The early 21st century experienced a glut of metal bands that incorporated obvious elements of goth into their sound — especially detected in their appreciation of symphonic and keyboard sounds (as well as their fashion sense). Most of these groups knowingly or unknowingly borrowed a thing or two from Fields of the Nephilim. Led by Carl McCoy, Fields of the Nephilim have long specialized in an extremely sonically rich and layered goth sound, and continue to do so, as evidenced by their 2006 release, Mourning Sun. Although not as brutally heavy as some modern-day goth metal acts, McCoy’s oft-growled vocals wouldn’t sound entirely out of place in your average band comprised of members in white makeup, black attire, and pointy guitars. The material on Mourning Sun manages to have a progressive edge as well, as the majority of the album’s seven tracks stretch over seven minutes in duration. Produced solely by McCoy (who isn’t keen on listing which musicians aided him on the recording) and recorded at various locations via a mobile recording studio, Mourning Sun contains such standout goth-prog-metal epics as the slowly building “Shroud (Exordium)” and the sprawling album-closing title track. Further proof that Fields of the Nephilim are the leaders of the symphonic metal pack. – Greg Prato