Apologies to my girlfriend but can I marry this album? Because I'm absolutely in love with it. Why?  Because KING ZOG's impressive self-titled full-length debut is a journey thru the heart of doom.  The atmosphere is dirty yet modern but also has uses that old school to it.  They are clearly influenced by ST. VITUS and anything else WINO has done.  The vocals are clean; Daniel Durack finds a striking balance between a throaty wail and a gruff stoner vibe.  He doesn't stop at singing either-his riffs offer a monster truck load of battering rams and sludge.  Truly, this album has riffs for days.  He is at his best when his vocals and riffs work on top of each other, such as on the oddly titled "Fuck Island."

The title track, "Lost At Sea," is a great opener-the slow, sludgy riffs bring a weight to the song that might be heavier than the sea itself.  The hypnotic buzz of the bass and the dense double bass only add to the doom mountain as it climbs higher and higher towards the sky.  At its height, the melodic guitars in the middle of the song crash from the rumbling bass, swirling together in a sound that is heavy as a grave and cold as death. "Hexagram," might be the heaviest song I've heard this month. Martin Gonzalez's bass is a bulldozer of destruction and the guitars recall the heaviest moments of CROWBAR.  The lead guitar of Vince Radice works well with the vocal lines during the chorus.  The lead guitar really adds a lot to this song, especially with the almost trippy  guitar solo and the tinges of melody it adds to the riffs immediately thereafter.

"Temple's Temple," really brings out the fuzz and from 2:57 to well over a minute after, the sonic destiny of the riffs made me feel like my ears were caving in.  The whole song is basically nothing but a doom metal version of a jam band and nothing else could be better than that. "Season in Hell," sounds about as dark as the title.  As he does throughout the album, Rory Keys' drums are hit with an intensity that isn't often seen in doom.  The rumbling double bass sounds like a horde of demons stampeding towards to grab and pull you into the flames. The album just never lets up, even for a second.  It doesn't matter if they are playing slow, mid, fast, or throwing in a solo or a jam session-the band always retains this distorted wall of sound that over takes everything in its path. Like Doom Metal? Grab this album.  Don't like Doom Metal? Grab this album and find redemption.