DOOMCULT is a one man Doom Metal band from the south of Netherlands. It's essentially a Bedroom Doom project (can I coin that?). But don't let that loaded term scare you from giving this a try. Yes, it sounds like a programmed drum kit, yes, you can hear the maestro J.G. Arts breathing into the mic at times, yes, it's rather simple and metronomic, but this is Metal, and Doom Metal to be more specific; aren't these raw qualities exactly what we look for in the genre? After all, this is the genre that was spawned from minimalist artists like PENTAGRAM, SAINT VITUS, WITCHFINDER GENERAL and PAGAN ALTAR, who all kept the production to a minimum, gaining a huge number of fervent followers in the process. Hell, even Varg is celebrated for his jail cell compositions, if not just as an oddity. The appreciation of music and art in general is all about the totality of circumstances, and if someone is passionate and original in a Daniel Johnston or Roky Erickson kind-of-way, sometimes that charisma can overcome some of the obvious shortcomings.

Which brings us to the record, "Life Must End."  It's Arts' second album under DOOMCULT, though he seems to have been composing on and off since 1998, dabbling in different genres along the way. It wasn't until he discovered Doom Metal that the idea of DOOMCULT was born. More of a mantra or a religion than simply a band, it's clear Mr. Arts has a passion, a passion that will drive someone to record, mix, master, self-promote and release his own music. You gotta take your hat off to the man.

"Suffering" fades in with a Twilight Zone guitar lick, and as that first power chord hits we are thrust into the album's enviroment. Arts' slightly off-kilter, but skilled UDO-esque vocals, full of reverb, add a unique element that carries the album. His impassioned delivery is often bordering on spoken word in places, like on the next track "Sulphur," where we get shades of Post-Metal or AGALLOCH-esque Folk Metal with some nice guitar harmonies underneath a static vocal melody.

"Black Fire" is a standout track, it mixes in a subtle choral element underneath a chiming bell that makes me think of AHAB's nautical ballads. There's a catchy refrain of "from the fields of Black Fire, I have returned," which is the first real hook of the album.

By "King of Bones", you start to wonder if this is a truly genius album or just the product of someone trying to emulate their heroes and landing on a completely different planet altogether. Either way, the plodding pace and the inorganic nature of the drums make it a bit of a slog. The song responds by picking up the pace to a rocking pace about four minutes in before returning to the album's default "preacher on a pulpit" mode.

"Ashes" has a bit of an ACCEPT vibe, sort of an 80's Hair Metal flair to it, before getting into a dramatic PARADISE LOST-ian chorus. It's a cool mix, but generally predictable in its A-B-A-B structure. "Inferno" comes on with a desert rock vibe, with some nice twangy guitars while a choral backing in the verse elevates the song.

The closer, "Deathwish", is a statement song, with a serious gurgling growl at the beginning.  Here we are introduced to the main character: "I will set you free, I am Doomcult!" The choir returns to decent effect in the outro with the programmed cymbals feeling almost trancelike in their static nature.

We need people like J.G. Arts, whose passion flows on this record, to keep the spirit of this music alive, but for one reason or another this collection of songs doesn't quite take off. Maybe it's due to the nature of the recording process or lack of human drummer, but certainly not because of the abilities of Arts, who plays every instrument and mixes them with great care. Listen as an oddity or as the next greatest trend in Doom Metal, either way, it's well worth your support. Doomcult lives!<