“From its inception we wanted this band to be less constrained in this way and leave plenty of room to let things grow in different directions and morph naturally.” Guitarist Oliver Hill adds, “I think the surprising thing about how we felt about the insanely multifarious nature of these song is, that we were totally confident in expressing ourselves with total freedom, using a musical vocabulary that spans our motley influences.”Īlthough a myriad of influences and contrasting elements may sound cumbersome on paper, on their third full-length record, GRAVE LINES achieve cohesion and immersion with aplomb, easily navigating the hurdle of third album syndrome. “W e always give consideration to things having an overall flow and not feeling too disparate, but ultimately all these other elements that come through are as important as the heavy/doomier sections,” explains vocalist Jake Harding as we begin to dive into their elaborate aural ecosystem. Although the London-based band have long utilised doom tropes as the bedrock of their sound, in actuality, their soundscape is much more multi-faceted through the incorporation of ambience, gothic passages and seeped in melancholy as show on third album Communion. From the first rumbling notes of BLACK SABBATH decades prior to catered and specialist festivals like Desertfest London, the UK’s appreciation for the slow riff has been a cornerstone for our heavy music scene. Doom metal has a long and decorated history in the British Isles.

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