Doom.
In legends when a hero has a doom upon him, it's a prophecy of an inescapable fate. And yet of course in all good legends the hero fights this fate every inch of the way until the bitter end rather than wallowing, whining and accepting like others do. I guess that might as well be a description of True Doom itself, and of the many unsung heroes who have helped form it. Even by 'off mainstream' standards there's notoriously little money in True Doom; they do it because its a love and a compulsion all wrapped up in one very 'eavy, very 'umble burden.
Case in point: Pentagram. They really did form in 1971 and so they really did help birth this dark and blues rumbling genre. Despite the odd single release it really did take 14 years to release their first album. Their line-up has been, with the exception of singer Bobby Liebling, that tumultuous. He really has carried that many personal demons. And in the only measure that matters they really have released songs worthy of the tones in which their contemporaries speak of them. Just of that first album, try '20 Buck spin', 'Sign Of the Wolf', 'You're Lost, I'm Free'...
So has a freshly clean Mr Liebling been able, with the presence of long time collaborator and Doom legend guitarist Victor Griffin, been able to spark another flame?
Opener 'Treat Me Right' is one of those short sharp rattles that seems to only exist to let you know the band are alive and kicking. Engine revving to warm the oil before 'Call The Man' opens up.
Warmth is the first thing that hits me with this song. Warmth from Victor Griffin's effortless, dense riff and from the distinctive voice of Liebling as he lays a seam of knowing, cynical sadness to his edgy but deceptively broad tones. Think the American cousin of Tull's Ian Anderson back from rehab with a true veteran's warning. It's a fine, fine song full of lazy, heavy riffs, bitter words and a memorable refrain.
'Into The Ground' is another cautionary fable, a good stomp on the guitar and some open spacey chords letting Liebling show his scuffed-up voice and thoughtful words to fine advantage. Add in a fine, fluid solo and its another winner
The curiously titled '8' slides in on a soft, bleak lead like Wino at his organic best. Its haunting and quite beautiful as Liebling softens his voice to a dark, lilting croon and speaks long and poetically on wasted years. Its actually moving to hear this, to listen to him 'overlooking my life to the last Goddamn...' The kind of bleak song that Pentagram can do so well.
It kind of marks the feel of the album. There's a wisful but still bluntly realistic feel to many of the songs on show here. Digging into those bad days for the kind of warning that only the afflicted can deliver with poetry and conviction. They can do hard, biting songs, too. With a deceptively light intro 'The American Dream' crashes into disillusionment and some more fine soloing from Griffin.
By contrast 'Windmills & Chimes' is a quiet song, that brings into focus the realisation of how close to the 70s Pentagram still are. Something in the wording, the way the lyrics are phrased shows their roots. Depending on how you view things this is either looking at the whole retro rock thing and showing 'em how, or just old fashioned. But it is what they lived through and the music is strong enough to bump shoulders with anyone in 2011 so I reckon they are just speaking with their own voice.
Closing with a real cruncher in 'Nothing Left', we have an unassuming album full of superb, memorable riffs, versatile and rich vocals and a neat turn of lyrical phrase. If you've ever is wondered what the fuss these doomheads make about Pentagram is all about this is a good place to start before delving back into the harsher early stuff.
Seriously; there may be grey hairs aplenty but this is so much still in its prime that you can't help but feel sorry for those who think metal is a young persons game.
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