Camel Of Doom - Terrestrial (CD)

extreme doom death, Solitude Productions, Solitude Productions
479.90 Р
Price in points: 800 points
SP. 113-16 x
In stock
The brand new full-length album by the British experimentalists. Starting with psychedelic stoner doom metal, Camel of Doom have come to make sophisticated music mixing doom death metal and sludge doom metal, with a tendency towards psychedelic effects and energetic riffs. Combining groovy moments with lengthy atmospheric riffs, adding industrial motifs to their masterpiece, the musicians paint a wide scale picture of cosmic chaos and, at the same time, harmony expressed with a share of melody. Also noteworthy is the breakthrough the band have made in forming a dense sound, fully disclosed in ‘Terrestrial’.

1 Cycles (The Anguish Of Anger) 12:58
2 A Circle Has No End 1:01
3 Pyroclastic Flow 12:33
4 Singularity 5:43
5 Nine Eternities 1:35
6 Euphoric Slumber 11:46
7 Sleeper Must Awaken 14:06
8 Extending Life, Expanding Conciousness 4:07

Camel Of Doom
Artist Country:
United Kingdom
Album Year:
extreme doom death
CD Album
Jewel Case
Solitude Productions
Cat No:
SP. 113-16
Release Year:
Country Of Manufacture:

As I’ve said in the past, stoner doom can be a tricky beast. UK outfit Camel of Doom is a beast of a different sort, however. Bucking the trends of their counterparts, Terrestrial is an unsettling ungulate of trippy spaced-out doom metal.

The opening riffs of Cycles (The Anguish of Anger) kick off with some Conan-esque heavy riffing and a tortured yell from Kris Clayton. The song makes an abrupt slowdown and dips into the subdued spacy rhythm that pops up throughout the rest of the album before returning to the crushing beats a few minutes later.

After a brief instrumental interlude, the third track, Pyroclastic Flow follows the same basic formula as Cycles. Towards the end of the song, however, it goes into a slow groove typically absent from atmospheric doom.

Instrumentally, the standout performer here is Simon Whittle’s bass. It’s thick with just the right amount of reverb, which evokes feelings of being trapped in a metal space station and every clank sounding louder than it should be. It’s a major contributor to the uneasiness felt when listening to Terrestrial.

Camel of Doom do succumb to some of the meandering drone trappings at various points, however. Euphoric Slumber gets a bit repetitive at the end, and probably could have been shaved down a few minutes. While the sub-two-minute interludes between songs give the listener a brief rest before the next tune, they do feel superfluous in the grand scheme.

As with all music of this type, your enjoyment of Terrestrial is going to depend largely on your appreciation for stoner doom in general. For me, I found Camel of Doom quite enjoyable and just different enough to stick out from the herd of other atmospheric doom releases.

Author: C. Hagen Radick
Doomed to Darkness

Camel Of Doom are a band from the United Kingdom that plays an experimental mixture of stoner, sludge, doom and death metal and this is a review of their 2016 album “Terrestrial” which was released by Solitude Productions.

A very dark, heavy and atmospheric sound starts off the album along with some aggressive vocals a few seconds later that add element s of sludge onto the recording and clean playing can also be heard in the music at times and you can also hear all of the musical instruments that are present on the recording.

Most of the tracks are very long and epic in length and death metal growls can also be heard at times along with some psychedelic elements and the slow riffs are very heavily influenced by stoner and doom metal and as the album progresses influences of industrial and ambient make their presence known in the songs.

They also bring in a soundscape instrumental before returning back to a heavier direction on the following tracks and the whole album also sticks to a very slow musical direction with no fast parts ever being utilized and on one track the vocals get semi melodic and when guitar solos and leads are brought onto the recording briefly they are done in a very melodic fashion and they close the recording with an instrumental dark ambient track.

Camel Of Doom plays a musical style that is mostly in an experimental style of sludge and stoner metal with a touch of hardcore while elements of ambient and the heaviness of death metal are added onto the recording to create a musical style of t heir own, the production sounds very professional while the lyrics cover space and scientific themes.

In my opinion Camel Of Doom are a very great sounding experimental mixture of stoner, sludge, doom and death metal and if you are a fan of those musical genres, you should check out this band. RECOMMENDED TRACKS INCLUDE “A Circle Has No End” “Nine Eternities” and “Sleeper Must Awaken”.

Author: OccultBlackMetal

With its cover art of celestial patterns, track titles hinting at proggy expansiveness (like “A Circle Has No End” and “Extending Life, Expanding Consciousness”), and half of the tracks running past the ten-minute mark, the new album from Camel of Doom (they couldn’t have gone with, I dunno, Doomedary?) gives impressions of size and grandeur from the moment it’s picked up and examined.

Kicking off with “Cycles (The Anguish of Anger)”, the band thunders quickly into heavy storminess, thick waves of bass melding with thumping drumming and trenchant growls while rhythms and tempos rise and fall. In terms of style, there’s a doom base with some sludgy aggression and tonal edge, the aforementioned proggy wanderlust, and a touch of post-metal in the experimental nature and drum arrangements (plus the frequently cosmic/existential nature of the lyrics).

To the band’s credit, they achieve an ‘epic’ feel without the negative baggage that the term has accrued over the years. The songs are big, sprawling, and highly ambitious, but there’s rarely a sense that they’re just filler. Instead, it feels as if the songs naturally grew to their final sizes as a result of the work put into practicing and playing them, with the band being reluctant to cut them down too far and lose some of the towering power they achieve. On another impressive note, the songs flow quite well from one into the next in terms of tone, harmony, and energy, so once you get started on the album, it’s hard to jump out partway through the experience.

Though things mostly splash around in the low-end of the sonic range, the production does a nice job of keeping the various elements distinct in the execution without making things too sterile or disengaged from one another. Grumbling rolls from the bass play against strained feedback from the guitar, mixed so that you can focus on either or both, depending on your preference.

Overall, it’s a very strong album which does a great job of realizing its goals. While I wouldn’t plaster it as a full recommendation across the metal spectrum (those who prefer things at regular high speeds would be liable to get antsy) I would give it an emphatic push to those metal fans on the heavier end.

Author: Gabriel
Heavy Mag

Camel of Doom may very well be the funniest band name I have heard to date, and considering that they are a doom metal band, the humor is not lost on me. Apparently, this trio from the UK have been around for 15 years. 15 damn years and this is first I’ve heard of this band with such a glorious name? The music industry is failing, I tells ya!

Anyway, Terrestrial is eight songs of slow, crushing, droning, drawn-out doom metal. It really is the musical equivalent of Requiem for A Dream and Schindler’s List in terms of how bloody heavy it is. It’s incredibly dynamic in its instrumentation, and is very dense in terms of the musical layers going on within this grand soundscape that we call Camel of Doom’s fourth album to date.

If all that sounds like fun to you, then hey, more power to you, but for us mortals living in sensible world, having four out of these eight songs last longer than eleven minutes (one is just at the fifteen-minute mark, for Christ’s sake) seriously starts to bog one down. Terrestrial just felt like one long song, and sometimes, it actually was one long f*cking song. This is just like Return of the King – when you think it’s about to end, it just keeps going!

But if I quit my bitching for a moment, it’s a damn good long song at that, but in an album that’s over an hour long, I found that this just became quite tedious after only Pyroclastic Flow, which is only three tracks in. Now, of course you can just say that I just ‘Don’t get it,’ or maybe that I lack the attention span for this sort of music, and hey, maybe you’d be right, but I can definitely appreciate good music when I hear it.

And this is some damn good music. Trust me. But while I really liked this album, despite the never-ending nature of its structure, I am so torn on it that I can only recommend this to die-hard doom metal fans.

Author: Alex Sievers
Grinder Magazine

No había tenido la suerte de cruzarme con esta agrupación inglesa de Doom. Para mi sorpresa, este es su cuarto disco en estudio, y como ya pueden imaginar, si sumamos que están pataleando desde el 2000, ya han logrado acaparar una gran cantidad de fans, llegando finalmente a los oídos de Solitude Productions, un dedicado sello que se esmera por editar prolijas producciones del más delicado y siniestro Doom Metal.
Originarios de West Yorkshire, este trío fundado por Simon Whittle en bajo, Bed Nield en batería y Kris Clayton en guitarra, voz y teclados, acaba de lanzar su nuevo esfuerzo en estudio.

Titulado Terrestrial, y con ocho cortes que se extienden en más de una hora de intensos sonidos, este manifiesto se asoma como uno de los mejores discos en su género programados para el 2016. Acá escucharán desde un intenso y arrastrado Doom, con guitarras monstruosas hasta arranques psicodélicos que embrujan tus oídos y mente capturando toda tu atención. En Psyroclastic Flow nos catapultan con atmósferas envolventes y fúnebres. Son doce minutos de agonía, como la mayoría de sus composiciones que superan la media de cualquier canción.

Lo interesante de este registro, es que logra pasearse por diversas texturas, generando un ambiente de oscuridad y secretismo, capturando además varias tonalidades sonoras que incluso se embriagan con el Dark Ambient.

Puede ser un buen descubrimiento para quienes están deseosos de escuchar la densidad del Doom en sus pesadillas.

Author: Andrés Padilla
Wonderbox Metal

This is the fourth album from UK Doom Metal band Camel of Doom.

This unusually named band play experimental Doom Metal that contains elements of Progressive Rock, psychedelia and a bit of Sludge Metal alongside the usual genre trappings.

This reminds me of a curious cross of Humanfly, Neurosis and Candlemass, mixed with a bit of a 70s prog space-vibe. Groove, heaviness and atmosphere mix with some traditional Doom Metal to produce lengthy and substantial songs that allow the listener to develop an expanded consciousness and journey through the unexpected and unexplored places on the album cover.

These songs are layered and nuanced, featuring all manner of ideas that you don’t normally find in a pure Doom Metal band. One example is just how good the band are at including the kind of build/release atmospheric workouts that most Post-Metal bands would kill for.

The keyboards are a constant source of atmosphere, but even though they’re ubiquitous, they’re not overpowering or out of place. For the most part they sound like a truly integral part of the band’s sound and are as fully integrated into the songs as everything else here.

Terrestrial is very impressive and I look forward to getting to know it even better as time goes by.
Franconia Metallum

Auf “Terrestrial” begeistern CAMEL OF DOOM mit ihren Kompositionen, die durchflutet von gewaltiger Schwermut und dunkler Melancholie sind. Schon nach den ersten Klängen weiß man, wohin die Reise geht… Sehnsucht, Dunkelheit, Verzweiflung, aber auch eine kleine Lichtportion schimmern durch die düsteren Klänge. Insgesamt acht Tracks sind auf “Terrestrial” verewigt, wobei das vier Minuten Outro (“Extending Life, Expanding Conciousness”) und die Zwischenspiele (“A Circle Has No End” und “Nine Eterneties”) mitgerechnet werden. Schwere Riffs, druckvolles Schlagzeug malen einen Soundteppich der für die Intensität des Werkes steht.
Arte Mortifica

Camel of Doom is a three piece band made up of Kris Clayton – Guitar/Vocals/Keyboards, Simon Whittle – Bass, Ben Nield – Drums. Music style is listed as, Psychedelic Progressive Doom Metal. Band location, UK

Terrestrial album released on Solitude Productions 8 February 2016. An impressive and destructive force has been unleashed. This album is menacing. Excellent production. Big distortion sound, heavy stomping drums and captivating vocals.

The band offers us eight tracks of deep and spacial adventure. Resonating waves through the perpetual abyss with the most savage edge. These songs have incredible soundscapes and textures. Reminiscent of bands like Novembers Doom, Neurosis, Space Riders and Paradise Lost. The opening track is about twelve minutes long and sets the frame work for the rest of the album. Out of the eight, the songs that resonated in my mind the most were “A Circle Has No End” it is probably the shortest track on here but it manages to captivate my thoughts with its clean strumming and somber melody. “Sleeper Must Awaken”, with a faster pace and interesting riff phrases, I enjoyed playing this one at a high volume and you will too. Finally, “Extending Life, Expanding Conciousness” is an epic way to end the cycle. The keyboard composition is atmospheric and captivating. It sets a build up of powerful emotion and is one to lend your ears to.

Final thoughts, The album is heavy and epic on many levels. the doom roots are there but with enough melody and atmosphere to capture any listener by surprise. I highly recommend it.
All about the Rock

Camel of Doom have been around a while, they were formed in 2000 in northern England, so as a fellow northerner I feel both embarrassed and upset that this is the first time I’ve clapped ears on their stuff. If you’re a doom/stoner/experimental metal fan, you seriously need to listen up. Terrestrial is an awakening, so I’ll just have to get straight into this.

The opening track Cycles (The Anguish of Anger) is an immediate kick in the teeth. It’s beautifully heavy, brutally symphonic and gives us an initiation to Kris Clayton’s vocal styles. For me, his sound is not entirely unlike the work of Maurizio Iacono (of Ex Deo and Kataklysm persuasion), and this is no bad thing. His crushing and passionate yell works gorgeously alongside the bass line, and honestly the whole thing is pretty damned special.

There’s so much layering, so many things to tune into here, but it’s all amazingly balanced. The first track is a long one, but I think it has to be. It’s a way of being able to show off that golden combo of unmitigated riffage and majestic synth. There’s no chance of you falling off the cliff with this stuff though, so don’t be thinking you can sit back and read to this shit. Your attention WILL be suspended, and held aloft. Don’t get comfy.

Moving down the tracklist, Pyroclastic Flow feels exactly like it’s title. Like molten rock, to the face. It’s got a strong tempo that dips and peaks. When we get our ‘Doomiest’ moments, it’s pretty magnificent. The vocals become lower, slower, grittier. It’s just all very well fucking done. If you don’t ‘get’ Doom metal. Listen to Terrestrial. I think you soon will.

You know when you think about space? That low rumbling hum that you hear in the back of your head when you think about how small we are as an existence? Camel of Doom have somehow managed to create that hum and make it part of the track named Nine Eternities. It’s only just over a minute long, but I think it serves to put this whole album into context. The theme, the ideas. You’ll get me when you hear it.

The longest track on the album is just under 15 minutes long. So it’s kind of the equivalent of a Lord of the Rings movie. You know it’s going to take some investment, but it’s so, so worth it in the end. Sleeper Must Awaken brings a fresh vocal and a new pace. It’s very ‘matter of fact’ to begin, a little jaunty, with some long, whining guitar and more lyrics than the other tracks combined I think. It’s layered with some great synth effects too and actually has an air of excitement about it. Like “Oh shit, where are we going with this song?” … and where do we go? I don’t want to spoil it for you, but it’s heavy. No, it’s massive. And moving. That’s the most important thing I need to point out. This track, and indeed the whole Terrestrial album is beautifully moving.

Author: Stephanie Robinson
Atmosfear #17

Жил был себе в Великобритании парень по имени Крис Клейтон. Все бы и ничего, но в 13 лет он создал группу CAMEL OF DOOM, третий полноформатный альбом которой мы сейчас рассматриваем. Любил Крис разную музыку и в собственной группе решил экспериментальным путем смешать любимые стили. Судя по всему, наиболее любимым стилем Криса является дум метал, а наряду с ним стонер рок. Также Криса заносит в психоделию и в прогрессив, ну и для медитаций он наверняка использует эмбиент. Вот и представьте себе смесь из этих стилей с преобладанием дума и стонера. В целом вышло очень даже достойно и интересно. Местами предельно жестко, местами вязко, местами расслабленно. Особых минусов я и назвать то не могу. Хороший релиз.

Author: Neophyte
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