When we last heard from Finnish death/doom disciples, Hooded Menace, they had just released their sixth full length, The Tritonus Bell (2021): An album that I branded as “perhaps the least death/doom sounding death/doom album of all time”. Compared to their past output, there was a sharp pivot towards traditional metal flavored melodies and guitar parts, which when paired with the band’s monumental Finnish death/doom sound, resulted in an unforgettable listen. On its long awaited follow up, Lachrymose Monuments of Obscuration, Hooded Menace doubles down on these influences, expanding their sonic palette even further and testing the limits of death/doom as a whole.
In many ways, Hooded Menace are to death/doom what Crypt Sermon are to epic doom. While both bands adhere to the ethos of their respective genres at heart, they’re also unafraid to incorporate outside influences, regardless of what fans or critics alike might think. And in an age where modern death/doom is almost exclusively dominated by bands regurgitating the ’90s Incantation sound, that’s cool and exciting. I guess in some ways I’m a hypocrite, as I’ve decried other bands as “posers” and “sellouts” for similar musical explorations. I guess the two biggest differences here are 1. Duran Duran cover aside (yes, you read that correctly), it’s not like the new Hooded Menace is made for radio, and 2. This album is incredible.
From the goth-synth opening of “Twilight Passages”, it becomes apparent that, much like last time around, whatever death/doom we will hear on this album will be drawn from the bleak, goth-infused English well. As suspected, the aptly titled “Pale Masquerade” kicks things off on this note. Aside from the growled vocals, there isn’t much “death” to this one at all. Musically, it’s a midtempo goth-doom banger with daring arrangement and Mercyful Fate-esque leads. “Portrait Without a Face” sees the band goth it up even further, armed with an epic that could, for all purposes, pass as an old Peaceville band trying to sound like Sisters of Mercy, or perhaps a bizarre universe in which vice versa occurs.
Guitarist Lasse Pyykkö (who also handles bass and keyboard duties) must’ve revisited his old Mercyful Fate and Candlemass records while writing this album, because his guitarwork from start to finish boasts that same esoteric charm, equal parts bewitching and air-guitar friendly. “Daughters of Lingering Pain” is one part trad doom dirge, one part Don’t Break the Oath era headbanger, while “Lugubrious Dance” is the sole slab of death/doom on here with an extra emphasis on “death”, thanks to its suffocating riffage and tortured vocals. Did I mention there’s a Duran Duran cover? Yes, Hooded Menace tackles the “Wild Boys” classic “Save a Prayer”, and against all odds, kill it. To my ear, it feels like a throwback to those Type O Negative covers, proving that even the peppiest of pop songs have a dark underbelly.
Come the nearly 10 minute closing Celtic Frost tinged romp that is “Into Haunted Oblivion”, I’m convinced that if Lachrymose Monuments isn’t the album of the year, it’s damn close. From start to finish, this record grabs hold of every sense in the body, and never lets go. While I can analyze all day this band’s sublime ability to balance between death, doom, goth, prog, and traditional metal (sometimes within a single song), what’s even more impressive are the songs themselves, which always manage to sound fresh and original. There’s no obscuration here: You’ll be hard pressed to find a stronger death/doom album in 2025 than Lachrymose Monuments of Obscuration.
10 out of 10
Label: Season of Mist
For fans of: Paradise Lost, My Dying Bride, Candlemass