ALBUM REVIEW: Miasma Theory – Miasma Theory
When the global pandemic hit, Zachary Randall of Floridian doom metallers NORTHERN CROWN decided to embark on a project that so many others across the globe were about to as well – start a brand new band. On Friday, that band brings out it’s self-titled debut, Miasma Theory, via Shadowlit Music (a label Randall also founded over the last year and a half). An accomplished musician in his own right, Randall – who plays rhythm guitar and keys on the record – is joined by his NORTHERN CROWN partner in crime Leona Hayward on bass, and lead guitarist Juan Carrizo to form the nucleus of the band, whilst Māra Lisenko and Jonas Schütz have been brought in as guests on vocals and drums respectively.
MIASMA THEORY‘s apple hasn’t fallen too far from the NORTHERN CROWN tree, as one might expect given Randall’s prowess with his other project. This is no clearer than on Together As One – a song about uniting to create a better world as an old one ends. It has strong SABBATH overtones around an ethereal solo and subtle piano backings, with Lisenko’s heartfelt voice cutting through the ambience. In addition to this, the record ends with Under The Oak, a faithful cover of the CANDLEMASS track from their Epicus Doomicus Metallicus album.
A tall order to begin with by choosing to take on a song from one of the most seminal doom metal albums of all time, MIASMA THEORY’s version subsequently falls short of anything close to equalling the original, but no band looks at a song and thinks ‘I can do that better’ – they’re done out of love for the artist/s that created it in the first place, and on that premise, this new rendition does exactly what it needs to in doffing a cap to one of the genre’s greatest.
Elsewhere, though, this short yet sweet album sees Randall and co. branch out into new territory. Opening song Forever Ends Today is firmly in the annals of the New Wave of British Heavy Metal, the duelling guitars indicative of early IRON MAIDEN with their sweeping patterns and rawer production that harks back to the band before Bruce Dickinson was even a thought to be their new singer.
Next Time, Last Time is supposedly a love song, which one will have to take Randall‘s word for as the initial ballad feel explodes without warning into a frantic solo that has more in line with the early thrash movement of the mid-80’s than anything else and seemingly finishes in a cacophony of drums and squealing guitar strings. However, it’s punctured by a gruff, heart-rending scream from Lisenko of “I swore this time would be the last time” as the song kicks back in for another few minutes. The eight-and-a-half minute Vector is the final song present and opens with a filthy bassline from Hayward before elements of the rest of the album are brought together in one hefty fist aimed squarely at those who haven’t taken the pandemic seriously.
MIASMA THEORY have got legs to them, and for all that this may be seen as a side project right now, there’s certainly enough here to warrant more from them in the future. It’s not the best thing that will be released this year, but if your love for metal started with the classics from two generations ago or if you have a penchant for twin axe attacks, there’s a lot you’re going to seriously enjoy here.
Rating: 6/10
Miasma Theory is out now via Shadowlit Music.
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