The two-voice funeral balladry of the track's intro suddenly bursts into a full-on sludge assault that later collapses under the weight of discordant violins. Opener “The Usher” is a 14-minute suite that ideally encapsulates the quintet's strengths along with burning ambition to match. The massive scope of More Constant Than The Gods is not only reflected in sheer volume, but also the act's inclination for expansive epics that ebb and flow, centering around wondrously crafted layers and perpetually morphing dynamics. What's more, Vernon knows the value of guitar tone, putting in dense, ultra-heavy riffs whenever a song calls for them. Treading a fine line between '80s goth and '90s indie rock, she explores the record's underlying theme of empathy with aplomb. These off-kilter, experimental jazz inspired string arrangements often take the outfit to the whole new level of intensity, bringing a refreshingly unsettling quality to their music.Īnother tremendous asset of SubRosa is Rebecca Vernon whose clean vocals don't comply with genre conventions either. Violinists Sarah Pendleton and Kim Pack have a penchant not only for crafting stirring melodies deeply ingrained in American rustic tradition, but also delirious trails of feedback that make the listening experience even richer. The skeleton of their sound is typically based on gargantuan riffs and methodical rhythm section, yet the lead guitar parts are curiously emulated by a pair of violins.Įven though this combination of instruments has been used in heavy music before, SubRosa's approach to incorporating strings into their core doom metal aesthetic is truly unique.
On their fourth full-length More Constant Than The Gods, this doom metal collective skillfully chisel space for themselves amid low-end amplifier worship, neo-classical chamber music and dark Americana.
Underground metal is in dire need of more bands as creative as Salt Lake City's SubRosa. Review Summary: A haunting new effort from doom metal originals.
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