NOVEMBERS DOOM

They operate under cover of darkness, forever on the fringes, assailed by the icy wind that blows through their Chicago home. NOVEMBERS DOOM are not exactly obscure, and nor are they a purely underground concern, but Paul Kuhr's masters of melancholic, progressive death metal have always been dedicated to their own bittersweet, onward journey. "Major Arcana" arrives six years on from the band's previous album, "Nephilim Grove", and while their trademark sound has not undergone a major transformation, this is plainly evidence of another subtle but significant evolutionary step.

Midway between the gothic tumult of prime PARADISE LOST, and the ingenious metallic prog of late '90s OPETH, NOVEMBERS DOOM have been whittling away at their original blueprint for more than 30 years now. Fans expect sonic and atmospheric perfection, and that is firmly on the menu for the band's 12th full-length album, but in contrast with most of their work from the last decade, this immoderate plunge into darkness exhibits less shadowy mystery and more of the forthright songcraft that populated early classics like "Of Sculptured Ivy and Stone Flowers" and "The Pale Haunt Departure". In no way does this signify a backwards step — from the opening chords of the title track alone, this is plainly a more confident and charismatic NOVEMBERS DOOM than ever before — but a tangible sharpening of focus has given the quintet renewed energy and clarity of expression. Put more simply, these songs are powerful and direct, their in-built atmospherics designed to maximize impact, rather than to shroud everything in a layer of hazy mystique.

It all sounds vast and imperious, of course. After an elegantly creepy intro ("June"),"Major Arcana" slams the new template down like a gleaming gauntlet. Blessed with strident, reach-for-the-sky melodies, beautifully sung by Kuhr, it wrings endless intrigue from the bullish and straightforward. Both knowingly austere and perceptibly fiery, NOVEMBERS DOOM make music to accompany the rising of mountains: big, burly streams of riffing and multi-tempo grooves that unfold at mid-pace, muscular and mature, but graceful and enigmatic by nature. Aggression increases on "Ravenous"; a sophisticated death metal song with refined melody at its core, and vocals from Kuhr that are as punchy and momentous as any in his band's history. Similarly, "Mercy" drinks deeply from the goth metal spring but delivers its sorrow with full force and dynamics that shatter the still as an act of glowering dominance. Kuhr's clean vocals continue to grow in stature and charm, too. "The Dance" is a robust goth banger, with the frontman on glittering form as rugged riffs underscore a tune that neatly encapsulates this band's ability to sink their melodic talons into willing flesh, like a nimbler MY DYING BRIDE on a brief break from the woe-obsessed norm. Likewise, "The Fool" pits Kuhr against a churning maze of interwoven riffs and smart rhythmic tricks, his caustic bellows colliding with voracious, vivid guitar solos, but all in pursuit of greater impact.

An obvious highlight on an album full of them, "Bleed Static" is the kind of sprawling devilry that NOVEMBERS DOOM mastered from the start, but this is a particularly fine example of that fundamental idea, with a glorious central refrain that erupts like molten magma. And as gloomy and menacing as "Major Arcana" often is, its songs are more uplifting than oppressive, as Kuhr delights in his prominence in his band's expert tapestry. A closing triumvirate of "Chatter", "Dusking Day" and "XXII" may appear to offer variations on the same theme, but upon further inspection, they all have their own distinct secrets to impart. A devastating blend of the familiar ("XXII" has a definite air of IRON MAIDEN lurking in its guitar melodies) and the fresh, "Major Arcana" ends as it began, with a bold declaration of sincere and substantial intent. A great band, edging ever closer to the creative magnitude they covet, NOVEMBERS DOOM are still a serious and satisfying proposition.