In spite of a (vinyl) release with the name "F**k You! We're LUCIFER'S FALL!" this is not a Punk, or Garage Rock band but a Doom Metal outfit. As with anything from the scene down under, the musicians of Oz are passionate about whatever they choose to create, no matter whatever chaos engulfs the world around them. In order to fulfill the role of an outstanding new Doom Metal act, the elements of timing and content will provide proof of both stance and direction after a series of sessions leading to what may very well be Australia's answer to pulling away one of the pipes of the Graeco-Roman God Pan from the sacrosanct wilderness of occultism & towards the goal of honoring their audience with songs moderately influenced by the UK's WITCHFINDER GENERAL to the early albums of America's TROUBLE. Since there's no exception to working class Aussies dreaming their way into the confines of the Doom Metal subgenre, an eagerness to see how they fare from the subgenre's standards may draw attention to their members while the loyalty of the most serious fans may be renewed after some waning popularity in between 2006 - 2011 or so.

After split releases with the likes of Finland's CARDINAL'S FOLLY, rehearsals, & 3 studio albums, the brash sound they bear lures diehard seekers of Doom after a succession of material encompassing songs from just under 4 minutes, to even 9 minute compositions, destined to intrigue the newcomer as well.

While there's nothing unusual about the production, the relatively short tracks secure an intensity in tone, but then easily reveal a grounded sound tipping towards only a sort of "stockiness" in its riffing. It may be that referring to their previous material would explain how gradual their songwriting came to light, but serious fans w/memories of not only WITCHFINDER GENERAL, TROUBLE, and CATHEDRAL will affirm that these attempts at genuine Doom Metal songwriting means that they will clash with/changing tastes among fans, and will characterize the subgenre through this most recent release as bands like CANDLEMASS and SOLITUDE AETURNUS were considered more elegant and somewhat aligned with the Power Metal subgenre. If you are an older fan you may already be accustomed to tracks running over 6 min. & that is why we may expect this new album to win over some hardcore Doom Metal fans w/a sense of familiarity just for the presence of longer tracks as a common trait among the subgenre. The Time & effort found on "III: From the Deep" may give away vibes from a band that is close-knit for this moment.

To be more specific on describing the band's sound, we could probably conclude with some realism that the debut album of the UK's CATHEDRAL loaned its genetics to this third Volume. Tracks like "Soul Sacrifice" and "A Funeral Request" by the UK heroes depend on the same pace uncovered in the Aussie's Doom 'n Roll. The title track to the classic TROUBLE debut is illumined by vocalist Deceiver's dramatic rant in "Across the Void". "The Cave" may remind one of early TIAMAT and the final title track seethes with a bassline akin to the classic SAINT VITUS track "an" both in style & subject matter as they each explore the fears of the World's oceans. If these comparisons are to be taken seriously, then here it is where we have perhaps stalled ourselves upon our excitement for LUCIFER'S FALL as the heavinness of their players descends into a valley of an almost forbidden harmony and vastness that is both tedious and so discernible that we might have to leave behind the Seven Spheres (or Pipes) of Pan right then and there, unless the band members themselves find a way to trick the Gods into letting them own it for a bit longer.  In short, their peers seemed to have already fulfilled what LUCIFER'S FALL have been pursuing in their attempted knacks at even more Doom Metal merit.

We may have to settle for defending the band on the basis of the underestimated popularity of the Doom Metal subgenre. Once Decibel magazine gave readers a chance at appearing in the tome's monthly feature "Decibel Reader of the Month" where in one instance a young lady enthused at being given a chance to express her declaration for how Doom Metal always had unfulfilled potential. This was a feature first appearing in the 2008 - 2010 years or so, and prior to that, even Holland's GOREFEST drummer Ed Warby had joined 13TH HOUR, as a fledgling Doom Metal act with a MySpace page. The seeds of BLACK SABBATH weren't replanted by any one act, and even WITCHFINDER GENERAL were touted for their originality without swiping such riffs so liberally.

LUCIFER'S FALL may have re-introduced a sort of underlying Doom Metal order, but it would seem any further songwriting may gradually set a pace towards progressive stylings not unlike ENSLAVED and as certain tracks resemble HIGH ON FIRE as well. Many of the tracks here contain brief licks that coil around the riffs but do not fully release themselves and secure distinction within so as to be heard from without. Collaboration is of the utmost importance & so if the band can maintain such patience so far, then the high points of previous releases, such as the aforementioned nine-minute track from the debut, an instrumental track accompanying it at the end, plus "bisected" tracks like "The Invocator/Cursed Be Thy Name" (taken from "Part II: Cursed and Damned") will help the band find their way into a newfound fan-base that is craving more Doom Metal to relate to, complete with uninhibited lyrics focused on spiritual hysteria & mythological thrills, all sung in the wholesomely masculine voice of Deceiver (vocals), who serves as a sort of morbid preacher for all who would listen to his sour-sounding wails.  Even if dumb luck forsakes them, their finest hour could come as soon as their next studio album would be written.