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Doomed - In My Own Abyss (CD)

death doom metal, Solitude Productions, Solitude Productions
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The second in the band history (and the first officially released) long-awaited album by a German project Doomed. «In My Own Abyss» presents uncompromising doom death metal of highest purity, harsh and aggressive, but featuring skillful arrangements which make this work complex and force a listener to play it again and again. At the same time the last track of the album present and outstanding in its depth, purity and force cover version of famous Russian traditional folk song «Oh You, Wide Steppe…»! And, of course, composer talent and excellent work of the only member of the band, Pierre Laube, as well as powerful and clean sound of the album are worth mentioning, finally making this Doomed release a classic one.

Tracklist:
1 Downward 7:29
2 Alone We Stand 7:16
3 The Ancient Path 9:06
4 A Wall Of Your Thrones 7:33
5 Restless 6:45
6 Leave 9:09
7.1 Ах ты, степь широкая 5:46
7.2 (silence) 7:38
7.3 Loss 3:44

Artist:
Doomed
Artist Country:
Germany
Album Year:
2012
Title:
In My Own Abyss
Genre:
death doom metal
Format:
CD
Type:
CD Album
Package:
Jewel Case
Label:
Solitude Productions
Cat Num:
SP. 068-12
Release Year:
2012
Barcode:
4627080610170
Country Of Manufacture:
Russia
Review
Metal Revolution
8/10
13.05.2013

I’ve always applauded bands that choose to sing in their own language instead to bad English. Meanwhile it was never meant to be as hard as it was the case with a German project Doomed. First of all; album cover, all necessary info etc. was written in Russian (?!) and I’ve had a very hard time alone to find out the name of the band and the title for their new album.

As said before, this is a German doom & death metal project (Pierre Laube is the force behind this one-man band), releasing his long-awaited 7-tracker opus of uncompromising, harsh and aggressive metal. To my big surprise, the overall quality is surprisingly high, featuring very skilful arrangements, but also a complex playing and orchestration. Vocals are harsh and melancholic while there’re also some nice riffs and ditto solos. At the same time I My Own Abyss presents an outstanding depth, slow and floating atmosphere and excellent instrumental work on this record.

I don’t know the reason for their focus on Russian language and Russian traditions, but those are underlined once again with the inclusion of a famous Russian folk song “Oh You, Wide Steppe…” on this opus. Hereby Pierre Laube continues with yet another little surprise, including a final hidden track, which you can discover on your own.

The production is very powerful and clean sounding and definitely one worth mentioning. I My Own Abyss have all the potential of becoming a classic release.

Author: Bato
Review
Metal Imperuim
4/10

Doomed não é mais do que alter ego do músico alemão Pierre Laube, que qual Varg Vikerness da Saxónia, é o responsável por tudo aquilo que acontece em My Own Abyss, o seu segundo disco, desde o conceito, passando pelos instrumentos e voz, até ao próprio artwork.
O que dizer desta sua criação, que já não tenha sido dito um milhão de vezes sobre…doom? É que lá muito doom é ele, que não haja dúvidas disso. Músicas carregadinhas de peso, e emoção (aqui a coisa já é mais discutível), lentinhas como mandam as regras, com a guitarra a chorar notas (de crocodilo) de profunda desolação e negrume sepulcral, e claro está, uma voz cavernosa pronta a atormentar o espirito do ouvinte, se este estiver virado para isso.
In My Own Abyss é sem dúvida um exercício exemplar de análise aos limites da dimensão humana, mais concretamente os da paciência, e de como os mesmos riffs e leads se podem miraculosamente multiplicar ao longo de uns tortuosos 64 minutos, o que só vem atestar da perseverança do músico nas suas ideias.
Um trabalho monótono e insipido, pouco recomendável a não ser como música de fundo e mesmo assim vai lá vai…

Author: António Salazar Antunes
Review
Kaosguards

A l’écoute de cette première sortie officielle (un album autoproduit, Ancient Path, existe également), on reste pantois qu’un homme ait pu bâtir à lui seul un répertoire aussi uniformément massif et désolé.

Car derrière l’appellation DOOMED se cache Pierre Laube. Lequel doit avoir exploré des contrées psychiques irrémédiablement ravagées, tant son Doom Death s’avère impressionnant de noirceur et de froide hostilité.

Les riffs sont ici d’une âpreté totale, posés sur des rythmiques qui semblent chuter d’une hauteur colossale. Les vocaux – ne parlons pas de chant ! – sont d’une gutturalité complètement désincarnés, comme s’ils nous parvenaient d’au-delà du désespoir. Les rares incursions dans un registre clair sont d’ailleurs tout aussi inquiétantes. Derrière cette granitique falaise électrique, Pierre Laube fait constamment sinuer des mélodies (guitares ou claviers) maladives, tordues, complètement sinistres. Le tout forme un paysage de fin du monde.

Cependant, « In My Own Abyss » se clôt cependant sur un titre atypique, compte tenu de la nature des autres morceaux de l’album. Pierre Laube délivre une splendide reprise d’un chant traditionnel russe, « Ah Ty Stjep Schirokaja », dans une version d’une beauté toute liturgique. Après plusieurs minutes de silence, ne manquez pas le titre instrumental caché, « Loss », avec son sépulcral orgue d’église.

« In My Own Abyss » est une oeuvre éminemment personnelle de la part de Pierre Laube, franchement fascinante pour l’auditeur.

Author: Alain Lavanne
Review
Metal.tm
9/10

Ja ist der Typ denn jetzt total bekloppt? Pierre Laube hat uns ja im letzten Jahr erst mit seinem ersten DOOMED Release "The Ancient Path" beehrt und bringt im selben Jahr schon den Nachfolger auf den Markt? Das Debüt hat es auf Anhieb in meine Top-Ten Liste geschafft und mich auch dazu gebracht eine auf drei Stück limitierte Holz-Edition vom neuen Album zu erwerben.
Ich beschäftige mich nun mittlerweile schon einige Wochen mit dem neuen Album und kann immer noch nicht glauben, zu was ein einzelner Mensch musikalisch Fähig sein kann. War "The Ancient Path" schon düster und depressiv, wird es hier tatsächlich noch übler. Auf diesem Album ist nur sehr selten so etwas wie Hoffnung oder Freude zu hören trotzdem strotzt auch dieses Album vor Schönheit und bittersüßer Melancholie. Riffs, wie sie z.B. im Opener "Downward" verbraten werden, lassen mich freudig grunzend gegen die Wand bangen wobei wiederum Melodien wie in "Alone We Stand" mir beinahe die Tränen in die Augen treiben. "In My Own Abyss" nimmt den Hörer mit auf eine finstere (grünliche) Reise, wirbelt ihn Emotional komplett durcheinander und spuckt ihn danach wieder in die beschissene Realität zurück. Wenn man etwas mit depressiver Musik oder eben mit Doom-Death anfangen kann, muss man dieses Album einfach besitzen. Dieses Mal hat sich Pierre mit einigen Gast-Musiker verstärkt um den letzten Track "Ах ты, степь широкая" mit einem Männerchor zu verfeinern. Eigentlich ist dieses Stück ein altes russisches Volkslied dem er hier seinen eigenen, ganz speziellen Stempel aufdrückt. Einzig und Allein den Hidden-Bonus Track hätte er sich meiner Ansicht nach sparen können, klingt wie die Musik für einen alten Stummfilm, aber so sind sie halt die Künstler...

Anspieltipps: Der brutale Opener "Doonward" und "Leave".

Author: Sascha S.
Review
Aristocrazia Webzine
17.03.2013

I Doomed sono il progetto solista del tedesco Pierre Laube recentemente accasatosi con la Solitude Productions, che ne ha rilasciato il secondo capitolo discografico "In My Own Abyss" e sta curando la riedizione di "The Ancient Path".
Il death/doom proposto in questa uscita è consequenzialmente affine a quello del debutto sia per impatto che per esigenza melodica e impostazione vocale, è quindi una evoluzione a piccoli passi quella che viene messa in atto dal musicista partendo da basi consolidate.
In fin dei conti le due produzioni sono state immesse in circolazione a distanza di una decina di mesi ed era quindi supponibile che i cambiamenti e le migliorie non potessero essere eccessive, anche se ci si ritrova all'orecchio la sensazione di confrontarsi con una forma canzone già alquanto delineata, matura e fornita di una produzione ben più che soddisfacente.
"In My Own Abyss" è un monolite la cui colorazione grigia è varia, alcune sezioni sono più intense e cineree, altre maggiormente fascinose e perlacee, ciò è dovuto alla scelta costante di coniugare un riffato inflessibile e granitico a un'esibizione melodica che sa sedurre, fondendo ai rallentamenti cavernosi che segnano indelebilmente il passaggio un growl disumano.
È un decadere assoluto che non viene mai interrotto, non c'è un attimo di quiete o alcuna presenza femminile che da comparsa riesca a interrompere la sensazione perenne di essere sotto scacco: un'insidia si nasconde minacciosa dietro l'angolo pronta a farci male.
Non lasciatevi ingannare dall'andamento a fisarmonica del disco, compresso e devastante inizialmente, con "Downward" che in maniera evidente rappresenta l'incarnazione più rude e rocciosa interna alla scaletta, per poi via via tentare di scrollarsi di dosso quella pesantezza megalitica tramite un rafforzamento del settore atmosferico verso territori più suggestivi ed evocativi; tale punto infatti non causa una rottura degli schemi, poiché non vi è uno stacco netto che ne garantisca l'avvenire.
È un progredire stabilizzato e mantenuto su una cadenza emotiva ben precisa, lo si nota nel percorso segnalato da stazioni importanti quali "Alone We Stand" e l'accoppiata pre-conclusiva composta da "Restless" e "Leave", che ci consegnano la chiusura dell'album con il contraltare ideale dell'opener, "Ах ты, степь широкая", cover di una canzone folk tradizionale russa.
Le premesse per costruire un futuro che dia visibilità al nome Doomed ci sono davvero tutte, il supporto di una fra le migliori etichette del settore e due produzioni che vale la pena conoscere giocano nettamente a favore di Pierre Laube. Riuscirà anche a portare la sua creatura in giro dal vivo? Vedremo, sarebbe una mossa indovinata e che gli garantirebbe ulteriori riscontri dal cui trarre vantaggio.
Augurandoci quindi di poter presto ascoltare un nuovo capitolo targato Doomed, vi consiglio vivamente di incrociare la vostra strada con quella dell'artista tedesco.

Author: Mourning
Review
The Pit of the Damned
6.5/10
26.02.2013

Seconda release ma esordio sotto Solitude Production per questa one man band tedesca che si affaccia sul troppo affollato e piatto mare del doom metal più estremo, con un nome poi che non è certamente d'ausilio. Al primo sguardo, l'artwork sulfureo emana un'aurea sciamanica e tribale che a contrasto con il font in stile cirillico, quasi illeggibile, rende agitato lo sguardo di quest'opera. Venendo al sound dei nostri, le tracce si salvano dalla normalità compositiva, o per meglio dire, sono normali perché sono scritte decentemente. Nonostante la musica cerchi di rispecchiare una qualsiasi tradizione old school, con tanto di vocals profonde e melodiche, l'album si regge grazie all'imponente muro sonoro innalzato dalla sezione ritmica, e qui si nota una vena personale non indifferente, grazie alle parti in pulito ed all'inserimento di una carica groove che accompagna l'ascolto abbastanza piacevolmente, anche se, per quanto mi riguarda, non ho troppo apprezzato perché ritenuto un escamotage per sorvolare certe ovvietà delle strutture compositive. Un disco che fa tuttavia trasparire qualche raggio di luce in fatto di originalità, la base c'è, bisogna solo rischiare, soffrire e immergersi un po' di più nel buio.

Author: Kent
Review
Pest Webzine
8/10

I'm not a big fan of bands releasing multiple full-lenghts in a year, I always have the prejudice they have not worked their compositions enough and released new material only to have more titles in their bio. Working alone seems to be propitious for such acts, I guess they can develop their compositions faster without having multiple minds debating. Doomed is such an act, a one man band that released 2 full-length albums in 2012 even though it was started only in 2011. This second opus is made of 7 long tracks offering us a combination of Doom and Death Metal with melancholic atmospheres. In my opinion the main highlights of this album are definitely the haunting guitar leads although the drums and bass lines are not to be underrated also. Pierre (the man behind this moniker) also uses multiple variations on vocals so that after all we're dealing with a pretty complex record, the contrary of what I have expected. This is a good record that shows Pierre's potential in creating '90's UK Doom Death like records, but something more is needed to push this band further.

Author: Adrian
Review
Spirit of Metal
17/20
01.05.2013

Doomed est un one man band créé en 2011 par le musicien allemand Pierre Laube. Celui ci ne perd pas de temps puisqu'il sort début 2012 son premier opus, puis signe chez Solitude Prod et nous propose neuf mois plus tard ce In My Own Abyss. Un délai inter albums plutôt court donc, qui pourrait laisser craindre chez les fans du premier opus une baisse de qualité ou d'inspiration. Ne connaissant pas The Ancient Path je me garderai d'établir toute comparaison musicale mais noterai cependant les grandes similarités entre les deux pochettes, seuls des détails changeant sur un fond restant strictement le même. On appréciera ou pas ce point commun entre les deux albums, qui après tout montre une réelle volonté de se créer une identité visuelle cohérente, mais peut en même temps manquer de clarté puisque concernant deux albums sortis la même année, voir même s'avérer franchement repoussante et hermétique si la productivité de Pierre Laube demeure aussi élevée à l'avenir..

Mais laissons là ces détails finalement peu importants et concentrons nous sur la musique. Doomed joue sur cet album un Doom Death plutôt porté sur l'efficacité et une certaine agressivité, tout en se permettant de développer des passages plus atmosphériques et posés. Portés par un growl de très bonne qualité et par des guitares solides et efficaces bien que pas foncièrement originales, les morceaux se révèlent très faciles d'accès, leur lourdeur et leurs rythmiques en béton armé ayant de quoi convaincre facilement les amateurs du genre en dépit de leur classicisme.
L'ambiance générale est un des arguments les plus intéressants de ce In My Own Abyss. Généralement plutôt sombre et glauque mais s'aventurant à l'occasion dans des espaces plus mélancoliques, elle participe pour beaucoup à la personnalité de l'album. Le travail mélodique en est le principal dépositaire, de part sa capacité d'évocation bien réelle, allié à des claviers sachant se faire discrets et nuancés mais dont l'apport en terme d'atmosphère et de profondeur est non négligeable. On notera au passages quelque belles envolées à la guitare (le solo du morceau titre par exemple) et l'utilisation assez anecdotique de samples (cloches d'églises, bruitages guerriers..).

Outre le growl, Laube utilise régulièrement un chant clair pas toujours maîtrisé mais pas inintéressant, en particulier lorsqu'il se fait plus éraillé et assume son manque de technique. Son utilisation, quoique fréquente, demeure cantonnée à des passages assez brefs et ne prend jamais l'ascendant sur le chant growlé, et rappelle un peu parfois le premier Ahab (sur le morceau Leave notamment).

L'album se termine sur une surprenante reprise d'un morceau traditionnel russe, une très bonne manière de conclure l'album. On remarquera à ce propos que bien qu'allemand, Pierre Laube semble chercher à rapprocher la personnalité générale de son projet de la culture slave: outre la chanson folklorique précitée, le livret utilise en partie une police de caractère détournant l'alphabet cyrillique pour écrire en anglais (en clair, en alphabet latin dont les caractères imitent l'alphabet cyrillique d'un point de vue esthétique..).

Un bon album donc, pas révolutionnaire mais efficace et parvenant à obtenir une ambiance suffisamment personnelle et cohérente pour valoir le détour.

Author: Peacewalker
Review
Metalstorm
01.01.2013

Released on 12/12/12, this is Doomed's second album this year but their debut with doom aficionados Solitude Productions. Pierre Laube, the force behind this one-man band, treats us to another serving of his specialty: solid death doom. His harsh vocals open the album and the "death" in "death doom" is guaranteed. Yet, this is far from one-dimensional; some rather effective moods of melancholy await the patient listener.

Atmosphere abounds and a slow, floating, dream-like sadness appropriates the faster tempos in just the right places. Of all the tracks, "Leave" exemplifies the mesmerizing aspect best. It pulls you in to a groove and rewards you with some sweet guitars. Nice riffs and solos are not confined to this track and help make the whole album the solid piece of doom it is.

For my taste, the harsh vocals are almost too low and, at times, weigh down the music. When the intensity and faster tempos kick in the growls are right on, but during the more tender places they feel nearly cumbersome. Clean vocals supplement the first track and slide around the pitches a bit; this comes across as a highly successful eerie effect and not as a technical deficiency. On another album they probably would not fit and may sound flat, however here they complement the lower vocals perfectly.

Choir nerds, or anyone who gets off on spooky Renaissance or Baroque vocal harmonies, will want to stay tuned for the little surprise in the lovely closing track. Mr. Laube continues to treat the listener to "little surprises" throughout, including a final hidden track, which I'll let you discover all on your own.

Author: Susan
Review
Ave Noctum
8/10
30.01.2013

This one man doom death project from Germany run by the creative but monstrously deformed brain of Pierre Laube is a slow terrifying assault on your senses that begins with “Downward” and some truly guttural vocals that fit the music perfectly which mixes the density of sludge ridden bass with the melody of more traditional doom outfits and even some of the older doom-death outfits like Katatonia, Paradise Lost and Anathema. As expected the pace crawls along like wading through tar as the guitar melody tiptoes on top teasing you with an escape before dancing away. The part I found most enthralling on this album was the varying vocal styles which take on that mournful clean gothic sadness during the opener and could easily fall flat but don’t and in fact remind of Johan Edlund on “Wildhoney” and “A Deeper Kind Of Slumber” as bizarre as that may seem.

As we enter “Alone We Stand” a bass line initialises the song before yielding to reveal some very nice Opeth like guitar hooks and melody, and I mean old Opeth not the new shit. The pace saunters along without a care in the world like an enormous giant with all eternity to pass by, the song develops a certain swagger on the beat. Even on a more or less neutral bass stereo system the bass has a seismic quality that gently but effectively underpins the whole album alongside the sweeping guitar melodies which will bring a tear to your eye, similar to that of Novembre in some respects though this album is hundred fold heavier than said Italian band.

“The Ancient Path” also the title of the debut album, begins with some rather lovely guitar work and gentle drums before delving headfirst into despondent despairing doom sludge as the vocals are barbarically horrific. The schizoid switch to a clean haunting and eerie style defines what Pierre is all about with his music. The ultra slow “Leave” begins with some exquisite guitar work not too far off The Gathering’s “Mandylion” period, with the vocals growling slowly like a wounded unpredictable beast. As the song expands and changes vocal style the tempo increases a fraction for a laid back despairing melody with a solid rock beat undercurrent within it. Closing this formidable album is “Ах ты, степь широкая” which has a pagan feel with creepy uniform chanting and an uplifting feel before fading out to leave over seven minutes of silence (why do bands do this?) before the tune resurfaces but totally redressed with wind instrumentation and a church like feel that creates a more classical atmosphere than metal.

Author: Martin Harris
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