Tom RobertsListening to 'Myopia' by Thou and Mizmor.
Released in 2022? How time flies.
Listening to Mizmor and Thou.
Your Future Ex
Listening to Mizmor and Hell collaboration.
It is maybe what would be expected, but I love Mizmor so it’s working for me.
🤘 The Metal Dog 🤘#TheMetalDogArticleList
#MetalInjection
HELL Returns After Eight Years With Filthy, Doomed New Single "Hevy"
#Hell #Submersus #Hevy #GregKennelty #MSW #PrimitiveMan #Thou #Mizmor #Alluvion #BlialCabal
Kingu's Music Tournaments🖤 ROUND I - Phase 1 - match 20/50
Which one is the best doom metal album?
🤘 Mizmor, Yodh, (2016)
or
🤘 Windhand, Soma, (2013)
➡️See pinned post on profile for the tournament rules
Please 𝗕𝗢𝗢𝗦𝗧
🎧 YOU ARE STRONGLY ENCOURAGED TO GIVES EACH ALBUM A FRESH LISTEN BEFORE VOTING
#KingusMusicTournaments #MusicTournament #Doom #DoomMetal #KMTPoll #Music #Mizmor #Windhand
Yodh
Soma
Poll ended at .
I'm listening to this album Alluvion which is a collab between Mizmor and Hell.
I'm not sure I know of 'Hell'. They aren't Full Of Hell, who I do know of.
Angry Metal GuyBy Maddog
Written by: Nameless_N00b_89
The nameless souls of the black metal band KrvL (pronounced “Kravaal”) are said to roam Belgium’s Kravaal forest. As a nameless one, too, I felt a peripheral connection to the group, which formed in 2020 at the height of the pandemic. With its 2022 self-released debut Kravaal, KrvL presented its sonic vision to the world. A decent dose of black metal with post and doom leanings, Kravaal caught the attention of start-up Italian label These Hands Melt, who signed the mysterious Belgians in 2024. Steeled now to release its sophomore effort Donkere Paden, KrvL seeks to enter the light from, as the blurb reads, “the darkness they find themselves in.”
KrvL’s black metal takes root mostly in the second-wave tradition, with post-metal and doom both making appearances. Replicating the debut’s blueprint, Donkere Paden leans heaviest on riffs of the tremolodic kind. Layering single-string over double-string tremolos to create melodicism in the faster passages, KrvL harkens back to Transilvanian Hunger-era Darkthrone with less of the catchiness and better production. The slower, doom-like passages have a faster-than-funeral-paced Mizmor quality that serves the album’s atmosphere well, with even the dirge-ier riffs being tremolo-picked. The drums employ straight and d-beat patterns to keep the speedier sections moving, while holding back to give the slower-paced passages more room to breathe, where the bass work often breaks through. The vocals, dispossessed of the variety displayed on the debut, rule the bulk of Donkere Paden with a genre-appropriate scream-shout delivery.
A tale of two tempos, Donkere Paden achieves more with subtlety than aggression. The front half’s speedier movements are dominated in the mix by the drums and vocals, leaving little room for the guitars and bass (“De Koning Van Stilte,” “Cadans Der Drofheid”). Conversely, those same tracks’ doomier passages succeed with a more sonically balanced approach, guitars resonating confidently with enough space to hear the slithering bass lines underneath. Guest appearances serve as a counterpoint to the one-dimensional vocal approach, be it the raspy shouts and spoken words of Oerhek’s H (“Duvielsputten”) or Shazulla’s (of Wolvennest) shouted words on the Filosofem-ic “Zielenrust.” The album’s highlights (“De Verloren Herder” and “Het Onbegrip”) both benefit from speedy tremolos that attain even footing with the drums and vocals. The former song’s midpoint builds back from a single-plucked guitar line to shimmering tremolos that usher the melancholic melody to its end. In contrast, the latter song’s slower second half marches the album to a majestic conclusion with its plodding descent of power chords supporting a single-string melody.
At just over 40 minutes, Donkere Paden’s runtime feels longer due to its formulaic repetition. Instead of using the foundation of Kravaal as a springboard for further artistic exploration, KrvL chose a narrower, more AC/DC-like scope and simply recreated it. Less focused on the doomier, atmospheric song structures that highlight the band’s strengths, Donkere Paden cedes more time to speed, which is where KrvL loses itself. Employing less than a handful of notes to drive melodic variation in both the fast and slow tremolo riffs (“De Koning Van Stilte,” “Avondrood”), this approach further intensifies the album’s feel of similitude. Even the plucked guitar passages that serve as intro (“De Koning Van Stilte”) or interlude (“Cadans Der Drofheid,” “Het Onbegrip”) carry a sense of recycled interchangeability. The overall effect dulls the listener’s senses and significantly impacts memorability.
From production to performance, KrvL’s Donkere Paden is a good album, just not a memorable one. Taken in bite-sized pieces, the constituent parts of the record are all pleasantly digestible, especially when they fire on all cylinders (“De Verloren Herder,” “Het Onbegrip”). However, this success is not par for Donkere Paden’s course, which lacks the structural ideas necessary to support the release as a whole. KrvL does more of its best work on the debut than on this sophomore effort. I enjoyed walking the unpaved paths of KrvL’s Donkere Paden and will be keeping an eye on what these nameless minstrels do next, hoping for something I’ll carry with me for longer.
Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: These Hands Melt
Websites: krvl.bandcamp.com | facebook.com/KrvL1745
Releases Worldwide: October 11th, 2024
#2024 #30 #BelgianMetal #BlackMetal #Darkthrone #DonkerePaden #Doom #DoomMetal #KrvL #Mizmor #Oct24 #PostBlackMetal #PostMetal #Review #Reviews #TheseHandsMelt
BremenBeatsteaks
16.11.2024 Bremen / Pier 2
Mizmor
24.10.2024 Bremen / Zollkantine
Nuking Moose
14.12.2024 Bremen / Zollkantine
Turbostaat
25.10.2024 Bremen / Schlachthof
#Beatsteaks #Bremen #Mizmor #NukingMoose #Pier2 #Schlachthof #Turbostaat #Zollkantine #SteelFeed
Temple of the Fuzz Witch – Apotheosis Review
By Dear Hollow
There’s perhaps no better moniker that these Detroit natives could have chosen. Temple of the Fuzz Witch embodies a green fuzz that saturates all the negative spaces, tinged with a ritualistic and sinister occult edge. Apotheosis embodies a culmination, a godlike apex as the name suggests, of the act’s history, megaton riffage greeting dark atmospheres and a thick veil of smoke, although their third full-length finds the trio embracing a distinctly vicious edge. Does Apotheosis make Temple of the Fuzz Witch the divine success to which they strive?
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. This is where Apotheosis succeeds: acknowledging the past while moving forward. While the weight and guitar tone is unmistakably stoner doom, you’ll find more in common with older Yatra or Thou’s storied catalog than the High on Fires and Electric Wizards of the world. Ultimately, this sets Temple of the Fuzz Witch a cut above many, as its fusion of devastating riffage and blackened bleakness hits the sweet spot.
Simplicity is the name of the game here, so if it’s riffs you want, Apotheosis will mightily satisfy, alongside an absolutely mammoth production that emphasizes them. Tracks like opener “A Call to Prey,” “Nephilim,” and “Bow Down” are oozing with charisma and swagger in each movement, Temple of the Fuzz Witch’s relatively simple structures benefiting from a southern-fried bluesy drawl. Vocals are used in perhaps a jarring way, as the blackened snarl of vocalist Noah Bruner feels nearly sermonic, while his Kurt Cobain-esque drawling cleans offer a tired apathy in tracks like “Wight” and “Nephilim.” There’s just enough experimentation to keep things from drowning in the indicia, with tracks like “Wight,” “Raze,” and “Apostate” embracing a more simmering approach that revels in the darkness, while the slow-burning crescendo of “Sanguine” pays off in a satisfying punky climax, the thrash-induced closing passage of “Nephilim” serves as a welcome jolt of energy, and the clean leads in “Cursed” offer a heart rarely seen. As aforementioned, Temple of the Fuzz Witch utilizes a “Stoner Doom for Dummies” guitar tone that feels nearly perfect in its utter fuzz saturation of all spaces in Apotheosis, even compared to the trio’s past offerings.
The weaknesses of Apotheosis are often the other side of what makes it so good. For instance, while a simple structure benefits “A Call to Prey,” excessive repetition of the same riff dooms “Cursed;” clean vocals add to “Bow Down” but end up taking away momentum from “Raze.” “Raze” also raises an odd conundrum, as it eventually gains its speed, but Temple of the Fuzz Witch’s suddenly disharmonic melodic template is repeated in its following two tracks: the ritualistic “Apostate” and dense doom closer “Ashes.” While certainly well executed, this sudden falloff in riffage for slow-burning menace is jarring, and recalls more the sludge stylings of Thou. Tempos largely remain mid-tempo, with injections of speed scattered throughout, which make these tracks, as well as “Sanguine,” stick out. The inclusion of black metal vocals and atmosphere is effective, but is nothing new, as acts like Yatra, Mizmor, and Cobalt have fused dense doom with second-wave stylings.
Overall, Temple of the Fuzz Witch hits the sweet spot of megaton riffs, blackened snarls, and just enough experimentation to keep things interesting. It does not promise to be the newest and best, but Apotheosis manages to get your head bobbing in the right spots and freeze your soul with a blast of second-wave. While it can be jarring here and there in some wobbly songwriting or awkward song placement, there’s only one track (“Cursed”) that visibly detracts from the whole. As such, while Temple of the Fuzz Witch may not do much to challenge the scene and their best is still before them, Apotheosis occupies a neat spot between kickassery and frigidity that will satisfy.
Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Ripple Music
Websites: templeofthefuzzwitch.bandcamp.com | facebook.com/TotFW
Releases Worldwide: April 5th, 2024
#2024 #30 #AmericanMetal #Apotheosis #Apr24 #BlackMetal #BlackSabbath #BlackenedDoomMetal #Cobalt #ElectricWizard #HighOnFire #Mizmor #Review #Reviews #RippleMusic #Sleep #StonerDoomMetal #TempleOfTheFuzzWitch #Thou #Yatra
