Doomsday Profit for a band name, I call it! Ahh, it was already taken and if that isn’t the perfect name for these times then I don’t know what is. I won’t get political in this review because well… who’s got time for that. I will get into discussing the awesome music because there’s not enough time with all I could say.
Doomsday Profit is a four-piece are talented musicians individually, but together they tap into some sixth sense and have created one grand debut album. North Carolina has a very cool scene happening and Doomsday Profit is helping fuel the fire.
The opening fuzz-soaked riff comes pouring out of the speakers and chugs along with the drums that rock the core of the earth. Crown Of Flies sets the tone immediately and careful turning up the stereo too much as you may be replacing some windows. The vocals of Bryan Reed are impressively gritty as the song slowly and heavily drudges on. The quartet knocks you off your feet at the three-minute mark with a fast tempo guitar solo to shake things up.
Track two opens with a riff that reminds me much of the introduction of Faceless by Elephant Tree. The bass line laid down by Ryan Sweeney adds bottomless low end to Bryan Reed and Kevin See’s nasty distortion that powers this song. Scryers Of The Smoke is appropriately named as the vocals are reminiscent of fellow North Carolinians Weedeater. The lengthy soulful solo at the end has a unique tone with some sort of flanger/chorus effect, sounding like it’s almost underwater and mixes well with the fuzzed bass lines.
Cestoda crawls along at a slow pace, adding heaviness to the song. Immediately, Lemmy comes to mind when I hear Reed’s voice. Actually, the more I listen, the more I get a Bastard Samurai vibe from the mighty High On Fire (which I guess is why I thought Motörhead). The song of course has an epic solo and fades with one that matches the slow pace that’s riddled with emotion. As we learn from doom metal, speed isn’t everything and this song again proves that.
The long drawn-out chords leave space for the guttural vocals and pounding drums…
Ohhh damn, when the bass hits in the beginning, it gave me chills. I know I compared Doomsday Profit to a few bands along the way and yes you can hear those influences, but they have a sound all their own and it’s none more prominent than on Consume The Remains. The bluesy riff feels heavy and accompanied by the even heavier bass, giving it a perfect tone. There is an incredible psychedelic solo in the middle and the bass drum combo can be heard loud and clear.
Tradd Yancey starts this next track, Destroy The Myths, with a marching like drum beat. His unique drumming style on this song isn’t something I would have expected and feel it fits the track perfectly. Each offering so far fit the Doomsday Profit sound, but the style changes quite a bit leaving you guessing what’s to come. The long drawn-out chords leave space for the guttural vocals and pounding drums while mixing in some (as the promo notes suggest) ‘scuzzy blues’. This may be my favorite song.
Six songs make up this album which means we’ve reached the conclusion with Bring Out Your Dead and due to the variety of songs we’ve had so far, I’m particularly excited to listen to this. Immediately it doesn’t disappoint with long fuzzy bass tones and intermittent high pitched delayed leads. The music pulls you into a trance, allowing you to reflect on the album as a whole. The ten plus minute instrumental reaches for the cosmos with its spacey vibe and I only wish it was longer.
Doomsday Profit’s debut album In Idle Orbit has six songs as mentioned above, and none will be skipped as I continuously hit repeat. It’s a solid album and the band has, in my opinion, a ‘bright’ future, despite the ‘dark’ riffs. The epic music the band has released is filled to the brim with energy and are sure to put on a killer show live, I only wish I could experience it! Oh wait, I can and I am! November 13th in Asheville, NC with USX and Cosmic Reaper.
Scribed by: Josh Schneider