Like City, this is an album that, if you're a fan of the style of music, in this case doom, then you'll likely be a fan of this. If not, chances are you've never even heard of the band. In fact, I'd go as far as to guess that fewer people are familiar with Electric Wizard than are familiar with Strapping Young Lad. Either way, this is an album that took everything Electric Wizard had previously done and knocked it up into the stratosphere. It is easily in the highest echelon of doom releases. However, because doom is not very popular outside of Black Sabbath and a few others, it's an album that continues to live in obscurity.
Electric Wizard's two releases previous to this one (the Pre-Electric Wizard stuff was actually 3 bands before Electric Wizard that were pretty much slightly different incarnations of the band, so I won't count them as actual Electric Wizard releases), their self-titled debut and "Come My Fanatics" were both very strong releases. Their self-titled release was more of a song to song doom type of deal with a few songs over 8 minutes long, but the rest around the 4-6:30 range. They had a simpler structure, but were still pretty strong. With "Come My Fanatics" the sound of the band really seemed to evolve. The songs had more drawn out sections that allowed the atmosphere of the song to really develop atmosphere. However, the songs still had the charm like the charm that songs on their self-titled album had. It was just more of a full experience listening through the album.
That set the table for the lid to be blown off with Dopethrone. First off, just the album cover. Just look it up if you want to see it or haven't seen it. It's very easy to find. The album cover though is what I assume is the devil, ripping a bong. I mean, I don't smoke myself, but I thought that was an incredible album cover right away. Anyway, the album starts off innocent enough with Vinum Sabbathi (Latin for Wine Saturdays, the Latin way looks much more evil though). Vinum Sabbathi is a song that really sounds more like something you'd find on their first album, but with just a beautiful fuzzy bass sound that really dominates everything pretty well for most of the track. It then fades away and blends itself right into the beginning of Funeralopolis. If you ask me, the riff on Funeralopolis is one of the best doom riffs ever written, although is more of a lick at the beginning with the cleaner, bluesy style it's played in as the song slowly and calmly builds up until the full riffage kicks in, heavy as heavy gets. The first 2/3 of the song go in a normal verse/chorus style pretty much, then the last third of the song kicks in with a very groovy riff. If your head doesn't nod to it, you're not hearing it. This leads to a very aggressive last third of the song before it fades off.
After that it goes into Weird Tales, a 3 part song that lasts for about 15 minutes. The first part of the song is a fairly normal, but very catchy doom song with more sweet riffs. However, the crowning moment of the song comes when the atmosphere kicks in full blast. I don't know how to describe it, but he riff that is repeated is quite dark and evil. There is plenty of synth involved to really help the atmosphere to become oppressive and suffocating. This is one of the doomiest moments that I have ever felt listening to anything. It's right up there with Skepticism's "The March and the Stream". The song ends with the atmospheric sounds from the synth going before it eventually fades out.
Now, at this point they could have gotten lazy and just written anything and it would be a good album just based on that. It's almost like with "Among the Living" from Anthrax where the first 6 songs are hugely popular, but the last 3 are often forgotten (although I think a couple of them are actually great songs, Anthrax didn't necessarily get lazy, those are just songs that even a lot of the band's fans are not familiar with). However, there is more atmospheric greatness to come as the album goes on. "Barbarian" is another very strong track, more of a traditional riff based doom track, but still with some atmosphere. "I, the Witchfinder" is right up there with "Weird Tales". It's not as long, and it doesn't have the long outro type of deal to it like "Weird Tales" does, but it's a great atmospheric masterpiece all the way through that goes from great casual riffing to highly intense moments during the song. "The Hills Have Eyes" is more of a musical interlude to keep the album flowing well. It then leads in to "We Hate You", which is another more riff based masterpiece. From there the album ends with the 20 minute masterpiece, "Dopethrone". This is much like the other longer songs on the album and an incredible way to end the whole thing. In later releases a bonus track called "Mind Transferral" was added, which is great as well, and it has been blended somewhat with the "Dopethrone" track, any way it works out, they're all great listens. On the vinyl version the song "Dopethrone" is actually split between sides due to length. Anyway, it's an incredible final track. There's some incredible parts that are drawn out beautifully.
There really is not a single bad moment on this album. It's very strong all the way through, which is almost an absolute must for me to consider something to be a classic. Even some of the albums that most people consider to be the best ever have their down moments to me. "Revolver", "OK Computer", "Blonde On Blonde", and "Houses of the Holy" all included. "Dopethrone" is amazing from start to finish. It stays completely true to what it sets out to do from the very start. It is one of the most incredible albums that I have ever heard, period, and easily one of the best doom albums ever.
They haven't been able to match what they did on "Dopethrone" since, but Electric Wizard do still continue to put out some great music. "We Live" was one that I really liked. Also, "Witchcult Today" was very strong. "Black Masses" and "Let Us Prey" are both also pretty solid as well. However, having released "Dopethrone" Electric Wizard really accomplished more right there than most bands will accomplish throughout their entire time as a band. It's that good of an album.
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