Monday 2 March Tuesday 3 March Wednesday 4 March Thursday 5 March Friday 6 March Saturday 7 March Sunday 8 March Monday 9 March Tuesday 10 March Wednesday 11 March Thursday 12 March Friday 13 March Saturday 14 March Sunday 15 March Monday 16 March Tuesday 17 March Wednesday 18 March Thursday 19 March Friday 20 March Saturday 21 March Sunday 22 March Monday 23 March Tuesday 24 March Wednesday 25 March Thursday 26 March Friday 27 March Saturday 28 March Monday 30 March Tuesday 31 March Wednesday 1 April Thursday 2 April Friday 3 April Saturday 4 April Sunday 5 April Monday 6 April Tuesday 7 April Wednesday 8 April Thursday 9 April Friday 10 April Saturday 11 April Sunday 12 April Monday 13 April Tuesday 14 April Wednesday 15 April Friday 17 April Saturday 18 April Sunday 19 April Monday 20 April Tuesday 21 April Wednesday 22 April Thursday 23 April Friday 24 April Saturday 25 April Add to Cart.
Red orange vinyl - ltd. Yellow Ochre Marbled Vinyl - ltd. Pale Violet Red Marbled Vinyl - ltd. Soft Lilac Marbled Vinyl - ltd. Clear Rusty Brown Marbled Vinyl - ltd. Orange-Brown Marbled Vinyl - ltd. Clear Salmon Pink Marbled Vinyl - ltd. For what Count Raven are doing today is remarkably similar to what Count Raven have always perpetrated: slow, crunchy doom indelibly influenced by the old Birmingham godfathers of all metal, and that doesn't look like changing any time soon.
We have a slightly improved sound - crisper and cleaner as you would expect - but in all other essences this is the same beer-stained, long-haired retro doom that by the sounds of it Count Raven only know how to play.
Through "Scream" and a whole host of other tracks the band sound as a unit with no one instrument ever taking the precedence, but it is Fodde's impassioned and clear vocal performance that has always been the icing on the Raven cake. With other bands it could be interpreted as plagiarism; here it is simply hero worship and it is endearing to behold. As history would dictate with this band's past output we get a synth element playing its part too.
Unusual for true doom it might be but in "Scream" such is its atmospheric subtlety it appears to be totally warranted, while the synth-based songs of "Mammons War" and "Increasing Deserts" are no "Northern Lights" from my favourite CR record, 's "Destruction Of The Void", but they break up the record nicely, helping to give Raven their unique element.
This reformation album is an all-round solid return for an under-recognised name in metal, but one I don't expect will shoot them into the consciousness of many in the younger doom generations. This is for the old-schoolers, those that still look as they did when Count Raven initially split up and those whose record collection is heavily weighted to vinyls over CDs.
Hopefully a tour in support of "Mammons War" will do something to correct that judgement though Originally written for www. They have returned, they still sound like the natural extension of Osbourne-era Black Sabbath, and they still rock. They've always been one of the better bands to carry that torch, and please do not be surprised when you pop this on and exclaim "Oh my God this man sounds just like Ozzy!
Because that is really the point of any Count Raven release, to further widen the pantheon of traditional doom's progenitors. Ozzy's last few albums have been pure manure anyway, so where will you turn? Riffs are kept simple, big, Iommi-catchy, and there are some nice synths added for the bridge to elevate it. The 2nd riff kicks ass alongside the vocals and the bells. Other highlights include the proggy synth-oriented "Mammons War" which sounds like nothing else on this album, or the sorrowful "To Kill a Child".
In reality, the band has a long history, having been in existence since , cranking out four full-length albums between then and The fact that Count Raven plays solid traditional prototypical doom is just as true as the notion of the wheels of doom never seizing to grind. Black Sabbath left a lasting impression on many a band and Count Raven did not escape their earthly seal.
Until the title track made its appearance almost midway through Mammons War , the formula in just about every song was to introduce a simple effective rocking riff early and build the whole song around it.
Whether this riff is more middle-Eastern sounding Nashira or is more cathedral resonating with all of the bells and weeps Scream , the elastic stretchy guitars carry the day.Count Raven - Mammons War CD Count Raven is a traditional doom metal band of the 90s that released as many as four solid albums within a span of six years, after which they disbanded.