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Voodooshock’s debut album was one of the most pleasant surprises of 2002. Having already recorded a very promising promo CD on the last year, they signed with the newly founded Psychedoomelic Records and this was the first CD release of this company that focuses mainly on traditional doom metal. Actually, only the guitarist/vocalist Uwe Groebel was still here since the promo period. This trio from Germany plays a wonderful form of doom metal, not based so much on its gloomy and depressive side, but more on a version that brings out a cool rhythmic vibe, also with a discreet stoner touch. Their main influence would probably be focused on Black Sabbath and more specific on their four first albums, just like it is with every band of the traditional doom genre. Something that increases the whole Sabbath-ish impression, are the vocals of Uwe, that sound close enough to the ones of Ozzy, but with more bass in them. Apart from that, one could listen also to Saint Vitus, Spirit Caravan, The Obsessed, some Pentagram or Count Raven in here. Nevertheless, Voodooshock still have a style of their own that can make them recognizable, something that is very important for a new band. Concerning the album, there is not such a thing as a weak moment in it, which can be experienced quite pleasantly from the beginning to the end. But still, the opening track “Fountain Freedom”, “Lady” and the slow doom epic “Showtime” manage to steal the show rather easily. Especially if you can handle more “tough” situations in doom, “Showtime” is something you’re going to fall in love with. One song that creates a different mood is “Electric Mind”, which is obviously influenced by the 60’s rock ‘n’ roll movement and it follows that philosophy, given through a doomier prism, of course. Also, the album closes with two covers: “Nights In White Satin” (a very smart choice) of Moody Blues and “We Cry” of Elephant Mountain. The first one is a song I always liked and Voodooshock performed it with a serious intention and turned it from a classical melancholic song into pure doom, absolutely successfully. The second, which is the one that closes the album, is by far the doomiest, gloomiest and darkest moment of this recording. If classical bands like Pentagram, Count Raven., Trouble and the Wino projects is your thing, then “Voodooshock” becomes a must, not only because it worth as a recording, but also because it continues with pride and respect the whole traditional doom metal genre. As it is, as it was: truly doom!
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KJP / March 2004 |
