Summoning - With Doom I Come - (8.5/10)
Published on December 27, 2017
As so often, bands like them also usually see a whole crop of other bands pop up left and right trying to emulate said band’s sound and with that their success, but just as often they are easily decried as a clone that does not try to bring anything of their own into the music. And then there is a phenomenon that happens very, very rarely, where some bands take very, very liberal inspiration from their music and then surprisingly are hailed by fans and critics far and wide (see Caladan Brood, Emyn Muil or Elffor)… Now the originals are back after four years of silence with the pre-cursor to their upcoming album With Doom We Come, aptly titled With Doom I Come, and fans worldwide are eager to hear, if the Austrians still manage to walk the fine line between retaining their very own sound and making just enough progress to avoid standstill.
And while it may strike a little odd that a band would release the heartpiece of the album, the 11+minute closer, as a single in advance, but if this is any indication for the rest of the album (and again given it’s the centrepiece there is every reason to believe that), then they are standing closer to the previous album Old Mornings Dawn than any kind of groundbreaking new directions. That being said, With Doom I Come still has all the trademarks, the strong keyboard presence, the drum computer, the dense, repetitive atmosphere, but there is one difference compared to their strong back catalogue and that comes in the form of the vocals, which so far had been the one unwavering staple in Summoning’s sound. While Silenius’ characteristic snarl had been one of the characteristics of Summoning in the past, now Protector is chiming in and his cleaner approach will need some getting used to, but adds to the song (as it did with his first appearance on “Earthshine” on the last album). Same goes for the choir, which many fans had felt for years would be a perfect complement for the epic music, which is back and fits in greatly, further expanding on the epicness and atmosphere overall.
Some may see “With Doom I Come” standing a little too close to Old Mornings Dawn, indicating that the Austrians may try to play it safe, but at the same time if Protector’s cleaner vocals and the choirs see some heavier utilization over the course of the album, then that is just the right amount of progress the Viennese need to keep their trajectory pointing in the right direction.