With pervasive, but subtlety aggressive guitar lines, the songs are well written, elaborated in a solid conjuncture, that highlights the best expressions of the genre. Although eventually you may get resented of a little monotony, Children of the Haze sustains itself very well all the way through, being way better – I mean, really above the top – than the vast majority of other records released on the genre.
Evidently, the guitar lines are what the record has at its best, although the vocals are exceedingly cool, in a very categorical and proverbial sphere of sound. The instrumental passages are mostly surreal, and majorly abundant. The instruments converge and align with one another very well, and technically, they are undoubtedly skilled. The production values also sound professional, and everything that you hear on this record certainly goes beyond the ordinary standards.
Although I haven’t found this album to be superbly incredible, it has more merits than derogatory elements. The only lamentable things here are some tedious passages – they are there, but are very little – some sonorous uniformity and a “common ground” approach to the genre. Nonetheless, there are interesting melodies, and a demanding originality, that, although shy sometimes, presents itself astonishingly. They are powerful, delusional and whimsical, and you can feel their sound touching your skin.
Although I really like Stoner Rock, it’s not one of my favorite genres. But Dopelord are definitely miles away in an evolutionary and creative stance, if compared to a lot of their contemporaries, and they have an astoundingly surprising potential. Undeniably, they greatly represent Stoner Rock, and have the talent to become one of the main exponents of the genre.