” reviews, I will describe the transcendent songs for me, in order of apparition. The fifth track "If Forever" is a very interesting acoustic song where the vocalist Kuhr highlights for first time in the band, he sings with a lot of inspiration, like never before. I ever feel that a general opinion is that the Kuhr’s vocals are the lowpoint in the N.D.’s music, so this progress is a good thing. The sixth track "The Spirit Seed" is other good one (ever the sixth!) it would be my favourite one, with a lot of Opeth influences again, with a lot of acoustic guitar lines, several kind of grunts, clean male and female vocals, an intelligent game of intensities... in all sense a great composition. In the next song, "Torn", apart of the female vocals performed by a guest vocalist (like it is tradition in N.D.), Paul experience with high registers, not usual in his style (I suppose he’s Paul!). From the track 8 and between the 2 and 5, the album turns a bit boring and the songs pass one after other until the last one "Dark Fields For Brilliance" a very emotional song, with a final great riff, a genial work._

Seems like a voice whisper me in the ear: “tell about the monotony”, I have to be honest. Like a follower of the band for years, giving the responsibility of the monotony (almost a karma in the N.D.’s music in this full length) to Kuhr wouldn’t be just. I have the sensation of a extreme using of typical structures, there is something in the composition, maybe the continue using of recurrent ideas. Seems like they consume their resources quickly and in spite of they have all the weapons to give us a cult album, unfortunately they only impress in the beginning and almost always the songs decay in the middle. Maybe it is the thing that not allow that N.D. can access to the top metal bands considering the years they have in the scene. Anyway this is a very personal opinion and I don’t want to be unjust or insolent, but I believe that “The Knowing” is superior in variety, contrasts and originality, although the current one is more dynamic. _

Finishing this review, I have to mention that the production is great, the album sounds powerful and giant, maybe for the work of the producer Neil Kernon, a famous one known by their prizes and work with monsters like: Kansas, Yes, Queensryche, Judas Priest, Nevermore and Cannibal Corpse. I also have to mention the wonderful artwork of the master Travis Smith, who again give a great plus to the production, like he did it in “The Knowing”. A must for the fans of the November ones. __


Mystical Corpse Lover_