As far as most people will be concerned, Pyreship first appeared on the sludge metal scene in 2017 when their ‘Liars Bend Low’ album appeared on Bandcamp. Its five murky sounding tracks immediately signified the band as masters of some of the dirtiest riffs, but for those paying closer attention, the material also suggested a keen interest in wandering, dark atmospherics which – in the hands of talented musicians – might just take their uncompromising noise into more interesting places in the future.
Heavy duo Coma Hole are gearing up to unleash their debut EP, which promises to be a moody, sludgy and gothic affair, heavy on riffs. In the meantime, they’ve just shared a second single, ‘Wind & Bone’, which is a genuine treat for lovers of material with a doom metal heart.
At the beginning of 2021, Polish doom metal band Weird Tales released an EP of material based around classic blues numbers. Their heaviness was without question; their lack of compromise even more so. Unfortunately, the end results were not only as scary as hell, but actually insulting to the legacies of the Delta blues pioneers. Good or bad – or in this case, possibly awful – they definitely made an impression.
Ever since the release of their self-financed ‘Advorsus’ in 2016, Sheffield’s Kurokuma have marked themselves out as one of the UK’s heaviest bands. Across a series of EP releases over the next few years, their uncompromising blend of sludge, doom and hardcore has gained them a very loyal cult following.
Ever since the release of their debut LP in 2017, Tommy Stewart’s Dyerwulf have been committed to taking doom metal in a more experimental direction, but none of their work has ever felt quite as important as their 2021 release, ‘Doomsday Deferred’. The origins of the album date back as far as 2018, at which time the world looked very different, but as the material began to take shape, a global pandemic swept the world, allowing Stewart even more time to get creative during a time of isolation. The resulting album is heavy, but it’s also a cut above the obvious sludgy tones of the debut. In fact, with a minimalist set up of just bass, drums and occasional cello, combined with a willingness to experiment, the final release could be the crowning achievement of Stewart’s career to date.