'For Doom the Bell Tolls' starts of with the ringing of a bell and immediatley the concept of time hits you like a harsh reality that we are all bound to time, on top of this an eerie wind effect can be heard almost like how you would imagine the wind in outer space sounds. The intro is very dramatic and unnerving at the same time and so begins the cursed doom of 'Tweleve Bells Toll in Salem' and Nemtheangas's cries of despair echo over crawling morose guitars and drums which carry you down into the darkside of humanity. The production is very bottom heavy and warm which suits the melancholic trudging of the guitars and drums. This is the sound of doom before it became fussed up with excessive use of distortion, doom at least in my mind has a more warm and organic sound which suits the emotive side of doom, we often forget that doom is probably the most expressive and emotional of all metal sub-genres, take My Dying Bride as a case in point. During the mid section of the first track the quitars are absent and instead the bass along with keyboards make up the soundscape however in a very sparse and atmosphere building way which gives Dread Sovereign a very unique and spacey edge which calls to mind some of Hawkwinds more spacey moments, after this section in kicks the first guitar solo which is sublime, so much emotion and expression and then the bass underneath accentuating the solo is just one of those fuck me that is awesome moments. Dread Sovereign have a very unique sound even though they toy with a genre which has a very strict template. This album can not really be compared as many of you may do to Primordial. Of course Nemtheanga's voice is instantly recognisable but that is where the similarity ends. Next up is 'This World is Doomed', which is faster in pace and more of a standard doom song, think of Trouble 'The Misery Act Shows (Act II)' or Candlemass 'Black Dwarf', dynamics is what this is all about, for if they followed the first track with another sprawling piece then the album would run the risk of losing it's impact and bite. In this way it further presses it's claws into you and drags you into the dark recesses of the mind. The mid section to this at least in the quitars has a somewhat post black metal feel and then in comes perhaps the doomiest passage on the whole album. The songwriting on show here comes from knowing not only your instruments well but the collective history of metal, being aware of those underground classics such as Cirith Ungol's 'The King of the Dead', Subsequent listens reveal little subtilties in this album which make every listen a new experiance. After another spacey interlude we are spewed out of the cosmic vacuum into 'The Spines of Saturn' and here the drums shine, no not with blastmeats but with mesmerising time keeping. This track is the most spacey, cosmic and unique sounding track on here. I can hear the aforementioed Hawkwind, I can hear Sabotage era Sabbath and I can hear Soundgarden, there is so much going on here, that it is a lot to take in on first or even second listen and it becomes clearly apparent that like the album this track will reveal itself in time. The album then finishes quite unlike how it started with a cover of Venom's 'Live Like and Angel, Die like a Devil'. To sum things up this album although at first listen is a damn fine album it is an album which will reveal itself over time and a little persistence on the part of the listener. Their is so much variety going on here within the doom mold that calling the album doom alone does not give you a true indication of this albums reach, I have a strange feeling that this will be on my top albums of the year list when it comes to the end of the year. This comes out on March 3rd via Van Records be sure to make a note in your callendar.