The one and only Canadian metallers that are 3 INCHES OF BLOOD are back with their latest opus and follow up to ‘Fire Up The Blades’. With their fourth studio album, ‘Here Waits Thy Doom’, comes a couple of changes, one being a record label change from Roadrunner to Century Media, and the other more noticeable one being the non-existent presence of Jamie Hooper on vocals, with guitarist Justin Hagberg filling his side of things as he has done on recent tours since Hooper was told to take a break or risk losing his voice altogether by doctors. This leaves Cam Pipes as the only main vocalist of the band, giving him the chance to show his caliber on this record, while Hagberg takes more of a backing vocals slot, but equally brings his own style to the tracks and something a bit different to the aforementioned Hooper.

Unlike previous releases where you could pretty much play them and from the off you loved them instantly, this takes a bit more time and with each listen, this album grows on you more and more to the point where you don’t even realise you are nodding your head along to the tracks. There are instant standout tracks that are also typical 3 INCHES OF BLOOD of old with the likes of opening track ‘Battles and Brotherhood’ and ‘Call Of The Hammer’, whilst ‘Rock In Hell’ is more driven down the rock route with it’s groovy and catchy riffs, yet it still kicks serious ass!

The fantasy and mythical theme to their lyrics is toned down on this album too, as well as more elements and different styles being shown on this album showing a certain evolution to their sound and style of music now, with a prime example being ‘Preacher’s Daughter’ being a slower track still in a style that you would associate with the band but incorporating elements you would associate with more of a bluesy style and southern rock also.

The structure of the songs is also greatly improved. Songs like ‘Silent Killer’ and ‘Fierce Defender’ have been carefully crafted and into different segments which show off particular talents of the band including guitar solo’s and great riffs of dual axe attack of Hagberg and Shane Clark, with the high pitched screams of Pipes and the debut recording of one Ash Pearson on drums shows he’s more than apt at what he does, and with him being in the band for a couple of years now shows he has fitted in nicely with the rest of them.

Although tracks like ‘Snake Fighter’ and ‘At The Foot of The Great Glacier’ may not have you leaping out at first, they are pretty decent tracks which are ideal examples of the aforementioned grower style on the listener, whilst ‘All of Them Witches’ is an awesome track which slowly builds up and then kicks in to some serious riff shredding. This is an instant hit, and one that will have you playing that air guitar without a doubt, and then there is the pointless interlude track of ’12:34′. It adds nothing to the album whatsoever and may as well have been left off.

‘Execution Tank’ is the final track on the album, as well as the longest, and is another example of the talents of the aforementioned guitarists as they build up the track with some good riffs and ability to keep the listener engaged. They keep this going through the entire song with Pearson providing a great rhythm to keep it ticking over. This is a good way to end a very good album which shows the band definitely has evolved their musical sound and lyrical style, incorporating new elements previously unheard on previous releases. Although there are tracks on here the fans will lap up instantly, you will also have to let it grow on you and you will then be able to fully appreciate it, so stick it on and Rock In Hell!

Rating: 3.9/5.0

Review By Adam Fredericks