Angry Metal GuyDeath Knocks isn’t the most extreme album out there, but it straddles the metal boundary more than enough to earn a spot here. While I hadn’t heard of Hoaxed before, their new release caught my eye through its album art and its impressive lead single, “Where the Seas Fall Silent.” This three-piece from Portland plays metal-edged occult rock that aims for an eerie atmosphere as much as for melodic gems. Simple and concise, Death Knocks isn’t revolutionary, but it’s a worthwhile half-hour coven excursion.
Hoaxed plays a familiar brand of bass-heavy, mid-paced doomy rock. In contrast with much of the genre, Hoaxed’s guitars might be the most understated part of their sound. Alternating between more aggressive riffs that recall Sumerlands and sparser melodies, Kat Keo’s guitar work is simple but tinged with evil. New bassist April Dimmick (Soul Grinder) brings her thrash experience to bear with aggressive thumping bass lines that often steal the show. Keo also handles lead clean vocals, while Dimmick alternates between clean harmonizing and harsh growls. These vocal melodies serve as a backbone, offering straightforward but engaging hooks to hold songs together. Rounded out by occasional synth backing, Death Knocks’ style of Gothic rock reminds me of Avatarium or a slowed-down Unto Others. It’s not an unheard-of style, but it’s one that works.
Death Knocks revels in its simplicity. Keo and Dimmick’s vocal work shines through its power rather than any technical gymnastics. The catchy melodies grab my attention throughout, even when other pieces falter; for instance, the rising and falling vocals of “Kill Switch” single-handedly redeem a track that struggles otherwise. Keo’s serene vocal approach sometimes reminds me of Myrkur’s folkier work (“The Fallen”). Similarly, Dimmick’s vocal harmonies aren’t earth-shattering, but they add a layer of depth throughout the album. Meanwhile, her bass riffs don’t hesitate to take center stage, adding oomph and variety (“Wretched”). But the real star of this show might be the drums. Kim Coffel’s tom-heavy and hi-hat-heavy kit attack displays a mastery of groove and creativity without feigning a technical clinic. The drums evolve constantly both within verses and between them, adding fluidity even in melodically simple moments (“Dead Ringer”). Coupled with a rich sound, Death Knocks’ drums are the most memorable part of the album, which I rarely ever say.
Straightforward songs are Hoaxed’s strength, but they can get old. Death Knocks’ song structures are cookie-cutter, with verses and choruses interspersed with instrumental interludes. While this poppy approach can work fine, it quickly loses me when the underlying melodies aren’t bulletproof (“Promised to Me”). Similarly, Hoaxed struggles to have creative outros even on their stronger tracks (“The Fallen”), making it seem like they came up with great ideas but weren’t sure how to stitch them together. Keo’s guitar melodies stand out on the opener “Where the Seas Fall Silent” and the fantastic “The Family,” but in the middle of the album, they tend to lose my interest through repetition. Death Knocks is consistently competent, but would benefit from more variety in its songwriting.
It’d be tough to argue that Death Knocks rewrites the book on anything. But with catchy vocal harmonies, engaging guitar and bass lines, and a stand-out drum performance, it’s a worthy addition to your collection. Death Knocks is also a triumph of conciseness; if this album had been 50 minutes long rather than 31, the bloat would have made it more of a chore to get through. As it stands, while Hoaxed has room to grow in their musical diversity, Death Knocks is a perfectly entertaining and ghoulish listen.
Rating: 3.0/5.0
DR: N/A | Format Reviewed: Stream
Label: Relapse Records
Websites: hoaxed.bandcamp.com | hoaxedband.com | facebook.com/hoaxedband
Releases Worldwide: February 13th, 2026
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