Review of The Insolent by Antigama

Band: Antigama
Album: The Insolent
Release Date: 7 May 2015
Record Label: Selfmadegod Records
Buy CD ($10) or digital ($8) or vinyl ($15) or cassette tape ($8) from: Bandcamp

The Insolent by Antigama

At the end of every year I like to give my album review writers the chance to write about not their favorite album of the year but the one they think was most overlooked and deserving of more attention. The albums don’t have to be from the local scene like most of the reviews on DCHM and the choice is totally up to them. Today is Buzzo Jr’s turn and, well, I’ll let his words do the talking from here.

There was a ton of awesome heavy music that was released this year, but an unfortunate amount of it went rather unnoticed by most people. One of those releases that I felt wasn’t given enough praise this year was The Insolent. The Insolent is the newest full length album from grindcore outfit Antigama; a band that has been delivering punishing tunes ever since the they formed in Warsaw, Poland, at the dawn of the millennium. With their seventh album, Antigama offers up a vicious array of grindcore tracks that that experiment with tempo and technicality.

The Insolent comes roaring straight out of the gate with the one-two punch of the tracks “Reward or Punishment” and “Foul Play,” both of which consist of blisteringly fast blast beats and energetic guitar riffs. Keeping within standard grindcore conventions, these first two tracks are very short; with neither of them breaking the two minute mark. Those who think that they are in for just another standard grindcore album are in for a surprise however, as they will soon realize that as the album progresses, the tracks get longer and more and more experimental. The next two tracks “Data Overload” and “Used To” bring the tempo of the album down slightly with distorted, industrial sounding grooves that are interspersed with sections of the familiar break neck speed found at the start of the record. Some grindcore bands often treat the bass guitar as a secondary instrument or shirks it in the production entirely making it all but inaudible and placing more emphasis to the lead guitar. This isn’t the case on this album however; Sebastian Kucharski’s bass is nice and audible, giving off a strong metallic twang. The flow of the album changes up again with “Randomize the Algorithm”; one of the more technical tracks on the album. The track opens with a brief audio sample from the 1995 supernatural horror film The Prophecy, (a pretty bad film in my not so humble opinion) and soon erupts into a barrage of start/stop riffage, dynamic bass lines, and tortured vocals roaring over it all. Sebastian Rockicki shows off his proficient guitar skills on this track especially; fusing traditional grindcore structures with more complex patterns to create a harsh, atonal sound that seems to take influence from the industrial sounds of Godflesh and the multi-layered, dissonant tunes found in GorgutsObscura album. The title track that soon follows is also jam packed with varying time signatures and corkscrewing riffs. The drumming on The Insolent is fantastic, and the title track provides the best example of Paweł Jaroszewicz’s incredible versatility on the drum kit. In the span of only two minutes, he transitions from hyperspeed blast beats to jazzy, polyrhythmic drum fills; meshing perfectly with the bass and guitar barrage provided by the two Sebastians.

The second half of The Insolent starts with the track “Sentenced to the Void,” a mid paced stomper filled with crunching grooves and thunderous vocals. Lukasz Myszkowski is a force of nature on this track, delivering cataclysmic roars that are soaked in distortion and vocal effects. The experimentation on the record comes out again in “Out Beyond”; a spacey track that makes good use of electronic effects to create an otherworldly atmosphere. The track is almost completely instrumental but for the last few seconds when the sample of a countdown to a launch is heard, perfectly leading into the track “Eraser”; another hyperfast display of technical riffs and vocal terror that slows again near the end to segue into the final track; “The Land of Monotony.” At over seven minutes long, this track is a slow, crushing slab of sludgy riffs and pounding drums. It provides a stark contrast to the balls to the wall speed of the majority of the album, giving a terminal sense of finality. The track at some points seems to be ticking down to its very last moments before coming to a void-like silence after the last echoes of Lukasz’s vocals fade away. There isn’t a single bad track on this album, although people who are looking for a more straightforward grindcore album may be put off by the slower, longer tracks near the end. That being said, if you were ever wondering what it would sound like if you took the spacey experimental style of Voivod and merged it with the balls out fury of Pig Destroyer, look no further than right here.

The Insolent is one of the best releases of 2015; grindcore or otherwise. If you consider yourself a fan of grindcore and experimental music, then give this album a spin and make sure to catch Antigama live if you ever have the opportunity, because I can say from first hand experience that they always put on one hell of a show. Here’s to another year of great underground music!

Review of Psychic Warfare by Clutch

Band: Clutch
Album: Psychic Warfare
Release Date: 2 October 2015
Record Label: Weathermaker Music
Buy CD ($9.79) or digital ($9.49) from: Amazon

Psychic Warfare by Clutch

Clutch has come a long way since their days on a major label. They show no signs of slowing down now that they release their albums through their own label, Weathermaker Music. DCHM writer Buzzo Jr breaks down the blue collar heroes’ latest call to arms in the following review of Psychic Warfare. Be sure to check out the music video at the end of this post.

For over 20 years Clutch has built up a dedicated cult following in the DMV area and beyond with their hard hitting brand of rock n roll. Now Maryland’s favorite band is back with their eleventh album Psychic Warfare, the much anticipated follow up to the immensely successful Earth Rocker from 2013. Like their previous album, Psychic Warfare is jam packed with high energy, blues driven stoner rock that’s begging to be played loud and is sure to get your head banging.

After a short intro track entitled “The Affidavit,” where frontman Neil Fallon’s deep voice asks the listener to take a seat and “Just start from the beginning,” the album gets off to a powerful start with “X-Ray Visions” which is filled to the brim with groovy riffs and hard hitting drum beats. The next track, “Firebirds,” is a song with an unbelievably catchy chorus aided in no small part by Neil Fallon’s fantastic vocals. Fallon is arguably one of the most charismatic and talented frontmen in music right now, with his deep, bellowing vocals and imaginative lyrics. His singing gives every song on the record its own sense of character; its own unique feel. Clutch start showing off their blues influences on the track “A Quick Death in Texas.” The blues laden riffs give off an undeniable ZZ Top vibe, but at the same time guitarist Tim Sult manages to inject his own style into the mix, perfectly blending melodic soloing with just enough grittiness in the riffs to ensure that at the end of the day it still sounds like a Clutch song. Tracks like “Sucker for the Witch” and “Your Love is Incarceration” has bassist Dan Maines utilizing his skills by laying down some infectiously funky bass lines that work in flawless unison with Sult’s guitar work. Fallon’s aforementioned lyricism is front and center during these two tracks, with great lines such as “It goes against my Catholic upbringing, I admit it, I’m a sucker for the witch!” or “As to the charges of gettin’ it down, Hey! Before the court, how do you plead? As to the charges that are laid before me: I confess, I am guilty in the first degree!” that are prime material for the crowds to chant along with the first time these tracks are played live.

The album comes to a slow interlude with “Doom Saloon;” an atmospheric instrumental reminiscent of the western inspired tunes on Earth’s album Hex; or Printing in the Infernal Method. The instrumental flows seamlessly into the beautiful “Our Lady of Electric Light.” The track is almost melancholy sounding with its slow tempos and clean melodies, and showcases Fallon’s vocal range by having him hold back his usual booming hollers in exchange for a reserved, southern croon. The tempo soon gets back into overdrive however with “Noble Savage.” Definitely the fastest song on “Psychic Warfare,” the track has the band playing at top speed with Fallon belting out lyrics like the life of his almighty beard depended on it, Sult letting solo after solo come loose, and Jean Paul Gaster beating his drum kit like it owes him money. JP’s drumming is the final piece of the puzzle that makes Clutch who they are. His drumming manages to work in influences from the area’s past music scenes such as the speedy kick pedal work found in the DC hardcore scene, and the simple yet effective beats found in gogo music. The next two tracks “Behold the Colossus” and “Decapitation Blues” continue on with the same great quality found on previous songs, with plenty of groovy riffs and foot stomping beats continuing to drive the album forward. Finally the stage is set for the closing track “Son of Virginia.” Clocking in at seven minutes in length, it’s their second longest track ever, surpassed only by the twelve minute “Dragonfly” from their Elephant Riders album which was released back in 1998. “Son of Virginia” is definitely what one would call an epic; starting out with a clean, southern tinged guitar line working in unison with Fallon’s ever so powerful voice that soon builds up into a tumultuous cascade of riffs and deep bluesy bellows, leaving us with the parting words of the album repeated as if it were a form of mantra: “Truly we are living in an age of wonder.”

While I think this album falls a bit short of Earth Rocker in terms of overall memorability, Clutch’s newest output is still one of the best records I’ve heard all year, from a local band or otherwise. Whether you’re already a fellow Clutch fan or this is your first time hearing about them, I highly recommend this to you either way. I can say with absolute certainty that I’m going to have Psychic Warfare playing on repeat for a good amount of time. And then probably Clutch’s entire discography. Pick up Psychic Warfare and turn up those speakers, because you’re in for a damn good time.

Review of B.C.G.C. by Clay Davis

Band: Clay Davis
Album: B.C.G.C.
Release Date: 11 August 2015
Record Label: Grimoire Records
Buy cassette ($5) or digital ($4) from: Bandcamp
Buy 7″ vinyl ($6) from: Fake Crab Records

B.C.G.C. by Clay Davis

Next week there’s another new release coming from local label Grimoire Records! DCHM writer Buzzo Jr got his hands on a copy and reviewed it, though you can stream the release at the bottom of this post. It comes in a few different formats (listed above) and all are pretty cheap so if you dig it then send them a few bucks and get your very own copy.

Taking their name from the corrupt, profanity spewing senator from The Wire, Baltimore powerviolence two-piece Clay Davis make their full length debut with “B.C.G.C.” As the name of the genre may suggest, powerviolence is a genre that is built upon a foundation of tumultuous anger, furious noise, and relentless aggression, much like the similar genre of grindcore. Clay Davis fully deliver on all of these fronts, putting forth what is one of the best local releases this year so far.

It’s become almost standard nowadays for powerviolence and grindcore bands to either bury the bass in the mix or reject the idea of having a bassist altogether, opting for a drum and guitar setup. Clay Davis does the reverse of this, and instead goes without a guitar and lets the bass do the work. The lack of a guitarist doesn’t hold the sound back at all, with Thor Buntin’s monstrous bass lines and thick sludgy tone pummeling through and doling out incredibly intimidating riffs. The drumming is fantastic, with Mike Barth’s explosive blasts and hyperspeed fills giving a frenzied feel to the songs. Mike also switches up his style on the songs “Hit with a Brick” and “Construct of Ruin,” playing at a much slower pace. These tracks may not be as fast as the the others, but don’t let that fool you into thinking they’re any less intense. If the faster tracks are a series of stab wounds from a butterfly knife, then these slower tracks are a blow to the face with a steel toed boot. Thor and Mike’s alternating vocals go between belted hardcore-style shouting, pained, high pitched shrieking, and deep deathgrind style growls. The variety in the vocal styles keeps the flow going, and prevents the tracks from blending together.

A good description for “B.C.G.C” is that it’s the sonic equivalent of getting beaten down in a seedy alleyway. It’s grimy, filthy, and pissed off. While some listeners may be left wanting more due to the short running time, I personally feel that the short length is what makes it so effective. At only ten minutes long, with tracks averaging just under a minute, this album kicks you square in the teeth and leaves you wondering what the hell just happened. I probably listened to this in full four times back to back, loving it more and more each time. The majority of the tracks on “B.C.G.C” whiz by at an incredibly fast pace, offering the listener little to no room to catch their breath and prepare for the next round of chaos. A track that definitely stood out to me was the humorously titled “Poser Disposer,” which starts out with a great breakdown and then erupts into a full speed barrage of crushing riffs and insane blast beats.

I definitely recommend you pick up this record if you’re a fan powerviolence and grindcore similar to Weekend Nachos and DC’s own Magrudergrind (who are now based out of Brooklyn). Clay Davis’ “B.C.G.C” does not mess around. This album is gritty, vitriolic, and straight up angry. Look no further than right here when you need a soundtrack to getting jumped for your wallet and shoes in Pigtown. There’s a pretty good chance that the first thing out of your mouth upon hearing this record will be senator Davis’s favorite exclamation.

Review of Black Ocean Waves by King Giant

Band: King Giant
Album: Black Ocean Waves
Release Date: 30 June 2015
Buy on CD ($10) from Big Cartel: Here
Buy mp3s ($7.92) from: iTunes or Amazon

Black Ocean Waves by King Giant

Yesterday locals King Giant released their third album, Black Ocean Waves, which you may have heard previewed at our Metal Night at Fair Winds Brewing back in early May. DCHM writer Buzzo Jr got his hands on an advance copy of the album and below is his take on it. Be sure to check out a couple of the songs on the album at the bottom of the post too!

Pimmit Hills, VA quintet King Giant is back with their third album, Black Ocean Waves. This record is a follow up to their release of Dismal Hollow, released back in 2012. King Giant continues with their familiar brand of southern influenced stoner metal on Black Ocean Waves. Fans of the band will find it does not stray much from the path set by the band’s first two albums, but as the saying goes, “If it ain’t broke, don’t fix it.”

Like their DC counterparts Borracho, King Giant’s sound is deeply rooted in the blues, and boasts tons of great guitar work. Todd Ingram (also of Sixty Watt Shaman) and David Kowalski make an excellent team here, with their guitars churning out heavy riffs filled with that southern groove, and vibrant solos that compliment the darker parts of the album’s sound. Todd and David often change the pace of their playing on the record, going from mid paced stomps on “Red Skies” and “Blood of the Lamb” to faster paced gallops like on the song “Trail of Thorns.” The basslines are unfortunately lacking in effect, often being just barely audible over the rest of the band. This is kind of disappointing, seeing as one of the reasons I love stoner metal is how much the bands utilize the bass guitar. The drums make up for this however, with Keith Brooks laying down beats that are somehow laid back and energetic at the same time. While relatively simple, the drumming on the album works well by adding to the swampy atmosphere of the record.

The part of this album that stands out the most here are the vocals. Dave Hammerly’s vocal style has been compared to Glenn Danzig’s style of singing and while the resemblance is undeniable, Dave manages to make the style his own. With his brash, bellowing shouts, and his deep drawls, he brings the record to life by encapsulating the sounds of the filthy south, perfectly meshing with the rest of the elements on the album. Like most music based in the blues, Black Ocean Waves is filled with emotion. Each track has its own tale, whether it be anger and lament towards past addictions on “Requiem for a Drunkard,” perilous journeys at sea on “Red Skies,” or mournful farewells to loved ones on “There Were Bells.” The album’s overall mood is far more melancholy than your standard stoner rock release, but that’s also what makes this album stand out among every other stoner album that’s been released this year. The brilliant mix of catchiness and grit culminates in a fantastic album that is one part Black Sabbath with its doomy riffs, and one part Lynyrd Skynyrd with its melodic twin guitar lines. A standout track for me on this album was one of the album’s most aggressive songs; “The One that God forgot to Save.” The track showcases some of the best drumming on the album, and Hammerly at his most intense; belting out lyrics like a madman.

King Giant don’t reinvent the wheel with Black Ocean Waves but they do bring forth a great record comprised of heavy riffs, soul, and attitude. If you like loud stoner rock with a southern twinge, don’t miss out on this record.

Review of Stratagem by Fulgora

Band: Fulgora
Album: Stratagem
Release Date: 24 March 2015
Record Label: Housecore Records
Performing at Maryland Deathfest XIII: 12:15pm Saturday at Edison Lot B

Cover of Stratagem by Fulgora

Maryland Deathfest is almost here and that means we’re beginning our coverage of MDF XIII. And since everyone keeps asking me, yes, our annual unofficial Maryland Deathefest Survival Guide will be back again this year, ETA on that is Monday, May 18th. But first I’ve asked my writers to pick a few albums by bands playing the fest that may have been over looked and deserve more attention. First up is this piece by Buzzo Jr. about the debut album by Fulgora. Read it and start getting pumped for this year’s Deathfest, it’s almost here!

Fulgora is a deathgrind band from St Louis, Missouri, that formed in 2012, and as you may already know, the band features locals Adam Jarvis from Pig Destroyer and Misery Index on drums, and his cousin John Jarvis from Pig Destroyer and Agoraphobic Nosebleed on bass. On top of that, Fulgora also features John “Sparky” Voyles, formerly of Dying Fetus and Misery Index, on guitar. That pedigree alone should reassure you that these guys know what they’re doing when it comes to good deathgrind. Phil Anselmo even liked them enough to sign them to his record label, Housecore Records. For those of you wondering what “Fulgora” actually means, it’s the name for the goddess of lightning in Roman mythology. They’ve played the area a few times before, and even had their first live show at the Ottobar in Baltimore last year, but their upcoming performance Maryland Deathfest XIII is sure to be the biggest show they play in the DMV area this year. Fulgora will be the first band to play on Saturday, taking the stage at the Edison Lot at 12:15pm.

When it comes to the music on Stratagem, what we have is some fairly standard, albeit great quality, deathgrind. The riffs are very reminiscent of local band Misery Index; full of furious grooves that pack a mean punch. The drumming is top notch as well, with Adam Jarvis showcasing his trademark style full of lightning fast complex drum fills and vicious blast beats. The element that sets Fulgora apart from most other deathgrind bands however are the vocals. Unlike the usual affair of low end growls, the vocals here are much more in the realm of hardcore influenced shouts. It’s refreshing to see more metal bands embrace their hardcore roots like this, and it definitely makes Fulgora stand out among other bands. Two of my favorite tracks on the album are “Splinter” and “Crutch.” These tracks are more mid-paced than the other songs on the album, with both of them featuring devastatingly heavy riffs and some great hardcore influenced breakdowns. (The music video for “Splinter” is pretty NSFW by the way.) One drawback is that this album is extremely short, even for hardcore/deathgrind standards. The album has seven tracks and lasts only around 20 minutes. Two of those tracks are audio samples; the first one from the movie Scanners at the beginning of the album, the second one is a quote from the late journalist Christopher Hitchens at the midway point. Hopefully they will play some new material during their set at the Edison Lot. I’m really looking forward to catching their set, since the video I saw of their performance at Housecore Horror Film Festival shows that they put on a hell of a show.

If you’re a fan of pissed-off deathgrind and hardcore, then Fulgora are right up your alley. The pummeling riffs combined with frantic blast beats and those Hatebreed-esq vocals are guaranteed to get the mosh pits started early at the Edison Lot, so make sure to get over there in time to catch them play Saturday at this year’s Maryland Deathfest!



Live at Housecore Horror Festival:

Review of The Felon’s Claw by Ilsa

Band: Ilsa
Album: The Felon’s Claw
Release Date: 5 May 2015
Record Label: A389 Recordings
Buy digital ($5) or CD ($8.99) or 2x 12″ vinyl ($29.99) on Bandcamp: Here
Buy various bundles with merch from A389’s web store: Here

Cover of The Felon's Claw by Ilsa

Washington DC based crusty death/doom band Ilsa has a new album coming out on Baltimore based label A389. DCHM writer Buzzo Jr has written the following review of The Felon’s Claw to give you all the details about the new full length from one of my favorite area bands. As usual we’ve got a couple of songs streaming at the end of the post so give them a listen while you read!

Lets get this out of the way quick: No, you’re not the only person who is immediately reminded of Spinal Tap’s infamous and fictional Smell the Glove album when looking at the cover art for The Felon’s Claw. However, the fourth full length from DC’s Ilsa sounds nothing like everyone’s favorite fake British band, but is instead full of Ilsa’s signature crust soaked doom metal.

Ilsa is well known for mixing death/doom, with crust punk and d-beat; their previous outputs often alternating between slow doomy passages with one song and then going into frantic punk influenced tracks for the next one. On The Felon’s Claw however, the faster punk influenced tracks are more rare, with only “Oubilette,” “Buried in the Bedrock and Concrete of Our Cities,” and “Armstrong’s Mixture” venturing into full on crust punk territory. The remaining 7 songs are all sludgy doom tracks, with “Katabasis” clocking in at almost 9 minutes. The slow, sinister mood and heavy riffs in these tracks combined with the harsh, high range vocals are sometimes reminiscent of Salome; another great doom band from the DMV area that unfortunately broke up in 2011. I find that I like Ilsa’s faster tracks a bit more than the slower paced songs on this album, since they are packed with much more aggression and energy. Their death metal influences are also more prevalent on the faster tracks, blending perfectly with the punk inspired d-beat drumming. Not to say that the slower tracks aren’t any good; quite the contrary actually. What they lack in speed they greatly make up for in crushing heaviness. A favorite of mine among these slower tracks is “Pandolpho,” which is actually a reimagining of a hymn written by Robert Parsons back in 1572. On this track, the band puts their crust and doom influence into a single song; starting off at a slow steady pace and then erupting into a much faster section in the middle, and finally slowing back down to a dirge-like speed at the end.

Tim Moyer and Brendan Griffiths’ guitar work on the album is great; their mammoth tone establishing the murky atmosphere of the album and their grimy riffs chugging away, hammering the listener into submission. Large amounts of harsh feedback flows in the background, following the example of sludge bands like Eyehategod and Acid Bath. Sharad Satsangi’s basslines follow the guitars perfectly, adding even more power and filth to the mix and chugging in unison with the twin axes. Orion Peter’s vocals are as intense as they’ve ever been as well, with his tortured, painful howls penetrating through the riffs and feedback to create a sense of misanthropy and hopelessness. Orion utilizes his harsh vocals perfectly, causing a great contrast between the low end riffs and his higher range screams. Josh Brettel’s drums unfortunately don’t sound as thick and powerful as the rest of the instruments do, which is a pity seeing as they are incredibly heavy and pounding when Ilsa perform live. That being said, Josh’s drums do get the job done providing thudding beats to complement the riffs and vocals, at some points overcoming the lesser production and sounding utterly bombastic on some of the much slower tracks such as “Smoke is the Ghost of Fire.”

Ilsa’s newest offering is a filthy chunk of crusty death/doom, packed full of great riffs and screams. If you’re looking for a record to play in your dingy basement for a seedy get-together with various lowlives, you won’t find a better one than this.

Review of Foehammer by Foehammer

Band: Foehammer
Album: Foehammer
Release Date: 7 April 2015
Record Label: Grimoire Records
Buy digital or CD ($7) or cassette ($6) on Bandcamp: Here
Buy vinyl ($15) from Australopithecus: Here

Cover of Foehammer by Foehammer

This post is the debut piece from new DCHM contributor Buzzo Jr. Those of you that already know him can back me up that this guy is really passionate about his metal, and I think that he’ll do just fine here. In this post he’s writing about Foehammer, a new band in our area, though the members have been active in our metal scene for some time. Some of you may remember that they were the opening act at the DCHM Holiday Party last December at the Pinch. So take a few minutes to read his words about Foehammer’s debut and of course be sure to stream some of the tunes at the bottom of the post too.

One of the many things the DMV area is well known for is its fantastic doom metal scene. There is no short supply of bands worshipping at the altar of Tony Iommi with fuzz-fueled riffs in the area. One of the newest releases to do so is the self-titled EP from Foehammer, hailing from Annandale, Virginia. With only three songs on the album, each surpassing nine minutes and the final track at a whopping 14, these guys really know the meaning of slow, heavy doom.

First and foremost, the most important thing in all of doom is you’ve got to have solid riffs. And boy do Foehammer deliver. While very simple in structure, every single riff from Joe Cox’s guitar comes at you with full force, lingering on and setting the stage for the next. At some points the riffs sound almost trance-like, and influenced by drone bands such as Sunn O))). The basslines on the record are equally heavy, providing even more distortion to the already low and deep guitar tone. Many funeral doom acts tend to over-distort the bass in order to add to the overall “heaviness,” but end up sounding way too muddy. Foehammer fortunately avoids this misstep and keeps the bass at a perfect level of fuzz, the result being basslines that are clear and audible, but not overpowering the rest of the instruments. Another thing that sets Foehammer apart from other doom bands playing right now would be the vocals. Jay Cardinell’s vocals are not your typical doom vocals in the realm of Wino or Bobby Liebling, but are more reminiscent of death metal bands such as Incantation. The gurgling, low growls at times invoke images of a demonic cauldron, bubbling with an ominous mixture inside. Quite fitting for a band that takes its name from Gandalf’s sword from the “Lord of the Rings” series. Finally, Ben Blanton’s drumming on this record adds the final much needed element to the mix. Each time one of his sticks hit down they hit hard, creating a pounding procession of tribal-like grooves.

The songs, while limited in number, are all slow, heavy, and relentless; hardly ever straying from the set path of full on distortion-laden riffs and pounding drums. The only time the album does quiet down is during the halfway point of the song “Final Grail,” when a beautiful acoustic passage suddenly comes in. The contrast with the acoustic section demonstrates how crushingly heavy Foehammer’s sound actually is once the riffs come roaring back. A minor gripe I have with the album is that while the songs are great, the acoustic section in the first song is the only time the band seems to mix it up, with the rest of the songs not showing much variety in their structure or sound. Apart from that small issue, the album still delivers on what it intended to, and if you’re a fan of incredibly heavy doom in the realm of Samothrace, Conan, Buried At Sea, or even more melodic acts like Pallbearer, then I highly recommend this album.

Foehammer’s self titled debut is a great offering of slow, fuzzy funeral doom that’s bound to shake your speakers and probably your skeleton as well. You can pick it up on April 7 on CD, cassette, or digital download through Baltimore based record label Grimoire Records, or on vinyl through Australopithecus Records.