The Knowing sticks to a malleable formula, sounding fresh and consistent on every track, minus the funky mind-trip of "In Memories Past," which is wholly unique to Novembers Doom's sound. After the creepy record-skip that introduces the song (Gehenna's "Devil's Work" outro anyone?), Mary Bielich's funk-driven bass takes charge, calling forth mesmerizing, catchy guitar and vocal lines. Propelling along in a strange-'70s groove fashion that recalls a meeting of Cathedral's Garry Jennings, Saint Vitus, and Anathema (vocally), the song is held together by the relaxed, flawless rhythm section. A pleasant surprise indeed, as is the whole album with its bold arrangements, its technical virtuosity, and its command of the doom genre. Novembers Doom appear to have a rare gift for crystallizing the finest elements of doom oh-so-precisely, while simultaneously giving those European masters a serious run for their superiority.