Review by Wiley on August 24, 2010.

Out of the ashes of Ravenshades we have Veer. This entity by itself is very raw and primitive, think older Dodheimsgard. Waves of familiar oldschool basement plodding with rattling bass and midpaced to full on artillery drums (though more of the former seems to pollute here). Hurtful dissonance and gag exuded vocals are the trip for the day. This is not supposed to be a pretty listen by any means, in fact the temper of the tracks here leaves one a bit apathetic to details. The mid range, mid tempo riffs and vocal strains wear the listener down into submerged numbness. The melodies strap on too much dissonance and too little harmony to prove any real useful energy, though I dont think this was the point. Again much like Dodheimsgard or maybe a better produced infant Ildjarn. Occasionally they hit a stride a good rythmic hook and milk the living fuck out of it, but more often than not things are jilted by blackness with juvenile movements like a second rate post punk clone. It'll draw you in with bleak wretchedness and then lull you into REM sleep with pulsing drone sweeps then kick you awake every so often to remind you that the CD is still playing with a blasting segment. With elements of neurosis-like droning on, rusting sewer pipe vocals, and a whole lot of primal riffage (think "Blood Ritual" era Samael or old Mayhem), you get a sincere blackened package but not really hinting at anything that is going to spur you onwards into some new abyss. Progress is all one could really hope for.... otherwise all is lost and this could be the first and last chance you will want to hear these guys.

Categorical Rating Breakdown

Musicianship: 5.9
Atmosphere: 6.2
Production: 5.9
Originality: 4.9
Overall: 5.9

Rating: 5.8 out of 10

Review by Adam M on December 1, 2015.

This is a doom metal album that simultaneously brings to mind the likes of the 11th Hour and Within Temptation. It has that dreary tone that is certainly one with the genre itself. The music here is melodic yet moody and carries a great amount of atmosphere. This allows the music to breathe with emotion and enrapture the listener.

One interesting aspect to this release is the duality of male and female vocals. I’m especially fond of the female vocalist that sounds a good bit like Sharon Von Adel of Within Temptation. The music is even more powerful because of the variety of vocal styles which lends itself nicely atop the remainder of the elements of the doom work. The guitar work is morose in a similar vein to what either Paradise Lost or My Dying Bride employs, particularly the latter. The remainder of the instruments complement this doom foundation nicely. Overall, the mood is one of despondency, but there are uplifting moments along the way as well. The music is catchy and brooding to equal effect. The replay value is derived from the strength of the riffs and this portion of the album is indeed strong. Thus, the listener will be left wanting to hear these crushing guitar riffs over and over again. With competition directly from My Dying Bride along with the likes of Crypt Sermon, there is an interesting roster of doom albums to listen to this year.

Though I prefer the My Dying Bride, there is an equal amount of stuff to like on this effort. Fans of the doom metal genre should lap this one up with no hesitation. I wish the band would attempt to establish their own identity a bit more. It seems this album is performed with precision, but it’s too close sounding to other band’s material. Despite this small flaw, there is an abundance of things to like with Sovran.

Rating: 8.5 out of 10