Witchcryer’s second full-length album comes with a noticeably broader scope in comparison to their 2018 debut. In contrast to the more groove-friendly approach to Doom Metal seen on Cry Witch, the song lengths on When Their Gods Come For You (Ripple Music) run longer with a greater emphasis on atmosphere and methodical structuring. The lyrics also work to give the album a more palpable sense of purpose, running the gamut of underworld and death figures from various world mythologies.
The first proper album from Heavy Temple sees the Philadelphia power trio in a rather interesting position. Aside from featuring a new lineup of players behind bassist/vocalist High Priestess Nighthawk, Lupi Amoris (Magnetic Eye Records) doesn’t seem too different from the two EPs released before it. It isn’t that much longer than those EPs, consisting of five tracks totaling thirty-three minutes long, and is executed in a similarly free-flowing Heavy Psych style. Continue reading
While the core sound behind Book Of Wyrms has always been a balance between Doom Metal and Space Rock, their third album sees the band committing much more to the latter. Occult New Age (Desert Records) retains the methodical tempos and some of the beefy riffs of 2019’s Remythologizer but ultimately devotes its atmospheric ends to lighter textures and looser structures. The heavier sequences have more in common than Kyuss than Cathedral and their underlying Hawkwind influence had previously never been highlighted to this extent.
Swedish progressive/stoner band Skraeckoedlan released their new single, “Universum”. The song originally appeared as “Universe” on 2011’s Äppelträdet album. Skraeckoedlan — guitarist/vocalist Robert Lamu, guitarist Henrik Grüttner, bassist Erik Berggren and drummer Martin Larsson — recorded their parts separately over video and then compiled the track. Watch the clip now at The Obelisk.
The second full-length album from Denver’s Green Druid promises broader influences compared to its predecessor, 2018’s Ashen Blood. It’s certainly true to an extent as the harsher vocals pop up more frequently and a couple of segments go-between post-Rock and Death Metal, but At The Maw Of Ruin (Earache Records) ultimately keeps to a steady Stoner Doom template. Comparisons could be made to their fellow Coloradans in Khemmis as the album utilizes a similar combination of monolithic riffs, drawn-out structures, and a desolate atmosphere.
While a self-titled album often serves as a summary of an artist’s particular style, Vestal Claret’s third full-length is unlike anything else they’ve done before. The Doom Metal that defined the occult collective’s past efforts has been completely phased out in favor of a subdued presentation that is somewhere between Folk and introspective Psych Rock. An esoteric aura still wafts with vocalist Phil Swanson (Hour of 13, Sumerlands) offering his signature mournful, nasally wail, but the vibe has more in common with Hexvessel or Sabbath Assembly than Pagan Altar.Continue reading
Did you daydream as a kid? Just stare off into nothing and let your imagination run wild? I did. A lot of my early childhood was spent amazed at what my mind could cook up with if I had a lack of books or toys, and before my soul was captured by music. Laying on my back in the grass, seeing shapes in the clouds or constellations at night, that was pure happiness as a kid. I never really stopped chasing that vibe as an adult, because I still drift off and let my brainwaves go crazy. Expect nowadays my field is my headphones and a turntable, and the clouds my mind is chasing down are inside of my eyelids, and not the sky. If you are looking for the ultimate “drop out, tune in, and turn on” soundtrack for 2020, it is definitely going to be Elder’s new opus, Omens (Armageddon Shop/Stickman Records).Continue reading
CB3 (aka Charlottas Burning Trio), and expansive space-rock outfit hailing from Sweden’s Malmo, recently released their new album, Aeons and delivered another healthy dose of accessible hazy instrumental jams. This, their fourth album, which was partially funded through Kickstarter, is the band’s first with The Sign Records. It sees them continue their eclectic mix of spacy psychedelic rock sprinkled with moments of jazz and occasional stoner riffs. Continue reading