Grey Skies Fallen are a metal band from New York, New York who formed in 1997. Their latest album, “Molded By Broken Hands,” is their sixth full-length album; they have also released a demo, two EPs, and a compilation. The band’s overall sound is definitely doom metal but they are rather dynamic and have several different approaches to the genre, including melodic death, and even some progressive elements.
I’m a newer fan to the band, having not discovered them until a couple years ago when I discovered another amazing doom metal band named DRIFT INTO BLACK, a project from GSF’s former keyboardist CRAIG ROSSI. GSF immediately impressed me with their melancholic and melodic take on doom.
All their albums are of the same high level quality so it’s hard to say if this one is their best, only because the others are so great. With that being said, “Molded By Broken Hands,” has been one of my most played albums since I received the promo many weeks ago. Everything about the album, from the production down to the smallest detail of songwriting, is carefully crafted and obviously created out of love for what they do. I can hear the emotions, the feelings, being poured into these seven songs by each member.
The atmosphere is dreary and sullen but every song has its own identity, a testament to the synergy of the band not only to each other’s play styles but also to their desire to keep their core sound intact while still branching out.
The album would be a great introduction to doom metal, for anyone who is looking to get into the genre. The songs are not overly long and it isn’t just the same riff over and over again. There is more than enough variety to keep things interesting, even for those who don’t like the genre.
Rick Habeeb’s vocals are the stuff of dreams. His extreme are powerful, throaty, and vicious…definitely a blackened feel to his vocals. His cleans are equally as wonderful—such an emotional voice that reminds me of expressive legends as Jorn Lande, Russel Allen, and Zachary Stevens. Both of his vocal styles are so goddamn good that I can’t decide which one I prefer. Well, why not both?
Of course, he is a hell of a guitarist. He and Joe D’Angelo handle the moody music with deft precision. It doesn’t matter if the song calls for big melodies, harmonies, or neck breaking riffs—these guys play to their strengths all the time. There is no showboating or pointless wankery, they do what needs to be done and move onto the next piece of the puzzle.
But a band is only as good as their rhythm section, especially doom. Sal Gregory and Tom Anderer keep this ship anchored but also move it freely from destination to destination. Anderer doesn’t drown, the music is fuzzed out reverb and Gregory isn’t all bark with no real bite. Much like their guitarist bandmates, the two of them know exactly what they are doing and what needs to be played, when and how.
As I always do (unless the album is short or only has a few tracks), I’m not going to speak on every song because I’ll be here all day. But I will speak of my favorite songs/moments throughout the 47 minute runtime.
The album opens with “A Twisted Place In Time.” A clean intro that lasts just over a minute before melodic heaviness and Rick’s powerful extremes hit like a ton of bricks. Despite the melody, the music has a lot of weight to it—this is how the album is as a whole, as well. I chalk that up to a good production job…this album is beefy.
The middle movement of the song is beautiful in ways that only doom can pull off. The drum work here is of note as well. The riffs around the six minute mark are deep, nearly dragged my ears to the ground. The strings, played by Ben Karas, are so grandiose that it almost made me weep. Stunning ending to the song.
A heartfelt guitar solo opens the title track….impressive and I don’t mean just the way it is played but just how well it fits into the song and leads to the next part. Colin Marston’s synths are a highlight and are especially effective when played alongside Rick’s screams and growls. What a combo! The bass is of great importance here, as there are a lot of clean moments through the song but its presence keeps the immensity front and center. Rick’s cleans are out of this world great, especially near the final moments of the song when he wails “Molded by broken hands! Broken hands!” Ridiculously awesome.
“Cracks In Time,” is the shortest song on the album but it is more direct nature is good for the album’s pace in the back half and I welcomed its more riff oriented structure. The guitars are groovy as hell. The quick trade of between cleans and harsh vocals is epic and I love the lyrics “ice in our veins.” The 3:30 mark all the way to the end is one of the more intense moments not only on the album but in the band’s discography.
The final song is “Knowing That You’re There,” and it ends the album perfectly. The cadence of Rick’s clean vocals are very catchy and I found myself humming the song quite often. The opening guitar/bass melding as one with the strings is profound and striking, the perfect set up to introduce the vocals.
The quiet part in the middle is quite introspective and the whole movement, and the screams/growls that come right after, is one of my favorite moments on the album and such a powerful notion.
All in all, Grey Skies Fallen’s “Molded By Broken Hands,” is hands down one of the best albums I’ve heard so far this year. That may not seem like much as its only march but, trust me, it is. As a reviewer and Doom Charts contributor, I have promos coming out my ass. I have already listened to over a hundred different albums this year and have reviewed several dozen. “Molded By Broken Hands,” is a truly great album.
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