THE GATES OF SLUMBER

One need only read vocalist/guitarist Karl Simon's "thanks list" in the liner notes of "Conqueror", the new album by Indianapolis' THE GATES OF SLUMBER, to realize that this is anything but a new-school metal album. Stating "thanks for the inspiration to: CIRITH UNGOL, BUDGIE, LUCIFER'S FRIEND, URIAH HEEP and as always SAINT VITUS," it is obvious that Simon bleeds doom and traditional heavy metal, and "Conqueror" is a testament it. Easily one of the best doom/heavy metal albums of 2008, "Conqueror" is the sound of a band peaking.

While a doom album in a general sense, one that takes its cues from the likes of BLACK SABBATH and PENTAGRAM, it is also infused with classic heavy metal, making it one that offers an appeal wider than what one might expect from a pure doom disc. Simon's Wino-esque vocals have a way of seeping into the pores and demanding strict attention, while his guitar work is decidedly old school, his riffs and especially solos clearly influenced by Tony Iommi. Riff-wise, I cannot stress enough just how fantastic this album sounds, from the tone to the feel to the structures. The rhythm section of bassist Jason McCash and drummer "Iron" Bob Fouts is a powerful one, the bass lines, beats, and fills the perfect complement to Simon's monstrous riffs. Minimal overdubs give the compositions a natural feel and plenty of breathing room to allow the listener to completely immerse himself in the passionate playing of each member. The light synth playing that occasionally appears accents the songs splendidly.

At 62 minutes in length, this collection of eight tracks is surprisingly captivating and never boring, right down to 16-minute epic "Dark Valley Suite", which consists of four parts: "I. Black River I", "II. Lines Written with the Knowledge that I must Die", "III. Call of the Black Gods", and "IV. Black River II". The song takes you through peaks and valleys, emotional ups and downs, and the kinds of vibes that transcend mere rock composition. A nice mix of tempos is also key to the album's success, but when the band kicks it into high gear and rocks out at faster tempos, they really bring the house down; a galloping beast called "Children of Satan" a case in point. It is also, in my opinion, the album's best track, thanks in no small part to the infectious chorus.

With artwork and lyrics most fitting to the disc's sound and the always organic, larger than life production of Sanford Parker, "Conqueror" is a masterful release. It doesn't get much better.