#god dethroned

Witch Vomit: Funeral Sanctum (2024)

After a lifetime of listening to this music, heavy metal bands don't trigger my interest for any specific reason, but rather a random combination of sonic attributes that happen to suit my highly selective, to not say outrageously demanding, personal tastes.

Witch Vomit recently fit that extremely narrow lane with their third long-player, Funeral Sanctum -- not because they try to reinvent the wheel, let alone take the anthropological path to the style's prehistoric days -- just ... because.

Don't worry, I'll be more specific in a moment ...

Formed in Portland, OR, just over a decade ago, by T.T. (a.k.a. Tempter: vocals, guitar real name Tony Thomas) and V.V. (a.k.a. Filth: drums, born Vincent Van Dell), they later recruited bassist J.G. (that's it, just J.G.) and, in '17, second guitarist C.S. (Casey Lynch).

By then, Witch Vomit had already produced a demo, a single, an EP, and an LP (2016's A Scream from the Tomb Below), which they followed with another EP and LP ('19's Buried Deep in a Bottomless Grave), that really got tongues wagging on their behalf.

Alas, a certain global pandemic and a half-decade came and went (notwithstanding yet another EP and single) before the quartet reemerged with '24's Funeral Sanctum, at which point their pernicious brand of death metal with melodic sensibilities and black metal accoutrements finally got its hooks in me.

The latter manifest in the demonic lyrics, blast-beats, and tremolo-picking spraying all over frenzied highlights like "Serpentine Shadows" and "Decaying Angelic Flesh," but even these numbers incorporate deliberate passages to offset that intensity.

Perhaps the most recurring word used to describe Witch Vomit's music is "filthy," and while I'm not one to disagree (I've certainly heard filthier), I think this sells short T.T.'s tastefully melodious guitar work on personal favorites like "Black Wings of Desolation" and "Dominion of a Darkened Realm."

And while the band is also frequently characterized as "old school," I myself prefer "timeless," because the title track, "Endless Fall," and "Blood of Abomination," don't necessarily recall the early '90s pioneers so much as reflect death metal's simpler origins, pre-experimental diaspora.

In fact, simpler and shorter is the order of the day here, as an instrumental intro ("Dying Embers"), an interlude ("Abject Silence"), and a minute-long sprint ("Endarkened Spirits") bring the album to an end in a lean and mean half-hour.

Now that right there REALLY appeals to both my ever-shortening patience and my current lifestyle, because dad can only spare so much time for his scary, cookie monster music, while trying to raise two humans.

... Says the parent listening to bands called Witch Vomit.

Welp, if it's not another nice album from this year I (almost) missed...

For those who have not heard of God Dethroned, they're a Dutch band that's been around since 1992 and they describe their style as "blackened death metal". Maybe you've heard their collaboration with Epica - Human Devastation (a great surprise, not gonna lie, I didn't expect it to be so heavy XD). The Judas Paradox is in my opinion quite melodic compared to what little I've previously heard from their discography, which actually I found surprisingly enjoyable. None of the songs are too long or feel dragged, although there are 2-3 with a bit too samey structure, if I have to pinpoint a (potential) flaw (I don't think they'll prevent you from enjoying the album if you generally like the music style or records which feel like one big track). It's quite short - 42 minutes, but I'm happy I decided to check it out! 🙂 Will listen to more albums of theirs soon!