I don’t often consume doom, but when I do, I prefer…. Wait, this isn’t a beer commercial, and “the most interesting man in the world” doesn’t strike me as a doom connoisseur. However, it is true that I don’t gravitate toward doom as much as other genres, so there has to be something differentiating for it to grab hold of me. Several that did grab me in 2025 included the incredible orchestral gothic death doom hymns from Tribunal, and the power doom anthems from Behölder and Professor Emeritus. All 3 of these albums captivated my attention with incredible song compositions and unique aspects melded into their grander scheme.

5-piece Exxûl hails from Quebec, Canada, and delivers a masterful slab of dark power doom, blending influences of greats like Trouble, Solitude Aeturnus, Veni Domine, Candlemass, and Iced Earth. Each song has an absolute massive quality to it, grandiose and almost theatrical at times, with crushing riffs, powerful drumming, fabulous guitar solos, and vocals that soar into the heavens. Musically, this biases toward slow to mid-paced doom, though the power and thrash influences bleed through consistently, empowering the band to pick up the pace and let things rip to break up the pacing. At certain points the band weaves in some prog threads, and there are also symphonic gothic overtones to complete the package. Lead vocalist, denoted as Stargazer, is absolutely phenomenal, reminding me a lot of Daniel Heiman (recent Sacred Outcry or the now defunct Lost Horizon) or Geoff Tate (Queensrÿche) the majority of the time, and of Eric Clayton (Saviour Machine) in the softer and more gothic moments. I wasn’t familiar with guitarist Defender prior to this album, but he absolutely owns his 7-string, shredding like his life depends on it. He can obliterate you with his destructive riffs, but the lead work and solos are phenomenal and will leave you gasping in their wake. He is supported by the beefy low end of Sentinel, who keeps the rhythm churning while Defender performs his fret gymnastics. And wow the drumming…not to be confined to the typical doom plodding, the appropriately named Etherial Hammer provides lots of nifty fills, blastbeats, and all kinds of technicality, bringing progressive and death/black influences to the table. Spectre rounds out the quintet, adding ethereal layers by way of his keyboards. This album only has 4 full length songs discounting the just over 2 minute intro track, but with no song shorter than 8 minutes for a total running time of nearly 45 minutes, there is a ton to get lost in while delivering quite the massive punch!

“Bells of the Exxûl” kicks things off, an ominous backdrop permeating the silence, pierced by eerie keyboards and an ethereal aura, ending with an evil fiend and a diabolical laugh, transitioning you into first full length song “Blighted Deity.” You are immediately showered with technically commanding drums, driving riffs, and a killer guitar solo, enveloped by keyboard swells. It takes just shy of 2 minutes before the vocals kick in, and the Daniel Heiman / Geoff Tate comparisons are immediately obvious. Stargazer has amazing command, effortlessly climbing the mountain and staying there, with big vocal swells and a nice vibrato. Around 4 minutes in, the musical pace briefly picks up and takes on a bit of a thrash identity, before slowing back down into doom territory amidst incredible guitar soloing and soaring vocals. The rest of the song continues to pulverize you, with a blend of crushing doom and speedier thrash that even mixes in some blastbeats! The ending salvo is big and epic, functioning (perhaps unintentionally) as a technical drum feature amidst the raging guitars and vocals, before closing out in a diaphanous mist.

“Walls of Endless Darkness” starts off menacingly, with a sinister doom-paced blackened guitar riff under a creepy vocal. The keyboards add a funeral doom like ambiance before the ascendant vocals overtake your ears, allowing the music to settle into a more traditional power doom groove. The music has a demolition impact about it, wrecking everything in its path as it trods along slowly and deliberately. Around two thirds in, they move into full-on speed/thrash territory, with blazing drums and power riffs, and a punchier vocal approach with occasional gang backing, punctuated by an incredible guitar solo. The ending salvo has a theatrical feel to it, with symphonics on full display enveloping the stratospheric vocals.

“Labyrinthine Fate” has a beefy bass-driven riff, hammering an energetic mid-paced doom cadence that is accented by ambient orchestration. This song is the “doomiest” on the album, maintaining more of an orchestral doom feel while allowing the lead guitar to shred and be a force. You do get some thrashy glimpses in some of the rhythms, guitar leads, and occasional gang vocals, and there are also some minor gothic touches, particularly in the latter stages, bringing to mind Eric Clayton. There are nice cinematic touches throughout, like the muted grim vocals early, or the tolling bell that shows up at various times. It is a long song at 9 minutes, but it goes by quickly and never wears out its welcome.

The 14+ minute epic closing track, “The Screaming Tower,” continues the ending vibe from the previous track, with its deeper gothic baritone and moody bass-driven intro, complete with waves crashing against the shore at the base of the cliff, before giving you the wailing “yaaaaa!!!!” that Stargazer is known for throughout this album. An epic doom pace commences with a chunky bass-driven mix, serving as a platform for the emotive cries that fill the cavities of the tower. The band is in no hurry, slowly crushing every bone in your body with each gigantic step in the descant of soul wrenching melodies. After Stargazer tests the stamina and heights of his range even further, the song reaches a natural inflection point a little over 8 minutes in. The music practically stops before pivoting to a very proggy blend of doom, power, and thrash, with blackened symphonic overtones and a cinematic quality, furthered by Stargazer’s theatrically tortured wails. You are eventually treated to one of the best extended guitar solos on the entire album, full of technical beauty and prowess while purveying a sense of urgency and want. The drums also get their chance to shine with Olympic level prowess as the stick and feet motions merit straight 10’s. The song ends as it began, in ominous orchestral fashion driven by a bass and a gothic baritone. What a ride this song is, and what a way to end the album!

Nearly 45 minutes of amazing power doom, and I want more! This is a phenomenal debut, and I look forward to seeing what else these guys do. Next for me: catch them in a live setting! Next for you: treat your ears to the sounds of this incredible slab of metal!