The above headline, “Looking Forward to Go Back,” is modified and taken out of context from the last line of my recent telephone interview with Apostle of Solitude guitarist/vocalist Chuck Brown. Brown was talking about touring Europe, which is something he did as a member of The Gates of Slumber. But I think the phrase can be applied to Apostle of Solitude as a whole, what the band does, their sound and their execution. They look forward to go back.

The music on their sophomore offering, Last Sunrise — the follow-up to 2008’s stellar Sincerest Misery — is undeniably modern in structure, sound, feel and production, but there’s also no question that it is traditional doom, and linked to a lineage of bands that spans decades. But, with eyes geared toward the future, they’re not just rehashing old Sabbath or Trouble riffs and calling it a record. They’re bringing that sound, and us as listeners, forward with them.

Brown, who is joined in Apostle of Solitude by Justin Avery (guitar), Brent McClellan (bass) and Corey Webb (drums), recently took some time out for an in-depth telephone interview to discuss the careful processes behind making Last Sunrise, and the consideration that went into the details of the album. Q&A is after the jump. Please enjoy.

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When it comes to the kind of emotive, traditional doom in which Indianapolis, Indiana, four-piece Apostle of Solitude traffic, an album like their 2008 full-length debut, Sincerest Misery, is a hard one to top. The record was a triumph of precisely what the title suggested, and each song carried a drama with it that was neither over-the-top nor silly, but felt remarkably human and real to the listener. The guitar and vocal work of Chuck Brown (ex-The Gates of Slumber) was essential to this process; his voice in particular heralding the doom of yore with an urgency not often heard in their genre.

So if Apostle of Solitude had anything post-Sincerest Misery, it was their work cut out for them. It is, therefore, all the more satisfying to say that Last Sunrise, the band’s label debut for Profound Lore, more than lives up to its predecessor on every level. From the massive, slow bleed that closes “December Drives Me to Tears” or the visceral emptiness that makes up the whole of “Letting Go of the Wheel” — a rare song that feels too short at nine minutes — Apostle of Solitude the nigh-impossible balance between progress and staying true to what’s already been established as their sound. Five of the nine non-bonus cuts on Last Sunrise are over the seven-minute mark, the closing trio of “Sister Cruel,” “Frontiers of Pain” (huge) and “Coldest Love” (ditto) hitting in succession following the aforementioned “December Drives Me to Tears.”

But it’s somehow cheap to talk about song lengths when even the shorter material, songs like “Hunter Sick Rapture” (a paltry 4:45), pack so much weight as well. Based around a traditionally NWOBHM galloping riff, the song is no less forlorn than its more spread out musical compatriots. If anything, the band sounds all the more desperate for the extra energy. The opening title track, “Last Sunrise (Requiem)” is little more than an intro, albeit one whose slow unfolding is even more of a setup for the album to come than the song itself. Perhaps Apostle of Solitude wanted to start Last Sunrise with the more straightforward, rocking material up front, because both “Acknowledging the Demon” and “Other Voices” are under four minutes. Brown and guitarist Justin Avery lead the charge, making “Acknowledging the Demon” an immediately memorable affair, but the rhythm section of drummer Corey Webb and Brent McClellan do an excellent job of grounding the songs, whether the atmosphere’s oppression is coming from the outward heaviness of a given track or its naked minimalism.

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In a stirring bit if newsly awesomeness, Indianapolis trad doomers Apostle of Solitude have finished work on their new record, Last Sunrise, due out in March on Profound Lore. If you’re not looking forward to it yet, you should be. I’ve already put up the tracklisting, but the even more important news is that the band has uploaded two songs from Last Sunrise already, one of which is right here:

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The song is called “December Drives Me to Tears,” and goodness gracious it’s doomy. Apostle of Solitude is perfect for a case of the winter bum-outs. The other new song can be heard on the band’s MySpace, and it’s called “Hunter Sick Rapture.” Also rules.

Profound Lore had this to say about Last Sunrise:

Last Sunrise is a surging work of traditionally played hard hitting doom metal in the familiar vein of such bands as Solitude Aeturnus, Candlemass, St. Vitus, and The Obsessed (whose track “Streetside” the band cover on the North American version of Last Sunrise), you know, the usual legendary suspects.  It’s an album that touches upon the realistic modern-day themes which confront our emotions through trials of grief, loss, and ultimately, inevitable despair. The musical journey of Last Sunrise is an adventurous one and by the time the surging album closer “Coldest Love” (which we attest will be one of the best doom metal tracks you’ll hear all year, a track quite reminiscent of the power that bands like Warning unleashed with their Watching from a Distance album) falls upon the listener, the tale of the doomed lovers unravels as the inevitable end triumphs in pure doom metal glory.

Indianapolis trad doomers The Gates of Slumber have their sound in the key of epic. On their latest album and first for Rise Above Records, Hymns of Blood and Thunder (reviewed here), the trio craft a heavy metal classic in the grand tradition of both the grand and the traditional. Guitarist/vocalist Karl Simon, bassist Jason McCash and drummer “Iron” Bob Fouts capitalize in every way on the success of 2008’s Conqueror, as though this album were built on the foundation of its predecessor. As Simon reveals in the extensive interview below, in many ways it was.

Speaking of revelations (no, this isn’t a Christian thing), at the very beginning of our interview, in what would normally be mundane cordialities not worth printing, Simon and I wound up discussing how he makes his living. Given the noble nature of his work and the fact that I think it’s an interesting read, it’s staying in. You can decide the relevance for yourself.

In either case, please enjoy the Q&A after the jump.

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