Electric Wizard's 'Dopethrone' is a masterpiece of stoner and doom metal. The Dorset group take Black Sabbath's slow-and-low template and run all the way down the psychedelic rabbit hole and straight into the gates of hell with it. The ridiculously low-tuned guitars are steeped in devilish herb smoke and thick layers of fuzzed-out fog, whilst their wall-of-sound riffs lumber with monolithic intensity alongside mammoth percussion which fall like asteroids hitting earth. Jus Oborn’s funereal vocals sound as if he was caught within a bad trip, augmenting the demonic album with a shade of psychedelic brilliance. 'Dopethrone' is the perfect marriage of doom, sludge, stoner and psychedelic rock and is an essential in any collection. The album art depicting an intoxicated Lucifer pretty much sums up the record!
Vinyl Double LP £20.49 RISELP073
Reissued double LP of amazing sludgey doom on Rise Above, 30th anniversary gold sparkle edition!.
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9/10 Jon 6th May 2014
Dopethrone is considered a genre defining classic (stoner, sludge or some kind of equally esoteric metal sub-field - I wouldn't call in "doom" in the same vein of early Anathema or My Dying Bride though) so I got it upon recommendation from the bass player in my band. There are undoubtedly moments of genius within this dirge-like bass heavy rumble which is why it is worth a 9 as something that was, at the time of it's release, exemplifying a new kind of metal. It is repetitive and might make more sense stoned out of your brain (which is kind of the point). However, my interest is more from the perspective of being fascinated by metal's evolution and I knew I was missing out by not having this in my collection. Electric Wizard took a Sabbath base layer and forgot about or intentionally discarded everything else that followed from about 1971 to 1993 (when the band was formed) and went in a different direction. Or more particularly, attempted to out-Sabbath the most Sabbath of Sabbath moments. I really respect that. Being late to the party on this (it was released in 2000), it is unlikely to become the central reference point of all my past and future listening enjoyment, but it is worthy of the accolades that have been spaffed upon it.
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