Doom and sludge when measured in the correct quantities on a record can make for a delicious combination to satiate the appetite of a lover of extreme metal.  My preference with such blends is to go heavier on the sludge, forming a kind of sludge crust if you like and then let the doomier filling ooze out as I gorge further into the unholy pie in front of me.  Quiescent in many ways is the à la carte of the sludge/doom menu.  Seasoned with ethereal dissonance and packed still with the meaty density of CHRCH, these four tracks are filling, but all are of a length that gives the discerning diner the opportunity to savour each course.

Often resembling a slightly less ghastly Primitive Man, Dvvell possess that same pummelling yet torturous percussion that Joe Linden brings to the table.  Vocally, Kristy Senkor-Hall is not a million miles away from the style of Ethan Lee McCarthy either.  Dvvell in the comparison have the upper hand in the atmosphere stakes though.  ‘Mother’, ‘Father’, ‘Son’ and ‘Daughter’ all have individual presence about them, and with no track under twelve and a half minutes, the band do a fantastic job of making every minute interesting.  The combination of oppressive intensity and sonic ambushes certainly kept me on my toes throughout the album.

There is no time for polish here, no tolerance for avant-garde moments.  Dvvell have all their ducks lined up, have addressed any elephants in the room and are well underway with frying any big fishes they have lying around the place.  Indeed, Quiescent is so tight sounding that you could be forgiven for thinking it got laid down in one take.  When a band manages to get into such a wonderfully dark zone so early on in a record, it is hard to see much that can distract them out of it.

I discovered this band from the November 2025 The Fallen playlist and I knew within one listen through that this was a purchase.  Hence it now sits in my Bandcamp collection.

For an album typically categorized as blackgaze (including on the bands own Bandcamp page), I was shocked by how little reverb Subglacial was given in post-production. It gives the album a unique sense of raw and grounded emotion brought forth in the music and lyricism. However, the record's unique tonal quality might also be its biggest flaw, since the low end of the mix is painfully lacking throughout. Credit where it is due; there IS a bass presence that can be felt at times during the slower moving sections and the acoustic breaks, but when the guitars take over and start their tremolo picking, the bass is pitiful. And that turns out to be a huge shame because somewhere beneath the surface is a pretty solid album from Ashbringer. The stories told through the music are memorable, while also feeling engaging and immense. The transitions from soft to aggression are executed at the right time, the album isn't scared to flex its muscle in the long song department, without going overboard. But all of that feels like a mute point when the grounded bass lines are so flimsy and non-existent. It makes the whole concept of being grounded, back-to-reality, feel like a fools errand. In an attempt to swim, Ashbringer got their feet frozen underwater.

Best Songs: Subglacial, Send Him to the Lake

I was about two minutes into In Your Blood before I a) checked this wasn’t Biohazard and b) where Biohazard’s two first releases came out in relation to this one. By 1995, we had already had two Biohazard records, and I was a bit of a fan at that point, so the similarities were obvious to me from the start of this album. This got me to thinking about how close my listening tastes could have gotten too early metalcore had my teenage years been more driven by the internet. Then again, I am not sure how much of what passes as metalcore nowadays can be compared to this record, it certainly sounds more hardcore than the increasingly rap metal-based style of Biohazard, albeit those gang chants are still very much prevalent here also.

As usual with my forays into The Revolution clan features, if I am not totally alienated and horrified by what I hear on the first track then chances are that I am going to stay for the album duration and that I will have some positives to highlight, and this is the case once again here with Excessive Force. There is no point that I lose interest in In Your Blood, since it maintains a frantic and pummelling pace for its entire duration, it is hard for me not to be engaged throughout. The punk elements get room to shine (‘Backtrack’) whilst the metallic riffs remain the order of the day very much. I like how this stays true to that 90s hardcore sound whilst still being able to inject some new life into that sound.

Vocally speaking, the style is desperate sounding whilst still maintaining that very aggressive front at the same time. I don’t mind the gang chants, although I suspect my entertainment levels wouldn’t drop if they were absent. Whilst I will not pretend that In Your Blood is big on variation, it is one of the reasons why it works for me, I think. When I look at what carries the “metalcore’’ tag nowadays, I cannot help but feel it is a heavily distorted tag that is perhaps overused. If this is what 90s metalcore sounded like, then it is not very far away from a familiar format in all honesty. In Your Blood is most certainly under my skin, if not quite able to penetrate my veins as the title suggests. What it has done is opened my eyes and ears to a scene I had written off too early it appears.

I quite liked the first couple of mid-1990's releases from Poland's Behemoth but they went through somewhat of a lull after that &, in doing so, managed to lose my interest during that 1996-98 period for the most part. It wasn't until my return to metal in 2009 & that I'd reconnect with these guys & I've generally checked out everything that they've put out since. I know a lot of people will place 2014's "The Satanist" record up on a pedestal as Behemoth's finest work but I've always felt that their 2004 seventh full-length "Demigod" had a slight edge personally, mainly because I really don't like the very popular "Ora pro nobis Lucifer" from "The Satanist". Other than that, the two releases are of a pretty similar standard although I'd suggest that there is slightly less of a black metal component to "Demigod" which is more of a straight down the line death metal release with the occasional hint at black metal. There are no weak tracks included while front man Nergal's vocals are aggressive & sinister & talented drummer Inferno's blast beats are savage & precise. I will say that the clicky drum sound doesn't work as well when Inferno goes for a standard blast beat but the alternating ones are both powerful & spectacular. Check out the underrated "Before the Æons Came" which is my personal favourite. "Demigod" is a very solid death metal record that should satisfy most of our The Horde members.

For fans of Hate, Belphegor & Sulphur Aeon.

The “boxes” argument used to come up quite a lot back on the old Terrorizer forum days. Any member trying to conveniently place anything even slightly eclectic into a specific genre, sub-genre, niche, thimble or mere tag usually found themselves suffering the ire of one or more of the regulars on that board. For a forum that was associated with the extreme metal and was billed as the” world’s most dangerous music magazine”, there was a surprisingly open-minded group of regulars present there and as such an album like this month’s The Fallen feature release would have proved to be a divisive discussion point.

Smote don’t have any recognition on Encyclopaedia Metallum: The Metal Archives. To be honest, I can almost understand why. As much as there is a heavy streak to Songs from the Free House, there is a lot of other elements for the listener to contend with. Drone, psych, folk and doom all occupy the forty-minute space in front of the listener. To my ear this record embraces a very similar sound to that of Wolvserpent, a band who despite my tendency to avoid drone metal, get regular revisits each year. When I pick up such reference points, I do wonder if it is just that Smote have simply not been put forward for submission at The Metal Archives as opposed to being outright rejected. Clearly, these tracks are not always arranged with the heavier elements in sharp focus; the chaos of psych often disrupts any sense of outright doom metal from topping the charts of influences driving the bus. You may easily find then that Songs from the Free House is a little too rarified a listen if there are no albums by Hawkwind in your collection.

At the same time, I do not think that you must be a fan of the output by Sunn O))), Earth or Boris to enjoy this release. The drone elements here possess an atmosphere I have rarely been able to pick up with the above artist’s releases that I have ventured into. The haunting pipes of ‘Chamber’ and those dense, droning keys and vocals create a real sense of immersion around me as I listen. But above all else, in comparison to other albums I have experienced across these multiple genres/sub-genres, there is still a sense of very definite start and end points to tracks. There is no blurring of all tracks into one and as such tracks are permitted a good expanse of individual identity.

I could use the word ‘enchanting’ to describe this record. It has a sultry, brooding appeal to it that lures me in; perhaps at this early stage of listening even without me being able to fully understand why it connects with me so well. There is something primal about the tribal percussion that is on display. The uncertainty of the deep drones and bass lines only seem to add to the allure of proceedings as opposed to alienating me from them. And so, it eventually comes back to the fact that there is no “box” to put this record in, which is sort of why I like it so much.