Dooms Children: “I had no interest in compartmentalising everything and smoothing out the edges”

Dooms Children
(Image credit: Rashad Bedeir)

Thick, thundering riffs, monstrous breakdowns, and a voice that soars with such impenetrable might, it could instil the fear of God in God himself. For most of us familiar with the Canuck multi-hyphenate, these are first sounds our minds would conjure when someone mentions Wade MacNeil. For the past 20 years, MacNeil has been a magnate of murderously intense hardcore punk, shredding and screaming up a storm with the likes of Alexisonfire, Gallows, Cancer Bats and Black Lung. 

Such is why his latest project, Dooms Children, is such a polarising enigma. Wallops of fuzz and phaser replace the gritty distortion of his hardcore outfits, MacNeil leaning less on crunch and more on cool and cruisy folk, blues and shoegaze flavours. His debut album with the solo project – an eponymous affair that hit shelves mere days ago – is a defiant leap into a new realm of sonic possibility. But it’s more than that: the album was a lifeline for MacNeil, written across a stretch of time that saw the singer-songwriter hit what he’d consider to be rock bottom, take himself to rehab and face his demons head-on, then climb his way out of the rubble with a new lease on life. 

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Ellie Robinson
Editor-at-Large, Australian Guitar Magazine

Ellie Robinson is an Australian writer, editor and dog enthusiast with a keen ear for pop-rock and a keen tongue for actual Pop Rocks. Her bylines include music rag staples like NME, BLUNT, Mixdown and, of course, Australian Guitar (where she also serves as Editor-at-Large), but also less expected fare like TV Soap and Snowboarding Australia. Her go-to guitar is a Fender Player Tele, which, controversially, she only picked up after she'd joined the team at Australian Guitar. Before then, Ellie was a keyboardist – thankfully, the AG crew helped her see the light…