Ukoliko vas zanima sta je Doom Metal,i tek pocinjete da ga slusate,
evo veoma korisnih stvari.(moralo je da bude na engleskom,ima dosta,ako nekom nije jasno nesto nek pita)

STA JE DOOM METAL?

This is probably one of the trickiest questions to answer and has been the issue of many heated debates. There are however a few things that we can be certain about.

Doom-metal is a sub-genre of the highly diverse metal genre. This means that the first criteria will always be that the music must be metal at its core. There are also many misconceptions about what metal really is, but that particular topic does not fall within the scope of this article.

Whilst the general public may think that all music belonging to this genre sounds very alike, if one takes the time to scrutinise the genre it is apparent that the real situation is very different from this. If this is the case, what makes doom-metal so different from other metal genres? One answer is that doom-metal is filled with heaviness, darkness, sadness, depression and melancholy. It emanates a dark and brooding atmosphere that cannot be found with such intensity in any other genre.

For some, the earliest examples of doom albums are Black Sabbath's self-titled debut album, and their second album, 'Paranoid'. Both of these records were released in 1970 upon a largely unexpecting audience. Whilst the first album retained a heavy dose of Sabbath's blues roots, "Paranoid" remains one of their darkest records. This leads some people to hail Black Sabbath as the originators of doom-metal. Whilst this opinion is a controversial one, Black Sabbath are definitely one of the founders of modern heavy metal. To claim that Black Sabbath is a doom band would be misleading in that it would be akin to saying that all metal bands have doom influences because they depict the dark side of music. Still, it must be said that Black Sabbath heavily influenced the bands that genuinely helped form the doom-metal genre. However, this is not to say that Black Sabbath did not play an important role in creating the metal genre as a whole.

Several forms of Doom-Metal have existed since 1970 or thereabouts, but most doom bands originated in the late 80s and onwards. Bands such as Trouble, Saint Vitus and Candlemass are examples of some of the earliest doom-metal bands. The descriptive label "doom-metal" is attributed to Candlemass' 'Epicus Doomicus Metallicus' album, although some believe the term comes from the Black Sabbath song 'Hand of Doom'. The bands of the past used clean vocals and it is therefore a misconception that a band needs to resort to grunts to be considered part of the doom-metal genre.

However one more thing that is still worth mentioning about it is that fact that the bands mentioned so far are often referred to as being the more traditional doom-metal bands. There are still a great deal of good bands around that employ this style (Solitude Aeturnus for example), but you also these days have many other styles of doom. One of the best known these days is a more or less "second generation Doom-metal", and the Doom-metal most "new" fans will know; Death/Doom-Metal. This further fuels the debate as to what truly constitutes Doom-Metal.

Death/Doom-metal, is thought of by many as a reaction to death-metal, just like death-metal originated from thrash metal. As a reaction to the incredibly fast death-metal riffs some bands began playing ultra slowly, with low-pitched guitars and dragging grunts. One of the most noteworthy examples of this is Lee Dorian, formerly the vocalist of Napalm Death, who started his own band: Cathedral. The early Cathedral albums were extremely slow.

This brings us to another possible factor that can be used to define doom-metal. It is slow music, in sharp contrast to most metal. This has given rise to a school of critics that dismiss doom-metal as being a"boring" genre in which little ever happens. As with any genre, there exists some indubitably talentless, thoroughly unoriginal bands out there who are indeed boring, but in general saying that Doom-metal is boring means that one has not been paying attention to the music. One of the true attributes of Doom-metal is that it can be extremely slow, yet not at all boring.

Although previously mentioned, it ought to be stressed that the sheer heaviness of the music is an important characteristic of the Doom-metal genre. This takes many shapes, from the gut-wrenching sounds of a band such as diSEMBOWELMENT, to the Sabbath-like riffs of St. Vitus, to the trancendental sounds of Esoteric, and the romantic depression of My Dying Bride. All these bands share a quest for heaviness in their music.

At times, this also leads Doom-metal close to another genre called "Stoner-rock". Both genres clearly strive to create the heaviest sound ever and often intermix (indeed there is such a grey area as Stoner/Doom). However one misconception made by a lot of Stoner fans is the notion that pure Stoner rock or Stoner/Doom is the only form of Doom (sometimes referred to as "True Doom" by fans, but not to be confused with the "True Doom" as claimed by a small number of Traditional and Epic Doom-metal diehards). On the same tack however, the ignorant ideas of some Death/Doom fans that theirs is the only true form of Doom-metal is equally insupportable, this being the cause for many a heated debate. We would rather concentrate on the great diversity Doom-metal has to offer us.

In all fairness, an attempt at defining doom-metal by way of its sound is akin to trying to define a race solely by its appearance. In today's rather varied market, we have slow, hurtful doom-metal. We have medium-paced, harmonic doom-metal. We have occasional moments of really fast, energetic doom-metal. We even have doom-metal you can play at a Pagan festival. Although it isn't strictly essential, we have many doom-metal bands that employ harmonic instruments such as the violin, synthesiser, flute, and so on. We even have doom-metal being mixed with other styles such as techno-industrial, black metal or classical music.

preuzeto sa http://www.doom-metal.com/ (velika baza vecine doom bendova)

Jos jedna prezentacija....

Doom metal is a form of heavy metal that emerged as a recognized metal sub-genre in the early/mid-1980s[1]. Doom metal is heavier and slower than other metal genres. Lyrics play a very important role in this genre, and are traditionally rife with pessimism, evoking an atmosphere of darkness, despair and misery. Musically, doom metal is strongly influenced by the early work of Black Sabbath. A number of early Black Sabbath tracks, such as "Black Sabbath" are considered embryonic or prototypical doom metal songs[2]. Many of the tracks on their third album Master of Reality (released in 1971) seem to have more in common with what today is seen as doom metal, with tracks such as "Sweet Leaf", and "Into The Void" that featured Tony Iommi's guitar and Geezer Butler's bass tuned down to C# for heavier riffing and reduced string tension for Iommi's previously injured fingers. However Black Sabbath was not the only influence- many doom metal bands started up only a few years after Black Sabbath's debut, some of whom hailed from countries that had not yet seen the rise of Black Sabbath's popularity.


Kratka istorija Doom metala


Doom metal is among the oldest forms of heavy metal, rooted in the music of early Black Sabbath, who are one of the first heavy metal bands. Their music is rooted in blues, but with the specific loud guitar playing of Iommi, and the then-uncommon dark and pessimistic lyrics and atmosphere, they set the standards of early heavy metal and inspired various doom metal bands. In the early 1970s both Black Sabbath and the American band Pentagram composed and performed this heavy and dark music, which would in the 1980s begin to be known and referred to as doom metal by subsequent musicians[3], critics and fans. From the late 1970s to mid 1980s, bands such as Trouble, Saint Vitus, Candlemass, Pentagram and Witchfinder General contributed much to the formation of doom metal as a distinct genre. The form of music played by these artists can be described as being rooted in both the music of Black Sabbath and, especially in the case of Witchfinder General, in the New Wave of British Heavy Metal. Some US acts such as Cirith Ungol and Manilla Road also influenced the rise of the style, especially its epic side which Candlemass defined on their classic, debut album Epicus Doomicus Metallicus.

During the 1980s, doom metal was deeply underground and gathered only small circles of cult-following fans. In the 1980s, metal was dominated by speed and thrash metal, and in many commercial areas by glam and "stadium-anthem" pseudo-metal bands. Slower, heavier and pessimistic in its nature, doom metal bands didn't receive much attention even among some die-hard metal fans of that time. Bands such as Trouble established the use of Christian imagery and themes in the lyrical side of doom metal which led these bands to be misinterpreted and alienated amongst some metalheads. It should be noted that although Trouble were Christian, many of the later doom bands weren't. However, many of them, such as Candlemass or Saint Vitus, still embraced elements of Christian imagery, not as a religious viewpoint, but as a lyrical symbolism for themes they deal with in their lyrics such as pain and suffering. Doom metal remained more or less underground at this point.

Doom metal developed further in the early 1990s. The most influential doom metal band from the early 1990s to the present was Cathedral (a band led by ex Napalm Death singer Lee Dorrian). Their debut album Forest of Equilibrium (1991) was rooted in traditional doom, yet opened the door for the incorporation of elements from other genres. Besides Cathedral, a whole wave of influential doom bands followed during the early 1990s including Solitude Aeturnus, Count Raven, The Obsessed, Penance, Sleep, Revelation, Confessor, etc. Underground labels who most supported the scene in these years were Germany's Hellhound Records and Rise Above (owned by Lee Dorrian).

From the late 1990s to the present, another wave of traditional-based doom metal has emerged, mostly due to the success of bands such as the British Electric Wizard, and the Finnish Reverend Bizarre. Other bands include Orodruin, The Gates of Slumber, While Heaven Wept, Warning, Solstice, Mirror of Deception, etc.


Doom Metal i drugi stilovi


Cathedral's debut album, Forest of Equilibrium, was very important in the development of doom metal, helping to expand its sound by incorporating elements of other genres. There soon followed a large number of bands who crossed doom with other styles. A few of these bands gained more popularity than classic doom metal bands.

A few death metal bands crossed the doom metal border by slowing down their playing style, including Sorrow and early Paradise Lost. A number of bands began to combine the doom metal style with influences from death metal, other forms of extreme metal, and even hardcore. The first band who mixed doom with death metal may have been Winter, although this style, known as death/doom, later became associated with and made popular within the wider metal scene by three British bands: Paradise Lost, My Dying Bride, and Anathema.

Although classic doom metal and death/doom have remained central, during the 1990s the doom metal genre cross pollinated with other styles. In the early 1990s European bands such as Thergothon and Funeral moved death/doom to the extreme. With a much slower interpretation of death/doom, their music took on a new dimension similar to the ethereal atmosphere of dark ambient music. This utterly slow and often very dark style is now known as funeral doom. At the same time, American bands like Crowbar and Eyehategod mixed doom metal with significant hardcore and even punk influences, forming another new faction within the doom metal scene: sludge doom. It should be noted that 80s band The Melvins made a huge impact on the above mentioned sludge doom bands. Also, the band Earth pioneered drone doom, the slowest and the most psychedelic form of doom.

That experimentation continued, and today there are many bands who mix their basic doom metal sound with various styles like ambient, avantgarde, death metal, black metal, post-rock, folk, progressive metal, progressive rock, crust punk and even industrial and jazz.

Today, the original brand of doom metal with melodic vocals is usually labeled "traditional doom".


Pogresno shvatanje Doom Metala!!!


Doom metal encompasses a vast variety of sounds. The mixing of styles during the 1990s often led to confusion in the media, who mistakingly labeled some gothic metal, melodic death metal, stoner rock and even grunge bands as doom. Some fans of traditional doom reject some hybrid doom styles like funeral doom, questioning whether they're doom at all.

A number of bands, such as The Gathering and Theatre of Tragedy took the mellower side of Paradise Lost, and began to experiment with female vocals and keyboards, creating the generally more accessible genre gothic metal (specifically, so-called "beauty-and-the-beast" metal). Although this genre is generally considered to be inspired by some death/doom metal bands, it is not considered a doom subgenre.

It has also been argued that a nexus exists between doom metal and stoner rock although each of these genres have developed on their own. The stoner rock bands like Kyuss, Fu Manchu, Mondo Generator and Queens of the Stone Age share with doom metal a heavy sound and a strong Black Sabbath influence, but generally have a different objective: whereas doom metal aims for dark and moody themes/atmosphere, stoner rock aims for a more spaced-out, psychedelic sound. A number of doom metal bands, however, such as Cathedral, Celestial Season and Sleep, have combined doom metal with psychedelic influences, thereby creating a style which some consider a hybrid of doom metal and psychedelic rock.


Teme lirike


Lyrics in doom metal play a very important role, often accentuating its moody and dark atmosphere or creating an ever-present epic feel. In general, lyrics by doom metal bands mostly present a pessimistic view of the world and life, but the approach depends and varies from one band to another. Usually, lyrical themes deal with despair, loss, depression, death, paranoia, anger, melancholy and various other negative aspects. Many bands such as Saint Vitus, Penance or Anathema for example often wrote lyrics in quite introspective, personal ways, while many others such as, Candlemass, Morgion or Esoteric prefer abstract, mythological, religious and/or fantasy symbolism. Various bands from Pentagram to Thergothon and others took some inspiration from horror literature or movies.

Religious themes are very common in doom metal. Bands as Trouble incorporated Christian imagery in doom metal which will be accepted by most of traditional acts, not as a belief, but for aesthetic and symbolic purposes. Individualism is often a main point in lyrics of doom bands rather than belief, so many of them also share interests for the occult and mysticism and use them aesthetically.

As for early Black Sabbath, political themes were always present in the genre, but Swedish traditional doom act Count Raven was one of the first doom bands which wrote social lyrics about war, corruption and injustice in an explicit way. Political and social themes are most present in sludge/doom bands because of their roots or influences from the hardcore/punk scene. Some other bands with social related lyrics outside of traditional and sludge/doom include early death/doom band Winter, while later death/doom bands mostly followed the romantic, poetic-styled direction set by bands like early My Dying Bride and Anathema.

Also, various bands such as Witchfinder General, Cathedral or Reverend Bizarre often wrote lyrics with a sense of humor and irony. Many doom bands took inspiration from experiences with drugs such as Electric Wizard or Esoteric - a similar approach to stoner rock bands, but with an important difference - without a "feelgood" connotation prevalent in stoner rock, but with a dark, paranoid and apocalyptic feel.

STILOVI U DOOM METALU


Traditional doom

Traditional doom is doom metal in its purest, non-crossover form. It is mostly slow, riff-based "downer" metal which was influenced by Black Sabbath, Pentagram as well as the NWOBHM movement. Typical examples include Pentagram, Saint Vitus, Trouble and Candlemass. Four "waves" have so far been recognised in the history of traditional doom: the first one started with the originators of the entire genre, the proto-doom bands Black Sabbath and Pentagram; the second one dates from the mid-1980s, especially in the work of Saint Vitus and Candlemass; the third one started with the success of Cathedral's debut album Forest of Equilibrium; and the fourth has been affiliated with Reverend Bizarre.

Epic doom

Epic doom is often used as a description for traditional doom bands with a stronger medieval and/or fantasy influences in lyrics. It is quite common that these bands present a more progressive style. Also, vocals have a much more narrative, epic, or even theatrical presence. Epic doom traces its roots through more traditional metal such as Manowar and Iron Maiden in addition to emulating the concepts of pre-doom bands such as Black Sabbath. Some of today's most popular doom metal bands with this epic feel are veterans Candlemass and Solitude Aeturnus.

Stoner doom

Stoner doom is very close to (or sometimes is) traditional doom, but with a more psychedelic edge. Stoner doom traces its roots in the psychedelic side of early Black Sabbath. Typical examples: (mid) Cathedral, Sleep, High on Fire and YOB. A significant borderline case is Electric Wizard, whose music can be sometimes seen as a mixture of traditional doom and stoner doom with clear tendencies towards sludge doom. For few bands as UK's Acrimony or California's Goatsnake is actually seen as a hybrid form of doom metal and stoner rock.
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Hibridni stilovi


Sludge doom

Sludge/doom is mix between hardcore and doom metal. Sometimes called "doomcore", it's actually a doom metal with roots in hardcore instead of traditional heavy metal. Combining the slow riffing and depressive outlook of doom metal with the raw abrasiveness and shrieked vocals of hardcore, sludge is at some of the outer limits of doom metal, although a couple of bands such as Eyehategod and Crowbar are fairly well known within the metal community, especially in the New Orleans sludge scene from which they came. Even though first sludge bands sport the "booze 'n' bongs" image synonymous with stoner rock, they lacked the stoner rockers' positive outlook on life. Lyrical themes are typically centered around misery, hatred and nihilism, but also social and political issues owing to its hardcore roots. Some examples are Eyehategod, Grief, Anticlimax, Corrupted and Crowbar.

Death/doom

A mixture of doom metal mixed with elements of death metal, most notably guttural vocals. Typical examples: Winter, diSEMBOWELMENT, early Paradise Lost, My Dying Bride, early Anathema, Novembers Doom, Mourning Beloveth, Draconian and Runemagick. This style emerged in the late 1980s and early 1990s.

Funeral doom

Funeral doom is a style that takes the slowness of doom metal to further extremes, and that puts a strong emphasis on an atmosphere of despair and emptiness. The style can be seen as a departure from death/doom, slowing down the music even further, and frequently incorporating influences from ambient music, creating a sound which is distorted and gloomy, but often dreamy at the same time. Vocals are usually growled, but are often much less in the foreground than in other styles of music, and are rather used to provide an additional texture to the music. The style was originally pioneered by Thergothon,[5] and later also by Skepticism, and Funeral; modern examples include Shape Of Despair, Celestiial, Mournful Congregation, Asunder, Remembrance, Nortt and Germany's Ahab.

Drone doom

Also known as drone metal, drone doom is a genre which is even more repetitive and inaccessible than funeral doom, but not entirely minimalistic. Generally influenced by noise and ambient music, the music often mainly consists of distorted downtuned guitars and bass, usually with lots of reverb applied to the final mix, with clear themes being a rarity. If vocals are present they are often "sung" in a screaming manner (such as Khanate). Drone doom tracks are generally long, with typical lasting between ten and thirty minutes; some drone doom releases even consist of only one album-long track, an example of this being Sun Baked Snow Cave, a collaboration between Boris and Merzbow which clocks in at 62 minutes. Vocals and even drums are often absent, and the music often lacks any beat or rhythm in the traditional sense. Like funeral doom, drone doom typically emphasizes despair and emptiness, abstract and apocalyptic and cryptic themes are also common. Heavily influenced by Earth, Stephen O'Malley can be largely credited for the rise of drone doom as a recognised subgenre, being or having been involved with seminal acts such as Burning Witch, Khanate and Sunn O))). Sunn O))), Boris and predecessor Earth can be considered the most influential bands in the genre. Other notable acts include Nadja, Black Boned Angel, and Torture Wheel.

Jel' moze neko kratko objasnjenje?

Pitanje:

jel moze ko objasniti sta je doom kojem zanru najvise lici,kakva je tehnika pjevanja i o cemu se tekstovi

Chaos wrote:

jel moze ko objasniti sta je doom kojem zanru najvise lici,kakva je tehnika pjevanja i o cemu se tekstovi

Vidi ovako Doom kakav sviraju recimo Anathema i My dying bride spada u death/doom metal...odlikuje se sporom muzikom koja ima melanholichno/depresivni zuk i neizbezhni su death riffovi ....inache je vokal u vecini sluchajeva growl..mada ima i izuzetaka ...moze se naci i scream...naravno postoje dosta pod-vrsta Dooma...npr Funeral Doom...jedan od najsporijih zanrova ...nabavi Evoken ,Shape of Despair ,Skepticism...itd...veoma spora dosta atmosferichna muzika i mrachna da mrachnija ne moze biti...takodje je vokal growl...
postojI i Drone doom ili Drone Metal...to je vishe muzika zasnovana na pravljenju buke...shto gitarama shto elektronikom...teshko se moze opisati Drone...nabavi Sunn o)))...
a da za pochetak svima preporuchujem ranije albume Anatheme...znachi The Crestfallen EP , Serenades , Pentecost III !!! i recimo The Silent Enigma ....

U sta spada Saturnus?

pa Doom...ono malo vuche i na death/doom..ali je vishe ono klasichan Doom...dobar bend..

Jedno njega mogu da slusam od tog zarna, svidja mi se sto recituje u strofama i iako je sporo ima neku energiju!

u zadnje vreme sad zbavio nesto od doom-a pa samo to slusam .
anathema-The Silent Enigma

My Dying Bride- Like Gods Of The Sun ova dva sam albuma detaljno preslusao i odlicni su mi

From the early days of Black Sabbath to the modern-day Death/Doom-Metal of My Dying Bride - A complete historical overview of our beloved genre.

Early doom bands of the seventies...
Most people agree that Black Sabbath is amongst the most influential bands for all heavy metal in general, and Doom-Metal is no exception. Their early albums 'Black Sabbath', 'Paranoid', 'Master Of Reality', 'Vol. 4', 'Sabbath Bloody Sabbath', and 'Sabotage' are all without doubt, masterpieces, and without them Doom-Metal (or even metal in general) would not exist at all.

Whilst Black Sabbath were definitely well ahead of their time, and as such one of a kind, they certainly weren't without their contemporaries (Pentagram, Blue Cheer, Black Widow). Some of the earliest prototypes of Doom-Metal were in fact songs of the late sixties and early seventies that, whilst not wholly doomy, contained countless great riffs that came to shape the sound of Doom-Metal in later years. Such songs include Iron Butterfly's 'Inna Gadda Da Vida'.

One of Black Sabbath's main contemporaries - Pentagram - can be counted as one of the earliest Doom bands around, often intertwining with the band Bedemon one could perhaps best label their style of music as "Proto Doom". Black Sabbath has a huge impact on their sound but they focused more on the doomy side of this style. Thus creating some of the first ever Doom-metal records!

The eighties...
The 1980s brought with them the first bona fide Doom-Metal acts. This was the era in which bands such as Def Leppard, Warrant, and Bon Jovi came to the foregrounds and professed to be "heavy metal", and where thrash/speed and death metal bands ruled the metal scene.

The press also applied the term "heavy metal" in a nasty pigeonholing manner to any band that wore tight spandex and big hair. Whilst there are so many bands during that time that were truly deserving to fly under the banner of Doom-Metal, they were vastly outnumbered by these Glam-metal acts. The eighties were also known for the end period of the NWOBHM, another semi-fast style of metal. So in an era where speed was the prominent factor in extreme music, Doom-Metal acts where greatly outnumbered, but this is the era where Doom-metal was mostly developed and created a name for itself.

One 80s band that made Doom big was Trouble. Originally from Chicago, this band got together in 1979 but gained popularity from 1984 onwards. Trouble's music stands for slow, dragging heavy metal, clearly influenced by Black Sabbath. Due to Christian beliefs of the band and its effect on their lyrics the band initially fell under the label White-metal.

Saint Vitus, another early doom-oriented band, had perhaps the biggest influence on the Doom-metal landscape (together with Candlemass). Their early work was on SST (Greg Ginn from Black Flag's label) and was mostly fronted by Wino who gained more fame later with semi-doom majors The Obsessed. Wino became one of the most legendary figures of Doom-metal in his own right. From his beginnings with The Obsessed, moving on to St. Vitus, and re-forming The Obsessed, he became one of the most prominent and influenctial figures within the Doom-metal scene. He now frequents the Stoner scene with his current band Spirit Caravan.

In 1986, Swedish band Candlemass released the album 'Epicus Doomicus Metallicus', a milestone in early Doom-Metal. Once called "the heaviest band in the world" they picked up where Black Sabbath left off in 1976. The material on 'Epicus Doomicus Metallicus' was in the same style as old Black Sabbath (with Ozzy) but with modern contemporary influences. Candlemass' best years were those with vocalist Messiah Marcolin, a man with an exceptionally clear, deep voice. For doom newbies the CD 'As It Is, As It Was: The Best Of Candlemass' (Music For Nations, 1994) gives a good overview of their works.

Another doom pioneer in the late eighties was Lee Dorrian's band Cathedral. When Lee left Napalm Death in 1989 nobody expected such a volte face. As opposed to Napalm Death's ultra-fast music Cathedral's first releases were ultraslow, super-heavy doom in its purest form. Check out the albums 'In Memorium' and 'Forest Of Equilibrium'. Cathedral's later works are more seventies-rock oriented and the doom atmosphere has slowly faded away.

One label that was very important to this first generation of Doom-metal, and was mainly active during the very end of the eigthies to the mid nineties, was the Hellhound Label. This label signed a great deal of Doom-metal acts whose sound later became known as the "hellhound sound", industriously forming a clear foundation for future Doom-metal acts to build upon. Bands like The Obsessed and Count Raven released many records through this label.

The nineties...
The early 90s heralded a change in the Doom-Metal landscape. With Death-metal having taken over the metal torch halfway through the eighties, Doom-Metal enjoyed a revival. New bands emerged that sought a mix between original Doom-Metal and Death-metal. Early pioneers like Winter with their release 'Into Darkness' in 1990 and Thergothon with their brilliant demo 'Fhragn-nagh Yog-Sothoth' in 1991 broke through the original boundaries of traditional Doom-Metal and formed the building blocks for modern day Doom-Metal. Lets also however not forget a band like diSEMBOWELMENT.

Bands like Winter, Thergothon and diSEMBOWELMENT could not gain the success later doom bands would have with this new style. Three bands from England, whom all shared the same label, Peaceville, propelled the Death/Doom genre to the level at which it stands today; Paradise Lost being the first with their release of 'Lost Paradise' in 1990 (which still had a strong death-metal influence). With 'Gothic' in 1991 they however almost single-handed set the standard for modern-day doom.

Fellow label mates My Dying Bride succeeded in opening the gates for countless new Doom-Metal bands. Their first official release on Peaceville, 'Symphonaire Infernus Et Spera Empyrium', in 1991 already showed this band was destined for greatness and with their second full length 'Turn Loose the Swans' in 1993 they set their status as the largest modern-day Doom-Metal band. Another influence on this new form of Doom-Metal was the third Peaceville band called Anathema. Despite being one of "the big three" they always remained the smallest and least influential.

Also worth mentioning is that at the beginning of the ninties, a band called Earth (no, not Black Sabbath with their orignal name) created some of the heaviest Sabbath influenced music ever. This band became a huge influence on so-called "Drone Doom", an extreme form of Doom-metal.

Nor can we overlook the rise of an odd child within the Doom family, Sludge Doom; very heavy, miserable sounding Doom-metal that perhaps lacks the mournfull and emotions of Doom but fills those with pure filth, discust and anger. Of course also attoning to the teaching of Black Sabbath.

Midway through the nineties the need for experimentation within the metal genre as a whole also touched the Doom-Metal genre. Bands like The 3rd and the Mortal created a more atmospheric type of doom with albums like Tears Laid in Earth' and were one of the first metal bands to have a fulltime female lead singer. Following in the wake of Thergothon, slower and more extreme acts than normal Death/Doom also started to emerge like Funeral, Skepticism and Esoteric. The experimentation "disease" lead to the many different types of Doom-Metal we know today. From the slow and emotionless sounds of Esoteric, Evoken and Skepticism to the Gothic/Doom-Metal hybrids like Theatre of Tragedy. And let's not forget that there is a whole host of new and old bands who still play the orignal style of Doom from the 80s.

Owing to this flurry of experimentation, the boundaries between genres faded and various great Doom-Metal giants moved away from the sound they helped create, giving the whole Doom-Metal genre a creative input of which we have not yet seen the last. The new millenium has already proven that by making 2001 one of the best years for heavy Doom since the early ninties. This indeed promises much for the future...