“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.
“The trio has hovered in the background of a reliably scuzzy death metal scene, falling short of even the modest notoriety achieved by fellow Danes like Undergang, Phrenelith, and Hyperdontia. Apotheosis consists of nine more loogies of old school death, hawked up at the aptly named Phlegm Studios and spat upon the sidewalk in front of your home with consideration for neither property values nor your delicate constitution.” BLEEAARGHH!
“As reviewers, we’ve been indoctrinated to inhale this sound and ask for seconds. This is born partially from two decades of Scandi feet-kissing, but also from a formula that, begrudging as I am to admit, often works quite well. It falls to Apotheosis to prove Aethyrick on their merits and not merely by their company. As you might expect, separating the two is trickier than it sounds.” Standing on the shoulders of monsters.
