The song is called “Portrait of Dorian Gray,” and it takes its name from Oscar Wilde‘s 1890 novel. It was written in 2006 and released in September on Pagan Altar‘s split with Mirror of Deception on Cyclone Empire. Reportedly, it will also be included on Pagan Altar‘s 2012 full-length, which will be the follow-up to 2006’s Mythical and Magical. Definitely something to look forward to in classic doom.

More even than the heavy tones and slow pacing, what’s most striking about The Inside Room, the 2011 full-length debut from cleverly-named UK trio 40 Watt Sun, is the emotionality. Released by Cyclone Empire in European territories and Metal Blade in North America, the album finds former Warning guitarist/vocalist Patrick Walker regrouping with drummer Christian Leitch (also of The River) and newfound bassist William Spong for a collection of five tracks whose breadth isn’t so much the central focus as is the seemingly genuine feelings behind them. That is to say, The Inside Room, despite the inclusion of acoustic guitar layers here and there, doesn’t distinguish itself by the varied nature of its material as it does by the conviction with which the songs are performed. Formidable (both in runtime and effectiveness) opening duo “Restless” and “Open My Eyes” tap into a rare well of sadness that, while some British doom acts push into more dramatic territory, 40 Watt Sun manage excellently to balance with the force of the music.

The Inside Room is nonetheless in the British tradition, but greatly helped by Walker’s vocals, which are stronger and more melodically capable than those one might find on albums from typically-thought-of UK acts like My Dying Bride or Paradise Lost. Mostly what 40 Watt Sun would have in common with either of those bands is the willingness to convey a certain wistfulness or regret through songs, but it feels like much less of a performance on “Open My Eyes,” and I’m inclined to believe the morose stomp of that song comes from an authentic place. Both that song and “Restless” before it hover around 10:45 in length (the opener one second more and “Open My Eyes” one less), and likewise, they follow a similar pacing and structure, typified by slow, distorted riffs, strong but not hooky choruses and acoustic endings. With the shorter “Between Times” (6:55), Spong makes his presence more felt with liquid bass lines accented by Leitch’s prominent hi-hat and snare. Like the rest of The Inside Room, “Between Times” isn’t likely to be a radio hit, but Walker’s vocals rest easily over the music and the song’s tonality satisfies some of the same contemplative melancholy as Alcest – albeit in a different musical context.

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