For the next session, I picked releases from Bandcamp—and that’s precisely why I’m a bit reluctant to rely too much on major streaming platforms, even though they clearly host plenty of “top-quality” (read: well-known) artists. This time, I selected based on genre to avoid extreme contrasts. The focus: doom metal and its relatives.
70%
74%
73%
73%
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71%
Black Capricorn – Cult of Blood (2022)
The stoner rock/metal unit Black Capricorn delivers gritty fuzz guitars and slightly “high” vocals over fairly slow tempos. Unfortunately, there aren’t many crushing blows or standout banger riffs aside from “Worshipping the Bizzare Reverend” and “Giants of Prama.”
With their weed-smoke-style logo aesthetic, I’d say they’re suitable for fans of Stoned Jesus, Mephistopheles, Monolord, or Reverend Bizarre.
Highlight: Worshipping the Bizzare Reverend, Giants of Prama
Conclave – Darkest Days (2023)
Stoner/doom metal with vocals can already feel monotonous—instrumental doom even more so. Not everyone can endure it, and I often get sleepy while listening. Even though Conclave plays heavier and more solidly than Black Capricorn, the effect remains unavoidable. Perhaps fans of Bongripper and the like would find this more engaging.
Highlight: Suicide Funeral
Chained to the Bottom of the Ocean – Decay and Other Hopes Against Progress (2017)
This sludge metal group continues the crushing weight left behind by Conclave. Raw and abrasive as expected, yet nothing truly seeps in naturally for me. Even with readable lyrics, I’m still unsure what message they aim to convey. There seem to be historical elements—names like Goliath, references to burnings, dark-age kingdoms—alongside typical doom vocabulary: misery, catastrophe, and despair. Still, it doesn’t leave much impact on me.
That said, the slightly modern post-metal approach on “The Dead Who Climb Up to the Sky” works quite well. Perhaps that’s the main takeaway here.
Highlight: The Dead Who Climb Up to the Sky
Dulur Gris – The Night of the Living Dead Workers (2025)
Following Chained to the Bottom of the Ocean, Dulur Gris offers slower, thicker riffs with less abrasive noise. Solid enough for a steady headbang. The themes appear more modern—touching on working-class life during the industrial revolution or perhaps capitalism. Fairly relevant to lower- and middle-class struggles, with a bit of punk spirit embedded.
Highlight: Artificial Heaven
The Osedax – Titans Lament (2015)
The Osedax might be the most atmospheric entry on this list, clocking in at 66 minutes total. Proof? Well… that’s exactly it. I struggle to articulate it clearly.
The airy flow, slow-burning guitar vibrations, and extended drum strikes feel like a blend of Amenra, The Ocean, Isis, maybe even Monuments Collapse. Hard to pin down. I do get sleepy while listening—but not in a boring way. It simply demands a particular mood and moment to fully unpack its depth.
Highlight: Titans Lament
Phanteist – 25 Years of Phanteïsm (2025)
A 25th-anniversary compilation from progressive/funeral doom metal band Phanteist, featuring 16 demo and promo tracks. Slightly disappointing—I had expected a more curated selection of standout material. To be fair, I hadn’t listened to them before, so I’m not entirely sure which songs are considered definitive.
Title-wise, “Eternal Sorrow” and “1453: An Empire Crumbles” immediately caught my eye. Musically, the bright organ on “Broken Statue” stands out, along with their emotional piano-driven cover of Rob de Nijs’ “De Regen Voorbij.” There’s also a forceful momentum in “Don’t Mourn,” followed by an equally emotional track by Steve Hackett, which merits further consideration.
While many tracks feel skippable, Phanteïst may appeal to fans of Skepticism, Esoteric, and similar acts.
Highlight: Broken Statue, De Regen Voorbij, Don’t Mourn, Shadow of the Hierophant
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