“The act’s history is one associated with Sleep worship. Fuzzy riffs, croons thick with weed, and mammoth drums did little to distinguish from the masses, and their moniker became a comical reflection of the music contained within. Both Temple of the Fuzz Witch’s 2017 self-titled debut and 2020 follow-up Red Tide followed this Black Sabbath but haze-filled, orange amp- and MountainKing Megalith-fueled weight.” Fuzz is the new buzz.
“You may recognize Útgarðar’s two members, as American instrumentalist Niðafjöll (Nathan Verschoor) is known for his work with recent Uada, Veiled, and Altars of the Moon, while Swedish vocalist/guitarist Seiðr (Andreas Westholm) features a storied discography with acts like Blackest, Seid, and Serpent Omega.” Wotan smiles upon you all.
The fusion of black metal and doom is a finicky one. With a vast repertoire in both reported palettes, the sounds and combinations are as diverse and unique. Spain’s Dantalion specializes in a blend of the Gothic doom enchantments of My Dying Bride or Saturnus and the lightless whimpers of Silencer or Lifelover. Their ninth full-length Fatum is as melancholic and hopeless as its themes suggest: the inevitability of fate.” Doom looping.
“Voids are not an uncommon thing to discuss in metal. Somehow putting to music the vastness, the unfathomability, the colossus of nothingness is a feat in and of itself, and many have attempted to bring it to life. It’s the ultimate futility, the great vanity. While many have tried, from the mysterious Prava Kollektiv’s Voidsphere, the Swiss enigma Death. Void. Terror., and the dense death metal of Desolate Shrine or Abyssal, they are mere glimpses of the monument, the perspective of madness. When the cold nothingness attaches to the skull and does not shake, will Predatory Void provide the siren’s song sprinting to the early grave?” When voids attacks.
“The medieval hellscape on Fredlös’ cover caught my eye at once. The scene would be peaceful and pastoral, if not for the gruesome executions, the demon, and the burning buildings. Then I noticed the dancing skeletons, the shallow graves, the corpses on the border, the apocalyptic background, and the skull and crossbones; there isn’t a glimmer of hope anywhere. Intrigued, I dug deeper. Fredlös is a side project of Entombed’s Alex Hellid, and the band’s debut attempts to narrate the late Middle Ages with a mix of folk elements and metal. The music matches the cover art to a T.” The dark rages.
“So many outside motivators have this way of impacting everything you do in life. You set a plan down, put it into motion, get all your t’s crossed, your i’s dotted, and you always remember to carry the one over to the next column on the left whenever you’re adding…and then, you’re blindsided by a person, situation, or some other thing that topples your best-laid intentions like a house of cards. For Churchburn’s Dave Suzuki, it was the loss of a family member last year.” Time burns us all.
“I don’t know about you guys, but I’m a genre stickler at heart. I find a lot of comfort knowing where to fit every release that comes across my doorstep, so when acts swoop in to challenge that, I’m simultaneously uneasy and intrigued. There are plenty of folks that fall into this category but perhaps the most intriguing has been the UK act Conjurer. I’ve seen these lads described as everything from Swallow the Sun-esque death/doom, Cult of Luna-worshiping post-metal/sludge, to the blackened doom of Thou. 2018’s Mire is a landmark in its own right, and as we anxiously await its followup, we find newcomers Moon Reaper, definitely fans of Conjurer.” Genre reaping.
“Being a black metal fan entails crankiness. It seems there are more critics and black metal TSA waiting in the wings than any other metal subgenre, just lurking, waiting to hit each new album with a slap of humility – some of it deserved, some of it not. No one’s ever happy, as no release will be raw enough, noisy enough, unlistenable enough, “they have a Facebook and a Bandcamp and don’t exclusively sell cassettes, are you fucking kidding me.”” The fine line between hate and kvlt hate.
“Quebecois trio Shezmu, formed in 2016, already sports a startup of two EPs and a demo compilation, ultimately culminating in their first full-length, À Travers Les Lambeaux. I hesitate to label the project, because if there existed a Venn diagram of black, death, and doom, it would be smack dab in the middle.” Extremity buffet.
“Information on Grim Ravine is minimal, but so is their discography. One EP, one full-length that’s as long as your average doom EP, and this sophomore outing. All firmly entrench themselves in doom defined by waves of blackened froth across a sea of subaqueous riffs.” Trench waterfare.
