by Thom Jurek
In 2005, Novembers Doom made a giant aesthetic leap forward with The Pale Haunt Departure. It put their death metal roots even closer to subtle, multi-dimensional textures in a collection of songs that were not only memorable, but took the band to new levels in orchestrating vocalist Paul Kuhr's somber, often emotionally desperate lyrics. While it's true that the faithful engage in solid debate about the band's high watermark -- Pale Haunt or 2002's To Welcome the Fade -- with 2007's The Novella Reservoir it seems that ND have now laid down an unrelated trilogy of near brilliance in terms of evocative, musically and lyrically sophisticated heavy metal that seamlessly blends death metal, progressive metal, and near gothic soundscapes. There isn't an American band in the genre that comes close to what they do in terms of marrying metal's myriad songwriting forms, sonic adventurousness, and lyrical sophistication. Co-produced with Chris Djuricic, mixed by Dan Swanö, and mastered by James Murphy, the production quotient on this set is grander in scope than any ND studio set to date. The Novella Reservoir is more aggressive than its most recent predecessor without losing any of its melodic invention or textural depth. "Rain" comes crackling out of the gate with a death metal charge to open the set. The layers of guitars of Vito Marchese and Larry Roberts playing harmonics over the riff dictate Kuhr going into his lower register to keep the galloping death metal hook within his grasp. His voice is mixed way up; Kuhr's lyrics are completely clear -- although for the first 300 pre-orders of The Novella Reservoir he offered a fully illustrated complete ND lyrics book as a bonus. He growls against the fury as the guitars climb up the trellis of the void as Joel Nunez's drums walk the line of Chris Wisco's constant-throb bass and keep the tension continuous -- especially after the band explodes into the chaos after the bridge. ... Read More...