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Doom, In Full Bloom

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Doom, In Full Bloom (Deluxe Version)
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Audio CD, April 19, 2011
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Editorial Reviews

Product Description

Death Valley High could awaken the dead with their brand of heavy doom pop. The band will drop their second album, Doom, In Full Bloom (Minus HEAD Records) in the spring of 2011 digitally and in stores this summer. Driven by undead anthems like Multiply and She Wants to Kill, Doom, In Full Bloom see Death Valley High evolving immensely from their debut 2007's The Similarities of the Loveless and the Undead. Death Valley High frontman Reyka Osburn is a veteran of Tinfed, Ghostride, and Will Haven, and he co-wrote Lucky You for Deftones on their gold-selling 2003 self-titled release. With that pedigree, the Northern California quartet carve out hard rock that's as pummeling as it is danceable. With Doom, In Full Bloom, Death Valley High will soon be on everyone s mind.


Outburn Magazine rating 8 out of 10 Anyone with love for defunct bands Tinfed and Ghost Ride will immediately recognize Rey Osburn as the voice of Death Valley High, and his latest band retains the quality of his previous endeavors. Upon loading Doom, In Full Bloom into iTunes, doom punk comes up under genre heading, and it s fair to say that there s a somewhat apocalyptic tone weaving through many of the tracks here, though it s certainly a million miles away from the doom genre itself, built on spiky, mostly uptempo rhythms, and boasting serrated riffs stab and lurch in fine style. In places, Death Valley High brings to mind the likes of Glassjaw or Fugazi, in others Minus The Bear or even Karnivool, but there s a strong feel uniting the tracks as their own entity. Multiply is particularly virulent- a pointed, edgy verse hacking away before the guitar squall that underpins the chorus explodes. Osburn s croon racing all over-while Meet Me for a Ouija alternates blastbeat frenzy and throbbing grooves, and if The Wait doesn t have you bangin your head, you are clearly dead. Wrapping things up with the insistent grooves and ethereal tones, Mist & Debris really does seal the deal, leaving you in no doubt you are listening to the start of what s sure to be a stunning career. Dan Slessor --Outburn Magazine

Doom, In Full Bloom is a promising sophomore effort from this San Francisco clique. Dedicated to down-tuned discordant dance rock, Death Valley High flirts with The Cure and Sonic Youth in the hallways while crushing on The Refused and Fugazi when they think no one is watching. Choppy, cacophonous guitar chords are juxtaposed by low, single note riffage that gives each tune an unsteady feel, but DVH keeps them from capsizing with their versatile vocals. The deliveries range from gothic breathiness to slick indie croons, peppered with occasional vein-rupturing screams and Chino Moreno channeling, especially during the Deftones-esque refrain of Multiply. Death Valley High excels with their two-stepping, toe-tapping numbers. Cuts like Days and Days and She Wants to Kill get the hips shaking with double snapped snare drum backbeats and string slacking bass lines. On Meet Me for a Ouija DVH shows their appreciation for fast, dissonant hardcore, an element that should be included more often. The Wait is radio-ready and anthemic, full of up-tempo attitude and an '80s-style chorus. The back-to-back combo of The Twist and Thru Hell sound like Weezer - if they tuned down to B. Lyrically the songs are depressing, love struck, poetic, and heartbroken, just like that kid in your Art class. At times Death Valley High can come off as imitators of their influences, but in the end they succeed by fusing their infatuations into an eclectic blend of post-punk pop/rock. Now, if only we could only get them to play graduation.
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