8.5/10 – review by Jamie Cansdale
The world of doom metal is becoming shrouded by a wall of fuzz. It’s a very thick wall of fuzz. The sounds of old are creeping back into the collective consciousness like a plague; and just like a plague what ensues is a long walk to the metaphorical gallows, crawling like dying men to meet our makers. The music of Lucifer’s Fall is that exact crawl. It is the sound we hear upon taking that Death March (see what I did there?), the sound heard at the sight of the funeral pyre for those who die A Sinner’s Fate. I do not apologise for that one either.
This is the best way to describe the music this Australian duo makes. It is slow, sometimes painfully, and so very heavy. Comparisons can be made that stretch back as far as that very first doom record: in fact the album’s opener, The Suffering Wizard, takes us back to the eponymous Black Sabbath song, in that it crawls in and out of a primitive atmosphere under the colossal weight of fuzz. On this monstrous slab of doom, the riff is indeed king, and fuzz is the overlord.
However not every song here is crushingly slow. The title track for instance and the remarkable Unknown Unnamed should please those who like rhythm and pulse to their music; the latter in particular cradles some very impressive guitar solos too and a catchy “sing-along” chorus. But once A Sinner’s Fate kicks off, it is back to the glacial riffing seen at the very beginning. It is relentless, heavy and lengthy, all of which make for a doom opus worthy of such a title. Song tempos a-side however, heaviness is one thing that they all have in common, and it is this heaviness that keeps Lucifer’s Fall in the same league as bands like Iron Void.
But what also makes this album special are those vocals. Deceiver does not stick to one range or even one sound. He may sound similar to King Buzzo at times but this does not detract from the power behind every word he belts out. He can be ominous and raspy as heard in that middle section of A Sinner’s Fate, yet majestic in the title track with his NWOBHM-sounding screams. The harmony of which he sings his namesake is a definite highlight here, along with the range he pulls of in the chorus.
All in all, this album is a great example of what the doom scene can achieve. Slow and heavy, it seems, is definitely the way to go – and all the while the guitar wails and screeches as much as the voice of the mysterious frontman. Not the perfect doom record and by far not original, but it is a damn fine beast and should be in every doom lover’s collection. If this is not the sound of life on earth after the descent of the morning star, I don’t know what is.