Todd Michael Hall isn’t the only metal singer boasting multiple releases in 2024. So is Felipe Plaza Kutzbach, who absolutely blew our minds fronting the resurrected Scald on their jaw-dropping comeback album, Ancient Doom Metal. Aside from Scald, Kutzbach keeps more than busy holding down the low end for Deströyer 666. He also fronts epic doom horde Procession, as well as their sister band, Capilla Ardiente, who we are tackling today with their third album, Where Gods Live and Men Die. Between the aforementioned Scald album and Crypt Sermon’s The Stygian Rose, 2024 is shaping up to be a killer year for epic doom, so I figured I’d give this bad boy a shot and see where it falls in the mix.
In true epic doom fashion, Where Gods Live and Men Die consists of four songs clocking in at just over 45 minutes. Yes, you read that correctly. Every song on here surpasses the 10 minute mark, save for the closing “As I Lie on the Summit”, which comes in at 9:44 (close enough). Those who like their metal on the short and straightforward side best avoid this outing like the plague, but I’ve been known to voyage into the metallic unknown a time or two. After all, it’s not like Rush, Iron Maiden, Mercyful Fate, or other personal favorites were known for their two minute pop songs.
The opening “Envenomed” can practically be characterized as epic sludge metal, due to the hellish murk of the guitars and its plodding pace. Kutzbach lays down some unorthodox operatic vocals, characteristic of Candlemass’ Johan Längquist, and we’re off to the races. Don’t get it twisted: In the case of Where Gods Live, slow and steady wins the race. “Envenomed” then veers off into a harrowing prog-doom abyss, which is the first of quite a few heady passages that add character to this bleak release. “The Hands of Fate Around My Neck” comes off as even more Candlemass-esque, boasting a more traditional doom arrangement than “Envenomed”, and is in turn my choice cut. When it stays midtempo, it’s pummeling, and when it slows down, it’s flat out torturous.
“Now Here. Nowhere” doubles down on the progressive meanderings of “Envenomed”, channeling King Crimson at their most metallic and unhinged. The guitars stride the line between lumbering doom riffs and Robert Fripp inspired freakouts, making this a most intense headphones only affair. It’s at this moment that something becomes very clear: These are less epic doom songs and more epic doom soundscapes. This point is hammered down on the closing “As I Lie on the Summit”, which is nothing short of earthshaking. From its colossal riffage to its devastating delivery, it is the figurative final nail in the listener’s coffin.
While I admire Where Gods Live and Men Die for its grandiose ambition, it’s tad too esoteric, otherworldly, and somber for my taste, which speaks volumes. That doesn’t make it any less impactful. In fact, I’d go so far to say it’s well worth an exploration at your own risk. However, I now find myself cranially exhausted, eager to retreat to the safe haven of Pentagram’s demonic shuffles, Trouble’s weed infused grooves, and Iommi’s glorious coke riffs circa ’73, courtesy of Golden Earring’s Moontan. Have I over-doomed myself? Yes. Yes I have.
6 out of 10
Label: High Roller Records
Genre: Epic Doom Metal
For fans of: Procession, Candlemass, Solitude Aeturnus