Evoken – "Mendacium"

So, probably don't read that book or you'll hella bleed out your crotch

I'm pretty sure this is the first time in the +4 years of GMB that I've reviewed a doom metal album. (That is, unless you count the latest album by Paradise Lost as doom, by which you'd be partially right, of course.) The reason is that it's probably the most fringe and esoteric (see what I did there?) of all the major metal subgenres, with much fewer albums coming out per year than, say, with death or black metal.

But even though the genre's expression is very clear-cut, doom metal can still be hard to get into on a level that engenders enough sensible observations to form the basis of a review – shit, maybe even because the genre's expression is so clear-cut. This, in part, is also due to the average length of the typical doom album, often transcending the 1-hour mark, if not much more.

These aspects all pertain to "Mendacium", the newest LP from New Jersey's Evoken. First and foremost, however, along with that unmistakable eerie and somber atmosphere that's especially so prevalent in this notable funeral corner of the genre, as it were. Indeed, those are foreboding chords framing those lamenting background guitar howls in opener "Matins". It sounds like sirens, only adding to the bodeful atmosphere. And given the obviously slow pace and the meticulously patient songwriting, it eventually assumes an almost hypnotic effect.

The atmosphere, however, alternates between piano- and string-tinted grandiosity on one hand, and, on the other, pure iniquity. The growl becomes more guttural, and the drums are so slow, they only seem to barely keep everything together. It is heavy, of course, but, at the same time, it feels oddly fragile in all its dilatory pace. But then, a black metal blast out of left field breaks any monotony. And the riffs remain metal all the way through – foul and unwelcoming.

Some unfortunate listeners, with no frame of reference or expectation, might get unhooked. The rest of us, though, will be more or less hypnotized

In contrast to this, though, sophomore track "Lauds" is a bit more resolute, its gigantic drums iron-hard and punishing, and its riff scowlingly coarse. And in another contrast, its verse is gigantic, bare, and solemn – the whole thing sounds like something that's happening in 10 cathedrals at once. The clean guitar has a thin, sharp tone that really adds to the group's auditive personality. One might say that some of the keyboard effects are a bit obvious, but they carry an undeniably nostalgic element for those of us who are familiar with some of the '90s doom metal outputs. And the band's remorseless expression more than compensates for any remotely cheap or cute elements. Seriously, this is otherworldly.

While I just used the word 'monotony', that is a bit of a dysphemism – and still not any more true than for groups like, say, AC/DC or Slayer. We love those. This, however, just happens to be s l o w – and we love that as well. Some unfortunate listeners, with no frame of reference or expectation, might get unhooked. The rest of us, though, will be more or less hypnotized – yeah, there it was again.

And of course, any and all monotony taken into consideration, there are still elements that stand out. "Terce", for example, has a distinct countenance with its firm start/stop guitar figure and the verse's tonic-dominant chord interchange – there's no tangible tension, but no resolution, either. And those whispering vocals make everything oddly intangible. And check out those disturbingly dissonant noises deliberately disrupting the harmonies in the outro to "Sext" (noun, not verb).

I'm not an expert on this particular genre, but I damn well know quality when I hear it. And it's happening right here.

Okay, so I just used the word 'remorseless', too. But enter the album's arguable apogee, "None", and everything changes. Its theme is probably already the most easily recognizable on the entire record, based on simply a descending minor third interval. Such a simple idea, yet executed so masterfully. Mark my words: These guys know every single thing they're doing. And those hoarse, throaty rattling vocals only add to the spectral atmosphere.

... But then, one mid-section to rule them all goes into a Major-key cadence with an ecstatically soothing keyboard theme, more than echoing the corresponding ditto in Type O Negative's "Love You to Death". You know which one I'm talking about, and if you love Type O, which you fucking do, you will love this as well. And then, we're back down into that gruellingly evil verse section. No redemption anyway – sorry, kids! Holy shit, this is perfect fucking doom metal.

Just as superlative is that extra-slow conclusive ending in "Compline". The band's sense of uniqueness is encapsulated in the combination of that one strained guitar bend; that one abyssal piano note; that stately background choir, and that halfway spoken and halfway whispered beckoning to relinquish our hereditary existential fears and seek our own truth:

Life's own journey is an appeasement of dogmatic will
Submit to your Heaven, within ourselves
And banish known fears, and give rise of no Heaven or Hell

The guitar starts feedbacking; there are strange, almost machine-like noises in the background. It's as though everything is falling apart. Yet this is more solid and convincing than 9 out of 10 releases this year – at least. I'm not an expert on this particular genre, but I damn well know quality when I hear it. And it's happening right here. Any fan of the band or said genre will wanna check this one out.

Rating: 5.5 out of 6

Genre: Doom metal
Release date: 17/10/2025
Label: Profound Lore
Producer: Well, damn, it's Ron "Bumblefoot" Thal