Through the Darkest Hour

Most of you (appreciated people) that read my reviews and even some that know me personally will quickly figure out that my somewhat disdainful thoughts for funeral doom metal. Many bands that I've heard just don't break any molds and are a little boring and those that do break the mold are few and far in between. Solitude Aeturnus showcase the kind of doom metal that more bands need to start playing. Their record Through the darkest Hour is full of diverse melody, powerful, clean vocal work, and variation in speed and tempos. Despite having few solos and recycled riffs here and there, they bring to their listener an angry, gloomy, and moody set of sensations that is sure to satisfy.

Through the Darkest Hour's listener is instantly met with a catchy and beefy guitar riff full of gloom and blues on its opening track "Falling." It soon gives way to the full band's slow assault on your senses. Solitude Aeturnus wastes no time getting the listener hooked and interested. This is one of things I look for in a good band, for it means that the band knows the importance of a strong start and ending. And to close up the album we have long, epic number "Shattered My Spirits," a song full of acoustic passages, peculiar spoken word sections, and heavy doom metal riffs strong enough to knock you out. Throughout this record various moods are expressed, a thorough mixture of notes and melodies are used. There are some riffs that get repeated and and even some riffs that are identical to other band's riff's, as I could point multiple Sacred Reich and Pentagram melodies on different tracks on this album. Overall, in terms of complete album arrangement, Solitude Aeturnus have done their job well.

The musicianship here is definitely the area of Through the Darkest Hour that I have my most mixed feelings about. Without a doubt my favorite aspect of this whole album are the powerful and dramatic vocals of front-man Robert Lowe. His band accompanies his vocals in a foggy and muddy gloom as his voice shines like a lonely light through it all. Picture Hetfield and Messiah Marcolin having a singing baby and you've got his sound. We mustn't forget guitarists John Perez and Edgar Rivera, and of course, bassist "Lyle." All three work together as a piece of heavy metal machinery and display a synergy that is hard to come by in doom metal. At one moment, each one of them is scattered across the song with Lyle playing a bass melody, while Rivera or Perez lays down a supporting riff while the other takes an acoustic part, lead, or solo. But on songs like "Falling," they can be seen blasting the same heavy riff from there instruments. Sometimes however, Lyle's bass parts are drowned out by the guitars, which is unfortunately the most common case on many metal and rock records. It really makes angry. He's a member of this band and should be heard in full at all times. But all of this, adding in drummer "Wolf," who does his job well in providing a backbone to this band, is why I will return to this album: to hear their tightness.

When one considers the full package of doom metal that Solitude Aeturnus have to offer on Through the Darkest Hour, it's no wonder that they are a likeable band. The album's flow, the musicianship, and catchiness of each song, (especially "Falling," that thing is stuck in my head), and just the unforgiving vibe I receive from this album is enough to make me wish to recommenced it to someone else. There are a few weak points such as the production balance for instruments, very few guitar solos to balance out the simple riffing, or the sometimes oversimplification of each song. However, the pros really do outweigh the cons here, and I am happy to say that I have become a fan of Solitude Aeturnus.

Solitude Aeturnus is known for their brilliant mix of rich, gloomy atmosphere and their old school doom riffs all led by Robert Lowe's epic, sometimes very moving vocal work. I've always loved these guys, and this album may just be my favorite from them. Through the Darkest Hour is truly effective at what it does; this album is very artistic and moving but at the same time full of classic, Sabbath-like riffing and some overall crushing musicianship. Fans of classic styled doom will love this one. I know I sure do.

Through the Darkest Hour employs a simple yet profoundly effective strategy to deliver its doomy goodness upon the listener. The band doesn't screw about with silly things like keys and synths, rather, they let the songwriting do the talking. While that may be a bit of a 'duh', there is a pretty fine line between doom metal that totally lacks feeling and emotion and doom metal that features a wicked mood to it. This record features said wicked mood alongside a badass set of riffs, hooks, and some well-done softer interludes. The music is simple yet extremely effective in this way; it's sort of a best of both worlds. You want burly, Sabbath-y doom riffing? You got it. You also want some dark, poignant, and expressive overtones and vocals? You've got those too.

The band delivers this set of badass metal musicianship and dark emotion through a proverbial stockpile of some of the best doom riffs you'll ever hear and their secret weapon: Robert Lowe. This guy is well known in the doom world for his masterful manner of delivering expressive vocals through his vivid voice that makes frequent use of his brilliant range. Not only with his ability to hit highs, but his tendency to drift into really somber, dark lows that really pierce through your soul with their menacing yet depressive embrace. This is exemplified on my two favorites on the album, and two of my favorite doom tracks of all time: "The 9th Day Awakening" and "Pain". Just listen to the prechorus and chorus on the former, that sheer emotion swirling around his voice is stunning. He can also bring forth a soft, soothing tone like on the brilliant final track. The guy's amazing.

Alongside that mighty voice, there are those aforementioned burly doom riffs. They're all over the place on this album and they all rule. "Falling", "Pawns of Anger", and those two beasts I mentioned earlier all have riffs that have the power of a freight train and once they finish pummeling you, another melancholic arpeggio or some dark leads bring you slowly back up from the dead. This album really does have a dark, twisted, Sima Yi worthy plan of attack that not only hits you hard with awesome doom riffage and underlying, dark emotion that makes for a doom experience that trumps most everything else you'll hear.

So what you've got here is a doom metal album that is a cut above most everything else it stands up against. This album brings forth a formidable sea of emotional devastation alongside some classy, old school doom metal musicianship. There's barely a stale moment to be found; whether it's the heavy riffing of "Falling" or the dreamy melancholy of the closer - Through the Darkest Hour is an album that delivers. This is my favorite moment from this band and if you like dark, expressive, and poignant themes conveyed in the form of emotionally charged yet musically crushing doom metal - you'll love this.

Solitude Aeturnus are the first band that I've heard who play epic doom metal, and they've left a very good overall impression of the genre. While it isn't the most elaborate album you'll ever hear, Through the Darkest Hour is very accomplished and despite being unfamiliar with their discography the band have established themselves very well to me within just a few listenings.

The vocals go through phases of good and bad. There's always a noticeable echo to them which works well with the dark atmosphere, and the pained delivery that Robert Lowe gives captures plenty of emotion. He's got an excellent range and a gritty soulful voice, but there are a couple of detracting points. One is that he feels inclined to show off his range at every moment, and I'm not overly fond of the higher end of his scale which generally sounds like he's just wailing like a cat. My other (semi-linked) problem is that sometimes I think his technique is too raw for what he's trying, the chorus on 'Haunting the Obscure' being the best example of this. To my ears he doesn't have the chops to pull off those high notes, and it makes for an unpleasant listen. Overall however I have to say his performance is very good and he adds a great deal to the band, particularly in crafting a tone of desperation that would not be there otherwise.

The riffs are slow and tend to rumble along in the background, nothing too complex to risk lessening the effects of the atmosphere. That being said, the guitarists are still capable of some more technical performances, and the solos are always something to look forward to. They're also good at channeling different styles of music, from the somewhat groovy riffing on 'The 9th Day: Awakening' to the bluesy, almost stoner-esque opening of 'Falling'. It's all very laid-back and it sounds so effortless, but at the same time Solitude Aeturnus are always a classy outfit. Everything's just as it ought to be and no more, never tipping the balance too far towards being too minimalist or too busy. Similarly the drumming is also very rhythmical and fits perfectly with the rest of the band. On its own it would perhaps be unimpressive due to its lack of intricacy, but it's undoubtedly an integral part of the finished product being so successful.

Which brings me to my next point, which is that the main reason that Solitude Aeturnus is so enjoyable is that everything works in tandem. While on its own perhaps each part of the band does not sound particularly spectacular, the whole is greater than the sum of its parts. That's just what a band should do, and the way that each member compliments the others so well is why Through the Darkest Hour has grown on me so much. Fans of doom metal will definitely appreciate this record at least as much as I did. It makes for a great listen, particularly 'The 9th Day: Awakening' and 'Pain', and there's enough material to keep you satisfied for a long time.

Not all albums are made equal. Some albums rise head and shoulders above others: the strength of their deeds and their souls make them sing out as a clear note of hope, even if they remain undervalued and partially obscure. And since I'm flying cross-continent tomorrow, I thought I should make it clear - in light of my slightly increased chances of meeting with calamity - that Through the Darkest Hour is one of those albums. I have a really special relationship with this guy, because I acquired it at a major turning point in my life, just before I moved out of my parents' house and lived by myself for the first time. It was a lonely and daunting time for many reasons, but heavy metal is a faithful friend and constant companion in our times of need and our times of triumph, and none has been a truer aid to me than Solitude Aeturnus.

Fans of Candlemass should need no encouragement to pick up a Solitude Aeturnus album (if only they weren't so damn expensive in the UK!), since the trademark soaring vocals and epic songs will be instantly familiar, if imbued with unexpected flavours and subtlety. Indeed, Rob Lowe would later become singer for both bands for a couple of albums. This kind of epic doom takes a slightly different route though: Lowe doesn't have the amazing power of a singer like Messiah, though his voice is capable of some astounding feats of its own; the instrumentalists don't play in such a dramatic way either, though their performances are all hard to fault. The big difference between these two great bands is that Solitude Aeturnus never sound cheesy or clichéd. No one plays in a showy way to grab the listener: moods and ideas mingle and find their extension in the playing.

Any song from this album is an exercise in effortless economy and seamless songwriting, but let's take 'The 9th Day: Awakening' for a moment to assess how this all works. The riffs aren't complex: the main riff stomps and lumbers on an easy groove, while Lowe narrates a few verses; the main riff fits the very simple refrain of "No tomorrow, no tomorrow", before the slower, more engulfing chorus towers up; a guitar melody flows directly out from the chorus, which a sitar effortlessly accompanies, the bass picking around the high notes until all the instruments swell back up into the verse riff and the song revolves again. The pace is never too slow but the band are never rushed, the whole thing rolling along with the same ceaseless regularity as the waves breaking on the shore, and with the same elemental power.

The whole album goes by with this laid back feeling to it. That doesn't mean that the band aren't catching your attention, but rather that nothing sticks out on its own - everything is connected. The mix gives everyone their own space and provides a slight distance from the action (as opposed to a very in-your-face mix on Candlemass's Tales of Creation or even the more direct approach of SA's own debut) that means the elegantly grooving riffs can either be cause for a headbang or an embrace. The emotion of the songs doesn't preclude the ability to enjoy them, which explains why I've been able to listen to this album while getting ready for a night out and during a dark night of the soul.

Like all the best doom metal, every riff and lyric on this album will spark associations and memories beyond "this sounds a bit like Sabbath", through which lies the pathway to another world. For instance, a tiny snatch of the solo in 'Haunting the Obscure' (between 3:13 and 3:17) sums up my recollection of an entire summer - activities, locations, emotions - because those notes are so evocative of something. It's my favourite song on the album, partly due to that special moment, but there is very little to find fault with in any of the songs. 'The 8th Day: Mourning' is lacking in any spectacular outstanding features, 'Perfect Insanity' is perhaps the most disjointed number on here, and the epic closer creeps almost too slowly, though stood up next to the best songs from any other album they would hardly struggle to compete. All of the songs are memorable, exhibit nuances in style, and show such attention to detail in both music and lyrics (I rate the lyrics very highly indeed) that they leave no obvious cracks in the album's armour.

Listening to the keening, desperate vocals on the chorus of 'Eternal' shows how this album is both amazing in moments and yet somehow still more than the sum of its parts. It's unfair really, because Solitude Aeturnus make no great show of being a spectacular band, but they managed to produce something magic on Through the Darkest Hour, which is suitable for that darkest hour of which it speaks...and the next...and the next. If anything happens on my journey tomorrow, I will know that help is close at hand.

Doom metal, at the turn of the century, after the dawn of its discovery, seemed to evolve into a self indulgent art. Bands sought epic construction and grandness at the expense of song values and general common musical sense. The mantra of the day seemed to be; "the thicker, the better!". Thankfully we still had Solitude Aeturnus.

On "Through The Darkest Hour" they show how the art should be practiced. The songs here are lean and mean-epicness and grandiosity being more of enveloping concepts that govern than literal devices with which to tire the listener. Edgar Rivera and John Perez' guitar work uses simplicity to make its points and as a result they deliver some memorable riffs like the ones that grace "Falling", "Haunting The Obscure" and "Pain". Rob Lowe might at first come across as a tad diminished due to the fact that he's not soaring with athletic ease as he did on "Into The Depths Of Sorrow" or "Beyond The Crimson Horizon" but he has in fact never sounded better. He open s the album weary and thin on "Falling" but by "Haunting The Obscure" signs of anger and well worn rage are audibly visible. When "Pain" comes through, he is not just bleating, he is sounding a strong throaty anguished cry for the coming ages.

It is this, his uncanny ability to faithfully convey dark emotion that still remains Solitude Aeturnus' calling card. Musically, the band is a lot more dynamic than ever, throwing wholly unexpected calm lake moments amidst a sea of cloying heaviness. The chugging riffs are aplenty but they are gracefully subtle and work well as passages unto more layered, sonically interesting parts. "Pawns Of Anger" is a case in point.

The truly great thing about "Through The Darkest Hour" is that each song when given the time and attention it truly deserves, shines on its own. The album is devoid of filler and feels and sounds altogether wholesome. In fact the only gripe I had was that some songs seemed to end too soon but multiple listens assured me that part of its charm is the band's knack for knowing when to hit the lights. Sheer genius from start to finish, this is definitely one for the ages.

This my friends is what I consider to be the greatest album of all time from the greatest band of all time. Solitude Aeturnus’ 3rd full length album is an example of everything going right. It is doom metal perfected, hell it’s metal perfected and I can never get enough of it.

Solitude Aeturnus have taken the sound they developed on their first two releases and perfected it. This album has more of a Sabbath-esque groove to the riffs than the first two, sacrificing some of the more epic power/Candlemass like feelings. The music is still epic as fuck, it’s just the band have finally found a nice niche to fit into that is entirely their own. The perfect balance of melody, epicness (I don’t care if it’s not a word), heaviness and groove. The album crushes from start to finish, pure and simple.

Perez comes up with many heavy as fuck riffs to smother with. The aforementioned groove can witnessed right from the get go with “Falling”. That heavy as fuck riff never ceases to amaze me with its perfection. Memorable and awesome. Lead work is also top class. Perez and Rivera prove to be quite the team. Complimenting each other. The solos are memorable and not just playing to overused scales. Technical enough to impress yet subdued enough to never detract or distract from the rest of the album. The perfect combo. The solo in “Pain” is just fucking classic.

The rhythm section shines as well. The bass and drums working nicely to provide the sufficient backing for the rest of the music. Complimenting the heaviness while never making the presence overly known. Something that I found happened on the first two recordings, especially with the drums. Here they shine, enough fills and variations to keep things from falling into monotony but never do they sound out of place like they did on Beyond The Crimson Horizon.

Rob Lowe of course is ethereal as ever. This I find is his best performance. He has found a better control of his voice. Epic wailings are used but not overused. He doesn’t just remain in the uppers continually pushing up his voice. I think he realized he has a great voice and doesn’t need to show off his range all the time. Instead opting to sing perfectly along with the wonderful backing music. “Eternal Dreams” being a stand out performance of his. Nicely subdued and quietly yearnful during the verses, building up to the pure power and emotion of the choruses wails. Amazing.

This album is perfect. The riffs, vocals, solos, drums, bass, production and lyrics. EVERYTHING is perfect. There’s enough variation here to stop the album becoming dragging and yet all songs are unmistakably Solitude Aeturnus. Listen to the groove of “Falling” or “Pain”. The Epic power of “Eternal Dreams” (Best. Song. Ever), aggressive verses of “Perfect Insanity” or the more mellow power ballad-esque emotion (This isn’t the cheesy lame Power Metal style of a power ballad, this is pure emotion expressed through that structure) of “Shatter My Spirit”. This album is a marvel in modern music and essential in not only every Doom fans library, but every METAL fans library. Buy it now.

Fresh off 1992’s awe-inspiring “Beyond the Crimson Horizon”, Solitude Aeturnus churn out yet another massive chunk of the unique and soul-crushing epic power doom that they have perfected so well in a few short years. Backed this time by an absolutely perfect production (probably the best the band has ever achieved) the Texas-based doomsters continue to amaze. Robert Lowe’s vocals are as good as ever with an added pinch of aggression, the riffs and solos by John Perez and Edgar Rivera are superb, Lyle’s bass provides a massively heavy bottom-end, and Wolf, as usual, does a great job on drums. What else is there really to say? Between 1990 and 1994 Solitude Aeturnus recorded perhaps the best three-album span (well, if you’re a fan of power doom they did), effectively grinding most albums released in this same time period into a fine paste to be discarded like so much trash.

As other reviewers have noted, the songs on this album are generally perhaps a wee bit slower than what was seen on SA’s first two albums, though that’s not to say there aren’t any faster parts. All but gone are the galloping double-bass segments that were seen on, for example, the bridges of “White Ship” and “Opaque Divinty” on the debut. That’s okay, though, because you’ll be too mesmerized by the guitar riffs and solos to realize or care. That and Robert Lowe’s golden voice. How this man is not universally hailed as one of the greatest metal singers ever is beyond me. On songs like “Haunting the Obscure” he easily pulls off the stratosphere wails without sounding winy or forced in the least. Just listen as he sings, “haunting the SOLACE…” and feel the chills run down your spine. I could go on and on about Lowe’s performance here, but there’s little point in doing so. Suffice it to say that his work here is godly.

Likewise, Perez has finally mastered the slow and heavy-as-hell yet melodic riffing style that this sort of music demands. Anyone who believes that doom metal equates only to droning, monotonous music obviously has not heard an album such as this. Actually, Jeff (the reviewer below) has it pretty much correct – take the best Sabbath riffs, give them a similarly massive mid-90’s production, and this is sort of what you could rightfully expect to get – long songs that never seem to drag, and a perfect trade-off between bruising heaviness and melody. Sure, it’s a tired cliché to say that the “highlights” here include every song, but seriously, there is nary a weak moment on this disc. Even the ballad, the album-closing “Shattered My Spirit”, is terrific. Of special mention is the song entitled “The 9th Day: Awakening”. On this song the band experimented with some Middle Eastern melodies, going so far as to add a sitar-guitar duel solo in the middle break section. It may sound strange, but it sounds completely natural, a soul-stirring clash of styles that works extremely well.

Fans of epic doom should by now own the entire SA catalog, but if by chance your collection is missing this one – find it now! It’s still cheaply available on eBay (as opposed to “Beyond the Crimson Horizon”) and would make a fine addition to any metalhead’s collection – not just doom fans, mind you, but fans of all sorts of metal in general. Seriously, this thing is a case study in the juxtaposition of crushing and soothing, often managing to be both at the same time. Depressing as hell, but not without stirring melody aplenty, this one gets my absolute highest recommendation.