Friday, 22 January 2016


Stuart Henry : : Lead guitar

Karl Freitag : : Drums

Stuart McCarthy : : Bass

Ian McLean : : Guitar and vocals

Ah, doom death, one of the more contentious aspects of the doom genre. It can branch out into the gothic, such as My Dying Bride, the symphonic such as Anfel and the pure doom death with the emphasis on extreme heaviness by bands such as  as Consecration.

The Australian band The Maledict straddles all of those boundaries.The tracks, Fast Until the End and Carrion Art, are pure death metal with more than a passing nod to Bloodbath. In fact, Mikael Akerfeldt's influence can be heard in many parts of Dread.

Dread, starts off with a real slow burner of a track called Tenebrae. I have to admit that at this point I would have normally thought it too syrupy for my tastes and I would have passed on it,  but fortunately I persevered as this track is a grower, getting heavier until it seamlessly merges into the aforementioned Fast Until the End. The foundation stone to Dread is the track, A Muse in Requiem clocking in at just over 12 minutes. This is probably the most 'symphonic' track on the album, but manages to stop short of the pretentiousness that such tracks often portray, so the frilly shirts have been kept locked safely away.

I listen to doom death often, drawn mainly to the seedier side of the genre, and while THE MALEDICT keeps those particuler terrors at arms length, this album holds a worthy place in my collection. It's heavy without being suffocating, but the love of the guitar holds sway against the often domineering keyboards as used by many bands of this ilk.