Italian occult doom metallers CARONTE have followed up 2014's "Church of Shamanic Goetia" with a companion piece which sees the band slowing down their sound further. Their name is Italian for Charon, ferryman of Hades (the underworld in Greek mythology).

As many a doom fan knows, slower music can be just as powerful as faster music. Opener "Invocation to Paimon" has a soul-crushing main riff accompanied by baritone chanting which adds to the occult atmosphere. I was reminded of ELECTRIC WIZARD's heavily down-tuned, distorted riffs. Dorian Bones has great vocal technique, even if his voice sounds a lot like other male singers who sing clean vocals in doom metal bands. His notes sound free and never forced, and he sustains longer notes without faltering. Tony Bones's solo towards the end of the song soars, and is well-mixed in among the pea-soup-thick rhythm parts. Henry Bones rounds things out well with his bas playing, which adds the right amount of heft.

On "Elixir Rubeus", D. Bones gives a powerful clean vocal performance, and does equally well on the death growls. I liked the alternation between clean vocals and growls in the chorus. The reverb on the vocals enhances D. Bones's already-good resonance. The song goes into a quieter interlude with delicate-sounding drum work from Mike De Chirico. The vocals are haunting. A catchy, heavy riffs brings the song back to a fuller sound. T. Bones once more brings in a great solo towards the end of the album.

A drone note opens final track "Rites of High Theurgy". The chanting adds interest to the track, and creates intrigue. One would think that a tambourine is the province of happier-sounding stoner doom bands, but on this track the tambourine adds to the creepiness. The harmonies between the heavier and lighter riffs make for an interesting musical contrast.

This is a band that handles the slower, especially heavy side of doom metal really well. They know how to metaphorically crush the listener while maintaining interest through well-composed music.