Review of Novembers Doom - The Pale Haunt Departure

In my experience, November’s Doom occupies a peculiar position in the metal world. Many of my metal comrades know of them, and I have yet to hear anyone express their dislike of the band, and yet no one seems to talk much about them. Maybe this is because of the music they play – an agreeable flavor of doom that combines elements of My Dying Bride, Opeth, and Agalloch. Maybe it’s due to their light touring schedule, which seems to be a larger factor for American bands than European acts. Or maybe it is due to the lack of a great, defining album of songs (although I’d argue in favor of “Not the Strong”). If that is the case, The Pale Haunt Departure probably will not help them make the leap, even if it is a more complete and consistent album than the previous one, To Welcome the Fade.

Personally, I’m onboard with what November’s Doom is doing, because this is how I like my doom, full of tranquil acoustic guitarwork, well-composed, not stretching to eternal lengths, and when they turn heavy, you can feel the weight of the atmosphere. Paul Kuhr’s vocals are a great boon for the band, alternating from a deep, gravelly, yet discernible growl, to a haunting clean delivery. This genre’s musicians are not known for technical wizardry, and the status quo is maintained here. What they lack in complexity, they make up in effectiveness and atmosphere.

The Pale Haunt Departure is comprised of eight songs that average 6-7 minutes in duration, so there are no quick hitters here. The first half of the album is a very strong start, with three of the heavier tunes sandwiching a compelling dirge. “Dark World Burden” is a beast of a song and a surefire live staple if the guys have some sense. The chord riff underpinning the verses rocks, while the two solos are a nice touch. Parts of “Swallowed by the Moon” bear a strong Opeth resemblance, and some of the verses have a war-march feel to them. The latter half of the album is more reserved, with more reliance on the acoustic guitar and slower pacing during the harsher moments.

I hope that this is the release that earns November’s Doom the exposure they deserve, although it’s cut from the same cloth as their last work, they are certainly due, considering that they’ve been producing solid doom/death since 1995. Hopefully this will lead to a resurgence in U.S. doom and get these Chicago men on the road more often. Whatever the case, The Pale Haunt Departure is a worthwhile collection of dark, somber metal.

Release Details

Novembers Doom

The Pale Haunt Departure

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