Review by Felix on February 4, 2020.

The first EP of Slaughter Messiah holds three tracks and they show that Belgium's underground is still a force to be reckoned with. The relatively small country played a pretty important role in continental Europe during the early eighties with bands such as Killer, Cyclone or Acid. All these pioneers stayed in the underground and Slaughter Messiah's sound will also not fill the arenas. That's great, because the band celebrates a bloody orgy of black thrash metal. Its very malignant atmosphere is, among other things, based on the nasty nagging and screaming of lead vocalist Lord Sabathan. Friends of Enthroned know this dude very well and they will quickly realize that he fights under a new banner, but his musical ideals have not changed.

Given this situation, Slaughter Messiah and Enthroned stand together against the plastic sounds that try to infiltrate the metal scene. A black stream of morbid or devastating guitar lines and hammering drums with strong double bass parts characterizes the songs. The programmatically titled "Black Speed Terror" is the fist in the face of those clowns who think that metal has to have decent choruses, smooth lines and acoustic breaks. This does not mean that Slaughter Messiah fail to create the necessary degree of diversity. They have designed interesting song patterns that ensure the attention of the listener. It is almost paradox that their unexceptionally steely riffs result in flexible structures. But both the title track and "Cosmic Funeral (The Great Old Ones)" demonstrate that even extreme metal leaves enough room for variation. The pretty short "Demon" takes a rather straight and narrow-minded route, but this is also a more than solid number.

The sound is less powerful than on their later EPs, however, the Belgian horde blows away all elements of beauty. The guitars convey dark vibes and define the appearance of the band, albeit the hostile voice of Lord Sabathan plays its part as well. It is doubtlessly a pity that the production cannot compete with the heavyweight mix of Morbid Re-Incantations, yet I am speaking of a debut and therefore the sound is totally acceptable. I hope that the band (or whosoever) decides to press a second edition of this vinyl, because old men like me always need a physical copy in order to enjoy music in general and in particular this output (especially Black Speed Terror) whole-heartedly.

Rating: 7.5 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 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 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