All posts by Dan Obstkrieg

Happily committed to the foolish pursuit of words about sounds. Not actually a dinosaur.

Winter – Into Darkness Review

To celebrate the recent reactivation of legendary New York doomheads Winter, Southern Lord has reissued the band’s sole full-length album, 1990’s Into Darkness. Yes, folks, you read that right: little Into Darkness is now old

Graveyard Dirt – For Grace Or Damnation Review

Having been active all the way back in the early 90s, Graveyard Dirt quickly disappeared, leaving only a single demo consigned to the lusting pursuit of salivating doom fiends. In something of a small miracle,

Necros Christos – Doom Of The Occult Review

2011 is shaping up to be a banner year for organ in heavy metal, what with Negative Plane, Acid Witch, Blood Ceremony, and even the typically accordion-and-ennui-ensconced French getting in on the action via Moonreich.

Starve – Wasteland Review

I’ll be honest: I had never heard of the Dutch band Starve before giving Wasteland, their debut album, a spin. Based on the cover art, I was half-hoping for some post-Axis Of Perdition bleak industrial

Blood Ceremony – Living With The Ancients Review

The sophomore album from Toronto’s most devout late 60s/early 70s acolytes Blood Ceremony is probably one of those propositions where you already know where you stand. Either you’ve been digging the near-glut of female-fronted occult

American Heritage – Sedentary Review

American Heritage sounds, for better or worse, like a punch in the face. So, if you’ve been flailing about happier than an old-school thrasher upon discovering a time machine to 1986 over this resurgence of

OvO – Cor Cordium Review

Quick poll: 1. Do you like being annoyed? 2. Do you constantly find yourself listening to music and thinking, “Ah, man, this is pretty good, but I sure wish this band would knock it off

Bloodiest – Descent Review

Bloodiest makes one hell of a difficult-to-classify racket on debut album Descent. It’s more than a bit psychedelic, occasionally aggressive, yet more often contemplative and defiantly melancholic, and while the album runs through a wide