Cromlech was an Epic Doom/Traditional Heavy Metal band from Canada (2011-2023). March 3rd 2023, saw the band releasing their second and last studio album Ascent Of Kings, which would gratify fans of Candlemass, DoomSword, and Manowar. The album was released through Hessian Firm and promoted through Shred Storm PR.
Introduction:
Cromlech, Ascent Of Kings: This review will evaluate every aspect of the album, from its intricate musical composition to its production. Our analysis will provide valuable insights to help you determine if this album is worth adding to your collection.
The First Three Sins of Ascent Of Kings
Let’s start by discussing the first three sins of Cromlech and their Ascent Of Kings album.
The First Sin, The Strings/Keys: Features extended twin guitar melodies with killer hooks with thunderous bass riffs. The Second Sin, The Vocals: Involves choruses and clean -Epicus doom-like singing with soaring vocal work. The Third Sin—The Percussions: delves into the vast world of cyclocephalic-thunderous and epic-war drum strikes/fills and beats.
The Fourth Sin: Overall Discussion: They call their music epic barbarian war doom and traditional heavy metal
As soon as the listener presses the play button, one is welcome to the open piece Cimmeria, where one is welcome to a soft introductory chorus singing. Followed suit by a classical folkish-epic doom and heavy metal musical spectrum that drags the listener into this world of sword and barbarian warriors and the following five pieces.
Each epic piece takes its time to unfurl before the listener slowly, gradually expanding its range of sound as it tells its compelling and epic tale (at a guess) about an epic challenge to choose a new ruler, after “The death of a King.”
As one continues deep into their epic journey on that road of sword and barbarian warriors -where the music indeed draws you in—simultaneously creating something unique and different but in the vein of (mixture) Candlemass, DoomSword and Solstice and the traditional and doomiest songs of Manowar with a folk element that gives the album an extra dramatic flourish and richness of sound but employed tastefully not to overpower the album or feel gimmicky.
At the same time, Cromlech provides the listener with music and songs that are different in sound, identity, mood, and atmosphere that inject this captivating music and sound into the listener’s ears and soul. Long epic songs (and music) -yes long—simultaneously neither repetitive nor dull—on the contrary, fresh, very epic, grandiose, beautiful, powerful, transfixing, entertaining, full-life and energetic of giving the listener this barbarian war doom and traditional heavy metal in one epic musical spectrum.
Established in 2011, Cromlech is the antithesis to all that is trivial and banal in epic doom/heavy metal, and song-crafting on a truly epic scale sets Cromlech apart in a genre plagued by generic rock clichés and fashion-conscious trendsetters.
At the same time, Cromlech is provided and delivered by extraordinary devilmanship consisting of instrumental, vocal, and battleaxe artistry work that utilizes various tones, tempos, moods, and audio clips.
Complex/technically progressive soundscapes/atmosphere consisting of Quadrivium thunderous rumblings/weaver of Memetic visions of the bass guitar provided by Brandon Keddy (of Into Oblivion). Extended dual guitar melodies with killer hooks with the additional (epic/grandiose) multi-chorded riffs, virtuoso solos, Cynocephalic-thunderous and epic-war drum strikes/fills and beats.
The vocal work consists of multiple tones, ranges, choruses, and clean -Epicus doom-like singing with soaring vocal work—simultaneously Ascent Of Kings also features/adds various folk instrumentals into their musical realm such as acoustic, violins, cellos, falsettos, bardic lutes, kobzar etc. Where one will find that each diverse composition/characteristic, a score of music/composing and the arrangement of the piece, instrumental and vocal work. And the placement/agreement of the adding folk sections is convenient to place at the right moment.
Yet, simultaneously, it feels as if it could have been released around the same time as “Epicus Doomicus Metallicus or Into The Depths Of Sorrow.
The album comes to an end with the last song, Turambar (Master of Doom/By Doom Mastered). We want to give a shoutout to Shred Storm for letting us review Cromlech and their album name album. Now, we’re going to wrap it up by talking about the final three sins and concluding the review.
You’re Listening to “False Peace / Total War”
PlayThe Last Three Sins
Let’s discuss the last three sins, our thoughts on Cromlech and their Ascent Of Kings album.
The Fifth Sin, The Memorabilia: Is that for us, Cromlech is unique, capturing both worlds of doom and heavy metal but not making them clash—most importantly, while the band’s sound is rooted in tradition, they feel like something other than a worship band. They’ve managed to work with such a diverse range of influences together that it feels completely fresh and innovative.
The Sixth Sin, The Artwork:
The Artwork is epic, fantastic, and designed by Kris Verwin (Arch Enemy, Marduk, Immortal, and Deviser)—simultaneously capturing the theme of the lyrics and the main story.
The Seventh Sin, Disrelish:
Nothing to disrelish within the musical spectrum of Cromlech, and their album Ascent Of Kings.
This concludes the Cromlech, Ascent Of Kings review.
Track-Listing:
- Cimmeria
- False Peace / Total War
- Patria
- Born with Sword In Hand (Doomed to Martyrdom)
- Ascent of Kings
- Turambar (Master of Doom/By Doom Mastered)
Cromlech is:
- Brandon Keddy – bass
- Jacob Jezovit – drums
- David Baron – guitars, vocals
- Roman Lechman – guitars, vocals
- Kevin Loughnane – vocals
- Session Hessians: Kaveh Afsher – cellos
- Andy Zowsk – violins
- Shred Diamond – falsettos
