Crawl (TX-USA) - Damned (2023)^{Release ID: 42829}

Woah!! Come to halt there and apply the handbrake, taking the car out of gear please. Did you just say, “drone metal”? I mean, I know what that is, and usually I don’t like it, but I have been nodding along appreciatively for the past few spins of this one. Maybe we should hit play again and go around the block a few more times to make sure one of us isn’t wrong? That, or I could just admit that my tastes are broader than I thought and we can all just get on with our lives. Either way, as it turns out, Damned is a great record, whatever it is.

Before I had even picked up on the details for this one I had picked up on the Hell comparison and was therefore delighted to see that MSW was involved in the record. Crawl certainly inhabits that same claustrophobic, smothering space that Hell revels in yet at the same time I get a lot of Primitive Man in Crawl’s sound, which is equally high praise also. Considering I had never heard of Michael Engle until this release, it was surprising that his output musically was limited to this solo project and him also being the one-time drummer of a progressive sludge band called The Grasshopper Lies Heavy. I can see that he also toured with Boris in 2022 on their US tour, so this is a man with some serious heavy credentials.

This combination of rattling bass and oppressive atmospheres that dredge their way through various elements of noise, doom and drone creates a unique sense of discomfort, of solid things being displaced. The opening track is little more than heavy atmosphere, but it works so well as an introduction to the rest of the album that it is in its own way, perfect. I don’t know that any of these tracks work particularly well in isolation, with my thinking being that they are best consumed as part of a whole album sitting. There are no finger buffet style pickings here, Damned is an experience to be immersed in. Herein could lie potential weaknesses for some listeners seeking a more immediate listening experience. It took me a few goes to understand exactly how to listen to Damned before its true majesty became obvious. Glad I got there though.

I stumbled across Crawl and their third full-length whilst compiling the Fallen playlist and was pretty damn impressed by what I heard. Crawl is apparently the work of a single individual, Michael A. Engle who doesn't just record all the instruments separately, but, remarkably, performs bass, drums, vocals and samples simultaneously, both live and in a studio setting for a genuine one-man band experience. Damned was recorded by Hell mainman MSW twiddling the knobs and it is easy to see why he was drawn to working with Crawl as the latter has the same bleak, nihilistic vibe going on as Hell.

Musically, Damned is a mix of drone metal, black ambient and a sludgy kind of doom metal that spans four tracks with a total 37 minutes runtime. Opener, Renaissance Of Worthlessness, acts as an intro with a droning bass sound and a black ambient soundscape that conjures images of some godsforsaken charnel house setting with water running down the walls and blood pooling on the floor and where unspeakable acts of cruelty occur. After this six minutes of unsettling ambience we get into the meat of matters, ...This Lesser Form comes oozing out of the speakers with droning, heavily distorted guitar and langorous piano chords combined with chant-like samples over which Engle shrieks his fury like a banshee howling into a gale, a desperate voice facing off against an implacable force. The atmosphere produced by Crawl is one of utter darkness, very similar to the effect that MSW himself often achieves under his Hell monicker and even though the music is quite sparsely produced, it still feels impenetrably dense and crushing.

10,000 Polehammers follows a similar template, but feels even more dense than the preceeding track, the drums here being pushed quite far forward and taking a prominent position in the mix, each snare hit seemingly increasing the protagonist's suffering as he wails and howls his protestations impotently into the darkness. The cover of Damned is a black and white drawing of a medieval knight, seemingly defeated and broken down by the horrors he has witnessed rather than the enemies he has defeated and, I must admit, that is a perfect metaphor for the sound of the closing track, Poisoned and Shadowmad which is as bleak a piece of metal as you are likely to hear this year.

Damned is filthy-sounding, impenetrable, unremittingly bleak and a pretty damn great illustration of what extreme doom drone should sound like.