venerdì 20 dicembre 2019



SuuM hail from Rome, Italy, and are described as playing ‘traditional doom metal’.

As an ardent fan of the genre, I’ve been on the look-out for bands to fill the cavernous void left by my beloved Reverend Bizarre, who committed themselves to the earth back in 2007. 13 years on, and I was convinced that those darn Finn’s had taken the entire genre down with them. (So long, suckers, indeed!)

So when “Cryptomass” came up for review, my interest was immediately piqued with the trad-doom categorisation. Yes, the cover art looks a bit crude, but luckily, I was obliged to listen to the album, and to my absolute delight—I found traditional doom metal of the highest order!

Much of the band’s sound harks back to the Scandinavian revival of the early 2000’s, with bands like Reverend Bizarre, Spiritus Mortis, and Griftegard clearly being heavily influential, but SuuM are able to inject enough of their own ideas to prevent things from becoming clichéd. The album stays firmly rooted in the traditional doom style, yet there’s enough variety within the songs to keep things interesting throughout this fine selection of graveyard soirees. I thought the song writing on “Cryptomass” was exceedingly well done, with the band conjuring ominous atmospheres and melancholic imagery, whilst drawing a nice balance between the funeral dirge and a foot-tapping rhythm.

The vocals were a particular high point for me: harrowingly operatic, whilst at times wild and unhinged; lead vocalist, Mark Wolf, is certainly fundamental in giving this band its unique sound. The guitar tone is heavy, but maintains a certain clarity to allow for the dynamics of guitarist Painkiller’s playing to be clearly heard amongst the cacophony. The bass is prominent in the mix, with just enough distortion to make for a fabulously heavy sound, and the drum work harnesses the traditional ‘less-is-more’ approach before a thorough reverb-soaking makes for the kind of echo you would only find in the most sinister of Ceremonial Halls.

One of the album’s highlights was certainly the title track ‘Cryptomass’, which takes the listener for an 8-minute retrospective through the catacombs of doom metal past. Others include ‘Claws of Evil’, with its fabulous Sabbathian styled riffs; ‘Mass in the Catacomb’ then serves as a nod to Black Sabbath’s ‘Orchid’; and ‘Creatures of the Vault’, which boasts a gloriously triumphant outro as it soars high into the night.

Make no mistake! “Cryptomass” is one of the finest displays of traditional doom metal for many years, and I would certainly place SuuM amongst the best doom bands to have emerged in recent times.  While some say doom metal may be dead… something still stirs in the heart of the Mediterranean.


Ever wondered if you merged Candlemass with a bit of Danzig and gothic punk rock vocals what it would sound like?, here's your answer. Italian doom metal band Suum excavates a mass of bones on their 2nd full length record, Cryptomass. Wails ever catacombic anoint the 9 mysteries on this monolith of a record. Where do I even fucking begin with this album, holy cunt is this some sweaty doom metal, I don't know where this band has been but it’s a damn good thing they're still active. Set for a Valentine's Day release, Cryptomass is a love letter written in blood and a bouquet of rotten roses sent to all things doom metal.

Upon descending into the ossuary, I found with pleasure 'Cryptomass' carries all the hallmarks of what a traditional doom metal song should sound like. Both heavyyyy! and eerie guitar power chords, slow booming drums, epic vocals that cape the loud instrumentation and above all, that mysterious sensation we look for when this sweet music plays. Without a doubt, this was the song that hooked and reeled me in, specifically the monstrous opening riff and the exclamatory fashion in which Mark Wolf delivered those caressing and catchy as hell vocals; simply could not ignore it. 'The Silence of Agony' is one haunting as fuck piece; the promotional video shot for it is on target, it absolutely fits the crawling yet pummeling pulse of the combined instruments. This is one of inscrutable beauty and nightmarish mysticism, Wolf's mix of Glen Danzig like vocal signals with that Italian accent is a symbol of refinement on this song and record.

Best track on Cryptomass goes to 'Creatures of the Vault'; my nomination for best performance had already been set as the vocalist Mark Wolf due to his howling throat, but that would soon change. The stage is lit a fire by the scorching guitar solo, a sonic explosion laid down by guitarist Antonio (Painkiller); you want to talk about squeezing invisible oranges, then prepare to guzzle a truck load of organic orange juice. I don't think your ears are ready for an intake of that much audial pleasure, try not to overdose from the stringed sorcery you're about to experience. It's the second-best solo I've heard off a record scheduled to come out in 2020, the best one goes to Worm on their song 'Apparitions of Gloom'. Thus said, I am disappointed Antonio was not given more freedom to on the album to lay down some more of those swaying solos. It's a fault I often find in doom metal generally, but one here it's more fretful this lack of guitar solos and it ticks me off because the songs are setup for such, and the production is even more supportive of it. You'll hear more on 'Burial at Night' and 'Claws of Evil'; other songs have but aren't done in the committed way as was presented on 'Creatures of the Vault' which is a disappointment. Guess you could say I'm a traditional metal head, remember those albums that had a solo on every song, it’s the soul, the identity of the music.

Joe Grave and Fed Kemper are bystanders in all this but take nothing away from their performances they execute their duties to complimenting effect. The bass is audible and follows the leads well, same goes for the drumming, its loud carries a sense of confidence and keeps a consistent pacing. However, I think they had the privilege of watching two classy musicians battle it out on the big stage that not only made their task easier but more enjoyable.

The spear of doom is aimed at 2020, the stench of old grounds arises.
Spectral Miasmas Unearthed


Normalement, dès lors que les mots "doom" et "italien" sont présents dans la même phrase, on sait de façon presque certaine qu'il va se passer un truc ; parfois un fiasco effarant, mais bien souvent un coup fumant.
Il serait un peu facile, mais non totalement fallacieux, d'entendre dans Cryptomass quelque chose des deux derniers noms à nous avoir infligé une rouste cuisante assez pour revenir promptement en mémoire, dans cette catégorie, à savoir Night Gaunt et Caronte, ce qui tombe assez bien puisque le dernier nommé nous a tout récemment infligé une déception, certes à demi attendue, en prouvant qu'il avait comme on pouvait le craindre fait le tour de son propos.
La musique de SuuM est au moins aussi obscurantiste, dévouée à l'ombre et faite pour vous environner d'une crypte (sans blague ?) oubliée du monde, douillette alcôve pour toutes les plus patientes cruautés, que celle de l'ensorcelant The Room ; à n'en pas douter elle porte dignement le programme affiché par cette pochette et ces couleurs, que l'on voit. Quant à son chanteur, s'il éveille des échos de Glen Allen Anzalone momifié, c'est carrément avec l'Angelo Bergamini du légendaire Zentral Friedhof qu'il fait le plus de connexions ; et aux deux il ne renvoie que depuis une hiératique et sévère pose enveloppée dans une cape de chiroptère : on voit si, ceci ajouté à cela, il est question d'un disque occulte, envoûtant, empreint de religiosité désespérée... et sachant hululer à la pleine Lune sa soif de sang quand à l'occasion elle se fait sentir.
Tout ce que devrait être le doom, direz vous ? C'est où l'on en revient à notre propos premier, car en vérité je vous le dis même Ice Dragon font des cheveux blancs, à entendre Cryptomass : Italians do it better.


Seconda uscita sulla lunga distanza per i capitolini Suum, fautori di un ossianico doom metal, figlio delle evocative visioni di Leif Edling (Candlemass/Krux) e Dennis Cornelius (Revelation/Oversoul). Decisamente più ortodossi rispetto ai conterranei Doomriser, la band risulta devota tout court ad un riffing pachidermico senza grandi variazioni, privilegiando così l’ascolto ai soli cultori di genere. Nella pesantezza e coerenza generale, risultano però interessanti le digressioni simil-black nel cantato del singer Mark Wolf nell’ottima ‘The Silence of Agony’. La produzione a cura Daniele Perticaroli, esalta il mood generale e rende intelligibili le distorsioni delle chitarre di Painkiller e del basso alla ‘Electric Wizard’ di Joe Grave. Anche la voce risulta ben bilanciata nel mixing e rimarca l’aura spettrale dei pezzi nonché l’abisso senza speranza dei Suum. Non c’è alcuna luce in questa musica e l’evocativa cover disegnata dallo stesso Painkiller, non fa che rimarcare la desolazione presente nell’animo dei nostri. Ci troviamo dunque ad un altro prodotto di ‘spessore’ di italian doom che consolida il valore di una scena underground sempre più viva e incurante delle mode del momento.


Earlier this month I pulled up a band wiki called Encyclopaedia Metallum designed to list groups by country and was surprised to see a bona fide black mass of occult music covens in Italia. Coincidently, the lads of SUUM (2016) summon their haunted spectral gatherings from Rome, Italy. Proof that the divine love of Metal Temple extends to many a band, I reviewed the Italian gore hounds CARONTE a few weeks ago; they and SUUM shared a recent show this very month of January at Orion. My CARONTE review is found here CARONTE REVIEW. SUUM had a very recent change of lead throat with Misantrophil replacing Mark Wolf to stand tall before the center stage Shure. Let us have a listen, shall we?

“Cryptomass” schwings in with church bells banging, heavy reverb soaked guitar, the whole spooky nine yards - and I think “righteous!” … and that is the last time we sample that bit of sonic souse until the last song ending fadeout. Misantrophil makes up for this with his dramatic baritone and operatic delivery that invokes the SUUM majik with his singular voice. More on him later on in my review … “Creatures from the Vault” track #3 is one of my favored tunes on ‘CRYPTOMASS’ with Misantrophil throwing down, down into the dramatic realm of King Diamond style vocals– sans falsetto – featuring a final molten lead guitar outro by Painkiller. Right on¡! “Funeral Circle” grabs my attention beginning with bloody heavy doom guitar before easing up for the vocal voodoo. Track #5 “Burial at Night” is another standout track, with a surrounded-by-sludge theremin-like wail leading the way into the song’s sludgy underworld – at 7:35 minutes-seconds, maybe a bit too sludgy at times - and another ripping guitar tag by Painkiller, who dredges up a malevolent alloy of doom-metal guitar tones on this release. This cat can play, delivering arpeggiated dagger blasts of guitar when he takes a lead. I dig it. “The Failure of Creation” has a hocus-pocus grind allowing Misantrophil to plaintively plead for his soul. We get to a musical mutatis mutandis with the arrival of “Mass in the Catacomb”, namely some evocative rococo guitar and vaguely medieval latin ramblings. The last tune “Reaper Looks in Your Eyes” shows some spunk with Misantrophil sounding a bit displeased. Take that, Reaper.

Misantrophil sounds a bit like the amazing baritone of Peter Murphy of BAUHAUS, and has a bad-ass baroque vibrato with his trillos caprino and cavallino. His wild performance, reminiscent of King Diamond and Screamin Jay Hawkins, letter by letter unchains this release from a horizontal slog through Heavy-Metalandia, taking us down, down to where the howling demons of 60 beats per minute convene.  I don’t know if it is the economy, the politics or the weather working the levers of discord; I don’t know if it is the proximity to His Holiness that promotes this heady anti-scene of black metal and stoner doom in Italy, home of the great LACUNA COIL and HAUNTED and about a thousand other heavy music groups. Whatever it is … it is happening Jack ! I shall drop another pin on the map for future travels and find out in due course. SUUM, your time has come … Arise ¡!


Okay Italy, okay, there is hope, after all. In case you missed it, which I know you did, I've been ripping on Italian doom metal over the past couple years because pretty much any submission I've gotten from the country in said genre has been total ass. The primary reason is this strange tendency to focus on a much older sound that hearkens back to the days when doom was just called hard rock or something. This is often a feature of the current times, but the issue with the Italian vein of it, as I've seen, is it's rarely able to come to terms with modernity. SUUM have taken up that challenge to not be ass and defeated me with Cryptomass.

Perhaps the primary reason SUUM is so successful with their approach is that the vocals just get it. Mark Wolf has to have formal training, or if not he was born with the perfect throat for this kind of sound. His words carry like chants and lonely laments in a cathedral, which is exactly what this type of doom requires. Beyond that, Cryptomass has a slow, purposeful step. The riffs need not impress with complexity, they dwell more in remoteness, making for a surprisingly successful combination of the olden days with youthful echoes of the modern. Toss in some unpretentious solo work, and you've got some old school doom perfection that avoids the usual ass foolery that turns me off to most of it.


Het tweede album van de Italiaanse doom metal band Suum vult de donkere winterdagen.

Trage en loodzware riffs druipen langzaam uit de speakers vanaf de eerste tonen van het openingsnummer. Het is het titelnummer van het album, Cryptomass. De vocalen van Mark Wolf lijken van ver te komen en echoën vanuit de donkere krochten van de hel.  Het geheel zorgt voor een donkere en onheilspellende sfeer.

Met negen nummers die bijna een uur vullen, zorgt Suum voor voldoende luistermateriaal. De titels geven al wat prijs over de inhoud, zo is er onder andere Creatures From The Vault, Burial At Night, Mass In The Catacomb en Claws Of Evil. Het mag duidelijk zijn dat dit geen opgewekt en vrolijk album wordt.

Gaandeweg de nummers worden de vocalen van Wolf wat dominanter en lijkt het net alsof hij degene is die een menigte moet opzwepen en moet waarschuwen tegen het naderende onheil. En ondertussen blijft gitarist Painkiller zijn loodzware riffs spelen, ondersteund door traag baswerk en stevige drumpartijen. Op het eerste gehoor lijken de nummers behoorlijk op elkaar, maar wie goed luistert hoort toch wel degelijk verschil.

Er zit genoeg variatie in het gitaarwerk, naast de lome riffs weet Painkiller er ook langere solo’s uit te persen, bijgestaan door bassist Joe Grave en drummer Fed Kemper. Met deze negen nieuwe titels heeft Suum een subliem vervolg gemaakt op het debuut Buried Into The Grave. Voor de liefhebbers van ouderwetse doom metal is dit album een absolute aanrader.


Heavy, lumbering but leaning more traditional than you’d expect, this Italian doom act follows more in the footsteps of Paul Chain than anyone else, albeit with a simplistic, over-distorted vibe that manages to suggest doom/death while vaguely evoking vintage Trouble and playing more in the
same garden occupied by Crypt Sermon.
If you can even picture such a thing.
Clean, gloomily moaning vocals, grinding riffs that bring the grim, Calvinistic feel of classic death metal (particularly in its doomier variant) but a generally trad vibe…how can you not love this one?
Quite good indeed!


Nada como una pequeña dosis de doom para aplastar el alma en estas fiestas, ¡y justo a tiempo! Cryptomass es el álbum de seguimiento del debut de Suum, Buried Into the Grave, y combina expertamente el espíritu de las influencias de las bandas con su propia marca única de inquietante doom italiano. Aunque más inmerso en el sonido del doom tradicional, a la banda no le falta el departamento de pesadez. También notable, las voces agregan una atmósfera muy espectral y espectral que encuentro bastante atractiva y distintiva. Así que saca el eggnog, aviva el fuego y enciende el estéreo esta temporada: ¡este álbum promete ahuyentar a Santa y a todos sus secuaces!


Oomph, Suum lay out the filthiest riffs to start their new album off. The title track has all the energy of a sloth and moves as though it is stuck in thick treacle, exactly as the nastiest of doom should sound. Too much? The clean singing might go some way to lighten the load on the mind. Not much, as it’s the sound of granite blocks being dropped from height, but it is something.

That colossal start is taken even further to the depths of bone crushing heaviness with The Silence of Agony and Creatures from the Vault. The pressure from the riffs almost too much to bear but the solo in the latter that fades out the track is worth it.

Offering something a bit more disjointed but equally as bruising, Funeral Circle arrives comatose before Burial At Night layers the dirt on chokingly. Variety isn’t the spice of life here but it’s hardly a problem as Suum provide such a complete doom sound it’s hard to enjoy. That doesn’t stop the mind beginning to wander occasionally though.

Not on The Failure of Creation though. Not with a drum and guitar combo this chunky and a slight bit more urgency here and there.

A short melodic intermission (Mass in the Catacomb) is a moment to relax. Needed too as the last two tracks are some of the heaviest and noisiest on the album. Claws of Evil, droning like the buzz of flies over a fresh corpse and Reaper Looks in Your Eyes, wrapping its twisted hands around the head and squeezing as hard as possible.

It’s an experience not be forgotten.


I'm a big fan of Seeing Red Records - they do things right. They have a strong roster of acts and seem eager to keep pushing boundaries. Their latest offering, Suum's Cryptomass due out February 14th is just north of fifty minutes of trad doom in the style of Candlemass or Trouble. With histrionics and bombast throughout, this is a fun listen and a record that continually points towards the sense of transcendence that the group are seeking to create. While it certainly has its limitations, doom fans across the world will revel in what has been put on offer here.

This is a record that touches several sides of the trad doom spectrum. A particular highlight is the medieval accented acoustic bridge 'Mass In The Catacomb'. The guitar tone throughout the album is flawless and was clearly a point of focus for the band. The main drawback I find here is that the songs have a tendency to dra and the record is honestly about fifteen minutes too long. That being said, the individual ideas are great and the musicians are clearly very talented. Watching them hone their talent as they move on though is going to be essential if they really want to take it to the next level.

Still - there is a lot to love about this record. Who wouldn't be entranced by the massive riff on 'Reaper Looks In Your Eyes' for instance? The band clearly know what they are doing and that bass tone is filthy. Cryptomass is a potent offering that continually shows Suum have more than a few tricks up their collective sleeve. Definitely a record doom fans will dork out over, I also tend to think that this is a band who have the potential to refine their music and become modern day trad metal greats.


Dopo due anni di silenzio tornano a farsi sentire i nostrani Suum con un disco nuovo nuovo che li porta decisamente più vicini ad un sound stoner abbandonando spunti melodico epici riscontrabili nel debut Tower of Oblivion, rilasciato nel 2018.
In uscita per il prossimo S. Valentino su Seeing Red Records, questa nuova epopea di nove brani, intitolata Cryptomass, propone riff uno più pesante, lento e cupo dell'altro, eccezion fatta per le più andanti Creatures from the Vault e The Failure of Creation, che danno un po' di brio all'opera, senza esagerare e snaturare il tutto.
Alla matrice candlemassiana si aggiunge un tocco di sabbathiana con riff degni dello Iommi dei bei tempi. Il songwriting è prevalentemente buono, unica pecca è l'eccessivo riverbero alla voce che alle volte la rende coperta dalla monoliticità delle pennate, rendendo le lyrics non sempre comprensibilissime, vedi il ritornello di Claws of Evil. Ciò nonostante la premessa di album scaccia-Santa Claus è più che mantenuta.


Para fans de Candlemass, Memento Mori, Solitude Aeternus, Reverend Bizarre o Krux, las cartas encima de la mesa desde el primer momento con esta banda italiana y es que esto es Doom italiano, nunca hay trampa ni cartón solo clasicismo absoluto.
Suum es una banda romana creada en el 2017 que presenta su segundo trabajo que saca publicado Seeing Red Records en formato CD y limitado a 200 copias el catorce de febrero, el día de San Valentín, buena ironía.
El guitarrista de esta banda se apoda Painkiller y hará honor a su nombre pues estos Suum aparte de toda la lentitud y fuzz clásico de este género musical también diría que tienen un extra de fuerza que les otorga su guitarrista como en Cryptomass un tema de ocho donde la distorsión tiene ese extra de fuerza de la que os hablaba pero me quiero quedar del pasaje acústico acompañado de la distorsión en la guitarra eléctrica que le da un aire funesto y de una épica muy oscura al tema.
The Silence of Agony arranca con total lentitud de nuevo todo el protagonismo para el guitarra y de nuevo se genera un medio tiempo que tiene tintes oscuros y por momentos, a parte de las bandas citadas me recuerda a los Cathedral, tienen esa lentitud y esa oscuridad típica de las bandas italianas que desde los setenta llevan influenciadas por la magia negra de Paul Chain.
Creatures from the Vault presenta un trabajo más dinámico en la base rítmica con un ritmo más intrépido y dinámico con más velocidad y el clásico riff que equivaldría para cualquier género musical. El tema o uno de los temas más lentos de todo el trabajo es Funeral Circle y también el tema que presenta una mayor distorsión pero Suum es una banda de sonido muy clásico y con los riesgos justos, eso sí, en el Doom lo importante es sonar oscuro y con maldad y ellos lo logran.
Intentan recrear una atmósfera completamente diferente para el tema Burial at Night que por momentos se adueña del tema y recrea los mejores momentos del tema porque es como si hubiera un pequeño ventanuco donde se filtra una débil luz pero luz al fin y al cabo, y esa luz nos proporciona el solo de guitarra melódico del álbum que tiene mucho sentimiento.
The Failure of Creation es un corte donde la banda apuesta por un ritmo de batería desde el inicio acompañado por un bajo en distorsión, el resto de elementos se van sumando a la fiesta y pasa de la influencia del Stoner en los primeros compases a un Doom muy pesado con elementos del Thrash en el trabajo de la base rítmica.
Mass in the Catacomb es el típico tema instrumental acústico emulando a Black Sabbath, antes de escuchar el disco ya sabría que habría un tema de estos y quizás ese es el lado negativo del trabajo que le falta riesgo. Claws of Evil muy en la línea del Doom italiano de toda la vida y finalizamos con Reaper Looks in your eyes que hace del ritmo lento del Doom su esencia y en esto es clave el trabajo de la batería y el bajo que son los que llevan todo el peso del tema. Buen álbum, clásico Doom italiano de toda la vida.


We are very proud to share with everyone the news about
our second full length album "Cryptomass".
CD version (Digipack) will be out on the mighty Seeing Red Records DOOM ON

From SRR:"We are proud to announce signing Italian DOOM horde, SuuM !! Seeing Red Records will be releasing their album "Cryptomass" February of 2020!!
Stay tuned for music and more details..."

martedì 22 ottobre 2019


"The Silence of Agony" official video out now.
We worked hard on this release since the end of 2018 , it was really a Doomed year.
We are proud to share with you the first extract of our new album.
Soon the details about "Cryptomass" release.
Stay Doomed

martedì 13 febbraio 2018



The legendary traditions of Italian doom metal are deeply ingrained into my brain thanks to innovative masters like Paul Chain, Black Hole and Ras Algethi yet while Suum’s sound is rooted in epic traditional doom metal they borrow from a large pool of Earth spanning influences. After just one year of hard work the band are ready to release their first full-length ‘Buried Into the Grave’ and it’s style rests comfortably between the Reverend Bizarre influenced sound of Pilgrim or Cardinal’s Folly and the claustrophobic grandeur of Scott Reagers-lead Saint Vitus. Suum’s sound isn’t solely reliant on lumbering, epic doom riffs, but also skin crawling guitar leads and some heavier almost death/doom guitar work. The lead guitar and solos are nasty licks of Satan’s fire against the ear that further deepen the tones of traditional doom metal influence.

The vocalist’s tone can easily shift between the despondent, unhinged vibrations of Scott Reagers on Saint Vitus‘ 1995 death, ‘Die Healing’ as well as he can conjure ‘Ancient Dreams’-era Candlemass in all if it’s grandeur. His performance is well on par with a lot of Finnish doom bands doing similar treatments to the style that Reverend Bizarre re-highlighted in the early 00’s. It wouldn’t be fair to point too closely to Finland, though because fellow Italian band Black Oath have been refining a similarly menacing doom metal sound for several albums. It never felt like Suum encountered an identity crisis on this debut, which shows an exceptionally well-formed musical personality for such a new group. Not since Crypt Sermon‘s debut have I come across such a confident debut from doomers I’d never heard of.

Many of the best moments on ‘Buried Into the Grave’ come from the guitar work. World dooming riffs on songs like “Buried into the Grave” often surge into guitar solos that match the intensity of the vocalist’s impressive and menacing performance. “Seeds of Decay” likewise tosses in some unexpected riffing that give the second half of the album an even darker tone, complete with Vitus-esque wah-pedal guitar work. Closing track “Shadows Haunt the Night” works itself up into a fury of wailing guitars and churning riffs, encapsulating the most intense moments of the album into one grand finale. I think because I love the key points of reference for Suum’s sound, I can’t help but geek out over their approach to doom metal. They’ve taken the slow and clever doom riffing of traditional doom metal and gilded it with fiery guitar solos and a vocalist with an impressive range of doom metal inflection at his disposal. Mandatory doom listening for 2018 especially if you like Finnish doom, Procession, and heavy metal inspired by the classics of Saint Vitus and Candlemass alike.


Nothing says it better than “Doom For The Doomed”… and that is exactly what one gets with the seven-song debut from Italy’s SuuM, “Buried Into The Grave“.  

It arrives March 10th with a CD format from Endless Winter and a Cassette version from Hellas Records.  The factors needed to qualify an album as a valid manifestation of true Doom are all present here.

From the massive, down-tuned riffs of an Iommian nature, to the plodding, purposeful rhythm section, and of course sorrowful, yet emotionally powerful vocals.  Yes, these are all abundantly prevalent and effectively rendered here with monstrous aplomb.

The journey gets underway after the brief rain-fallen intro of “Tower Of Oblivion“, a slowly churning number of haunting elements.  With riffs that grind bones to so much dust, this behemoth lumbers its slow advance.  Reverberating with resounding darkness, the repetitive whispers of the song’s title near the close adds to its overall eeriness.

Foreboding, dread, and fear are cast from each selection in fact.
 Songs such as “Black Mist“, “Seeds Of Decay“, and the epic “Shadows Haunt The Night” are, simply put, hellish.  They are the musical equivalent of Death itself gripping you by your fast-failing heart, like a pace-quickening nightmare coming to pass, holding you firmly trapped within it.

The “Buried Into The Grave” title track is another fright-inducing highlight here, the guitar emitting a wall of sound heaviness, as the music sweeps outward.  Shuddering wave after wave of rumbling, rhythmic pulses rattle your being as those guitars soon yield some fierce solos.

There is much to be experienced here and, although dark and consuming, the horrific nature of this music is ultimately quite enjoyable… and impressive.
For those that have been subjected to the best that Doom has to offer, from Black Sabbath and Pentagram to Candlemass, Cathedral, and Solitude Aeturnus, you will find SuuM a most worthy new candidate for the historical annals.


Old school doom à la Candlemass, Solitude Aeturnus and Reverend Bizarre is becoming a bit of a rarity of late replaced by a much harder more abrasive form of the genre with harsher style vocals, thankfully though that classic doom sound of yore can still be found if your willing to look hard enough. One band still keeping the old school doom flame burning are Italian quartet SuuM, Mark Wolf (vocals), Painkiller (guitars), Marcas (bass) and Rick (drums), who take the traditional approach to doom, pioneered by those bands already mentioned, but bring it up to date by salting it with elements found in doom's present, something they do to great effect on their new album "Buried Into The Grave"   ( Endless Winter for CD, Hellas Records for tape).

Traditional forms of doom require, above all else, a vocalist capable of delivering tones that are a little bit gothic, a touch grandiose and a whole lot powerful and in Mark Wolf SuuM have found a vocalist who ticks all those boxes. Wolf's vocals range from Bela Lugosi-ish sinister and operatic to harsh, growling and feral while retaining both power and clarity in both, his voice as much an instrument as those played by the rest of the band. Big vocals need big music to compliment them and SuuM provide huge swathes of dank, atmospheric doom to do just that,  Marcas and Rick laying down a massive foundation of heavy grumbling bass and tumultuous percussion around which the wonderfully named Painkiller weaves a mixture of crunching and swirling dank and dark guitar textures. The seven songs on "Buried Into The Grave" stay very much within traditional doom territory with songs like "Black Mist", "Seeds of Decay" and "Shadows Haunt The Night" all boasting huge grooves of atmospheric doom coated in gothic tinted vocals but the band are also prepared to step out of their traditional doom comfort zone and blacken up their sound with a little modern harshness as on the excellent title track "Buried Into the Grave".

The beacon of traditional/classic doom may not be burning as bright today as it was back in the day but SuuM are making sure, with "Buried Into The Grave", that there is still a vestige of flame still flickering brightly among its ashes.
Check it out ....


Stumbling out of the forest, looking pale and practically undead is SuuM - a band who seem to have sustained themselves on nothing but traditional doom for months. They're now here to indoctrinate you into their wicked lifestyle with their debut album "Buried Into The Grave", an offering set upon a profane altar in the middle of a mausoleum. It's based on a classic style that sits well next to the likes of Saint Vitus or Reverend Bizarre, but feels just a touch more modern. This stuff broods in the darkness as an ominous storm brews overhead, complete with a few thunderous explosions when songs burst into an occasional rage. The first track "Tower Of Oblivion" does well to announce the band's dark intent as the guitar lies down a thick layer of slow-churned dreariness as a foundation before the vocals moan over it with infernal lament. Add in a practically maniacal solo followed by a maddening build up with a vigorous grumble from the drums and you'll soon find your eyes glazed over as you give in to the gloom. The rest of album continues in a similar direction - groaning nefariously through the night - until "The Woods Are Waiting". This one is a moody instrumental with simple, sorrowful guitars and a touch of the blues - it's few moments respite for you to reflect before the end. With the final track "Shadows Haunt The Night" all the lingering spirits in the crypt seem worm their way out into the world, presumably to go forth and bring the essence of SuuM to all. Even if you don't check this one out, you may hear the dead whispering its praises as they pass over you in the night!


“Doom for the Doomed”, essa é a descrição mais apropriada que um álbum como Buried Into the Grave, o debut da banda italiana Suum, poderia ter. Lançado no dia 10 de Março via Hellas Records e Endless Winter, o álbum traz o necessário para agradar aos apreciadores do Doom Metal clássico e obscuro.

Sete faixas que transitam por atmosferas torpes e sombrias, lançando riffs pesados e impiedosos na direção do ouvinte e golpeando incansavelmente com seu instrumental denso e macabro. Buried Into the Grave não deixa margem para dúvidas em relação ao que a Suum tem à oferecer. Há uma variedade de solos que surgem para intensificar a experiência sonora criada pela banda, assim como passagens em que sua mente mergulhará dentro desse lugar medonho e condenado que pinta a paisagem existente nessas sete faixas.

Se o instrumental é responsável por dar forma a tal criatura de proporções abissais, o vocalista Mark Wolf é sem dúvida o responsável por dar vida à ela. Trazendo performances que vão de linhas próximas às executadas pelo célebre Scott Reagers
e outras que remetem à algo vindo do Candlemass e Reverend Bizarre, Mark entrega momentos repletos de feeling, mergulhando numa angústia e perdição que reforçam a sensação propagada pelo instrumental, além de soltar a voz e executar berros cavernosos e gélidos na faixa título que eu gostaria de encontrá-los em maior presença no álbum.

Buried Into the Grave é completamente agradável e tenho certeza que tem muito à oferecer à todos aqueles que apreciam o Doom Metal em seus moldes clássicos.


Ha pasado mucho tiempo desde la última vez que escribimos sobre el actual doom italiano, un género con grandes bifurcaciones que al mismo tiempo nos ha regalado grandes sorpresas como Haunted, Messa o Bretus; pero que poco a poco se ha quedado relegado a lo que ocurre en el resto del mundo. Sin embargo, un día llegó al correo electrónico de Earthquaker una oscura propuesta con el sencillo nombre de Suum, por lo que nos dimos a la tarea de investigar al respecto.

A diferencia de las bandas arriba mencionadas, escuchar a Suum nos arrastra a los abismos más profundos para escuchar un doom más tradicional lleno de dolor, ruido y muerte. Los acordes lentos de las melodías aletargadas se arrastran como cuerpos a punto de fallecer, un estertor que habla sobre visiones más allá de la vida por medio de su última exhalación. Un tímpano se posa sobre la tumba olvidada para escuchar el lamento de almas perdidas, quizá el primer clamor de una banda que busca un espacio dentro de la memoria de lo que ya no será jamás.

Sin embargo, la historia de Suum es realmente breve. La banda nació en Roma a principios de 2017  con la intención de crear un grupo completamente arraigado en el doom metal más denso. Bajo esta premisa se unieron Rick en la batería, Marcas en el bajo, Mark Wolf en las vocales y Antonio Painkiller en la guitarra; cuatro entes obscuros que le dan voz a aquello que se encuentra más allá del umbral de la muerte y que espera pacientemente ha ser escuchado.

La fecha clave para el cuarteto italiano será el próximo 10 de marzo de 2018, día en que será publicado su álbum debut Buried into the grave, mismo que será editado en disco compacto por la disquera Endless Winter y en casette por Hella Records. Dicho material fue grabado en los estudios Devil's Mark y contendrá siete temas cubiertos por una densa niebla de melancolía lejos de cualquier piedad y ruido abismal lleno de lamentos de ultratumba y estruendos sosegados, quizá resignados ante su fatal destino.

Contrario a lo que pudiéramos esperar, Buried into the grave es un disco con variantes. Por un lado podemos escuchar temas con instrumentaciones tan pesadas como un muro cayendo sobre nosotros como en "Shadows haunt the night" así como melodías ahogadas en una atmósfera terrorífica idéntica a las viejas películas de Mario Bava, Lucio Fulci o Dario Argento que encontramos en "Black mist" y su halo obscuro del doom más clásico en manos de Saint Vitus. El criminal riff de "Last sacrifice" nos arrastra al recuerdo del Iommi más crudo, pero al pasar los segundos el tema va tomando consistencia propia hasta madurar en algo propio; aunque no es hasta la canción que le da nombra al disco cuando nos encontramos con un sendero hacia lo que podríamos llamar un estilo en construcción, una identidad en plena formación por medio de la fuerza de la instrumentación y la velocidad menguada por las cadenas ancladas en los tobillos como pesados grilletes.

Un trueno rompe el silencio en una noche tormentosa. A lo lejos se escucha el canto misterioso de un buho mientras las campanadas marcan la media noche. Un profundo bajo entonada una tétrica melodía por medio de su increíble distorsión, lúgubre canto que inmediatamente es seguido por la guitarra. Mientras la voz entona una lírica sobre frías almas entre cuevas de dolor y torres de olvido, el ambiente se torna más brumoso a cada segundo hasta convertir la dolorosa oda en una fatídica marcha fúnebre, un muro que se derrumba sobre nosotros para crear una pesada lápida que guardará nuestro putrefacto cuerpo... ésta es la inaugural "Tower of Oblivion", primer tema que se desprende como promoción para el Buried into the grave.

"El espíritu de vida flota dentro de la cueva de mentiras, entra por las puertas de la torre del olvido. Las sombras se reflejan gracias a los soles de la noche, entran en la caverna del dolor y por las puertas de la torre del olvido. En esta torre se quema la luna mientras que se desvanece en su exterior. Los sepultureros del mundo se unen. Sin vida, el mar de tumbas se transforman en portales de terror. Las almas frías son formas en la noche labradas en su interior..."

Si alguien dudaba de lo que puede hacer Italia si a doom se refiere, Suum es la respuesta exacta. Sin embargo, su álbum debut no será sencillo de digerir por los oídos sensibles o lejanos al gusto por la música aletargada y áspera instrumentación, por lo que requiere un mínimo de paciencia para permitirle ingresar al torrente sanguíneo hasta que surta efecto. Para aquello adoradores de la obscuridad y de los cantos surgidos del portal de la muerte, Buried into the grave se convertirá en un referente obligado de lo que es el doom en la actualidad gracias a su intento por refrescar las bases de un género por demás establecido...


Il Doom Metal è un mondo che accomuna e mette di buon umore molti di noi della redazione. Da sempre il suo underground è stato vissuto in maniera più genuina, ma negli ultimi anni, anche per la vera e propria esplosione legata al filone contaminato dallo stoner, ha iniziato a subire anch'esso una certa commercializzazione. Ovviamente tale termine è da prendere con le pinze, è però innegabile che band clone e produzioni trite e ritrite siano state partorite in gran numero, forse più di quanto ci si potesse immaginare. Capita così che il Doom divenga una moda, tuttavia non è sicuramente il caso dei nostrani Summ.

La formazione vede coinvolti personaggi che si muovono nella scena metal italica ormai da tempo immemore, due di questi li abbiamo anche incrociati più volte: il chitarrista Painkiller (Fangtooth, Occultator ed ex Exhuman) e Marco "Wolf" Veraldi (Bretus, A Buried Existence, Land Of Hate ed ex Uranium 235 e Zora). Si tratta di uomini che sono profondamente immersi in questo mare di suoni, oscurità, dolore e orrore.

Non starò a elencare nomi, referenze e possibili accostamenti, vi basterà aprire il lettore e inserire il debutto "Buried Into The Grave" (una partenza immediata con il botto più grosso!) per tirare subito in ballo l'Inghilterra, la Fennoscandia o gli U.S.A. Sarete poi voi a scegliere a quali santi affidarvi, rimanendo consci del fatto che i Suum suonano il Doom che amano e conoscono a menadito, evitando di cadere nel tranello delle becere scopiazzature.

I trentacinque minuti dell'album abbracciano il panorama in maniera ampia e avvolgente, mostrandosi classici, epici e rocciosi, forti di una solida e matura devozione nei confronti di chi ha creato il sentiero da percorrere. Al tempo stesso mostrano una prova compositiva ed esecutiva di spessore, nella quale emergono i bei riff di Painkiller, la compattezza della base ritmica fornita dal bassista Marcas e dal batterista Rick, mentre Marco imprime ai pezzi la dovuta forza dietro al microfono, tingendoli talvolta di atmosfere spettrali, altre ipnotiche. Insomma i Suum non appartengono a quella cerchia di gruppi da copia e incolla, anzi come direbbe qualcuno ci mettono la faccia e tre pezzi esemplari come "Tower Of Oblivion", "Black Mist" e "Shadows Haunt The Night" stanno lì a dimostrarlo.

"Buried Into The Grave" si nutre della parte più intima, tradizionale e primordiale del Doom, rimasta incastrata nel sottosuolo in quanto adorata prettamente dai veri e propri patiti del genere (forse solo la corrente funeral è altrettanto selettiva nello scegliersi i fedeli ascoltatori). I Suum si trovano perfettamente a proprio agio in questa nicchia accogliente, ma viva e pulsante anche nel 2018. Buona la prima!


Let’s dive deep into the sluggish and obscure realms of old school Doom Metal to the music by a Italian quartet that goes by the name of Summ, formed in 2017 in the Italian capital Rome. Comprised of Mark Wolf on vocals, Painkiller on the guitar, Marcas on bass and Rick on drums, Suum are releasing now in 2018 the full-length album Buried Into The Grave, featuring seven tracks of pure gloomy Doom Metal, bringing to your ears not only a Stygian sound tailored for the doomed, but also cryptic lyrics about darkness, doom and occultism, being highly recommended for fans of Black Sabbath, Danzig, Candlemass, My Dying Bride, Electric Wizard, and all other bands and artists that have beautifully succumbed to the darkest and most lugubrious side of music.

If there’s rain, thunder and wind, you know the music is going to be doomed, which is exactly what happens in the opening track Tower Of Oblivion. Marcas kicks off this damned feast with his low-tuned bass until the rest of the band joins him in darkness, with lead singer Mark Wolf haunting our souls with his Black Sabbath-inspired vocals while Painkiller fires sheer obscurity through his riffs, with all vileness increasing in intensity until its crisp ending. And their Doom Metal mass goes on in Black Mist, led by the steady beats by Rick while the phantasmagoric vocals by Mark and the heavier-than-hell riffs by Painkiller generate a truly somber atmosphere; followed by Buried Into The Grave, which in my humble opinion is the most Stygian of all tracks of the album (hence, it would definitely make Tony Iommi proud). Not only the vocal lines are deep and deranged, but the combined sound of guitar, bass and drums create this gloomy creature that will mercilessly enfold you just like pitch black darkness.

Last Sacrifice is another classic Doom Metal tune spearheaded by the slashing riffage by Painkiller and the slow but intricate beats by Rick, putting you on a trance and inspiring you to crack your neck headbanging, with the music flowing smoothly and darkly until the end. Then bringing the most acid and somber elements from Stoner Metal and Rock we have Seeds Of Decay, an atmospheric and sluggish creation by Suum with highlights to the rumbling sounds extracted by both Painkiller and Marcas from their hellish strings, whereas in the melancholic and introspective instrumental The Woods Are Waiting we face more rain and wind, going on for a bit too long though (albeit nothing that will make you skip it). And finally, rhythmic drums and scorching hot riffs ignite their last breath of old school Doom Metal, the somber extravaganza titled Shadows Haunt The Night, where Painkiller sounds absolutely on fire during the entire song, adding an extra touch of malignancy and obscurity to the final result.

You can succumb to total darkness by listening to Buried Into The Grave in its entirety on YouTube, by visiting Suum’s official Facebook page, and obviously by purchasing such dense and entertaining album from the band’s own BandCamp page, from the Endless Winter webstore, from the Hellas Records webstore, or from Discogs.
Those four skillful Italian metallers not only live up to the legacy of traditional Doom Metal, but based on the high-quality of the music found in Buried Into The Grave, they’re also more than ready to carve their names in the history of such distinct music style.   4,5/5


If an album can rip the house down with its first two minutes, then you know you’re in for a ride, and that’s exactly what Suum does on its first track “Tower Of Oblivion”. The Candlemass inspired riffs and melancholy vocal style of Mark Wolf conjure up soul sucking forces that are just too damn good to turn off. Right when you need to hear it, guitarist Painkiller sends out a maelstrom guitar solo to divide the song’s crushing first half with its ominous conclusion. In the final seconds of “Tower of Oblivion”, vocalist chants in a ghastly whisper that left me cringing -- in the best way possible.

Halfway through Buried Into The Grave’s opening salvo, you may find yourself going backward in time to an age when the doom metal scene was harvesting the ripe crops of a metal scene in need of something new. Epicus Doomicus Metallicus was released at the peak of thrash metal domination and did everything opposite from what that community was into at the time. Candlemass’s first album perfected the boundaries and culture of a gloomy overlooked sub genre that few others dared to experiment with, and to this day most of the best doom records embody the work Leif Edling’s Swedish ensemble left in place. Moody blues rock inspired by the jams of Black Sabbath forged with leviathan punk chords that stalled until death set in became a common practice in the doom metal scene, but somewhere along the line that formula became muddled with a thousand different possibilities and for better or worse the genre evolved. Suum does not muddle the formula or attempt to present an aesthetic that is anything but traditional.

By track two, one should expect that the quality of Suum is going to continue. “Black Mist” is a hypnotizing incarnation of pure doom that follows a righteous format of the genre without succumbing to bogus stereotypes. Lurking in the shadows of the Mediterranean and all its mystique, Suum have risen from the grave of the world’s greatest ancient empire to unleash one of the best debut albums in the scene on an independent label or any label for that matter.

Exciting grooves frequently bring a freshness to the otherwise apocalyptic melodrama of the album. Its titular track is a great example of this. Doom metal is at its best when the music is as invigorating as it is brooding. Empowering chords compliment primitive war drums and a cascade of enthralling vocals.

A doom metal dirge is only as good as the headbanging forewarning that precede it, and I think that Suum did a really good job of capturing both of the necessary elements that make great doom metal songs.

You can tell that the Italian unit is on top of a really pure chemistry of doom metal, and they’re not willing to muck it up, but they don’t disappoint by failing to meet the standards of the forebearers like Solitude Aeturnus, Candlemass, or Reverend Bizarre, either. “Seeds of Decay” comes up from a fog in the swamp and clutches you with grooves that ooze all over the track’s 5:44 minute duration. The temptation of death and all of its fascinating entropy is superbly captured.

Like the religious iconography emblazoned on much of Suum’s media, the music of Buried Into The Grave dispels forced modernity with monolithic and antiquated mystical fury. Marco states Suum is not influenced by Christianity, but with so many doom metal bands throughout the ages using the mystical symbolism toward their own ends it just looks right in place on the band's artwork.

Suum proves that truly no greater limits need to be reached with doom metal, and that when done correctly throwbacks can still achieve quality without contriving rehashed styles. The album may be called Buried Into The Grave, but now raised from the dead, Suum is as they style themselves, doom for the doomed. 


Všimli jste si, že květiny na hřbitově jinak voní? Jakoby do nich byly otisknuty příběhy všech zemřelých. Schválně, zkuste si někdy sednout na lavičku, hned pod kříž Ježíše Krista. Sledujte shrbené postavy pozůstalých, nasávejte atmosféru místa, kde nakonec všichni spočineme. Všimněte si, že některé náhrobky jsou nahlodány zubem času. Počítejte věk na kamenných deskách. Kdy přijde náš čas?

Nová deska italských doomařů SUUM ve mě evokovala podobné myšlenky. Jejich album "Buried into the Grave" mě v myšlenkách opravdu přeneslo na starý, polozapomenutý hřbitov někde v horách. Malá márnice, zvon umíráček a tichá rakev právě zajíždějící do země. Průvod plačících. Tradice, upřímnost, jadrnost a zemitost. Tohle všechno z jejich hudby cítím.

 Co se týká hudební náplně, tak není album "Buried into the Grave" vlastně vůbec ničím nové. Cítím zde vlivy CANDLEMASS, TROUBLE, PENTAGRAM, CATHEDRAL, SAINT VITUS, FORSAKEN, chvílemi snad i BLACK SABBATH. Nijak mi to nevadí, pánové totiž dokázali dát do starého klasického doomu i kus sebe samých. Novinka se opravdu velmi dobře poslouchá, uklidňuje mě, zároveň jitří moji mysl. U hudby je hodně důležité, zda je zahraná srdcem a u SUUM je jasně vidět, jak je baví hrát. Vypadá to, že jsme naladěni na stejných vlnách. O zvuku ani obalu netřeba hovořit, obojí je v nejlepším pořádku. Až budou jednou rozhazovat můj prach na rozptylové louce,  tak si na SUUM určitě vzpomenu. Jsou pro mě důkazem, že odkaz poctivého smutku ještě žije, doutná, pálí. Chladná a studená nahrávka, která vám bude velmi příjemným průvodcem při umírání. 

Odložte všechny nedůležité věci, odhalte svoji mysl, uklidněte svoje duše. Jsou tady SUUM a jejich nová letošní kompilace smutných písní. Okultní doom metal v jejich podání je velmi chladný, smutný a pojednává o posledních věcech člověka. Klasické songy, tradiční studená atmosféra. Nahrávku bych doporučil všem, kteří rádi tráví dlouhé hodiny na hřbitovních cestách. Pečlivě vystavěné skladby pomalu gradují, hlas preluduje jako kněz při poslední modlitbě. Slyším zase zvony! Kdo bude další na řadě? Všichni tam, do země stínů, jednou musíme a SUUM nás na to připraví opravdu velmi dobře. Pokud milujete podzim, sychravé počasí, mráz zalezlý někde v kostech, padající a umírající listí, budete s "Buried into the Grave" trávit určitě dlouhé chvíle. Vítejte na pohřební hostině, podávána bude nová deska SUUM.

Asphyx says:
Put away all your trivial duties, unfold your minds and keep calm your souls. The SUUM is here with its new compilation of sad songs. Occult doom metal in this delivery is very cold, sad and it tells a story about the last things of a man. The classic songs, traditional cold atmosphere. I would suggest this record to people who like to spend long hours on grave trails. These songs are accurately build and they slowly rise, the voice preludize like a priest during the last prayer. I can hear the bells! Who is the next in line? Everyone has to go to the land of shadows someday and the SUUM prepares us very good for it. If you love autumn, rainy weather, cold inside of your bones, falling and dying leaves, you will spend a lot of time with the "Buried into the Grave". Welcome to the funeral dinner where the new album by SUUM is served.


Suum are Italian doom metal legends, who have proven on this new record that they deserve their place in the pantheon of greatness.

Starting with an absolute monster of a song in Tower of Oblivion, it is clear from the moment the thunder rolls in and the bass and guitars kick in that the band means business. This is an absolutely terrifying piece of metal from the band, and demonstrates their skills and capabilities excellently. Black Mist is a shake through, a story and a journey that is based on a moving set of parts, riffs and melodies that create the ultimate doom metal track. Title track Buried Into The Grave is a chilling piece, mixing groovy, and doom-laden riffs, with precise rhythms and vocal points, it is a song that is sure to get people moving.

Last Sacrifice is a dance through the movements, precise, brilliant and earth-shattering in its simplicity. Seeds of Decay is a slow-moving, growling song that brings out some of the meatiest riffs that have been in metal as of late. The Woods Are Waiting is a patient, precise and slow-moving instrumental track that does much to set an interval between proceedings.  Shadows Haunt The Night is a thumping monster of a song, brimming with riffs and heaviness, filled with potents and all sorts of dark and dangerous things, a sure sign that things are progressing.
The album is out now via Endless Winter and Hellas Records.


Non male questo disco d’esordio dei romani Suum recante titolo “Buried Into The Grave”, un disco decisamente completo all’intero del quale la band sa bene dove colpire nel segno forte dell’esperienza pregressa ed individuale che accomuna ciascun singolo membro con le proprie esperienze personali militate in altre realtà musicali. L’ottima congiunzione delle influenze predette vanno a congiungersi in questo lavoro e non lasciano molti spazi per comprendere l’impronta marcata a sangue dei Candlemass e un po’ anche dei più lontani Sabbath e Cathedral. L’impronta prende subito corpo se si tiene in considerazione da un lato, quelle che sono le andature, sempre ristagnanti e mai troppo fangose, piuttosto nitide nei contenuti, il buon clean che a tratti assume connotati più aggressivi, e gli imponenti lavori di chitarra tra ritmiche e lead solo tutti da assaporare. Indubbiamente l’ascolto propende su un contesto piuttosto spettrale tra quelli che sono i suoi contenuti che marcano intensamente la personalità del disco. Ottime le andature di chitarra che appoggiano appieno il clean e l’espressività della parte cantata che in alcuni casi dà l’impressione di raggiungere la sua massima espressività e coinvolgimento. L’opener “Tower Of Oblivion” è un esempio di quanto sopra accennato con in più l’ottimo free pass servito dalla chitarra nell’oscuro quanto inteso riff d’apertura. Si distingue per una buona dose di personalità anche la successiva “Black Mist” il cui punto forte indubbiamente ricade nuovamente sul lavoro della chitarra e sull’incredibile intensità del clean, ai limiti dell’ipnotizzante; “Into To the Grave” sembra quasi rallentare ulteriormente la marcia sin ora acquisita ma l’incessabile quanto espressiva forza del clean non fermano in alcun modo il persistere della forza e della grinta che il quartetto trasmette incessantemente; ottime anche “Last Sacrifice” e la successiva “Seeds Of Decay”, quest’ultima maggiormente più riflessiva rispetto alla sua precedente; due brani che non smentisco la buona impressione sin ora offerta dal combo sia sotto il profilo espressivo che costruttivi-strutturale; l’intermezzo strumentale di “The Woods Are Waiting” anticipa la conclusiva e forse più minacciosa “Shadows Haunt The Night”, uno dei migliori brani del platter a detta di chi scrive proprio per l’intensità e la carica trasmessa sia dal sound in primis che dall’incredibile struttura del brano in sé. Un ottimo debutto che non tarderà di certo a riconoscere a questa band un meritato quanto auspicato ruolo di importanza sostanziale per questo genere. 77/100


 Traditional doom is something very akin to old school death metal in that there will always be such a desire for it that many new bands will constantly come out of the woodwork to keep its spirit strong and alive in modern times. But it comes with many acts who fall flat on their face without being able to properly recreate the classic sound and feel, but it also always comes with plenty of exceptions. Suum is one such exception that with their debut album shows they’re more than worthy of carrying the classic feel of doom metal forward alongside others.

What’s one of the most important parts of creating a solid, enjoyable doom metal experience that many people can listen to and go “fuck yeah”? A hell of a good crunch and a menagerie of riffs to go right alongside it! It’s the sort of thing that made traditional doom so fucking good in the first place, and it serves as a great basis for Suum’s debut that shows these Italians know exactly what they’re doing right out of the gates! From the very beginning, “Buried Into the Grave” shows that Suum isn’t fucking around as you’re immediately drawn into the realm that this group creates brilliantly in an effort to show that they know how to hail the classic style properly! Suum delivers a glorious punch filled with plenty of meat to back it up as “Buried Into the Grave” soaks you in a classic experience that several bands always try, but Suum somehow nails it on their first effort in such a way that shows these guys aren’t to be underestimated! It can take a band several albums to find their way and nail their craft, but Suum shows they can do it right off the bat! That’s a feat that shows throughout every track of this record from the intoxicating “Black Mist” to the attention-grabbing “The Woods Are Waiting”.

This style is one that I’ve always enjoyed thoroughly, but one that I don’t really see pulled off quite well by younger bands. Luckily, Suum shows the newer acts can pull it off quite well, and their debut is all the proof they could ever fucking need. “Buried Into the Grave” is a tantalizing record that shows these Italians have got talent, power, and promise all wrapped up in one sexy package the kind of shit that will draw in many more in by the time these guys put out new material.


O que é que tem na água que os italianos bebem para que lá se produza tanta banda de Doom Metal com altíssima qualidade? Em qualquer vertente do Gênero Maldito, a Itália é dona de alguns dos melhores representantes. Em se tratando de Doom Metal clássico, aquele em que o Black Sabbath é injetado na veia sem dó nem piedade, uma nova banda do País da Bota surge e já se destaca: é o Suum, de Roma, a Cidade Eterna.

Fundada em 2017, o grupo lançou recentemente seu debut intitulado Buried Into The Grave através da gravadora russa Endless Winter, que também já lançou a banda brasileira de Death/Doom Aporya. Composto de sete faixas que totalizam confortáveis 35 minutos, o álbum brinda o ouvinte com aquele Doom Metal clássico e puro. Nada do odor fétido do Death Metal, nem de vocais cavernosos guturais e completamente despido de alguma beleza do Gótico. O Doom Metal do Suum é aquele ensinado pelo Black Sabbath, porém mais variado e dosado com o peso do Candlemass, sem trazer, todavia, o apelo épico da banda de Leif Edling. Bandas como Procession e Witchsorrow fazem esse tipo de Doom Metal hoje em dia, mas os italianos fazem a mesma coisa a sua maneira peculiar. Inclusive com alguma influência do Blues, que foi bem encaixada e aproveitada no Doom Metal do grupo. E é isso que mais agrada e chama a atenção em Buried Into The Grave.

O álbum se inicia com o baixo distorcido a puxar o riff de Tower Of Oblivion, que traz consigo guitarras em wah-wah e a bateria com uma levada arrastada (tente não se sentir enforcado com o riff que se inicia após o solo). Um ritmo um pouco mais rápido (dentro dos limites do Doom) puxa a faixa 02, Black Mist, que dá continuidade ao clima lúgubre de sua antecessora. Uma certa influência de Blues é o que destaca a faixa 03, a que dá nome ao disco. Ora, cabe lembrar que o Doom nasceu do Blues, tendo em vista que o Black Sabbath sempre transitava pelos dois estilos.

As três primeiras músicas têm algo em comum: todas trazem um segundo riff que surge após um solo ou uma ponte e que servem de ligação para a volta dos vocais de Mark Wolf. E esses riffs sempre trazem uma carga soturna mais forte que os riffs principais das músicas, de modo que cada composição fica variada e rica, com as qualidades do Doom sempre postas em evidência.

Last Sacrifice traz uma certa aura setentista em seu começo, antes de cair para um Doom sujo e mortal após sua metade. O ouvinte concentrado logo é transportado para uma caverna úmida e de pouca luminosidade. Estando lá dentro, os ouvidos do ouvinte testemunham mais um Blues/Doom que se inicia em Seeds Of Decay, a mais variada do álbum. Saindo do Blues negro, a música passeia pelo Doom imponente ensinado pelo Candlemass e depois vai para um empoeirado Stoner graças ao wah-wah da guitarra, que sempre entra em ação em momentos providenciais. O interlúdio instrumental The Woods Are Waiting é negro e ao mesmo tempo etéreo, como se você estivesse sentado à beira de uma fogueira, a noite, no Bosco Archiforo, uma das mais belas florestas italianas. O fim se inicia grandioso e imponente com a música Shadows Haunt The Night, pesadíssima e esfaceladora. Seu solo é o que mais se destaca em todo o álbum, antecedendo o pesaroso fim do mesmo.

Ao longo de toda a audição de Buried Into The Grave, os vocais de Mark Wolf se destacam pela interpretação sofrida e pelos ecos que dão a impressão de que a voz vem de um distante monastério nas montanhas. O guitarrista Painkiller não deveria se chamar assim; um pseudônimo mais apropriado seria Hand Of Doom, tamanha sua destreza em performar riffs cavernosos, solos emblemáticos e elaborar timbres pesadíssimos com seu arsenal de efeitos. Tudo que ele executa é seguro pelo forte alicerce criado pelo baixista Marcas e pelo baterista Rick. A mixagem favoreceu tanto os tons de sua bateria que em alguns momentos eles soterram os vocais, como na faixa dois, Black Mist. Afora isso, a forte sujeira na instrumentação reforça o peso e o lado negro das composições do Suum. O ótimo trabalho de estúdio foi assinado pela própria banda e registrado no Devil’s Mark Studios em Roma.

Que os italianos sabem criar Heavy Metal de um jeito que só eles sabem é fato! O mesmo se aplica ao Gênero Maldito, de modo que a continuidade do legado do finado Black Sabbath está seguro por muitos anos graças a nomes como o Suum. Cada músico desta banda possui vários outros projetos, então não teremos certeza quando o Suum lançará um novo álbum. Pode levar o tempo que for preciso, desde que retornem com a qualidade igual ou mesmo superior a este debut.
Se conseguirem. 9,5/10


Buried into the Grave by SuuM is a fantastic traditional doom band from Italy. With influences from Saint Vitus and Candlemass, they definitely show that a real good quality doom album doesn't have to be over thought.
Tower Of Oblivion begins with an ominous thunderstorm, and heavy dirgy bass riff leading into a a funeral march of a vibe. Ghastly, haunting vocals, forlorn and twisted. Reminiscent of German doom band Angel Of Damnation, it's a fantastic sound and vibe. Like fog over a medieval graveyard. Amazing guitar work.
Black Mist is reminiscent of Saint Vitus on their first two albums, with the riffs of Candlemass. Crushing, pure unadulterated doom. Buried Into The Grave has a great riff, and a great groove. Images of nosferatu come to mind. These dudes are really fuckin great. They got the riffs, the groove, the lyrics, the vibe. They're well versed in the power of the riff, and worship it’s very existence. That's what it's all about.
Last Sacrifice kicks in with a straight up early Sabbath inspired riff, creating a wonderful song, with seriously an ungodly awesome riff. The middle section where it slows down is so epic and atmospheric, and it's simple. This is how heavy metal should have progressed from 1970.
Seeds Of Decay begins a dark, bluesy plod into hell, And builds into a massive, killer fucking song. Great groove to it, and crushing riffs.
The Woods Are Waiting is a fantastic instrumental piece, absolutely hauntingly beautiful.
The album closes perfectly with Shadows Haunt The Night. Amazing riff, groove, and lyrics. This album is solid m  and each song is good. An absolutely amazing piece of work.


Mais um álbum de estreia de mais uma novíssima banda a engrossar as fileiras do metal mundial, e desta vez falaremos da criação do quarteto italiano SuuM, praticantes do bem-amado e sólido estilo, Doom Metal.

Ainda recentemente formados e apenas um ano volvido desde a sua formação, os SuuM de Lazio, em Roma, apresentam o seu estreante “Buried Into The Grave”, uma súmula musical de 7 faixas que se espraiam ao longo de apenas 34 minutos, mas note-se e fica o aviso, são uns minutos muito intensos que catapultam o melómano metaleiro mais cético para décadas douradas do boom do Doom de idos de 1970/80, altura em que os culposos Black Sabbath nos fizeram perceber que há sempre mais para além do Rock / Heavy metal dito ‘tradicional’.

Posto isto, é fácil perceber que estamos perante um registo puro, pejado de notas graves e ritmos que cambiam entre compassos arrastados ante a velocidade rítmica dos acordes extraídos de guitarras psicadélicas que se atenuam apenas com o leve toque da bateria que tem claras influências da escola de jazz, soltando umas vassourinhas cheias de blues e que engrandecem toda esta orquestração.

Não é fácil apontar um determinado tema destes sete, estão perfeitamente encadeados, fazendo quase destes 34 minutos uma só linha temporal que respira amiúde. De salientar a criatividade e originalidade conseguidas na interpretação vocal e que por vezes se faz a duas vozes (em ‘Last Sacrifice’, por exemplo).

O uso da distorção intencional com alguma reverberação ao longo do disco (em ‘Seeds Of Decay’ por exemplo…) confere uma certa epicidade ao disco, mascarando-o habilmente de novo velho, ou seja, como se extraído de uma cápsula do tempo e apenas agora revelado; revelação esta a cargo da editora russa Endless Winter no passado dia 10 de Março para o formato CD e da Hellas Records (da Indonésia) para o formato cassete/tape.

SuuM, uma banda a ter em conta de futuro, e “Buried Into The Grave”, um bom registo Doom a assinalar as edições internacionais para o ano de 2018.  8,5/10


 A great album cover, a chiming bell, pouring rain and a fizzing doom-metal riff. This is how we’re introduced to Italian doom metal act Suum.

Buried Into The Grave is the debut artefact from this Rome-based quartet, who are Mark Wolf (vocals), Painkiller (guitars), Marcas (bass) and Rick (drums), and it’s the wails of Wolf which impress me most about this decent doom metal adventure.

Hints of Solitude Aeternus and Candlemass spring to mind, with Wolf opting for the haunting, sorrowful wails instead of anything remotely gnarly, while his merry band of miserable followers conjure up enough dark spells of disorder to keep me captivated.

Again, like the recently reviewed Madvro album (Invocation Of High Wizard), this is very much harkening back to the creakin’ vintage style of doom metal which I adore so much, with massive slabs of riffery, fizzing morose leads, weighty sticks of cavernous cavorting and clumpy bass lines that shudder the spine. Indeed, the whole scenario concocted by these Italians is akin to standing at the oaken door of an imposing haunted mansion with every creak of the door and then the floorboards being acted out by the instruments on offer.

Thunder in the skies, a sense of dread, a shadow in the car, a black cat on the stairs, and the dismal creak of a coffin lid somewhere in the depths of the building, Suum really are the new masters of whisperings séances, rainy contortions and buzzing despondency.

Opener ‘Tower Of Oblivion’ is a fine exercise in lumbering brilliance; the percussion sounding like the eerie footfalls of some over-sized and monstrous house servant as Wolf warbles with agonising aplomb. The dark riffery is so splendidly Gothic as ‘Black Mist’ rumbles with added dollops of angst, with chills caused by Painkiller’s murky traipse as Marcas’ bass comes creeping through the corridors like some reanimated corpse. This is genuinely creepy doom metal of the highest order, prompting one to form a cult and hide out in the attic of the aforementioned house!

The title track simmers initially, but soon begins to roll like thick, coating mist from a remote moor. Wolf’s vocals are given extra sinister sauce as his wails turn to snaps of despair, accompanied by an equally distressing solo that soars and floats like a belfry of bats. Epic stuff.

The rest of the tracks come thick and stodgy. The disconsolate chimes of ‘Last Sacrifice’ trickle into the stark yet commanding buzz of ‘Seeds Of Decay’, while instrumental ‘The Woods Are Waiting’ is as eerie as its title suggests. The latter is almost wistful yet ghostly by design, and acts as a mere atmospheric interlude before the menacing ‘Shadows Haunt The Night’ comes like an earthquake, producing bone-shaking contractions and claps of thunder.

Wolf stands like some preacher of evil in the mist. His Gothic streams rain down on the ritual that has now begun in the tower, as behind him his coven nods in agreement, with each chug and drum thud a gesture towards the unholy forces at work. Indeed, this is some scary shit, and is up there with Druid Lord, Sherpherds Crook and Bestialord for providing some of the best chills of the year so far, in turn transforming your holy water to muck and your brains to dust. 8/10


La sempre fertile scena doom romana continua a sfornare band di sicuro spessore, indipendentemente dalle sfumature assunte dal genere in questione.

I Suum se ne escono subito con un full length devoto al 100% al versante più classico del doom, quello che trasse i primi impulsi vitali dai Black Sabbath per poi esser ulteriormente diffuso nell’etere metallico dai vari Candlemass, Saint Vitus, Pentagram e Solitude Aeturnus.
Ovviamente perché ciò funzioni alla perfezione sono necessari un riffing puntuale ed incisivo, garantito in questo caso salirono Painkiller (Fangtooth) ed una voce stentorea atta a declamare con chiarezza le funeste visioni della band capitolina, le cui funzioni vengono affidate a Mark Wolf, che già conosciamo quale vocalist degli ottimi Bretus.
Collocando tutti i tasselli al proprio posto i Suum, con Buried Into The Grave, offrono sette brani incisivi il giusto, contenendo in maniera opportuna la lunghezza e compensando la fisiologica vicinanza ai propri modelli con il songwriting efficace di chi affronta il genere con la giusta dose di competenza e devozione.
Premesso che è difficile per chiunque raggiungere i livelli delle band poc’anzi citate ricalcandone il raggio d’azione, la prova dei Suum possiede tutti i crismi per soddisfare chi delle stesse riconosce l’inconfutabile grandezza: per cui le dolenti cavalcate che si dipanano dalla prima nota di Tower of Oblivion fino all’ultima di Shadows Haunt the Night (con la sola breve pausa costituita dallo strumentale The Woods Are Waiting) non sconvolgeranno le gerarchie del doom metal, ma allo stesso tempo gratificheranno senza riserve i non pochi amanti del doom dai connotati più tradizionali.


Desde Roma nos llega el nuevo trabajo de SUUM, “Buried Into Grave”, editado por Endless Winter y Hellas Records. Ellos realizan un doom clásico con un sonido denso y oscuro, pero con unas guitarras que recuerdan a BLACK SABBATH en sus dejes, un toque SAINT VITUS y una voz estilo CANDLEMASS, pero más grave, como ellos dicen esto es doom para doomers.

El sonido de una noche de tormenta, nos adentra en un bajo lóbrego y denso de manos de Marcas, al que se les une la guitarra de Painkiller y una percusión que parece pararse en el tiempo de manos de Rick, todo ello para crear una estructura doom donde Mark Wolf sitúe su voz jugando con una melodía extraña y atípica, pero muy clásica dentro del doom y que conste que este primer tema es de los que más me gustan, más de seis minutos de hipnótico doom. “Black Mist” y “Buried Into The Grave”, marcan el paso; la primera con una percusión incisiva a base de timbales que le da mucha fuerza a la estrofa, mientras que la segunda, juega con las voces y su estilo particular de cantar, donde apreciaremos algunos gritos que se pierden el vacio, pero este corte no me engancha las melodías.

Las melodías de “Lost Sacrifice”, siguen siendo un tanto extrañas, mientras que en “Seeds Of Decay”, a pesar de continuar, pero encajan mejor en la estructura, con un inicio pausado y casi silencioso, se desarrolla como si de una danza ritual se tratase para llevarnos a “The Woods Are Waiting” un corte instrumental intimista, muy onírico y donde el sonido de un fuego nos acompaña en nuestro viaje hacia el cierre con “Shadows Haunt The Night”, otro de los temas que más me gustan, con unos riffs repletos de maldad y oscuridad, y que guardan una estética doom de alta calidad.


Italiaanse doombands kunnen bij mij in het algemeen niet zo veel verkeerd doen. Werd ik eerder dit jaar al verrast door Black Capricorn, nu is in het vergelijkbare segment SuuM aan de beurt. In tegenstelling tot de zojuist genoemde landgenoten is dit een nog nagelnieuwe band, die pas vorig jaar ontstaan is. Buried Into The Grave is het debuutalbum, dat vorige maand verscheen.

Direct vanaf de eerste tonen van Tower Of Oblivion hebben muziek en sfeer me beet. Dit is precies die klassieke epische doom met de lome en wat karige muzikale invulling, verheven, galmende zang en old school beklemmende sfeer waar ik zo gek op ben. Je kent het wel: onweer, klokgelui, lome, maar zware riffs, sloom en doeltreffend getrommel, en zo'n typerende theatrale vocale voordracht zoals alleen de echte ouderwetse doombands dat kunnen. Zelfs zo'n spaarzame, voorzichtige tempowisseling hoort daar bij, en zorgt voor wat levendigheid, zoals ook even later Black Mist laat horen.

Natuurlijk is SuuM schatplichtig aan de oude helden van Nemesis/jaren '80 Candlemass, al ligt het tempo gemiddeld nog een stuk lager denk ik zo. De muziek doet me - vooral vanwege die vocale voordracht en de authentieke sfeer - verder vooral denken aan het Nederlands/Belgische Hooded Priest; ook die bedompte, wat occult aandoende sfeer is overeenkomstig. Verwacht hier dus geen death-gerichte doom metal of een 'moderne' stoner- of sludge-benadering, maar onvervalste, pure doom.

De nimmer aflatende, voortsleurende riffs van Black Mist en titelnummer Buried Into The Grave (heerlijk die Saint Vitus-achtige wah-wah in de leads) trekken me verder mee de onaantrekkelijk diepe krochten van de meeste duistere belevingswerelden in. Last Sacrifice (met een bij vlagen verrassende inkleuring) en Seeds of Decay (misschien wel het meest donkere nummer van het album, en stiekem een persoonlijk favorietje) zetten deze onheilspellende tocht moeiteloos voort. The Woods Are Waiting is een fraai-smerig instrumentaaltje, dat opbouwt naar het onvermijdelijke einde. Helaas is Shadows Haunt The Night niet die epische knaller waar ik op gehoopt had, maar toch een vertrouwd klinkend slotakkoord.

Laat de 'serieuze' kenners maar zeuren dat deze muzieksoort achterhaald en niet origineel is. Dat interesseert me geen reet, want in muziek zoals SuuM die maakt ligt mede mijn basis voor de liefde voor deze sombere muziek. Natuurlijk was Black Sabbath de eerste, en is alles daarna al gedaan. Maar ik ben altijd oprecht verheugd wanneer ik een band hoor die nog in die authentieke stijl durft te musiceren. Dit is gewoon gaaf in al z'n eenvoud!


In Italië schieten de doombands de laatste jaren de grond uit, met vaak leuke resultaten en een enkele uitschieter. In het geval van SuuM kan dit in de categorie leuk resultaat worden geschaard.

Met onweersgeluiden, een huilende wolf en een kerkklok (die op het laatste nummer ook wordt gebruikt), wordt de toon direct gezet bij het openingsnummer Tower of Oblivion. Voeg daarbij de op een griezelige manier gebrachte vocalen van Mark Wolf en je hebt een duister, obscuur en horrorachtig sfeertje geschapen. Dat sluit goed aan bij de zes langzaam voortslepende nummers, want The Woods are Waiting is een ‘lang’ instrumentaal en niet interessant tussenstuk. Echte uitschieters kent het album niet, hoewel het titelnummer Buried into the Grave het lekkerste klinkt. Wat af en toe minder lekker klinkt, zijn de wat haperend klinkende drumbreaks. Niet altijd even soepeltjes. Maar dan komt er weer zo’n lekkere logge riff en doomen we weer vrolijk verder.

Als we het instrumentale nummer wegdenken, is er amper dertig minuten speelduur op dit debuutalbum en dat is wel wat aan de weinige kant, zeker voor een doomplaat. Een album dat overigens zowel op cd als op cassettebandje verkrijgbaar is. Een leuk, maar niet wereldschokkend debuut van SuuM. 76/100


Cada subestilo de Metal acaba tendo outras muitas subdivisões. Esse fenômeno ocorre devido à criatividade de muitas bandas, que sempre preferem trazer algo de novo para fugir do ponto comum e serem vistos apenas como mais um nome em meio a tantos. E nesse momento, o Doom Metal anda bastante evidente, especialmente quando se mistura ao Stoner Rock. Mas existem puritanos que gostam de fazer algo mais voltado às raízes dos gêneros em que estão inseridos. E esse é o caso do quarteto italiano SUUM. Uma audição em “Buried Into the Grave” e entenderão minhas palavras.

A banda segue aquele som duro, cru e pesado, cheio de andamentos lentos que bandas como WITCHFINDER GENERAL, SAINT VITUS, TROUBLE, PENTAGRAM e THE OBSESSED, com timbres musicais bem abrasivos. As melodias não são muito complexas, o que permite a fácil assimilação do trabalho deles. Mas ao mesmo tempo, eles possuem coragem, pois ter identidade musical e com essa dose de energia é algo incomum nos dias de hoje, em que fazer Doom Metal sem misturas é algo difícil de ouvir por aí.

Sim, “Buried Into the Grave” é um disco muito bom.

Em termos de qualidade de som, “Buried Into the Grave” é realmente um disco azedo até a alma, mostrando aqueles timbres crus e abrasivos de seus antecessores, mas sempre tendo preocupação com o nível de clareza sonora, para se fazerem entender, e conseguiram um bom resultado. Tudo pode ser compreendido e assimilado sem grandes dificuldades. Até a arte do disco, bem simples, reflete aquele espírito soturno do Doom Metal.

Apesar de ser uma banda jovem (tem um pouco mais de um ano de formação), o quarteto mostra vocação para fazer Doom Metal. O jeito deles ainda mostra a necessidade de amadurecer um pouco mais, mas mesmo assim, já chegam com um disco de nível muito bom. As canções estão bem arranjadas, mostrando peso e boas melodias sempre, junto com arranjos bem pensados.

Espontâneo e denso, “Buried Into the Grave” tem sete canções muito boas. Mas o peso “sabbathico” dos riffs de “Tower of Oblivion” (até parece que o próprio Tony Iommi afinou essa guitarra), o “approach” opressivo que se ouve em “Black Mist” (baixo e bateria mostram uma solidez ímpar na base rítmica), o azedume intenso e cadenciado de “Buried Into the Grave” (os vocais ora melodiosos, ora mais agressivos em seus timbres normais, são muito bons e se destacam bastante nesta canção), e a lenta procissão fúnebre “Shadows Haunt the Night” (com seus arranjos espontâneos e toda aquela ambientação crua e soturna do estilo).

Apesar de novato, o SUUM tem muito a oferecer aos fãs de Doom Metal, sem sombra de dúvidas, e “Buried Into the Grave” vai agradar os fãs do gênero em cheio!

Ouça e sinta-se seduzido pela música do quarteto!


The toiling of the bell, the twisted guitar riffs, the gothic vocals…SuuM deliver instant doomy gratification with Tower of Oblivion. It’s reminiscent of classic British doom band, Cathedral with a little early Sabbath thrown in.

SuuM are all about the deep & bothersome riffing thoughout as they are at the forefront of tracks like Black Mist & Last Sacrifice. With an occasional sharp solo thrown in to mix things up.

The flashes of malice that makes itself known on the likes of Buried into the Grave & Seeds of Decay come as a nice surprise too. SuuM deliver a real treat of darkened & deep doom here. One with a sense of purpose & structure.

Saying that they can also produce smart & emotive melody, the penultimate track, The Woods are Waiting is an eerie toned instrumental. A track that utilises the subtle sounds of a storm perfectly.

One final thundering & layered doom track finishes off a hugely eventful & satisfying album. SuuM combine much of the old-school with a natural & contemporary sound.


Rituale di debutto per gli italiani SuuM, il gruppo nasce da costole di bands già note sul panorama doom metal nazionale come Fangtooth e Bretus e potremo dire che va a “saltare” a piè pari quell’itinerario fatto di gavetta, o indecisioni sul tipo di tiro o genere da adottare all’inizio di una data carriera. I Suum con Buried into the Grave dimostrano quindi di avere le idee molto chiare, sotto alcuni aspetti anche “sbrigative” se si pensa al genere di riferimento o alla lentezza pachidermica che lo contraddistingue in molte occasioni.

Le intenzioni dei SuuM sono quelle di soddisfare completamente il riverbero dell’impatto, del lato immediato della faccenda. Sicuramente andremo a trovare, ad avvertire le solite influenze imprescindibili, ma su Buried into the Grave troveremo una sorta d’unione di correnti ed elementi che potremo tagliare alla veloce in due fazioni: quella composta dal binomio Candlemass/Solitude Aeturnus e quella stabilita da un certo impatto/cadenza alla Cathedral/Reverend Bizarre.

L’opener Tower of Oblivion cala la sua pesante presenza/sensazione, nel farlo non omette un certo grado di spinta che si manterrà comunque efficace lungo tutto l’arco del full-lenght. Il sound “stampa” e si veste a ridosso di un riffing carico, profondo e penetrante, mentre il resto della scena andrà a favore del cantato oscuro, mistico e dannato di Mark Wolf. La sua prestazione riesce nel compito di conferire quel giusto tocco spettrale all’album, album che navigherà in tal modo su acque sicure e ben guidate dal timone di riferimento.

Un giusto grado di pesantezza ammorba Black Mist (le migliori saranno proprio le prime due a mia sensazione) e le successive title track, Last Sacrifice, Seeds of Decay e Shadows Haunt the Night. Le canzoni entrano in circolo avvolte da un drappo funzionale al “rapimento ritmico”, in tal modo scoveremo quelle capaci di accendersi da subito e altre che magari impiegheranno qualche giro in più a spiegarsi al meglio. Ma ciò che importa è il risultato finale e questo è privo di sbavature o di maldestre lungaggini (ci fermeremo in scioltezza al minuto 35), anche se il risultato finale non sarà magari di quelli incredibili o subito definibili come “indelebili”. C’è sicuramente l’impegno, ed è sufficiente tastare quel forte grado di insistenza che anima i SuuM nel voler continuare a suonare un genere di nicchia (e mai semplice da far rendere al top) come il classic doom metal.


With occult obsessed sensibilities comes “Buried Into the Grave”, which takes the drawn-out and darkened gloomy doom from the early 70’s and slathers it with extra sludge with down tuned, string slack guitars that buzz and chug out big and powerful, sulky riffs. The extra amplifier force is a modern element that allows “Buried Into the Grave” to exhale other modern touches like cracking, stomping drums and harsh guitar experimentations with tiny hints of dissonance towards the end, while the wah solos and wavering, soaring clear male vocals draw a direct connection to the past. The attempt at fanciful vocal movements don’t always stay on key and present the albums only weakness, mitigated heavily by the fact that despite the retro connection, “Buried Into the Grave” is not content to simply clone the 70’s forefathers.

Wonderfully heavy in a modern sense, yet still retro with deathly dread. I’m curious to hear more!


Suum are a traditional occult doom band from Italy. Buried into the grave is their first album, and features 7 tracks of detuned, tritone doom. The main frames of reference here are pentagram, and maybe a little Mercyful Fate, particularly in the vocals, which are very dramatic. Do I need to say they sound a like Black Sabbath? No, you’ve probably already worked that out. Great riffs, enjoyable melodies, and fun vocals. There is absolutely nothing groundbreaking about this album. It brings practical nothing new to the table. But, when it’s done this well, do you really need anything new? Solid, enjoyable Doom. 7/10



SuuM is a new name in Italian doom underground: they gathered in Rome in 2017, and the debut “Buried Into The Grave” appeared in February 2018 on Russian label Endless Winter. 
Probably I could skip it but there are two familiar persons in the lineup, they are Mark Wolf who also sings in great doom band Bretus and mister Painkiller who plays guitars in Fangtooth.

It’s hard to tell if it’s a kind of “star lineup”, but at least we have guarantees, that men know well how to provide proper traditional doom. I’ve got in touch with Mark to uncover few facts about SuuM.

1. Hi Mark! How are you? What's going on in SuuM camp?

Hi Aleksey! In SuuM camp everything is going well, “Buried Into The Grave” came out a few weeks ago. The perfect soundtrack for a nocturnal walk in cemetery. The reviews have been full of praise and reactions have been mostly very positive, we have received a lot of appreciation from zines, web zines and doom maniacs. Totally unexpected. We are preparing for some Doomed Rituals and the promotion of the album goes on.

2. Okay, SuuM is pretty fresh outfit, we know you from Bretus and Painkiller is from Fangtooth, but what about the other guys? How did you gather under the Doom Cult tattered banner?

The line up is completed by Rick and Marcas. Rick (Drums) was the drummer of an historical Hardcore band, Bloody Riot (Italy), Marcas (Bass) has other experiences in some rock / heavy metal bands.

3. What made you take part in one more doom band? What's your motivation? Do you feel you have something new to say in this genre?

Everything was born spontaneously, I've known Painkiller for a long time, he was born in Sicily, I'm from Calabria, we have shared the stage many times in the past. For various reasons we both live in Rome, we met Rick and Marcas and from the first rehearsal the right alchemy was created. There is no particular reason behind this choice. I think Doom needs to stay in the depths of the rock/metal scene, it's not a mainstream music and it never will be. What drives me and the other guys in the band is the desire to continue to play this music with the right attitude. Basically we just play music we want to listen to ourselves.

4. By the way, how do you feel an essence of doom metal? Bretus deals with horror stories, and it seems that SuuM isn't faraway from this topic.

I think Bretus and SuuM are different both musically and in lyrics, surely it would not make sense for me to play in two similar projects.

5. And essence of doom? What is it for you?

It's a state of mind, the doom must be breathed and must be lived, it's not just a musical genre. It is the mirror of soul. Soul is the most important thing when playing this music.

6. The latest Bretus album “…From The Twilight Zone” is vintage sounding tribute to old thrillers, and its sound suits well this concept. What did influence on SuuM heavily overloaded sound? Why did you stop on it?

Well, as I said Bretus and SuuM are two different bands with different approaches and sounds.

In Bretus you can find also 70's Rock, Psychedelia, Blues. SuuM play old school Doom Metal in an instinctive way , there is some death metal influence in the riffing. Painkiller, Rick and Marcas have their own background. SuuM and Bretus play doom music in two different ways, this allows me to try different vocal solutions, this is what I need.

7. But in the same time your manner of singing is pretty recognizable. Do you mean what you put different efforts or energy in singing for each band?

The energy I use is the same for both bands but the lyrical themes are different.

8. What kind of lyrics did you record for SuuM? How is it important for you?

With the use of the metaphors we describe the horror that surrounds us every day. I have always been interested in the dark side of the things. Some of the lyrics are introspective and many of these have been influenced by some things happening in my life.

9. Did you record “Buried Into The Grave” in the same studio as Bretus' “…From The Twilight Zone”?

No, “Buried Into The Grave” was recorded at the Devil's Mark studio in Rome by Marco MT from Demonomancy (Black Metal band).

“…From The Twilight Zone” was recorder at Black Horse Studio in Catanzaro.

10. How did you spend the record session at the Devil’s Mark Studio? How many days did you have there?

The recording sessions were very fast (two days), it was a full immersion, we wanted to get a sound very close to what we are in our live shows. What you can hear today is exactly the sound of SuuM. Every single riff, arrangement or vocal line took 100% of our time and devotion.

11. After being so long in Italian underground, how do you see it now? Does the life of bands become easier?

Well Aleksey, as you know there are many excellent bands in Italy, no need to mention them, they are almost all present in your doom encyclopedia (compliments again for Doom Metal Lexicanum).

There is a lot of support among many bands, there is a great scene but there are few places to play live shows compared to the rest of Europe.

12. Both Bretus and SuuM new album were released by Russian label Endless Winter, don't you feel disappointed that the albums don't appear on Italian labels? I guess that Bretus “The Shadow Over Innsmouth” was released by BloodRock Records, right?

We are not disappointed, is not necessary to have a release by an Italian label,
we are comfortable with Endless Winter and Hellas Records, they are serious people who do their job with passion. However in the future anything can happen.

For the moment we are satisfied with this solution, this is the most important thing.

13. What are your ambitions towards SuuM? How do you see the band’s prospects?

Doom is known as the genre that kind of celebrates itself, generally you don’t choose to play this music to make it big. We are not innovators, we don't invent anything, we want to play only Doom metal in a primordial way.

14. “Buried Into The Grave” was released just a pair of months ago, but what's about new material? Do you already have an inspiration for the next record? Or maybe you are focused on the next Bretus album?

We have already some new stuff, I want to clarify that SuuM do not depend only on my inspirations, I would like to specify something, SuuM is not “my” project, SuuM is “our” band (Painkiller, Rick, Marcas, Mark Wolf). In the band we are all 100% involved in the creation of songs.

At the moment the priority goes to live shows, surely we will perform as many live shows as we can, we will publish soon the details about the new next Doomed Rituals.

With Bretus we are working on the new album, we’re halfway through writing our fourth record right now, we hope to enter the recording studio next year.

Anyway the two bands will not be hindered, each band follows its own path.

15. The second Bretus album was whole based on Lovecraft’s story, the third one is collection of old thrillers and horror movies. What’s your plan for the fourth one? Do you already have a general idea?

We have some ideas but it's too early to reveal it, it will certainly be something different, probably it will be a concept album, we will see...stay tuned and Doomed.

16. Mark, thank you for the interview. How would you like to sum up our interview?

Thank you for the interesting interview Aleksey, follow the Sabbath...Doom for the Doomed!

Words by Aleks Evdokimov and Mark Wolf


 A few questions – interview with doom metal band from Italy - SUUM.

1. Ave, can you introduce your band to our readers? – When was it founded and what style of music do you play , etc.?

Mark Wolf: Ciao! The band was founded in 2017 , it all started during a Pentagram show in Rome. All members in the band are Doom maniacs from many years, so we decided to found it, Suum are : Rick – Drums, Painkiller – Guitars, Marcas – Bass, Mark Wolf – vocals.

Suum were born with the intention to play Doom Metal, Doom for the Doomed, nothing else.

2. Where and under what conditions were you recording the new album? Who was in charge of sound, production and mastering?

Mark Wolf: Buried Into The Grave has been recorder at Devil's Mark studio, in Rome, the recording sessions were very fast (two days), we wanted to get a sound very close to what we are in our live shows.

3. How many copies were released and which medium was used for this new edition (CD, digital, vinyl, cassette)?

Mark Wolf: Endless Winter released 300 copies , Hellas Records 100 tapes.

4. Who is the author of the lyrics and how were they created and about what do the lyrics deal with?

Mark Wolf: With the use of the metaphors we describe the horror that surrounds us every day. The Lyrics also deal with themes close to occultism and mysticism.

5. Who created the logo of the band, and who took care of the graphics and the website? What about you and social networks? Do you consider these things important?

Mark Wolf: Logo was created by Painkiller, our riffman, the graphics too. Website was created by me. We think social networks are important but not fundamental, they must be used in the right way, the most important thing must be the music and the message you want to spread.

6. Which label did you choose for releasing your album and why this label? Are you satisfied by how your label represents you and takés care about you?

Mark Wolf: Endless Winter for the cd version, Hellas Records for the tape version.

We decided to collaborate with them because they are serious people who do their job with passion, this is a very important thing for us.

7. Which bands do you idolise and where do you get your inspiration?

Mark Wolf: Well, we pay tribute to all great Doom masters, we are not innovators, we don't invent anything, we want to play only Doom metal with the right attitude.

8. Did you send your record to some Labels - which are the labels? How was the response?

Mark Wolf: We sent the promo only to Endless Winter and Hellas Records, they were immediately interested and enthusiastic, so we decided to sign, all very fast and unexspected.

9. How many gigs have you played? Which type of gigs do you prefer, whether it's (clubs or festivals) and which of your performances would you consider as the best?

Mark Wolf: We were born a few months ago but we immediately got live gigs, we played at Stoner Night in Rome, Doom Over Florence II edition in Tuscany, Doom's day Survivors fest in Milan and we are closing other agreements in these days.

10. What about your plans for the future? What do you want to achieve with the band?

Mark Wolf: What we want is to play a lot and everywhere, we do not want to get success or something like that , in my opinion Doom needs to stay in the depths of the rock/metal scene .

11. How and where can your fans contact you? Can you provide some contact information?

Mark Wolf: You can find us on Facebook:


But we hope to meet all of you at live shows for some beer

Thanx for the interview.

Mark Wolf: Thank you mate and DOOM ON!


Hintf: Antes de mais agradecemos o vosso tempo para com esta entrevista e para todos os que só agora tiveram a oportunidade de conhecer a vossa música, o que nos podem dizer sobre o processo emergente dos SuuM enquanto banda?

Mark Wolf: Olá, os SuuM são o Rick, o Painkiller, o Marcas e o Mark Wolf. A banda formou-se em 2017 em Roma, com a intenção de tocar Doom Metal. Basicamente tocamos a música que nós próprios gostamos de ouvir.

Hintf: ‘Doom for the Doomed (a Condenação para os Condenados) ‘ é uma frase muito forte e memorável que se entranha facilmente na nossa memória musical e sem dúvida nos guia na direção certa do estilo musical que os SuuM nos oferecem! Que força teve esta ‘condenação’ nas vossas almas musicais para criarem SuuM?

Mark Wolf: Todos os menbros da banda são maníacos por Doom desde há muito tempo, os SuuM nasceram com a intenção de tocar Doom Metal, Doom for the Doomed, nada mais. O Doom é conhecido como o género que se celebra a sim mesmo. E a alma é algo importante quando tocamos este género de música.

Hintf: O que significa SuuM e porquê a escolha deste nome para a banda? Quais eram as outras opções?

Mark Wolf: Bem, SuuM deriva da língua latina, mas honestamente escolhemo-lo pela forma como soa aos nossos ouvidos, arcaico, antigo. É perfeito para a nossa música.

Hintf: Lançaram recentemente o vosso disco de estreia da vossa carreira, “Buried Into The Grave”, editado em CD pela editora Endless Winter e em cassete pela Hellas Records. Estamos de volta à era do vinil, por isso planeiam também alguma edição especial em vinil para este disco?

Mark Wolf: Assim esperamos, somos todos fãs do vinil.

Hintf: Falem-nos um pouco mais sobre “Buried Into The Grave”, a sua ideia conceptual, principais inspirações e influências, sobre que nos fala?

Mark Wolf: “Buried Into The Grave” é a banda Sonora perfeita para uma caminhada noturna num cemitério. Como disse, não somos inovadores, não estamos a inventor nada de novo; queremos apenas tocar Doom metal com a atitude certa. Liricamente sempre me interessou o lado obscuro das coisas. Com o uso de metáforas descrevemos o horror que nos rodeia todos os dias.

Hintf: Provenientes de Roma, Itália, um país também bem conhecido pelo constante florescimento de novas bandas, como é a cena local e quão bem está o vosso disco a ser recebido quer pelos fãs e pela Imprensa?

Mark Wolf: Há um bom movimento e por princípio há um bom apoio entre bandas. “Buried Into The Grave” tem sido muito bem recebido, totalmente não expectável. Provavelmente a nossa intenção foi bem aceite pelos ouvintes.

Hintf: Revelem-nos os planos e a agenda de concertos para a promoção deste “Buried Into The Grave” pelo mundo fora, Portugal está incluído em alguma dessas datas?

Mark Wolf: Temos algumas datas agendadas, também fora de Itália; o nosso desejo é tocar o máximo possível e em todo o lado. Claro que também esperamos poder tocar em Portugal um dia.

Hintf: A arte visual de SuuM; quem é o responsável pela imagética da banda e de onde vem a inspiração para esta?

Mark Wolf: O Painkiller (o nosso homem da guitarra) é o artista que cria o nosso grafismo. A inspiração vem da atmosfera e cenários que criamos com a nossa música.

Hintf: Por fim mas não menos importante, deixem-nos uma lúgubre e fatídica mensagem aos nossos leitores e vossos seguidores portugueses!

Mark Wolf: Obrigado pela interessante entrevista. Hey maníacos! Ouçam o “Buried Into The Grave”, a banda sonora perfeita para um passeio noturno no cemitério. Sigam o Sabbath!