Review by Rosh on July 28, 2023.

Count Raven emerged at sort of a strange time given their style, for they were neither a part of the first wave of traditional doom metal in the mid-80's nor a more modern outfit who rediscvoered the style. In fact, their presence in the 90's is likely one reason they're a band appreciated only by devotees of the Sabbathian legacy. Nonetheless, they had a foothold on the one stop shop label for trad doom, Hellhound Records, and managed to be consistent in their niche, issuing their finest work in 1993's High on Infinity, a front to back collection of wistful blues concerning life, love, societal issues, and conspiracies. It's a release which feels balanced between disaffected lunacy true to a deranged Count's nefarious ramblings within his sullen chambers, and more emotionally powerful, epic moments that portray a romantic, sensitive, and charismatic side to the music. To say High on Infinity feels well structured given its nearly 70 minute playing time is an understatement. You have the opening suite of tracks composed of both single worthy material like "Jen" and "Children's Holocaust" and juicy deep cuts like "The Madman From Waco", before moving to a climactic song like "Masters of All Evil." In the first five tracks there is already a great deal of variety, and this varied formula continues for the remaining 3/5 of the album, even being broken up by some actually useful interludes.

Riff-wise, Count Raven actually don't go out of their way to be intricate or to grab you by the balls with winding guitar work in the same way a Wino influenced doom band might. Instead, it's all very standard but solid doom/heavy metal riffing, which serves to pave the basic template for the Count to layer on their defining characteristics. Yes, they've got keyboards to create a grandiose atmosphere, pedals to create an occasionally psychedelic one, involved leads that add more direction to the music, and very distinct vocals that, you know, sound like Ozzy, which is kind of what this band has become known for. Comparisons aside, though, Dan "Fodde" Fondelius just has a superb singing voice that works for the same reason Ozzy's did in Black Sabbath, and it isn't just due to sounding similar and playing similar music. It's because the vocal melodies on High on Infinity are up to par with the ones Ozzy himself would come up with back in the day. "Jen" uses a very simple power-chord driven doom metal riff as its foundation but the vocal hook is just incredible, suiting the Sabbathy style but feeling relevant to the theatrical style of Messiah-era Candlemass too, as does the overall pace and feel of the whole album, even at its softer parts like the intro to "Children's Holocaust." Still, the Count knows how to rock, an all-too-often forgotten trait of traditional doom metal, with the title track and "Lost World" creating an inimitable sense of wonder and excitement. "An Ordinary Loser", meanwhile, manages to be engaging despite its mundane nature, making it a track to reflect on life to.

It seems to me that doom albums structured like this one do very well in the variety department overall, and with the Count's additional tricks up their sleeve coupled with an already highly competent riff bed and rhythm section, it stands to reason that they're able to forge an intriguing musical presence across 13 tracks. Overall, High on Infinity is an essential doom metal listen and earns its spot as Count Raven's finest offering. In fact, it's one of the best albums you'll hear once you dig deeper into traditional doom, beyond the likes of Vitus and Pentagram, even giving the best work of those bands a run for their money. Come on and follow this underrated band, and get high on infinity!

Rating: 9.7 out of 10