Not all Doom bands need to achieve an ominous, soul-crushing vibe. Not all Doom bands need to tug at the heartstrings with poignant melancholy and depressive themes. Not all Doom bands need to feature the world’s greatest vocalist, nor do they need to possess a wealth of stellar musicianship. But if they’re going to be at all effective in any way, a Doom band sure as shit needs at least one of the above going for them. This Southampton trio never has and still doesn’t. On full-length #3, Moss attempt to change things up a bit, but the end result is tragically the same. They’ve simply found a different path to mind-numbing boredom. Whereas in the past, these guys would throw together a couple 20-minute Sludge drones and call it an album, they want to be Electric Wizard and Warning this year. Unfortunately, they still don’t write riffs. I admit, the guitar sound Dominic Finbow achieves is monstrously heavy. That’s never been the problem with Moss. Kudos on his amp, strings, pickups, and distortion pedal selection skills. But as some drunk old whore once told me mid-blackout sex: “You’re not workin’ it!” The man plays his instrument like he’s learning chords for the first time, just trying to get a feel for how they sound. It’s all just single strums and incohesive bridges between them. Ring out for infinity and repeat. The band is still sleepwalking through slow-motion nothing, they’ve simply cleaned up the production a bit and altered the length of the torture segments. Speaking of torture, Olly Pearson tries to sing now. Trading in his mediocre Sludge scream of old to better suit the band’s Trad Doom shift, his newfound grating croon resembles a tone-deaf Ozzy at best. So… no riffs, no songs, weak singer, for about an hour. As I said, Moss haven’t really changed much. I’m sure they’ll still do well with people who only listen to music while getting/giving tattoos, but substance-seekers will be fast asleep halfway through “Dark Lady.” Horrible Night is a horrible album.
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