In Glorious Death

Aussie Doomsters Myraeth were formerly known as Mona’s Lament but have released one EP and this, their debut under their new moniker and its very good stuff.  Although adding to their country’s fine doom stock with the likes of Mournful Congregation, Futility, Paramecium, Inverloch, Clagg  and such, Myraeth is far more rooted on the Scandinavian, beauty and the beast style of Gothic doom metal that sounds that brings to mind acts most notably like Draconian, and older acts like Thalarion (still one of my favorite bands to ever play this style) , early Beseech and such.

Highlighted by the occasional use of very My Dying Bride styled violins (i.e. opener “Monarch”, “Confession”), contrasting female operatics and deep growling male vocals, some synths, plodding, layers of thick, somber riffs and a melancholic sense of depressive melody, Myraeth certainly comes across as a very veteran act on their first full length album, easily sound as good as their European contemporaries. However, this isn’t peppy, sugary Napalm Records styled Gothic metal, this is far more despondent and funeral doomy in its delivery. This is early Novembers Doom, Saturnus, Swallow the Sun, Officium Triste, The Foreshadowing and their ilk, with some female vocals mixed in. It’s very well done, very well polished  and has some rending harmonies mixed in with the loping, despondent tones.

Samantha Krenster is well used but not overly done as she and Ryan Casey’s deep Scandinavian growl compliment each other. She has a sultry, sexy voice that isn’t too operatic or shrill, and keeps things suitably sonorous. And a couple of times (i.e “Driftwood”, ‘Sleight of Hand”, “Transcendence”) I thought she reminded me of Marian Aas Hansen from Fleurety‘s debut album. The music  and the riffs are suitably mopey but also pretty hefty, with a nice mix of wilting harmonies and crushing doom aided by a pretty ample production reminiscent of all their European  peers. A few perks here and there change things up such as  “Transcendence” which  adds a few more piano tinkles to the more bluesy proceedings while the outstanding closing title track delivers an up temp closing canter to the despondent throes.

It’s been a long while since I heard an album that did this style, and did it well without veering into pure poppy Goth metal realms. The balance is perfect, being a real beauty and the beast styled album that shows a real level of promise and adds to Australia’s already awesome doom acts.

[Visit the band's website]
Written by Erik T
October 12th, 2012


  1. Commented by: Luke_22

    Really getting into this one. The female vocals work wonders with the gruffer vocals, and the production is spot-on.

Leave a Reply

Privacy notice: When you submit a comment, your creditentials, message and IP address will be logged. A cookie will also be created on your browser with your chosen name and email, so that you do not need to type them again to post a new comment. All post and details will also go through an automatic spam check via Akismet's servers and need to be manually approved (so don't wonder about the delay). We purge our logs from your meta-data at frequent intervals.

  • Tzompantli   - Beating the Drums of Ancestral Force
  • Ad Patres - Unbreathable
  • WyndRider - Revival
  • Unleashed - Before the Creation of Time
  • Ulcerate - Cutting the Throat of God
  • Assassin - The Upcoming Terror/ Interstellar Experience (Reissues)
  • Nyrak - Devourer of All
  • Summoner’s Circle - Cult
  • Kratti - Matka Kohti Kosmista
  • Suffering Souls - An Iconic Taste of Demise
  • Vale of Pnath - Between the Worlds of Life and Death
  • Pathology - Unholy Descent
  • Ischemic - Condemned to the Breaking Wheel
  • Terminal Nation  - Echoes of the Devil’s Den
  • (Un)Worthy - This Present Darkness