Review by Rosh on December 29, 2021.

I'll cut right to the point - 1988's Mournful Cries epitomizes every last thing I love about traditional doom metal. Granted, I'm much more fanatic about this stuff than someone who simply appreciates it for what it is, but if you want downcast, bleak, dry, and even introspective metal, you've got it in its purest form.

So, this is actually my second favorite album by this legendary ensemble, after the timeless self-titled debut. One thing I love about both masterpieces is their short duration and focused, sparse tracklist, as it really drives home the "less is more" aspect of doom metal, which is what Saint Vitus are all about anyway. This approach finds true meaning in grey, melancholic music, as it simply wants to express its woebegone message, and let the emotional aftertaste created by such a brooding atmosphere do the talking. As much as I enjoy Reverend Bizarre and The Gates Of Slumber, one could make the argument for traditional doom metal albums being their most effective when dialed back in terms of length; the stuff is stripped down and relatively repetitive anyway, so it's best to keep it brief to drive the point home.

And the stripped down feel is what I love most; We have 6 tracks par excellence here, without a moment of filler. This was the second Vitus album featuring Scott "Wino" Weinrich on vocals, but the first where he also contributed some of his distinctive guitarwork to complement Vitus' rifflord Dave Chandler. The music is as directly doomy as it gets, but never becomes so dirge-like as to lose its sense of direction, which actually makes for a plodding (in a good way) yet pounding feel; just listen to the very first riff of descending gloom in 'The Creeps', the riff of inevitable downfall heard in the chorus of 'Dragon Time', or the bottomy, marching riff after the intro in 'Bitter Truth'. 'Dragon Time' actually might just be the doom song to declare the penance for all humanity for their vain and sinful ways, with the tale of a dragon torching and terrorizing defenseless villages, delivered in an anthemic yet hapless tone. 'Bitter Truth', and the album's closer 'Looking Glass' feel a bit less damning musically, with the former picking up the energy by a slight margin and the latter being a bit warmer sounding, but nonetheless, they offer only a type of hardened introspection that still leaves no room for jovial reaction. All of this exudes a particularly glum, solemn, and cheerless essence made all the more remarkable by a stoic and steadfast heaviness.

This worsening state of already severe depression, combined with the integration of Wino's winding wisdom into the six-string department, gives this album a slight leg-up over even its landmark predecessor, 1986's Born Too Late, whose atmosphere felt just a tad less massive and oppressive than that of Mournful Cries; I feel that, by a narrow margin, MC was this particular lineup of Saint Vitus' strongest outing. Maybe one thing that makes it feel a tad more doomed than its older brother is the contrast in colors of each record's respective covers. The warm pink of BTL's cover feels just a notch more cheery than the dark blue of the exquisite hydra painting. In actually meaningful musical terms, though, there is a bit less bounciness to be heard on this record than on the '86 one; certain songs like 'Clear Windowpane' and 'H.A.A.G.' (Hell Ain't A Game) from the pink album did have somewhat more "upbeat" moments that are absent here. Not only that, but the more slithering doom riffs of songs like 'Shooting Gallery' and 'The Troll' feel more involved and potent here than their older counterparts from songs like 'Dying Inside' and even 'Mystic Lady'. In particular, 'Shooting Gallery' is an anti-heroin song, and while I've heard plenty of those, few really make it out to be such a deathly, reprehensible substance; the mood of this song is that of an absolute downward spiral into substance abuse and chronic illness, evoking total emptiness - it was clear that Saint Vitus were still defining doom metal. This is a direction they would continue for their debut on Hellhound Records, 1990's V, spawning instant doom hits like the chilling 'Jack Frost', but still falling just short of Mournful Cries.

Much like their fellow US doomers Pentagram, Vitus had an incredibly strong debut studio album in the mid 80's, followed it up with two nearly as excellent records, and then once again peaked with their fourth studio outing. This is a noteworthy parallel, as "Review Your Choices" is my favorite release from Pentagram, not unlike how Mournful Cries is my favorite release from the Wino-era of Saint Vitus. This album epitomizes all the well-paced, ominous, and foreboding elements that make up traditional doom metal, in a classy and compact package. Positively essential listening for all the unkempt, groggy, downtrodden bastards who can't find a girlfriend in the world!

Rating: 10 out of 10

Review by Felix on May 28, 2023.

Double strike! Fasten seat belts, because "Angel Cry" and "End of Time" kick off the ninth full-length of Sabina and her instrumental supporters in a very impressive way. A smooth riff creates a frictionless flow, the chorus connects a somehow cosmic guitar with the background inferno and sticks in the mind in a matter of seconds, while the energizing speed of the song completes the picture. "End of Time" scores with its dynamic tempo changes, the high degree of pressure and the effective, drilling chorus. After many, too many albums without real killer tracks, these two fireworks light up the sky in the most glittering colours. With a view to the discography of Holy Moses, this opening begs the question of whether "Strength Power Will Passion" is able to endanger the top position of "Finished With the Dogs". Unfortunately, the masterpiece from the year 1987 remains untouched, not only for nostalgic reasons.

This is not to say that the album has nothing else to offer than its first two highlights. The easily memorable chorus of the rapid "I Will" leaves its mark in view of the effective back vocals and the mid-harsh "Sacred Crystals" connects crude melodies during the verses with an intensifying chorus. Needless to say that the barking of Sabina adds the extra portion of rudeness. Nevertheless, the record does not achieve the density and intensity of the band's reference work. Songs like the double bass driven "Symbol of Spirit" are absolutely okay, but this highly appreciated pinch of insanity is missing. Anyway, the here presented work confirms the upward trend of "Disorder of the Order". Rather boring pieces like the slow-moving "Space Clearing" remain exceptional, because a proper number of ominous leads offer good entertainment.

Some parts of the songs border on punk and hardcore. The staccato of the back vocals and the stubbornness of the unswerving gang point in this direction as well. Finally, the voluntary renunciation of unusual or even progressive song patterns underlines the weakness of the band members for simple music. Admittedly, the album fails to transport the feeling of juvenile anger which is typical for hardcore formations, but I do not think that Holy Moses had the intention to create the most impulsive approach. Instead, the full-length shows a more or less mature facet of the formation. Sabina and her motivated guys are able to channel their energy in a clever way. I still worship the aspiration for total annihilation that Holy Moses celebrated on "Finished with the Dogs", but the accurate method on "Strength Power Will Passion" commands respect, too. No doubt, the second half of the full-length is not overloaded with brilliant compositions (the verses of "Rebirthing" are lent from "In the Slaughterhouse", albeit in a slightly weaker configuration), but the sharp guitar sound and the authentic mentality of the protagonists form solid tracks. Give it a try, the two openers alone are worth the money.

Rating: 7.5 out of 10