Review by Rosh on January 18, 2022.

Rise Above Records has been accused of having low standards for the artists they sign, but I just don't see it. If they're not the best doom/stoner label of all time, they're definitely in the top 3, because they've produced plenty of now iconic bands occupying various niches within the doom and stoner ecosystem, right from the very beginning. They've also been at it for a while, getting institutions like Orange Goblin and Electric Wizard off the ground over 2 decades ago, but still producing tons of noteworthy acts all the time since then. Australia's Witchskull is one of their newer acquisitions, but they've already released 3 full-lengths in the span of just 5 years. A Driftwood Cross from 2020, though, is most likely to be their breakthrough release, with its outward accessibility and grooviness.

The music on Witchskull's 2020 full-length is most comparable to Cathedral circa "The Carnival Bizarre", but slightly more obviously stoner metal influenced than traditional doom-based, for although the riffs may be winding at times, the progressions feel more hypnotic than balls-out heavy or crunchy. Another palpable comparison would be the early albums from The Sword, since both bands offer groove and hook based stoner metal with more mid-range sounding and somewhat nasally vocals. Certainly, the vocals here have character and charisma to them, especially in the refrains of the songs, but the compositions leave something to be desired. The bass is the main thing carrying the instrumentation along or giving it any character, because the guitar tone is fairly indistinct. As a result, the loud bass in the mix saves the day. Still, the actual meat and potatoes of the riffs are by-the-numbers fare for heavy metal, stoner metal, or doom metal, spiced up only by the previously mentioned bass and the admittedly cool melodies which consist of brief guitar phrases distinguished by hammer-ons or slides.

So we've established that the compositions here need work, because they're not that involved and I prefer heavy/stoner metal to be riffier. However, what really earns the points for A Driftwood Cross is the feel of the music. They do a lot with a little, I'll say that much. The hazy, but still smooth, production is part of it, but furthermore, the direction of the songwriting has a tendency towards atmosphere. The result is that it's got a bit of a 60's/70's occult rock feel to it (see the somewhat ambient section in 'The Red Altar' or the subtle guitar intervals coupled with the ritualistic drumming in the verses of 'Nero Order'). Really, Rise Above Records is known for fostering very experience-driven bands, (Ghost is more of a brand than a band) so Witchskull definitely fit into that niche with their occult feel.

A Driftwood Cross needs more musical substance to be exceptional at the end of the day, but the overall tone of the music will keep you coming back to a certain extent. Witchskull have raw talent and unabashed potential, and the good thing about being a young and relatively prolific band is that they are more than likely to reach this potential before fading from relevance.

Rating: 7.8 out of 10

Review by Rosh on January 18, 2022.

Rise Above Records has been accused of having low standards for the artists they sign, but I just don't see it. If they're not the best doom/stoner label of all time, they're definitely in the top 3, because they've produced plenty of now iconic bands occupying various niches within the doom and stoner ecosystem, right from the very beginning. They've also been at it for a while, getting institutions like Orange Goblin and Electric Wizard off the ground over 2 decades ago, but still producing tons of noteworthy acts all the time since then. Australia's Witchskull is one of their newer acquisitions, but they've already released 3 full-lengths in the span of just 5 years. A Driftwood Cross from 2020, though, is most likely to be their breakthrough release, with its outward accessibility and grooviness.

The music on Witchskull's 2020 full-length is most comparable to Cathedral circa "The Carnival Bizarre", but slightly more obviously stoner metal influenced than traditional doom-based, for although the riffs may be winding at times, the progressions feel more hypnotic than balls-out heavy or crunchy. Another palpable comparison would be the early albums from The Sword, since both bands offer groove and hook based stoner metal with more mid-range sounding and somewhat nasally vocals. Certainly, the vocals here have character and charisma to them, especially in the refrains of the songs, but the compositions leave something to be desired. The bass is the main thing carrying the instrumentation along or giving it any character, because the guitar tone is fairly indistinct. As a result, the loud bass in the mix saves the day. Still, the actual meat and potatoes of the riffs are by-the-numbers fare for heavy metal, stoner metal, or doom metal, spiced up only by the previously mentioned bass and the admittedly cool melodies which consist of brief guitar phrases distinguished by hammer-ons or slides.

So we've established that the compositions here need work, because they're not that involved and I prefer heavy/stoner metal to be riffier. However, what really earns the points for A Driftwood Cross is the feel of the music. They do a lot with a little, I'll say that much. The hazy, but still smooth, production is part of it, but furthermore, the direction of the songwriting has a tendency towards atmosphere. The result is that it's got a bit of a 60's/70's occult rock feel to it (see the somewhat ambient section in 'The Red Altar' or the subtle guitar intervals coupled with the ritualistic drumming in the verses of 'Nero Order'). Really, Rise Above Records is known for fostering very experience-driven bands, (Ghost is more of a brand than a band) so Witchskull definitely fit into that niche with their occult feel.

A Driftwood Cross needs more musical substance to be exceptional at the end of the day, but the overall tone of the music will keep you coming back to a certain extent. Witchskull have raw talent and unabashed potential, and the good thing about being a young and relatively prolific band is that they are more than likely to reach this potential before fading from relevance.

Rating: 7.8 out of 10

Review by JD on May 27, 2011.

Symphonic Metal. Even the name of it seem so large, but at the same time inviting. Bands like this can go one of two ways. One is that it is a sound that cascades around you, while pummling you with its thunderous riffing, the other is that it comes across like a very bad cartoon on really bad drugs. And now for your headbanging enjoyment - Therion.

Formed in 1988 just outside of Stockholm, Sweden this band of amazing musicians at first were a straight ahead Death Metal band in the vein of Celtic Frost, then slowly morphed from there into something different. Now, they are Thrash inspired Symphonic Metal, and one of the leaders in this genre. With inflences like that, plus the drive to make some of the wickedest metal around - it does not take a rocket scientist to see this band is one of the few that can blow your head off.

The are many songs that I could pick out, so I will just say that there really is no weak song on the album. With songs that are as technically sound as they are masterfully and deliciously brutal - Therion is one of the few acts, that no matter what genre of meat you like - you find this album both compelling and impressive. With very biting lyrics and some truly nasty riffs that seem to stick in your head for hours, they seem to be a band that will be around for a long time still.

Later release saw the band go through more changes, yet still keep themselves true to what they were doing. This was Therion’s finest release. Others might disagree... but that is my opinion. Excuse me while I pop the top on another cold one and listen to this album again.... I just have to.

Metal... still fucking rules. Yeah... it still does.(Puts up the horns)!

Categorical Rating Breakdown

Musicianship: 9
Atmosphere: 9
Production: 8
Originality:8.5
Overall: 9

Rating: 8.7 out of 10

Review by JD on December 7, 2012.

Panychida is a Czech term, literally meaning a memorial service for both the Orthodox and Greek Catholic churches, and is also the name for a Pagan Metal band from the same country. Let us see what they have to offer up for us.

Powered by the pagan side of things, this Czechoslovakian five piece plays seriously well put together Blackened Pagan Metal. Mostly bypassing the whole Viking/Folk Metal, maybe except for using some interesting instruments with great effect for accenting the brutal heavy riffs and rhythms of classic metal instruments. It is heavy, nasty and power filled with wondrous lyrics that are so very haunting and yet seem intriguing at the same time.

Half original songs with a mixture of live and cover tracks, Panychida’s odd half EP/special album powers over your senses with very outstanding musicianship and savage force. I was struck by just how well the songs had been crafted, noticing that the band had taken the time to make every last one of them. I love the original track ‘Return From The Woodland Journey, and I have to say the cover of Running Wild’s 'Black Wings Of Death' - needless to say that the others were very good, but these stood out for me.

For Pagan Metal, Panychida is on of the bands that really showcases just how this genre is to be done, while putting their own inspired spin to it all. They have not fully hit their potential yet, but is on the right track to make their mark. With an album this good by a band that is so close to what they can fully give, their next album will smoke the competition right out of the running.

Categorical Rating Breakdown

Musicianship:9
Atmosphere: 8.5
Production: 8.5
Originality: 9
Overall: 9

Rating: 8.8 out of 10