Band:	Old One
Album:	Old One
Style:	Doom metal, Stoner metal
Release date:	February 2009
Guest review by:	Blackcrowe

01. Warning
02. Doomed
03. Born Too Late (#4)
04. Enoch
05. Witching Hour

Sometimes, less is more?

Old One is a psychedelic doom/stoner duo from Morehead, Kentucky. Mike Cooper (responsible for drums, keyboards, and vocals) and Brandon Howard on bass craft raw and heavy soundscapes.

Their self-titled debut album Old One, released in 2009, has since become a cult artifact, noted for its retro, spectral sound and lyricism that intertwines Hebrew mythology with themes of despair, possession, H.P. Lovecraft, and witchery. Independently released, this album embarks on a 58-minute journey through lengthy, shadow-drenched tracks where heavy, slow riffs and a brooding atmosphere are thick with foreboding.

Old One’s structure resembles an ancient ritual, defined by extended jams and a vintage vibe that ensnares the listener. The record starts with the intro "Warning", a haunting soundscape that whispers from beyond, urging the listener to brace for what lies ahead.

"Doomed", the first track, emerges like a specter from the depths—a heavy, hypnotic dirge driven by distorted bass, looping endlessly, reminiscent of Iron Butterfly's "In-A-Gadda-Da-Vida" intertwined with the haunting echoes of The Beatles' "Tomorrow Never Knows". The drums pulse with the spirit of Mitch Mitchell, while the mantra-like vocals chant, “All that I want is already gone...” for six minutes, casting a spell that traps the listener in a trance. The track then spirals into a doom-laden, almost arrhythmic melody, with the vocals returning as a plaintive cry before fading into a dark, whispering void.

"Born Too Late (#4)" follows like a shadow, adhering to the same spectral formula as "Doomed", but with variations that twist the riff and lyrics into a distorted reflection. Eerie feedback punctuates the track—perhaps the ghostly wail of a keyboard or a bass too distorted to remain earthly.

The epic "Enoch", the album’s longest track, is a mystic journey dominated by subterranean frequencies and occasional glimpses of a ghostly Hammond organ. The lyrics are cryptic, whispering ancient Hebrew mysticism: “And within those ruins, I found peace, serenity, all around.”

The final track, "Witching Hour", is the most enigmatic piece on the record—a 16-minute descent into the unknown, exploring Lovecraft’s universe: “Found strange doors by mathematics, Paths to doom in Keziah's room, Through contorted, twilight landscapes, Azathoth, Azathoth...” Maintaining the garage-style atmosphere, the introduction of a talk box adds an unsettling, otherworldly presence.

Old One’s record is not without its flaws—marred by amateurish production and an intentionally rough, garage sound. Yet, these imperfections contribute to the album’s raw, obscure, and eerie quality, lingering long after the final note fades. Despite its flaws, the record remains captivating. The cover—depicting a half-naked woman frozen in a moment that evokes the eerie charm of a B-grade horror movie or a forgotten vampire tale buried within the shadows of *Wuthering Heights*—adds to its mystique.

Details about the band members are shrouded in mystery, enhancing the album’s allure. Over time, this enigmatic release has become a curious object of desire. With no reviews or interviews available, my investigation remains inconclusive. It’s possible the record was intended as a soundtrack, or is an unfinished piece of music. The uncertainty only adds to its intrigue.