Qaalm - Grave Impressions of an Unbroken Arch

Qaalm is a doom/sludge band from Los Angeles, California who formed in 2017.  Their latest album, “Grave Impressions of an Unbroken Arch,” is their second full-length album; they have also released an EP and a split.

Although the album is definitely rooted in doom and sludge, it isn’t limited to just those genres.  “Grave Impression…” is a surprisingly progressive album that mixes it up along the way with a variety of sounds and styles.   Their brand of doom is immersive but it is fused with rough sludge, black metal, post metal and prog rock.  Vocalist/guitarist Henry Elis is a dynamic vocalist who offers everything from death growls to expressive cleans.  Along with Minsu Kim and session bassist Chris Cozzi, he provides a similar performance with the guitars.  

Although the four tracks are cohesive with one another and flow very well, each song is like its own world.  This is a beefy release with a lot happening between its many layers and wheels within wheels.  

The first song, “Borderlands,” opens with subtle melodies that recall a Gothic doom tone from the legends of old like My Dying Bride or Paradise Lost.   But the guitars unfurl in such a way that it reminds me of “Sonic Excess In Its Purest Form” era of Crowbar, where the songs show progression but it’s in a subtle approach that reveals itself over time rather than immediately throwing it into your face.

Drummer Dave Ferrara does a fantastic job on this song, and the album as a whole.  He holds down a strong foundation while displaying his own imaginative style that helps steer this doomed ship as the band runs through their variety of musical angles. 

The chorus is catchy as hell with clean vocals that are just as potent as the extreme ones.  The final half of the song features a ripping solo that sets up the next few minutes as a bulldozer of sludge doom.

“Shadows Behind The Sun,” shows off the band’s atmospheric chops.  This is a heavy song but one that is spacious. Leaving room to expand its considerable girth.  I love the urgency to the riffs in the first part of the song.   This song lives in two worlds: one that is made of a massive, earworm of a chorus and the other that is unending punishment through sweltering double bass and riffs thick as concrete. 

Around the 6 minute mark, the song gets highly emotive and melodic…wow, that guitar solo is fantastic.  The music builds back up to its turbulent waters in a natural way, never allowing any part of the song to take away from another one but instead help build each other up.

The band dives further into melodic waters with the opening moments of “King of Contradiction.”  The first two minutes of its post/atmo elements create a striking passage that lead to gripping riffs, a steady groove, and brutal vocals.  This is my favorite song on the album—it really represents the band’s sound and what they wanted to achieve with this album.  

Liminal spaces take over for the metal aspects around the 6 minute mark.  The drumming here handles the load well, keeping the song interesting while it builds back up towards rumbling levels.  The last minute and a a half or so it’s a bittersweet dirge that is one of the best passages on the entire album.

The final song is “Hangman’s Lament,” which begins airy and spacey before the doom drops like a hammer.  But another twist arrives with a bouncy, almost jazzy little passage that connects the song to some of the heaviest parts of the album.  The song speeds up, racing to another jazz section.  Afterward, the album crescendos into monstrous riffs and emotionally savage vocals. 

Qaalm’s “Grave Impressions of an Unbroken Arc,” is one of the most surprising albums of 2024 that pushes doom to its limits even while respecting its roots.