Mountain God is an atmospheric doom metal trio hailing from Brooklyn, New York. Their latest release titled Bread Solstice is their third release as a band. Before I even began listening to Bread Solstice, I gave a listen to their previous records, Experimentation on the Unwilling and Forest of the Lost. While both of those records were enjoyable, Bread Solstice is the sound of a band finding their mark and hitting it with precision. The record is a bloody, messy, and loud punch of doom metal right in your face, and it’s beautiful.
The record begins with a song titled “Scaling the Silver Steps.” It’s an appropriate title, because this track feels and sounds like the beginning of an ascent towards something heavy. The track slowly fades in with a wall of guitar and gives you very little time to prepare for the onslaught of doom that’s about to pummel your ear drums. Your first taste of vocals comes during the next track, “Nazca Lines,” an eleven-minute, slow-trudging, doom metal opus. The vocals are rather distorted, so any chance of deciphering lyrics is minimal, but for a record of this nature, it works. If anything, it enhances that “end-of-the-world” doom sound rather well. “Karmic Truth” picks up the pace slightly and enters something more along the lines of death-doom, but not without a catchy, almost Pantera-esque riff thrown in there.
“Unknown Ascent” is probably the most divergent track on Bread Solstice. Rather than featuring the usual in-your-face wall of down-tuned, heavy guitars, this track is more somber. It’s an almost gothic in nature instrumental track with a slow tempo that’s utterly dark. For that reason, it ended up being one of my favourite tracks on the record. The album ends on a definite high note with “Hymn to Nothing.” This track stays in line with the rest of record, and is simply another nine-minute, epically massive-sounding doom track.
Mountain God isn’t exactly trying to break the doom-metal mold here. Instead, they’re doing what they do best: crafting a dark, immense-sounding record that any doom fan will be happy consuming. There are six high-quality tracks to be found on this release. The vocals are rough, the guitars are loud, the drums are pummeling, and the melodies are fucking dark. What more could a doom fan ask for?
Written by Dominic Abate
*edited by Kate Erickson