I’d like to start this off by asking a very honest question: why are there so many bands named Cromlech? Trying to track down the Cromlech that’s about to release Of Owls and Eels is the Black Metal equivalent of finding a needle in a haystack. Naming your band “Cromlech” is basically a cooler way to say “Stonehenge,” but I swear there are more Cromlechs out there than bands named Stonehenge—at least judging by what turns up on Encyclopaedia Metallum. I could be wrong, but in the Metal realm, guessing games are half the fun. Anyway, now that we’ve made it through that intro, let’s dig into Of Owls and Eels.
Anyone who’s been into underground Metal long enough knows who Gaahl is. Probably the most memed man in Black Metal after Abbath. Ever since Gorgoroth made drum kits sound like someone smacking a table with their bare hands, Gaahl has changed a lot as an artist. And today, we’re taking a look at Gaahls Wyrd‘s Branding the Stories. Honestly, I have no idea what to expect, because this project has yet to impress me—but here I am, reviewing it after all the other writers said, “Oh look at the time, I need my beauty sleep.”
As usual, I want our interviews to be about more than just the albums.I know many artists will sigh at this, since they see an opportunity for ruthless self-promotion slip away—but that’s not the case, people! We want to give you layers, and today we have Fia from Exiled Hope, someone who’s aiming to become a lawyer and defend your (yes, your!) rights against the predatory hands of the merchants of death. (That’s the music industry, of course.). But first, we asked Fia a bit about Apocrypha, her latest album—you know, the one Vickyreviewed here!
We have a few bands here we would’ve liked to give more attention to, but the ruthless and unstoppable pace of time is unmatched. Also, I’m calling for backup—because I can’t be the only one left with all the underground fun and work, right? Without further drama, I leave you in the capable hands of our incredibly qualified writers.
Don’t you ever feel like you want to get involved in something gross yet compelling? (And no, don’t say what your dirty mind is thinking!) Well, Lenax is a Black Metal band that, despite its underground nature, is trying to remind us of Watain’s good old days. I know that can raise passions, but I consider myself a fan, and nothing would be nicer than returning to that kind of old-school vibe. Infection has a straightforward name and proposal, so at least we’re not getting scammed this time. You’d be surprised how many times that happens with promos. Let’s go!
Sometimes I wonder what Atmospheric Black Metal would sound like if anyone actually knew or cared how to produce it. Enter Beleth’s Trumpet‘s Chapel of Bones, a band seemingly interested in doing old-school Black Metal that doesn’t sound like French fries fried out of existence. It also happens to be a Finnish band, and despite my best efforts to find some drama, it remains properly mysterious. Time will tell if that’s a good or bad thing. Anyway, let’s dive into this swirling mass of malevolence and static noise.
Hi there, my beautiful music degenerates. Here I am, back with another section of low‑budget and unpredictable releases from the dungeons of my email inbox and personal DMs. What can I say? You people reach out in all sorts of creative ways that would probably cross more than one legal boundary. Anyway, I’ll talk to my lawyer later and focus on this random selection of bands again.
Whether you like it or not, we live in an interconnected world, where people end up being or living in places they didn’t plan to be in the first place. Enterré Vivant is a French project. However, its creator has been living in Japan for 25 years, so it wouldn’t be wrong to call him at least part Japanese—which is why Akuzaï got my attention. How would French/Japanese Black Metal sound? Is it going to be a cheap gimmick, or is it going to take the best of both worlds? Let’s see.
…And Oceans has had a quiet and interesting return from the dead. It even released As in Gardens, So in Tombs, an album that could’ve made it to any serious ranking in 2023. It was a fascinating take on rough MeloBlack that borrowed heavily from ’90s Swedish Black Metal, yet still carried its own deeply depressing and personal touch. So here we are with The Regeneration Itinerary, and hopefully the album will keep regenerating (yes, pun intended) the band’s renewed career. Otherwise, I’m strong enough to be disappointed. Let’s get to it, kids.
I can’t speak for my fellow reviewers here, but I’ve gotten a lot of stinkers lately — oh, sorry, is that not diplomatic? At least I’m giving no names! However, there was something about Drouth that made me think there might be hope for something fresher this time. The Teeth of Time had all the signs of apparent validity: long tracks, but balanced between Black and Death Metal; cool art and title; but mostly, the band is from Portland, Oregon — a place Extreme Metal owes a lot to. But I’m under no illusion about how badly expectations can betray you. Let’s go!
The Teeth of Time has that raw, organic production that’s become part of the Portland scene. However, you can still appreciate everything that’s going on, so for those of you who like authenticity and actual dexterity, you’ll have a blast — assuming being swallowed into a tornado of anguish and anxiety is your definition of fun. Drouth is a band that takes itself seriously and has no problem staying in a place that would make the average Metal noob very uncomfortable. Yet this is all balanced with bleak details that add emotional depth to the journey.
The vocals are wild, jumping between growling and shrieking. It’s hard to put a single label on The Teeth. Sometimes, it felt like I was listening to Downfall of Gaia mixed with Fall of Rauros and Spectral Wound; other times, it leaned more into old Tomb Mold territory — and yet, there are moments of Melodic Death Metal here too. Don’t let its primal first assault fool you: Drouth has crafted something that genuinely defied my expectations. It’s not often you find an album that sounds evil and tragic at the same time. I believe a lot of that comes down to the diverse guitar work throughout, which resists being pinned to just one idea or formula.
I usually don’t enjoy this kind of basement Metal as much as I’ve enjoyed The Teeth. However, if you’re not paying close attention to its detail, it won’t be all that engaging. The album isn’t long, but the tracks are — especially when the high-pitched shrieking comes in, things can feel particularly jarring. So while the pacing has its bumps, it’s not a major issue. Still, I’d like to see Drouth explore more of its melancholic side, especially when opening tracks. The intros, particularly around the middle of the album, are a bit too conservative.
The best albums are the ones that surprise me in some way. Or maybe that’s just the opinion of someone who’s reviewed hundreds of records and is dying for a little sugar in their bland porridge. Either way, that’s what we’ve got here. It might not be for everyone, but Drouth is clearly trying to catch us off guard — and for once, I’m all in.
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