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Dvm Spiro – MMXXVI – Grave Review By Thus SpokeAs is perhaps unsurprising for a doom act, Dvm Spiro appear to have a preoccupation with death. The subtitle of their debut, MMXIX – In Frigidum Lectum is Latin for In a Cold Bed—presumably an allusion to one’s grave—and now, sophomore MMXXVI – Grave states that concept explicitly. This legacy in misery actually extends further into the past, as three of Dvm Spiro’s four members also play in longstanding Italian doom outfit Nihili Locus. With this kind of doom pedigree, the promotional references to legendary artists My Dying Bride, Funeral, and Shape of Despair feel promising and are apt insofar as the core vibe goes. But there are far more sides to Grave than these clickbait comparisons can capture, and it’s in these that the record stands or falls.
Grave is funeral doom, broadly categorized. It borrows plenty from a cavernous and malevolent doom-death on the one hand, and an almost post-doom ambience on the other. Rather than any of the actual touchstones mentioned, it is Ahab that Dvm Spiro’s music seems to channel most strongly and frequently, the particular rhythm and tone of warm liquid plucks and an intruding sinister melody—combined with the crushing heaviness either side—reminding me in particular of Call of the Wretched Sea (“Indistinta Morte,” “Insoluto D’Anima”). There are also a few hints of the aforementioned Funeral (“Troppo Lente Scendono Le Tue”) and Endonomos (“Dissentimento”). In general, Dvm Spiro largely eschew that grandiose transcendence of synth-forward funeral doom and tip the melodic scales away from mournful beauty in favor of a more unsettling dissonance or uncomfortable modal shifting. There are still majestic, mellifluous moments, but Grave seems intended to trouble its listener more than anaesthetise or provide catharsis.
It’s this subversion of aesthetic expectations that gives Dvm Spiro and Grave their character. On paper, the vocal dynamic between female cleans and male harsh vox in the context of doom suggests an ethereal Beauty-and-the-Beast dichotomy—à la Shape of Despair or Draconian. But Dvm Spiro don’t play into the trope so neatly, elevating tension with multifaceted performances from both vocalists. Valeria De Benedectis’ singing carries some of the record’s most beautiful moments (“Indistinta Morte,” “Troppo Lente…”), but also some of the most discomfiting as her voice lapses into haughty, ardent repetition (“Indistinta Morte”) or turns sharply into a malevolent tone (“Preludio,” “Dissentimento”). Roberto Ripollino’s growls join her sometimes for an undeniably powerful duet of opposites (“Dissentimento”) but so too do Maurizio DeMichelis’s raspier snarls (“Troppo Lente…,” “Insoluto D’Anima”), creating a blunter, less perfect contrast that jostles the emotions. Pianos, strings, and guitars alike flow, strum, and weep with pathos for a phrase (“Troppo Lente…”), a rare rise above the gloom (“Preludio,” “Dissentimento”), or a dreamlike intro (“Indistinta Morte,” “Insoluto D’Anima”); in these moments, you could almost believe you’re in the more comforting, less real world of another, prettier doom. Grave, however, has other designs, shifting into discordance or another key, dropping a strange tritone and an accompanying guitar chord (“Preludio,” “Indistinta Morte,” “Troppo Lente…”), forcing you to confront the negativity.
Grave is thus striking, but not always in a way that works. I couldn’t and won’t argue that metal of any kind must be an unchallenging listening experience, but Dvm Spiro’s choices sometimes go beyond adding nuance and approach confusion. The modulations can be too jarring (“Preludio,” “Insoluto D’Anima”), songs too long without meaningful builds (“Indistinta Morte”), and prevarication around structures and refrains sometimes frustrating (“Troppo Lente…”). There is both too much and too little happening for the album’s epic 75-minute length to maintain the coherence and magnetism that might be added with more flowing compositions that committed more firmly to a sinister dissonance or uplifting pathos through each successive movement. And so multifaceted passages tend to distract, and extended sections pull back the progression of compositions, rather than drive it onwards.
Let it not be said that Grave is thereby a weak record. Its brilliant moments of both harmony (“Troppo Lente…”) and malevolence (“Indistina Morte”) shine and prove Dvm Spiro capable of magnificence in both aspects. There is a peculiar power in the subtleties and variance of their melodic and compositional approaches that may resonate more with some listeners than others. As a whole, it doesn’t possess the magnitude or the mystique to fully envelop right now. Perhaps its strength is far more insidious.
Rating: Good
#2026 #30 #Ahab #DeathDoom #Doom #DvmSpiro #Endonomos #Funeral #FuneralDoom #ItalianMetal #Jan26 #MMXXVIGrave #MyKingdomMusic #NihiliLocus #Review #Reviews
DR: 7 | Format Reviewed: 320 kbps
Label: My Kingdom Music
Websites: Bandcamp | Facebook
Releases Worldwide: January 16th, 2025 -
Dvm Spiro – MMXXVI – Grave Review By Thus SpokeAs is perhaps unsurprising for a doom act, Dvm Spiro appear to have a preoccupation with death. The subtitle of their debut, MMXIX – In Frigidum Lectum is Latin for In a Cold Bed—presumably an allusion to one’s grave—and now, sophomore MMXXVI – Grave states that concept explicitly. This legacy in misery actually extends further into the past, as three of Dvm Spiro’s four members also play in longstanding Italian doom outfit Nihili Locus. With this kind of doom pedigree, the promotional references to legendary artists My Dying Bride, Funeral, and Shape of Despair feel promising and are apt insofar as the core vibe goes. But there are far more sides to Grave than these clickbait comparisons can capture, and it’s in these that the record stands or falls.
Grave is funeral doom, broadly categorized. It borrows plenty from a cavernous and malevolent doom-death on the one hand, and an almost post-doom ambience on the other. Rather than any of the actual touchstones mentioned, it is Ahab that Dvm Spiro’s music seems to channel most strongly and frequently, the particular rhythm and tone of warm liquid plucks and an intruding sinister melody—combined with the crushing heaviness either side—reminding me in particular of Call of the Wretched Sea (“Indistinta Morte,” “Insoluto D’Anima”). There are also a few hints of the aforementioned Funeral (“Troppo Lente Scendono Le Tue”) and Endonomos (“Dissentimento”). In general, Dvm Spiro largely eschew that grandiose transcendence of synth-forward funeral doom and tip the melodic scales away from mournful beauty in favor of a more unsettling dissonance or uncomfortable modal shifting. There are still majestic, mellifluous moments, but Grave seems intended to trouble its listener more than anaesthetise or provide catharsis.
It’s this subversion of aesthetic expectations that gives Dvm Spiro and Grave their character. On paper, the vocal dynamic between female cleans and male harsh vox in the context of doom suggests an ethereal Beauty-and-the-Beast dichotomy—à la Shape of Despair or Draconian. But Dvm Spiro don’t play into the trope so neatly, elevating tension with multifaceted performances from both vocalists. Valeria De Benedectis’ singing carries some of the record’s most beautiful moments (“Indistinta Morte,” “Troppo Lente…”), but also some of the most discomfiting as her voice lapses into haughty, ardent repetition (“Indistinta Morte”) or turns sharply into a malevolent tone (“Preludio,” “Dissentimento”). Roberto Ripollino’s growls join her sometimes for an undeniably powerful duet of opposites (“Dissentimento”) but so too do Maurizio DeMichelis’s raspier snarls (“Troppo Lente…,” “Insoluto D’Anima”), creating a blunter, less perfect contrast that jostles the emotions. Pianos, strings, and guitars alike flow, strum, and weep with pathos for a phrase (“Troppo Lente…”), a rare rise above the gloom (“Preludio,” “Dissentimento”), or a dreamlike intro (“Indistinta Morte,” “Insoluto D’Anima”); in these moments, you could almost believe you’re in the more comforting, less real world of another, prettier doom. Grave, however, has other designs, shifting into discordance or another key, dropping a strange tritone and an accompanying guitar chord (“Preludio,” “Indistinta Morte,” “Troppo Lente…”), forcing you to confront the negativity.
Grave is thus striking, but not always in a way that works. I couldn’t and won’t argue that metal of any kind must be an unchallenging listening experience, but Dvm Spiro’s choices sometimes go beyond adding nuance and approach confusion. The modulations can be too jarring (“Preludio,” “Insoluto D’Anima”), songs too long without meaningful builds (“Indistinta Morte”), and prevarication around structures and refrains sometimes frustrating (“Troppo Lente…”). There is both too much and too little happening for the album’s epic 75-minute length to maintain the coherence and magnetism that might be added with more flowing compositions that committed more firmly to a sinister dissonance or uplifting pathos through each successive movement. And so multifaceted passages tend to distract, and extended sections pull back the progression of compositions, rather than drive it onwards.
Let it not be said that Grave is thereby a weak record. Its brilliant moments of both harmony (“Troppo Lente…”) and malevolence (“Indistina Morte”) shine and prove Dvm Spiro capable of magnificence in both aspects. There is a peculiar power in the subtleties and variance of their melodic and compositional approaches that may resonate more with some listeners than others. As a whole, it doesn’t possess the magnitude or the mystique to fully envelop right now. Perhaps its strength is far more insidious.
Rating: Good
#2026 #30 #Ahab #DeathDoom #Doom #DvmSpiro #Endonomos #Funeral #FuneralDoom #ItalianMetal #Jan26 #MMXXVIGrave #MyKingdomMusic #NihiliLocus #Review #Reviews
DR: 7 | Format Reviewed: 320 kbps
Label: My Kingdom Music
Websites: Bandcamp | Facebook
Releases Worldwide: January 16th, 2025 -
Dvm Spiro – MMXXVI – Grave Review By Thus SpokeAs is perhaps unsurprising for a doom act, Dvm Spiro appear to have a preoccupation with death. The subtitle of their debut, MMXIX – In Frigidum Lectum is Latin for In a Cold Bed—presumably an allusion to one’s grave—and now, sophomore MMXXVI – Grave states that concept explicitly. This legacy in misery actually extends further into the past, as three of Dvm Spiro’s four members also play in longstanding Italian doom outfit Nihili Locus. With this kind of doom pedigree, the promotional references to legendary artists My Dying Bride, Funeral, and Shape of Despair feel promising and are apt insofar as the core vibe goes. But there are far more sides to Grave than these clickbait comparisons can capture, and it’s in these that the record stands or falls.
Grave is funeral doom, broadly categorized. It borrows plenty from a cavernous and malevolent doom-death on the one hand, and an almost post-doom ambience on the other. Rather than any of the actual touchstones mentioned, it is Ahab that Dvm Spiro’s music seems to channel most strongly and frequently, the particular rhythm and tone of warm liquid plucks and an intruding sinister melody—combined with the crushing heaviness either side—reminding me in particular of Call of the Wretched Sea (“Indistinta Morte,” “Insoluto D’Anima”). There are also a few hints of the aforementioned Funeral (“Troppo Lente Scendono Le Tue”) and Endonomos (“Dissentimento”). In general, Dvm Spiro largely eschew that grandiose transcendence of synth-forward funeral doom and tip the melodic scales away from mournful beauty in favor of a more unsettling dissonance or uncomfortable modal shifting. There are still majestic, mellifluous moments, but Grave seems intended to trouble its listener more than anaesthetise or provide catharsis.
It’s this subversion of aesthetic expectations that gives Dvm Spiro and Grave their character. On paper, the vocal dynamic between female cleans and male harsh vox in the context of doom suggests an ethereal Beauty-and-the-Beast dichotomy—à la Shape of Despair or Draconian. But Dvm Spiro don’t play into the trope so neatly, elevating tension with multifaceted performances from both vocalists. Valeria De Benedectis’ singing carries some of the record’s most beautiful moments (“Indistinta Morte,” “Troppo Lente…”), but also some of the most discomfiting as her voice lapses into haughty, ardent repetition (“Indistinta Morte”) or turns sharply into a malevolent tone (“Preludio,” “Dissentimento”). Roberto Ripollino’s growls join her sometimes for an undeniably powerful duet of opposites (“Dissentimento”) but so too do Maurizio DeMichelis’s raspier snarls (“Troppo Lente…,” “Insoluto D’Anima”), creating a blunter, less perfect contrast that jostles the emotions. Pianos, strings, and guitars alike flow, strum, and weep with pathos for a phrase (“Troppo Lente…”), a rare rise above the gloom (“Preludio,” “Dissentimento”), or a dreamlike intro (“Indistinta Morte,” “Insoluto D’Anima”); in these moments, you could almost believe you’re in the more comforting, less real world of another, prettier doom. Grave, however, has other designs, shifting into discordance or another key, dropping a strange tritone and an accompanying guitar chord (“Preludio,” “Indistinta Morte,” “Troppo Lente…”), forcing you to confront the negativity.
Grave is thus striking, but not always in a way that works. I couldn’t and won’t argue that metal of any kind must be an unchallenging listening experience, but Dvm Spiro’s choices sometimes go beyond adding nuance and approach confusion. The modulations can be too jarring (“Preludio,” “Insoluto D’Anima”), songs too long without meaningful builds (“Indistinta Morte”), and prevarication around structures and refrains sometimes frustrating (“Troppo Lente…”). There is both too much and too little happening for the album’s epic 75-minute length to maintain the coherence and magnetism that might be added with more flowing compositions that committed more firmly to a sinister dissonance or uplifting pathos through each successive movement. And so multifaceted passages tend to distract, and extended sections pull back the progression of compositions, rather than drive it onwards.
Let it not be said that Grave is thereby a weak record. Its brilliant moments of both harmony (“Troppo Lente…”) and malevolence (“Indistina Morte”) shine and prove Dvm Spiro capable of magnificence in both aspects. There is a peculiar power in the subtleties and variance of their melodic and compositional approaches that may resonate more with some listeners than others. As a whole, it doesn’t possess the magnitude or the mystique to fully envelop right now. Perhaps its strength is far more insidious.
Rating: Good
#2026 #30 #Ahab #DeathDoom #Doom #DvmSpiro #Endonomos #Funeral #FuneralDoom #ItalianMetal #Jan26 #MMXXVIGrave #MyKingdomMusic #NihiliLocus #Review #Reviews
DR: 7 | Format Reviewed: 320 kbps
Label: My Kingdom Music
Websites: Bandcamp | Facebook
Releases Worldwide: January 16th, 2025 -
Dvm Spiro – MMXXVI – Grave Review By Thus SpokeAs is perhaps unsurprising for a doom act, Dvm Spiro appear to have a preoccupation with death. The subtitle of their debut, MMXIX – In Frigidum Lectum is Latin for In a Cold Bed—presumably an allusion to one’s grave—and now, sophomore MMXXVI – Grave states that concept explicitly. This legacy in misery actually extends further into the past, as three of Dvm Spiro’s four members also play in longstanding Italian doom outfit Nihili Locus. With this kind of doom pedigree, the promotional references to legendary artists My Dying Bride, Funeral, and Shape of Despair feel promising and are apt insofar as the core vibe goes. But there are far more sides to Grave than these clickbait comparisons can capture, and it’s in these that the record stands or falls.
Grave is funeral doom, broadly categorized. It borrows plenty from a cavernous and malevolent doom-death on the one hand, and an almost post-doom ambience on the other. Rather than any of the actual touchstones mentioned, it is Ahab that Dvm Spiro’s music seems to channel most strongly and frequently, the particular rhythm and tone of warm liquid plucks and an intruding sinister melody—combined with the crushing heaviness either side—reminding me in particular of Call of the Wretched Sea (“Indistinta Morte,” “Insoluto D’Anima”). There are also a few hints of the aforementioned Funeral (“Troppo Lente Scendono Le Tue”) and Endonomos (“Dissentimento”). In general, Dvm Spiro largely eschew that grandiose transcendence of synth-forward funeral doom and tip the melodic scales away from mournful beauty in favor of a more unsettling dissonance or uncomfortable modal shifting. There are still majestic, mellifluous moments, but Grave seems intended to trouble its listener more than anaesthetise or provide catharsis.
It’s this subversion of aesthetic expectations that gives Dvm Spiro and Grave their character. On paper, the vocal dynamic between female cleans and male harsh vox in the context of doom suggests an ethereal Beauty-and-the-Beast dichotomy—à la Shape of Despair or Draconian. But Dvm Spiro don’t play into the trope so neatly, elevating tension with multifaceted performances from both vocalists. Valeria De Benedectis’ singing carries some of the record’s most beautiful moments (“Indistinta Morte,” “Troppo Lente…”), but also some of the most discomfiting as her voice lapses into haughty, ardent repetition (“Indistinta Morte”) or turns sharply into a malevolent tone (“Preludio,” “Dissentimento”). Roberto Ripollino’s growls join her sometimes for an undeniably powerful duet of opposites (“Dissentimento”) but so too do Maurizio DeMichelis’s raspier snarls (“Troppo Lente…,” “Insoluto D’Anima”), creating a blunter, less perfect contrast that jostles the emotions. Pianos, strings, and guitars alike flow, strum, and weep with pathos for a phrase (“Troppo Lente…”), a rare rise above the gloom (“Preludio,” “Dissentimento”), or a dreamlike intro (“Indistinta Morte,” “Insoluto D’Anima”); in these moments, you could almost believe you’re in the more comforting, less real world of another, prettier doom. Grave, however, has other designs, shifting into discordance or another key, dropping a strange tritone and an accompanying guitar chord (“Preludio,” “Indistinta Morte,” “Troppo Lente…”), forcing you to confront the negativity.
Grave is thus striking, but not always in a way that works. I couldn’t and won’t argue that metal of any kind must be an unchallenging listening experience, but Dvm Spiro’s choices sometimes go beyond adding nuance and approach confusion. The modulations can be too jarring (“Preludio,” “Insoluto D’Anima”), songs too long without meaningful builds (“Indistinta Morte”), and prevarication around structures and refrains sometimes frustrating (“Troppo Lente…”). There is both too much and too little happening for the album’s epic 75-minute length to maintain the coherence and magnetism that might be added with more flowing compositions that committed more firmly to a sinister dissonance or uplifting pathos through each successive movement. And so multifaceted passages tend to distract, and extended sections pull back the progression of compositions, rather than drive it onwards.
Let it not be said that Grave is thereby a weak record. Its brilliant moments of both harmony (“Troppo Lente…”) and malevolence (“Indistina Morte”) shine and prove Dvm Spiro capable of magnificence in both aspects. There is a peculiar power in the subtleties and variance of their melodic and compositional approaches that may resonate more with some listeners than others. As a whole, it doesn’t possess the magnitude or the mystique to fully envelop right now. Perhaps its strength is far more insidious.
Rating: Good
#2026 #30 #Ahab #DeathDoom #Doom #DvmSpiro #Endonomos #Funeral #FuneralDoom #ItalianMetal #Jan26 #MMXXVIGrave #MyKingdomMusic #NihiliLocus #Review #Reviews
DR: 7 | Format Reviewed: 320 kbps
Label: My Kingdom Music
Websites: Bandcamp | Facebook
Releases Worldwide: January 16th, 2025 -
Dvm Spiro – MMXXVI – Grave Review By Thus SpokeAs is perhaps unsurprising for a doom act, Dvm Spiro appear to have a preoccupation with death. The subtitle of their debut, MMXIX – In Frigidum Lectum is Latin for In a Cold Bed—presumably an allusion to one’s grave—and now, sophomore MMXXVI – Grave states that concept explicitly. This legacy in misery actually extends further into the past, as three of Dvm Spiro’s four members also play in longstanding Italian doom outfit Nihili Locus. With this kind of doom pedigree, the promotional references to legendary artists My Dying Bride, Funeral, and Shape of Despair feel promising and are apt insofar as the core vibe goes. But there are far more sides to Grave than these clickbait comparisons can capture, and it’s in these that the record stands or falls.
Grave is funeral doom, broadly categorized. It borrows plenty from a cavernous and malevolent doom-death on the one hand, and an almost post-doom ambience on the other. Rather than any of the actual touchstones mentioned, it is Ahab that Dvm Spiro’s music seems to channel most strongly and frequently, the particular rhythm and tone of warm liquid plucks and an intruding sinister melody—combined with the crushing heaviness either side—reminding me in particular of Call of the Wretched Sea (“Indistinta Morte,” “Insoluto D’Anima”). There are also a few hints of the aforementioned Funeral (“Troppo Lente Scendono Le Tue”) and Endonomos (“Dissentimento”). In general, Dvm Spiro largely eschew that grandiose transcendence of synth-forward funeral doom and tip the melodic scales away from mournful beauty in favor of a more unsettling dissonance or uncomfortable modal shifting. There are still majestic, mellifluous moments, but Grave seems intended to trouble its listener more than anaesthetise or provide catharsis.
It’s this subversion of aesthetic expectations that gives Dvm Spiro and Grave their character. On paper, the vocal dynamic between female cleans and male harsh vox in the context of doom suggests an ethereal Beauty-and-the-Beast dichotomy—à la Shape of Despair or Draconian. But Dvm Spiro don’t play into the trope so neatly, elevating tension with multifaceted performances from both vocalists. Valeria De Benedectis’ singing carries some of the record’s most beautiful moments (“Indistinta Morte,” “Troppo Lente…”), but also some of the most discomfiting as her voice lapses into haughty, ardent repetition (“Indistinta Morte”) or turns sharply into a malevolent tone (“Preludio,” “Dissentimento”). Roberto Ripollino’s growls join her sometimes for an undeniably powerful duet of opposites (“Dissentimento”) but so too do Maurizio DeMichelis’s raspier snarls (“Troppo Lente…,” “Insoluto D’Anima”), creating a blunter, less perfect contrast that jostles the emotions. Pianos, strings, and guitars alike flow, strum, and weep with pathos for a phrase (“Troppo Lente…”), a rare rise above the gloom (“Preludio,” “Dissentimento”), or a dreamlike intro (“Indistinta Morte,” “Insoluto D’Anima”); in these moments, you could almost believe you’re in the more comforting, less real world of another, prettier doom. Grave, however, has other designs, shifting into discordance or another key, dropping a strange tritone and an accompanying guitar chord (“Preludio,” “Indistinta Morte,” “Troppo Lente…”), forcing you to confront the negativity.
Grave is thus striking, but not always in a way that works. I couldn’t and won’t argue that metal of any kind must be an unchallenging listening experience, but Dvm Spiro’s choices sometimes go beyond adding nuance and approach confusion. The modulations can be too jarring (“Preludio,” “Insoluto D’Anima”), songs too long without meaningful builds (“Indistinta Morte”), and prevarication around structures and refrains sometimes frustrating (“Troppo Lente…”). There is both too much and too little happening for the album’s epic 75-minute length to maintain the coherence and magnetism that might be added with more flowing compositions that committed more firmly to a sinister dissonance or uplifting pathos through each successive movement. And so multifaceted passages tend to distract, and extended sections pull back the progression of compositions, rather than drive it onwards.
Let it not be said that Grave is thereby a weak record. Its brilliant moments of both harmony (“Troppo Lente…”) and malevolence (“Indistina Morte”) shine and prove Dvm Spiro capable of magnificence in both aspects. There is a peculiar power in the subtleties and variance of their melodic and compositional approaches that may resonate more with some listeners than others. As a whole, it doesn’t possess the magnitude or the mystique to fully envelop right now. Perhaps its strength is far more insidious.
Rating: Good
#2026 #30 #Ahab #DeathDoom #Doom #DvmSpiro #Endonomos #Funeral #FuneralDoom #ItalianMetal #Jan26 #MMXXVIGrave #MyKingdomMusic #NihiliLocus #Review #Reviews
DR: 7 | Format Reviewed: 320 kbps
Label: My Kingdom Music
Websites: Bandcamp | Facebook
Releases Worldwide: January 16th, 2025 -
“Don’t give a f#@&”
Note: This post was originally published in a slightly different form on Fritinancy, my Substack newsletter.
*
“DON’T GIVE A F#@&” shouts the headline on a two-page ad in a recent Sunday New York Times. Instead of giving a f#@&, we’re instructed to “give an e.l.f.” — to substitute a three-initial brand name for a four-letter taboo word.
“DON’T GIVE a F#@&.” New York Times, November 2, 2025, page A9. Photo: Nancy Friedman.E.l.f. is a cosmetics brand — the initials stand for eyes, lips, face, and the name is pronounced as an acronym, elf — that calls itself “a different kind of beauty company.” (Where is the entrepreneur bold enough to launch “the same kind of beauty company”?) Founded in 2004 and based in Oakland, California (my hometown!), e.l.f sells its potions online, in U.S. retail chains such as Target, and in brick-and-mortar shops in 17 other countries. The company has partnered with singer-songwriter Alicia Keys on a sub-brand, Keys Soulcare, and recently made headlines for its $1 billion (!) acquisition of Rhode, Hailey Rhode Bieber’s line of “edited, efficacious, and intentional” skincare and makeup products.
How “different” is e.l.f.? Here’s the facing page of that ad:
New York Times, November 2, 2025, page A8. Photo: Nancy Friedman.Translation: Unlike our heartless competitors, e.l.f. cares (“gives a fuck/gives an e.l.f.”) about women in sports, fair trade certification, empowering legendary females (another e.l.f.!), et cetera. It gives so many e.l.f.s about “double-certified cruelty free” that it gives that virtue a double mention.
The campaign took its message to the streets of Manhattan last week, and Breaking and Entering Media was on the scene of the “activation,” to use the jargon-y term:
View this post on Instagram
The corporate website devotes a page — “Impact” — to more details:
GIVE A F#@&. GIVE AN e.l.f..
We give soooo many e.l.f.s — always have, always will.
From changing the board game to amplifying voices —
and donating 2% of annual profits to causes YOU care
about. It’s all in our 4th annual impact report.*
This isn’t the first time e.l.f. has flirted with naughty words. The corporate blog is called “The e.l.f. Word,” which winks at “the F-word.” The “page loading” graphic on the corporate website reads “Let’s Elfing Gooo.” (For more on “let’s fucking go,” see my January 2020 Strong Language post.)
And in 2024, the company launched “So Many Dicks,” a campaign that wasn’t exactly about penises. Its argument was the fact that men named Dick (or Richard, Rick, or Rich) outnumbered women of any name on the corporate boards of publicly traded companies. (Two-thirds of e.l.f’s board members are women.) “We want to normalize diversity — and if it takes some e.l.f.ing in-your-face advertising to do it, we’re happy to put it on some of the biggest screens you can imagine,” the company’s chief marketing officer, Kory Marchisotto, said at the time.
E.l.f. clearly likes to turn its brand name into various parts of speech, which is cheeky and a little risky. (Trademark lawyers will tell you it leads to genericide.) But I want to focus on something else about the current ad campaign, namely: Is it even possible, linguistically, to “give an e.l.f.”? Or a fuck? If it is, how many e.l.f.s (or fucks) can you give? And by the way: How long have we been giving (or not giving) fucks?
*
I’ll take the last question first.
In the fourth edition of his indispensable The F-Word, Jesse Sheidlower traces the original DGAF abbreviation (“don’t give a fuck” = don’t care) to a 1995 Usenet posting. But DILLIGAF — “do I look like I give a fuck?” — is considerably older: Jesse found it in Current Slang, volume 5, number 1, from 1970: “‘D.I.L.L.I.G.A.F.’ or DILLIGAF, n. An irresponsible person. . . . adj. Irresponsible.” The meaning has shifted over the decades to something closer to “indifference” or even “scorn”; The F-Word’s most recent citation, from 2020, concerns a New York City police officer who wore a face mask depicting the Punisher’s skull logo along with DILLIGAF.
As for the other questions, they’re catnip for the contributors (or co-fuckers, as we like to say) here at Strong Language. Linguistic anthropologist Stephen Chrisomalis, for example, tackled the issue of countable fucks back in 2014, under the heading “How many swears can we give?” Stephen’s jumping-off point was a then-popular meme, “Look at all the fucks I give”:
‘Give a damn’, ‘give a shit’, ‘give a fuck’, and other such items are all examples of negative polarity items (NPIs), which are unmarked when they occur in negative contexts. If you’re familiar with the phrase give a fuck, then you don’t need to be told that this is a rephrasing of I don’t give a fuck, because it rarely occurs as a positive polarity item (e.g. I give a fuck about you sounds odd).
(Emphasis added.)
Which would make “Don’t give a F#@&” and “Give an e.l.f.” sound slightly wrong to our ears. In advertising, though, that strangeness can be an asset: It creates just enough friction to be memorable.
Besides, as John Kelly observed less than a year after Stephen published his post, although “I give a fuck” is “not a way we would normally express care,” the expression is increasingly being used for humorous effect. Case in point: “I give zero fucks.” John wrote:
In 2015, giving zero fucks isn’t about not caring per se. Giving zero fucks is about an I’m-over-it ignoring of haters, trolls, and bullies, to draw on some popular vernacular; it’s about leaning in, #beingyourself, having swagger, no more ass-kissing or bullshit-taking. But this is a two-sided fuck, if you will. A zero-fucks approach can have a liberating assertiveness and self-confidence, but it also runs the risk of being heedless, uncompromising, irresponsible, or unfeeling, as Emma Gray smartly warned in her exhortation for us to give more fucks. This is an age-old tension for the individual in society, of course, but one that seems like it’s being more intensely staged in the modern psyche, on Twitter feeds, and American politics.
And in 2019, Ben Zimmer updated the discussion with “New Frontiers in the Giving of Fucks and Shits.” The post includes a spirited music video, “I’ve No More Fucks to Give,” which is the very best sort of earworm.
Probably not, though, for e.l.f., which is very much in the fucks-giving spirit this season. Ho ho ho!
#beingyourself #cosmetics #dgaf #dilligaf #eLF #lfg #mincedOaths
-
“Don’t give a f#@&”
Note: This post was originally published in a slightly different form on Fritinancy, my Substack newsletter.
*
“DON’T GIVE A F#@&” shouts the headline on a two-page ad in a recent Sunday New York Times. Instead of giving a f#@&, we’re instructed to “give an e.l.f.” — to substitute a three-initial brand name for a four-letter taboo word.
“DON’T GIVE a F#@&.” New York Times, November 2, 2025, page A9. Photo: Nancy Friedman.E.l.f. is a cosmetics brand — the initials stand for eyes, lips, face, and the name is pronounced as an acronym, elf — that calls itself “a different kind of beauty company.” (Where is the entrepreneur bold enough to launch “the same kind of beauty company”?) Founded in 2004 and based in Oakland, California (my hometown!), e.l.f sells its potions online, in U.S. retail chains such as Target, and in brick-and-mortar shops in 17 other countries. The company has partnered with singer-songwriter Alicia Keys on a sub-brand, Keys Soulcare, and recently made headlines for its $1 billion (!) acquisition of Rhode, Hailey Rhode Bieber’s line of “edited, efficacious, and intentional” skincare and makeup products.
How “different” is e.l.f.? Here’s the facing page of that ad:
New York Times, November 2, 2025, page A8. Photo: Nancy Friedman.Translation: Unlike our heartless competitors, e.l.f. cares (“gives a fuck/gives an e.l.f.”) about women in sports, fair trade certification, empowering legendary females (another e.l.f.!), et cetera. It gives so many e.l.f.s about “double-certified cruelty free” that it gives that virtue a double mention.
The campaign took its message to the streets of Manhattan last week, and Breaking and Entering Media was on the scene of the “activation,” to use the jargon-y term:
View this post on Instagram
The corporate website devotes a page — “Impact” — to more details:
GIVE A F#@&. GIVE AN e.l.f..
We give soooo many e.l.f.s — always have, always will.
From changing the board game to amplifying voices —
and donating 2% of annual profits to causes YOU care
about. It’s all in our 4th annual impact report.*
This isn’t the first time e.l.f. has flirted with naughty words. The corporate blog is called “The e.l.f. Word,” which winks at “the F-word.” The “page loading” graphic on the corporate website reads “Let’s Elfing Gooo.” (For more on “let’s fucking go,” see my January 2020 Strong Language post.)
And in 2024, the company launched “So Many Dicks,” a campaign that wasn’t exactly about penises. Its argument was the fact that men named Dick (or Richard, Rick, or Rich) outnumbered women of any name on the corporate boards of publicly traded companies. (Two-thirds of e.l.f’s board members are women.) “We want to normalize diversity — and if it takes some e.l.f.ing in-your-face advertising to do it, we’re happy to put it on some of the biggest screens you can imagine,” the company’s chief marketing officer, Kory Marchisotto, said at the time.
E.l.f. clearly likes to turn its brand name into various parts of speech, which is cheeky and a little risky. (Trademark lawyers will tell you it leads to genericide.) But I want to focus on something else about the current ad campaign, namely: Is it even possible, linguistically, to “give an e.l.f.”? Or a fuck? If it is, how many e.l.f.s (or fucks) can you give? And by the way: How long have we been giving (or not giving) fucks?
*
I’ll take the last question first.
In the fourth edition of his indispensable The F-Word, Jesse Sheidlower traces the original DGAF abbreviation (“don’t give a fuck” = don’t care) to a 1995 Usenet posting. But DILLIGAF — “do I look like I give a fuck?” — is considerably older: Jesse found it in Current Slang, volume 5, number 1, from 1970: “‘D.I.L.L.I.G.A.F.’ or DILLIGAF, n. An irresponsible person. . . . adj. Irresponsible.” The meaning has shifted over the decades to something closer to “indifference” or even “scorn”; The F-Word’s most recent citation, from 2020, concerns a New York City police officer who wore a face mask depicting the Punisher’s skull logo along with DILLIGAF.
As for the other questions, they’re catnip for the contributors (or co-fuckers, as we like to say) here at Strong Language. Linguistic anthropologist Stephen Chrisomalis, for example, tackled the issue of countable fucks back in 2014, under the heading “How many swears can we give?” Stephen’s jumping-off point was a then-popular meme, “Look at all the fucks I give”:
‘Give a damn’, ‘give a shit’, ‘give a fuck’, and other such items are all examples of negative polarity items (NPIs), which are unmarked when they occur in negative contexts. If you’re familiar with the phrase give a fuck, then you don’t need to be told that this is a rephrasing of I don’t give a fuck, because it rarely occurs as a positive polarity item (e.g. I give a fuck about you sounds odd).
(Emphasis added.)
Which would make “Don’t give a F#@&” and “Give an e.l.f.” sound slightly wrong to our ears. In advertising, though, that strangeness can be an asset: It creates just enough friction to be memorable.
Besides, as John Kelly observed less than a year after Stephen published his post, although “I give a fuck” is “not a way we would normally express care,” the expression is increasingly being used for humorous effect. Case in point: “I give zero fucks.” John wrote:
In 2015, giving zero fucks isn’t about not caring per se. Giving zero fucks is about an I’m-over-it ignoring of haters, trolls, and bullies, to draw on some popular vernacular; it’s about leaning in, #beingyourself, having swagger, no more ass-kissing or bullshit-taking. But this is a two-sided fuck, if you will. A zero-fucks approach can have a liberating assertiveness and self-confidence, but it also runs the risk of being heedless, uncompromising, irresponsible, or unfeeling, as Emma Gray smartly warned in her exhortation for us to give more fucks. This is an age-old tension for the individual in society, of course, but one that seems like it’s being more intensely staged in the modern psyche, on Twitter feeds, and American politics.
And in 2019, Ben Zimmer updated the discussion with “New Frontiers in the Giving of Fucks and Shits.” The post includes a spirited music video, “I’ve No More Fucks to Give,” which is the very best sort of earworm.
Probably not, though, for e.l.f., which is very much in the fucks-giving spirit this season. Ho ho ho!
#beingyourself #cosmetics #dgaf #dilligaf #eLF #lfg #mincedOaths
-
“Don’t give a f#@&”
Note: This post was originally published in a slightly different form on Fritinancy, my Substack newsletter.
*
“DON’T GIVE A F#@&” shouts the headline on a two-page ad in a recent Sunday New York Times. Instead of giving a f#@&, we’re instructed to “give an e.l.f.” — to substitute a three-initial brand name for a four-letter taboo word.
“DON’T GIVE a F#@&.” New York Times, November 2, 2025, page A9. Photo: Nancy Friedman.E.l.f. is a cosmetics brand — the initials stand for eyes, lips, face, and the name is pronounced as an acronym, elf — that calls itself “a different kind of beauty company.” (Where is the entrepreneur bold enough to launch “the same kind of beauty company”?) Founded in 2004 and based in Oakland, California (my hometown!), e.l.f sells its potions online, in U.S. retail chains such as Target, and in brick-and-mortar shops in 17 other countries. The company has partnered with singer-songwriter Alicia Keys on a sub-brand, Keys Soulcare, and recently made headlines for its $1 billion (!) acquisition of Rhode, Hailey Rhode Bieber’s line of “edited, efficacious, and intentional” skincare and makeup products.
How “different” is e.l.f.? Here’s the facing page of that ad:
New York Times, November 2, 2025, page A8. Photo: Nancy Friedman.Translation: Unlike our heartless competitors, e.l.f. cares (“gives a fuck/gives an e.l.f.”) about women in sports, fair trade certification, empowering legendary females (another e.l.f.!), et cetera. It gives so many e.l.f.s about “double-certified cruelty free” that it gives that virtue a double mention.
The campaign took its message to the streets of Manhattan last week, and Breaking and Entering Media was on the scene of the “activation,” to use the jargon-y term:
View this post on Instagram
The corporate website devotes a page — “Impact” — to more details:
GIVE A F#@&. GIVE AN e.l.f..
We give soooo many e.l.f.s — always have, always will.
From changing the board game to amplifying voices —
and donating 2% of annual profits to causes YOU care
about. It’s all in our 4th annual impact report.*
This isn’t the first time e.l.f. has flirted with naughty words. The corporate blog is called “The e.l.f. Word,” which winks at “the F-word.” The “page loading” graphic on the corporate website reads “Let’s Elfing Gooo.” (For more on “let’s fucking go,” see my January 2020 Strong Language post.)
And in 2024, the company launched “So Many Dicks,” a campaign that wasn’t exactly about penises. Its argument was the fact that men named Dick (or Richard, Rick, or Rich) outnumbered women of any name on the corporate boards of publicly traded companies. (Two-thirds of e.l.f’s board members are women.) “We want to normalize diversity — and if it takes some e.l.f.ing in-your-face advertising to do it, we’re happy to put it on some of the biggest screens you can imagine,” the company’s chief marketing officer, Kory Marchisotto, said at the time.
E.l.f. clearly likes to turn its brand name into various parts of speech, which is cheeky and a little risky. (Trademark lawyers will tell you it leads to genericide.) But I want to focus on something else about the current ad campaign, namely: Is it even possible, linguistically, to “give an e.l.f.”? Or a fuck? If it is, how many e.l.f.s (or fucks) can you give? And by the way: How long have we been giving (or not giving) fucks?
*
I’ll take the last question first.
In the fourth edition of his indispensable The F-Word, Jesse Sheidlower traces the original DGAF abbreviation (“don’t give a fuck” = don’t care) to a 1995 Usenet posting. But DILLIGAF — “do I look like I give a fuck?” — is considerably older: Jesse found it in Current Slang, volume 5, number 1, from 1970: “‘D.I.L.L.I.G.A.F.’ or DILLIGAF, n. An irresponsible person. . . . adj. Irresponsible.” The meaning has shifted over the decades to something closer to “indifference” or even “scorn”; The F-Word’s most recent citation, from 2020, concerns a New York City police officer who wore a face mask depicting the Punisher’s skull logo along with DILLIGAF.
As for the other questions, they’re catnip for the contributors (or co-fuckers, as we like to say) here at Strong Language. Linguistic anthropologist Stephen Chrisomalis, for example, tackled the issue of countable fucks back in 2014, under the heading “How many swears can we give?” Stephen’s jumping-off point was a then-popular meme, “Look at all the fucks I give”:
‘Give a damn’, ‘give a shit’, ‘give a fuck’, and other such items are all examples of negative polarity items (NPIs), which are unmarked when they occur in negative contexts. If you’re familiar with the phrase give a fuck, then you don’t need to be told that this is a rephrasing of I don’t give a fuck, because it rarely occurs as a positive polarity item (e.g. I give a fuck about you sounds odd).
(Emphasis added.)
Which would make “Don’t give a F#@&” and “Give an e.l.f.” sound slightly wrong to our ears. In advertising, though, that strangeness can be an asset: It creates just enough friction to be memorable.
Besides, as John Kelly observed less than a year after Stephen published his post, although “I give a fuck” is “not a way we would normally express care,” the expression is increasingly being used for humorous effect. Case in point: “I give zero fucks.” John wrote:
In 2015, giving zero fucks isn’t about not caring per se. Giving zero fucks is about an I’m-over-it ignoring of haters, trolls, and bullies, to draw on some popular vernacular; it’s about leaning in, #beingyourself, having swagger, no more ass-kissing or bullshit-taking. But this is a two-sided fuck, if you will. A zero-fucks approach can have a liberating assertiveness and self-confidence, but it also runs the risk of being heedless, uncompromising, irresponsible, or unfeeling, as Emma Gray smartly warned in her exhortation for us to give more fucks. This is an age-old tension for the individual in society, of course, but one that seems like it’s being more intensely staged in the modern psyche, on Twitter feeds, and American politics.
And in 2019, Ben Zimmer updated the discussion with “New Frontiers in the Giving of Fucks and Shits.” The post includes a spirited music video, “I’ve No More Fucks to Give,” which is the very best sort of earworm.
Probably not, though, for e.l.f., which is very much in the fucks-giving spirit this season. Ho ho ho!
#beingyourself #cosmetics #dgaf #dilligaf #eLF #lfg #mincedOaths
-
“Don’t give a f#@&”
Note: This post was originally published in a slightly different form on Fritinancy, my Substack newsletter.
*
“DON’T GIVE A F#@&” shouts the headline on a two-page ad in a recent Sunday New York Times. Instead of giving a f#@&, we’re instructed to “give an e.l.f.” — to substitute a three-initial brand name for a four-letter taboo word.
“DON’T GIVE a F#@&.” New York Times, November 2, 2025, page A9. Photo: Nancy Friedman.E.l.f. is a cosmetics brand — the initials stand for eyes, lips, face, and the name is pronounced as an acronym, elf — that calls itself “a different kind of beauty company.” (Where is the entrepreneur bold enough to launch “the same kind of beauty company”?) Founded in 2004 and based in Oakland, California (my hometown!), e.l.f sells its potions online, in U.S. retail chains such as Target, and in brick-and-mortar shops in 17 other countries. The company has partnered with singer-songwriter Alicia Keys on a sub-brand, Keys Soulcare, and recently made headlines for its $1 billion (!) acquisition of Rhode, Hailey Rhode Bieber’s line of “edited, efficacious, and intentional” skincare and makeup products.
How “different” is e.l.f.? Here’s the facing page of that ad:
New York Times, November 2, 2025, page A8. Photo: Nancy Friedman.Translation: Unlike our heartless competitors, e.l.f. cares (“gives a fuck/gives an e.l.f.”) about women in sports, fair trade certification, empowering legendary females (another e.l.f.!), et cetera. It gives so many e.l.f.s about “double-certified cruelty free” that it gives that virtue a double mention.
The campaign took its message to the streets of Manhattan last week, and Breaking and Entering Media was on the scene of the “activation,” to use the jargon-y term:
View this post on Instagram
The corporate website devotes a page — “Impact” — to more details:
GIVE A F#@&. GIVE AN e.l.f..
We give soooo many e.l.f.s — always have, always will.
From changing the board game to amplifying voices —
and donating 2% of annual profits to causes YOU care
about. It’s all in our 4th annual impact report.*
This isn’t the first time e.l.f. has flirted with naughty words. The corporate blog is called “The e.l.f. Word,” which winks at “the F-word.” The “page loading” graphic on the corporate website reads “Let’s Elfing Gooo.” (For more on “let’s fucking go,” see my January 2020 Strong Language post.)
And in 2024, the company launched “So Many Dicks,” a campaign that wasn’t exactly about penises. Its argument was the fact that men named Dick (or Richard, Rick, or Rich) outnumbered women of any name on the corporate boards of publicly traded companies. (Two-thirds of e.l.f’s board members are women.) “We want to normalize diversity — and if it takes some e.l.f.ing in-your-face advertising to do it, we’re happy to put it on some of the biggest screens you can imagine,” the company’s chief marketing officer, Kory Marchisotto, said at the time.
E.l.f. clearly likes to turn its brand name into various parts of speech, which is cheeky and a little risky. (Trademark lawyers will tell you it leads to genericide.) But I want to focus on something else about the current ad campaign, namely: Is it even possible, linguistically, to “give an e.l.f.”? Or a fuck? If it is, how many e.l.f.s (or fucks) can you give? And by the way: How long have we been giving (or not giving) fucks?
*
I’ll take the last question first.
In the fourth edition of his indispensable The F-Word, Jesse Sheidlower traces the original DGAF abbreviation (“don’t give a fuck” = don’t care) to a 1995 Usenet posting. But DILLIGAF — “do I look like I give a fuck?” — is considerably older: Jesse found it in Current Slang, volume 5, number 1, from 1970: “‘D.I.L.L.I.G.A.F.’ or DILLIGAF, n. An irresponsible person. . . . adj. Irresponsible.” The meaning has shifted over the decades to something closer to “indifference” or even “scorn”; The F-Word’s most recent citation, from 2020, concerns a New York City police officer who wore a face mask depicting the Punisher’s skull logo along with DILLIGAF.
As for the other questions, they’re catnip for the contributors (or co-fuckers, as we like to say) here at Strong Language. Linguistic anthropologist Stephen Chrisomalis, for example, tackled the issue of countable fucks back in 2014, under the heading “How many swears can we give?” Stephen’s jumping-off point was a then-popular meme, “Look at all the fucks I give”:
‘Give a damn’, ‘give a shit’, ‘give a fuck’, and other such items are all examples of negative polarity items (NPIs), which are unmarked when they occur in negative contexts. If you’re familiar with the phrase give a fuck, then you don’t need to be told that this is a rephrasing of I don’t give a fuck, because it rarely occurs as a positive polarity item (e.g. I give a fuck about you sounds odd).
(Emphasis added.)
Which would make “Don’t give a F#@&” and “Give an e.l.f.” sound slightly wrong to our ears. In advertising, though, that strangeness can be an asset: It creates just enough friction to be memorable.
Besides, as John Kelly observed less than a year after Stephen published his post, although “I give a fuck” is “not a way we would normally express care,” the expression is increasingly being used for humorous effect. Case in point: “I give zero fucks.” John wrote:
In 2015, giving zero fucks isn’t about not caring per se. Giving zero fucks is about an I’m-over-it ignoring of haters, trolls, and bullies, to draw on some popular vernacular; it’s about leaning in, #beingyourself, having swagger, no more ass-kissing or bullshit-taking. But this is a two-sided fuck, if you will. A zero-fucks approach can have a liberating assertiveness and self-confidence, but it also runs the risk of being heedless, uncompromising, irresponsible, or unfeeling, as Emma Gray smartly warned in her exhortation for us to give more fucks. This is an age-old tension for the individual in society, of course, but one that seems like it’s being more intensely staged in the modern psyche, on Twitter feeds, and American politics.
And in 2019, Ben Zimmer updated the discussion with “New Frontiers in the Giving of Fucks and Shits.” The post includes a spirited music video, “I’ve No More Fucks to Give,” which is the very best sort of earworm.
Probably not, though, for e.l.f., which is very much in the fucks-giving spirit this season. Ho ho ho!
#beingyourself #cosmetics #dgaf #dilligaf #eLF #lfg #mincedOaths
-
“Don’t give a f#@&”
Note: This post was originally published in a slightly different form on Fritinancy, my Substack newsletter.
*
“DON’T GIVE A F#@&” shouts the headline on a two-page ad in a recent Sunday New York Times. Instead of giving a f#@&, we’re instructed to “give an e.l.f.” — to substitute a three-initial brand name for a four-letter taboo word.
“DON’T GIVE a F#@&.” New York Times, November 2, 2025, page A9. Photo: Nancy Friedman.E.l.f. is a cosmetics brand — the initials stand for eyes, lips, face, and the name is pronounced as an acronym, elf — that calls itself “a different kind of beauty company.” (Where is the entrepreneur bold enough to launch “the same kind of beauty company”?) Founded in 2004 and based in Oakland, California (my hometown!), e.l.f sells its potions online, in U.S. retail chains such as Target, and in brick-and-mortar shops in 17 other countries. The company has partnered with singer-songwriter Alicia Keys on a sub-brand, Keys Soulcare, and recently made headlines for its $1 billion (!) acquisition of Rhode, Hailey Rhode Bieber’s line of “edited, efficacious, and intentional” skincare and makeup products.
How “different” is e.l.f.? Here’s the facing page of that ad:
New York Times, November 2, 2025, page A8. Photo: Nancy Friedman.Translation: Unlike our heartless competitors, e.l.f. cares (“gives a fuck/gives an e.l.f.”) about women in sports, fair trade certification, empowering legendary females (another e.l.f.!), et cetera. It gives so many e.l.f.s about “double-certified cruelty free” that it gives that virtue a double mention.
The campaign took its message to the streets of Manhattan last week, and Breaking and Entering Media was on the scene of the “activation,” to use the jargon-y term:
View this post on Instagram
The corporate website devotes a page — “Impact” — to more details:
GIVE A F#@&. GIVE AN e.l.f..
We give soooo many e.l.f.s — always have, always will.
From changing the board game to amplifying voices —
and donating 2% of annual profits to causes YOU care
about. It’s all in our 4th annual impact report.*
This isn’t the first time e.l.f. has flirted with naughty words. The corporate blog is called “The e.l.f. Word,” which winks at “the F-word.” The “page loading” graphic on the corporate website reads “Let’s Elfing Gooo.” (For more on “let’s fucking go,” see my January 2020 Strong Language post.)
And in 2024, the company launched “So Many Dicks,” a campaign that wasn’t exactly about penises. Its argument was the fact that men named Dick (or Richard, Rick, or Rich) outnumbered women of any name on the corporate boards of publicly traded companies. (Two-thirds of e.l.f’s board members are women.) “We want to normalize diversity — and if it takes some e.l.f.ing in-your-face advertising to do it, we’re happy to put it on some of the biggest screens you can imagine,” the company’s chief marketing officer, Kory Marchisotto, said at the time.
E.l.f. clearly likes to turn its brand name into various parts of speech, which is cheeky and a little risky. (Trademark lawyers will tell you it leads to genericide.) But I want to focus on something else about the current ad campaign, namely: Is it even possible, linguistically, to “give an e.l.f.”? Or a fuck? If it is, how many e.l.f.s (or fucks) can you give? And by the way: How long have we been giving (or not giving) fucks?
*
I’ll take the last question first.
In the fourth edition of his indispensable The F-Word, Jesse Sheidlower traces the original DGAF abbreviation (“don’t give a fuck” = don’t care) to a 1995 Usenet posting. But DILLIGAF — “do I look like I give a fuck?” — is considerably older: Jesse found it in Current Slang, volume 5, number 1, from 1970: “‘D.I.L.L.I.G.A.F.’ or DILLIGAF, n. An irresponsible person. . . . adj. Irresponsible.” The meaning has shifted over the decades to something closer to “indifference” or even “scorn”; The F-Word’s most recent citation, from 2020, concerns a New York City police officer who wore a face mask depicting the Punisher’s skull logo along with DILLIGAF.
As for the other questions, they’re catnip for the contributors (or co-fuckers, as we like to say) here at Strong Language. Linguistic anthropologist Stephen Chrisomalis, for example, tackled the issue of countable fucks back in 2014, under the heading “How many swears can we give?” Stephen’s jumping-off point was a then-popular meme, “Look at all the fucks I give”:
‘Give a damn’, ‘give a shit’, ‘give a fuck’, and other such items are all examples of negative polarity items (NPIs), which are unmarked when they occur in negative contexts. If you’re familiar with the phrase give a fuck, then you don’t need to be told that this is a rephrasing of I don’t give a fuck, because it rarely occurs as a positive polarity item (e.g. I give a fuck about you sounds odd).
(Emphasis added.)
Which would make “Don’t give a F#@&” and “Give an e.l.f.” sound slightly wrong to our ears. In advertising, though, that strangeness can be an asset: It creates just enough friction to be memorable.
Besides, as John Kelly observed less than a year after Stephen published his post, although “I give a fuck” is “not a way we would normally express care,” the expression is increasingly being used for humorous effect. Case in point: “I give zero fucks.” John wrote:
In 2015, giving zero fucks isn’t about not caring per se. Giving zero fucks is about an I’m-over-it ignoring of haters, trolls, and bullies, to draw on some popular vernacular; it’s about leaning in, #beingyourself, having swagger, no more ass-kissing or bullshit-taking. But this is a two-sided fuck, if you will. A zero-fucks approach can have a liberating assertiveness and self-confidence, but it also runs the risk of being heedless, uncompromising, irresponsible, or unfeeling, as Emma Gray smartly warned in her exhortation for us to give more fucks. This is an age-old tension for the individual in society, of course, but one that seems like it’s being more intensely staged in the modern psyche, on Twitter feeds, and American politics.
And in 2019, Ben Zimmer updated the discussion with “New Frontiers in the Giving of Fucks and Shits.” The post includes a spirited music video, “I’ve No More Fucks to Give,” which is the very best sort of earworm.
Probably not, though, for e.l.f., which is very much in the fucks-giving spirit this season. Ho ho ho!
#beingyourself #cosmetics #dgaf #dilligaf #eLF #lfg #mincedOaths
-
#Tallow And #Beeswax For #Leather Recipe
May 23, 2025
"Leather has been a trusted material for centuries, and keeping it in top condition requires a little care. That’s where our tallow and beeswax recipe comes in—a natural, time-tested solution for nourishing and protecting leather. This blend not only restores shine but also adds a layer of durability, extending the life of your favorite leather goods.
We love this recipe because it’s simple, effective, and free of harsh chemicals. Both tallow and beeswax have been used for generations to condition and waterproof leather. Together, they create a rich, creamy balm that works wonders on everything from boots to belts. Whether you’re a leather enthusiast or just looking to revive an old bag, this DIY recipe is a must-try.
IngredientsTo create this natural leather care recipe, we need just a few key ingredients. These come together to form a nourishing product perfect for maintaining and restoring leather items. Below, we outline the specific items required for this blend and their respective use.
What You’ll Need
3 oz of Tallow (preferably grass-fed for its purity and superior conditioning properties)
1 oz of Beeswax (use natural, yellow beeswax for the best protective barrier)
2-3 drops of Essential Oil (optional, adds a subtle fragrance and extra conditioning – choose scent-free if preserving natural leather aroma)
Small Heatproof Container or Bowl (for easy mixing)
Double Boiler Setup (ensures controlled heating and prevents burning)
Clean Cloth or Applicator Sponge (for applying the finished mixture to leather)Ingredient Notes
Tallow: Acts as a natural emollient, deep-conditioning leather to prevent cracking while replenishing oils.
Beeswax: Provides a water-resistant barrier, protecting leather from moisture and enhancing flexibility.Why?
1. Deep Conditioning and Moisturization
Tallow acts as a rich, natural conditioner that penetrates leather fibers deeply. Unlike synthetic alternatives, it replenishes lost oils effectively, preventing cracking and drying. Leather treated with tallow regains its softness and flexibility, making it look and feel brand new.2. Enhanced Water Resistance
Beeswax creates a protective barrier on the leather surface, shielding it from moisture and water damage. This is especially useful for items like boots and bags exposed to the elements. The wax seals the pores of the leather while still allowing it to breathe, ensuring longevity and resilience.3. Restoration of Shine
Combining tallow and beeswax restores the natural luster of leather. When applied, the blend gives a polished, glossy finish that enhances the leather’s visual appeal without making it look overly synthetic or plastic-like.4. Protection Against Wear and Tear
Both tallow and beeswax add a layer of protection that minimizes wear over time. Scratches, scuffs, and stains are less likely to penetrate the leather, keeping it in excellent shape. With regular use, this blend ensures that your leather maintains its strength and beauty for years.5. Eco-Friendly and Chemical-Free
One of the biggest advantages is the all-natural composition of tallow and beeswax. They are free from harsh chemicals that can weaken leather over time. This makes them a safer, more sustainable choice for maintaining our leather treasures."Learn more:
https://gluttonlv.com/recipes/tallow-and-beeswax-for-leather-recipe/#AnimalProducts #NoPFAS #NoChemicals #NaturalWaterproofing #SolarPunkSunday #LeatherConditioner
-
#Tallow And #Beeswax For #Leather Recipe
May 23, 2025
"Leather has been a trusted material for centuries, and keeping it in top condition requires a little care. That’s where our tallow and beeswax recipe comes in—a natural, time-tested solution for nourishing and protecting leather. This blend not only restores shine but also adds a layer of durability, extending the life of your favorite leather goods.
We love this recipe because it’s simple, effective, and free of harsh chemicals. Both tallow and beeswax have been used for generations to condition and waterproof leather. Together, they create a rich, creamy balm that works wonders on everything from boots to belts. Whether you’re a leather enthusiast or just looking to revive an old bag, this DIY recipe is a must-try.
IngredientsTo create this natural leather care recipe, we need just a few key ingredients. These come together to form a nourishing product perfect for maintaining and restoring leather items. Below, we outline the specific items required for this blend and their respective use.
What You’ll Need
3 oz of Tallow (preferably grass-fed for its purity and superior conditioning properties)
1 oz of Beeswax (use natural, yellow beeswax for the best protective barrier)
2-3 drops of Essential Oil (optional, adds a subtle fragrance and extra conditioning – choose scent-free if preserving natural leather aroma)
Small Heatproof Container or Bowl (for easy mixing)
Double Boiler Setup (ensures controlled heating and prevents burning)
Clean Cloth or Applicator Sponge (for applying the finished mixture to leather)Ingredient Notes
Tallow: Acts as a natural emollient, deep-conditioning leather to prevent cracking while replenishing oils.
Beeswax: Provides a water-resistant barrier, protecting leather from moisture and enhancing flexibility.Why?
1. Deep Conditioning and Moisturization
Tallow acts as a rich, natural conditioner that penetrates leather fibers deeply. Unlike synthetic alternatives, it replenishes lost oils effectively, preventing cracking and drying. Leather treated with tallow regains its softness and flexibility, making it look and feel brand new.2. Enhanced Water Resistance
Beeswax creates a protective barrier on the leather surface, shielding it from moisture and water damage. This is especially useful for items like boots and bags exposed to the elements. The wax seals the pores of the leather while still allowing it to breathe, ensuring longevity and resilience.3. Restoration of Shine
Combining tallow and beeswax restores the natural luster of leather. When applied, the blend gives a polished, glossy finish that enhances the leather’s visual appeal without making it look overly synthetic or plastic-like.4. Protection Against Wear and Tear
Both tallow and beeswax add a layer of protection that minimizes wear over time. Scratches, scuffs, and stains are less likely to penetrate the leather, keeping it in excellent shape. With regular use, this blend ensures that your leather maintains its strength and beauty for years.5. Eco-Friendly and Chemical-Free
One of the biggest advantages is the all-natural composition of tallow and beeswax. They are free from harsh chemicals that can weaken leather over time. This makes them a safer, more sustainable choice for maintaining our leather treasures."Learn more:
https://gluttonlv.com/recipes/tallow-and-beeswax-for-leather-recipe/#AnimalProducts #NoPFAS #NoChemicals #NaturalWaterproofing #SolarPunkSunday #LeatherConditioner
-
#Tallow And #Beeswax For #Leather Recipe
May 23, 2025
"Leather has been a trusted material for centuries, and keeping it in top condition requires a little care. That’s where our tallow and beeswax recipe comes in—a natural, time-tested solution for nourishing and protecting leather. This blend not only restores shine but also adds a layer of durability, extending the life of your favorite leather goods.
We love this recipe because it’s simple, effective, and free of harsh chemicals. Both tallow and beeswax have been used for generations to condition and waterproof leather. Together, they create a rich, creamy balm that works wonders on everything from boots to belts. Whether you’re a leather enthusiast or just looking to revive an old bag, this DIY recipe is a must-try.
IngredientsTo create this natural leather care recipe, we need just a few key ingredients. These come together to form a nourishing product perfect for maintaining and restoring leather items. Below, we outline the specific items required for this blend and their respective use.
What You’ll Need
3 oz of Tallow (preferably grass-fed for its purity and superior conditioning properties)
1 oz of Beeswax (use natural, yellow beeswax for the best protective barrier)
2-3 drops of Essential Oil (optional, adds a subtle fragrance and extra conditioning – choose scent-free if preserving natural leather aroma)
Small Heatproof Container or Bowl (for easy mixing)
Double Boiler Setup (ensures controlled heating and prevents burning)
Clean Cloth or Applicator Sponge (for applying the finished mixture to leather)Ingredient Notes
Tallow: Acts as a natural emollient, deep-conditioning leather to prevent cracking while replenishing oils.
Beeswax: Provides a water-resistant barrier, protecting leather from moisture and enhancing flexibility.Why?
1. Deep Conditioning and Moisturization
Tallow acts as a rich, natural conditioner that penetrates leather fibers deeply. Unlike synthetic alternatives, it replenishes lost oils effectively, preventing cracking and drying. Leather treated with tallow regains its softness and flexibility, making it look and feel brand new.2. Enhanced Water Resistance
Beeswax creates a protective barrier on the leather surface, shielding it from moisture and water damage. This is especially useful for items like boots and bags exposed to the elements. The wax seals the pores of the leather while still allowing it to breathe, ensuring longevity and resilience.3. Restoration of Shine
Combining tallow and beeswax restores the natural luster of leather. When applied, the blend gives a polished, glossy finish that enhances the leather’s visual appeal without making it look overly synthetic or plastic-like.4. Protection Against Wear and Tear
Both tallow and beeswax add a layer of protection that minimizes wear over time. Scratches, scuffs, and stains are less likely to penetrate the leather, keeping it in excellent shape. With regular use, this blend ensures that your leather maintains its strength and beauty for years.5. Eco-Friendly and Chemical-Free
One of the biggest advantages is the all-natural composition of tallow and beeswax. They are free from harsh chemicals that can weaken leather over time. This makes them a safer, more sustainable choice for maintaining our leather treasures."Learn more:
https://gluttonlv.com/recipes/tallow-and-beeswax-for-leather-recipe/#AnimalProducts #NoPFAS #NoChemicals #NaturalWaterproofing #SolarPunkSunday #LeatherConditioner
-
#Tallow And #Beeswax For #Leather Recipe
May 23, 2025
"Leather has been a trusted material for centuries, and keeping it in top condition requires a little care. That’s where our tallow and beeswax recipe comes in—a natural, time-tested solution for nourishing and protecting leather. This blend not only restores shine but also adds a layer of durability, extending the life of your favorite leather goods.
We love this recipe because it’s simple, effective, and free of harsh chemicals. Both tallow and beeswax have been used for generations to condition and waterproof leather. Together, they create a rich, creamy balm that works wonders on everything from boots to belts. Whether you’re a leather enthusiast or just looking to revive an old bag, this DIY recipe is a must-try.
IngredientsTo create this natural leather care recipe, we need just a few key ingredients. These come together to form a nourishing product perfect for maintaining and restoring leather items. Below, we outline the specific items required for this blend and their respective use.
What You’ll Need
3 oz of Tallow (preferably grass-fed for its purity and superior conditioning properties)
1 oz of Beeswax (use natural, yellow beeswax for the best protective barrier)
2-3 drops of Essential Oil (optional, adds a subtle fragrance and extra conditioning – choose scent-free if preserving natural leather aroma)
Small Heatproof Container or Bowl (for easy mixing)
Double Boiler Setup (ensures controlled heating and prevents burning)
Clean Cloth or Applicator Sponge (for applying the finished mixture to leather)Ingredient Notes
Tallow: Acts as a natural emollient, deep-conditioning leather to prevent cracking while replenishing oils.
Beeswax: Provides a water-resistant barrier, protecting leather from moisture and enhancing flexibility.Why?
1. Deep Conditioning and Moisturization
Tallow acts as a rich, natural conditioner that penetrates leather fibers deeply. Unlike synthetic alternatives, it replenishes lost oils effectively, preventing cracking and drying. Leather treated with tallow regains its softness and flexibility, making it look and feel brand new.2. Enhanced Water Resistance
Beeswax creates a protective barrier on the leather surface, shielding it from moisture and water damage. This is especially useful for items like boots and bags exposed to the elements. The wax seals the pores of the leather while still allowing it to breathe, ensuring longevity and resilience.3. Restoration of Shine
Combining tallow and beeswax restores the natural luster of leather. When applied, the blend gives a polished, glossy finish that enhances the leather’s visual appeal without making it look overly synthetic or plastic-like.4. Protection Against Wear and Tear
Both tallow and beeswax add a layer of protection that minimizes wear over time. Scratches, scuffs, and stains are less likely to penetrate the leather, keeping it in excellent shape. With regular use, this blend ensures that your leather maintains its strength and beauty for years.5. Eco-Friendly and Chemical-Free
One of the biggest advantages is the all-natural composition of tallow and beeswax. They are free from harsh chemicals that can weaken leather over time. This makes them a safer, more sustainable choice for maintaining our leather treasures."Learn more:
https://gluttonlv.com/recipes/tallow-and-beeswax-for-leather-recipe/#AnimalProducts #NoPFAS #NoChemicals #NaturalWaterproofing #SolarPunkSunday #LeatherConditioner
-
#Tallow And #Beeswax For #Leather Recipe
May 23, 2025
"Leather has been a trusted material for centuries, and keeping it in top condition requires a little care. That’s where our tallow and beeswax recipe comes in—a natural, time-tested solution for nourishing and protecting leather. This blend not only restores shine but also adds a layer of durability, extending the life of your favorite leather goods.
We love this recipe because it’s simple, effective, and free of harsh chemicals. Both tallow and beeswax have been used for generations to condition and waterproof leather. Together, they create a rich, creamy balm that works wonders on everything from boots to belts. Whether you’re a leather enthusiast or just looking to revive an old bag, this DIY recipe is a must-try.
IngredientsTo create this natural leather care recipe, we need just a few key ingredients. These come together to form a nourishing product perfect for maintaining and restoring leather items. Below, we outline the specific items required for this blend and their respective use.
What You’ll Need
3 oz of Tallow (preferably grass-fed for its purity and superior conditioning properties)
1 oz of Beeswax (use natural, yellow beeswax for the best protective barrier)
2-3 drops of Essential Oil (optional, adds a subtle fragrance and extra conditioning – choose scent-free if preserving natural leather aroma)
Small Heatproof Container or Bowl (for easy mixing)
Double Boiler Setup (ensures controlled heating and prevents burning)
Clean Cloth or Applicator Sponge (for applying the finished mixture to leather)Ingredient Notes
Tallow: Acts as a natural emollient, deep-conditioning leather to prevent cracking while replenishing oils.
Beeswax: Provides a water-resistant barrier, protecting leather from moisture and enhancing flexibility.Why?
1. Deep Conditioning and Moisturization
Tallow acts as a rich, natural conditioner that penetrates leather fibers deeply. Unlike synthetic alternatives, it replenishes lost oils effectively, preventing cracking and drying. Leather treated with tallow regains its softness and flexibility, making it look and feel brand new.2. Enhanced Water Resistance
Beeswax creates a protective barrier on the leather surface, shielding it from moisture and water damage. This is especially useful for items like boots and bags exposed to the elements. The wax seals the pores of the leather while still allowing it to breathe, ensuring longevity and resilience.3. Restoration of Shine
Combining tallow and beeswax restores the natural luster of leather. When applied, the blend gives a polished, glossy finish that enhances the leather’s visual appeal without making it look overly synthetic or plastic-like.4. Protection Against Wear and Tear
Both tallow and beeswax add a layer of protection that minimizes wear over time. Scratches, scuffs, and stains are less likely to penetrate the leather, keeping it in excellent shape. With regular use, this blend ensures that your leather maintains its strength and beauty for years.5. Eco-Friendly and Chemical-Free
One of the biggest advantages is the all-natural composition of tallow and beeswax. They are free from harsh chemicals that can weaken leather over time. This makes them a safer, more sustainable choice for maintaining our leather treasures."Learn more:
https://gluttonlv.com/recipes/tallow-and-beeswax-for-leather-recipe/#AnimalProducts #NoPFAS #NoChemicals #NaturalWaterproofing #SolarPunkSunday #LeatherConditioner
-
Protest planned over Clyne Valley bridleway resurfacing
A protest is being organised this weekend against Swansea Council’s decision to resurface Old Carriage Drive in Clyne Valley Country Park as part of its Active Travel programme.
‘Overwhelming opposition’ from residents
Local resident Will Allen said hundreds of people responded to his online post raising concerns about the scheme, with the “overwhelming majority” opposed.
“We wrote to councillors, Active Travel officers, MPs and MSs and were told that our concerns were being considered. However today they got back to us to say they are ploughing ahead with the scheme,” he said.
Allen added:
“I feel angry and frustrated at this – someone drew a line on a map during a city‑wide consultation, after which we hear nothing until the work is irrevocably approved by the Council. The feedback we provide when we finally learn is politely listened to but basically ignored.”
“As polite emails have not got anywhere I have decided to organise a protest. It should be well‑attended, and will give people the chance to show their concerns and highlight the beauty and history of the location,” he said.
Council defends scheme as part of Active Travel duty
In a letter to campaigners, Stephen Williams, Swansea Council’s Active Travel Officer, said Old Carriage Drive was identified in the 2021 Active Travel Network Map consultation and is intended to provide a safe, direct off‑road link between Killay and Derwen Fawr.
“This route is important as it reduces the distance required to travel actively between Killay and Derwen Fawr, and enables those journeys to be made free from traffic,” he wrote.
Williams said the resurfacing would not change the bridleway’s designation or access points, but would improve drainage and accessibility.
“We believe that by improving the surface of this path, we can enable more journeys to be undertaken actively, without disadvantaging the needs of any existing user group,” he added.
He also pointed to wider benefits:
“If we are to improve outcomes such as health, environmental, economic, obesity rates, and travel independence for children, we will need to make changes to our physical environment. We accept that some members of the public will not welcome these changes, however we believe this scheme will enable more journeys to be undertaken actively.”
Concerns over housing development
Former council cabinet member Jen Raynor suggested the resurfacing could be linked to future housing development.
“One of the key drivers to making this route into a mini tarmac road is the likely chance of the fields adjacent to the route being granted planning permission for houses. If it can be said there is an Active Travel route then less space is needed for car parking so more houses can be squeezed onto the land,” she wrote.
Raynor added:
“I was a councillor when the first Active Travel routes were proposed and this carriageway was certainly not proposed for tarmacking. In fact I and other councillors were assured that the Country Park would retain a variety of routes and surfaces because of the different users.”
Calls for councillor involvement
Local resident Carol Edwards urged campaigners to keep pressing elected members, pointing to a previous case where community pressure stopped a cycle path plan in Uplands.
“It was because of a lot of complaints, and the involvement of local councillors, that the active travel plan to put a cycle path through Uplands from the railway station was stopped,” she said.
“Councillors’ involvement is really important, and getting many people to write a short email to the Council with reasons why it shouldn’t proceed regardless of what the Council have decided.”
Protest details
The protest is due to take place at 4pm on Saturday 25 October at the Clyne Valley Road entrance to the woods. Organisers say they expect a strong turnout from local residents opposed to the scheme.
Related stories from Swansea Bay News
Residents voice anger over plans to resurface historic Clyne bridleway
Initial community reaction as campaigners opposed Swansea Council’s Active Travel resurfacing plans in Clyne Valley Country Park.Future transport plans lead to rethink on city centre walking and cycling route
Swansea Council reviews its city centre active travel route in light of new transport strategy priorities.Funds for controversial Sketty Road cycle route to be diverted to other schemes
Welsh Government reallocates funding away from the Sketty Road project following local opposition.Raised boardwalk plan for new walking and cycling route along River Tawe
Proposals unveiled for a raised boardwalk to improve access and safety on the River Tawe corridor.Gowerton’s long‑awaited cycle and walking link to station finally opens after delays
New active travel link connects Gowerton railway station after years of planning and setbacks.#ActiveTravel #CllrJenniferRaynor #Clyne #ClyneValley #ClyneValleyCountryPark #ClyneValleyWoods #DerwenFawr #Killay #protest #Sketty #Swansea #SwanseaCouncil #tarmac #woodland
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-ii- – Apostles of the Flesh Review
By Spicie Forrest
Before you ask, it’s pronounced “two eyes.” -ii- formed in Nancy, France in 2018. Since then, they’ve released a handful of EPs and singles, as well as a debut LP, Extinction, in 2021. Historically a duo—composer/multi-instrumentalist Benjamin Racine and singer Hélène Ruzic—the band brought on multi-instrumentalist Maxime Keller and drummer/percussionist David l’Huillier for their sophomore effort, Apostles of the Flesh.1 As a sucker for anything vaguely sacrilegious, that album title is what caught my interest, and I’m glad it did. Apostles of the Flesh is an intimate and visceral experience, and it’s one you shouldn’t miss.
-ii- is not a metal band. They play what they seem to call “ghost wave,” which sits somewhere between post-rock, goth, darkwave, trip-hop, and industrial, at times recalling HEALTH or Nine Inch Nails. If this sounds fairly electronics-heavy, it is. But on Apostles of the Flesh, -ii- eschews the drum machines and some other electronics of their debut in favor of live instrumentation, and it’s a resounding success. With l’Huillier’s lively drumming and Racine’s unique instruments,2 Apostles of the Flesh feels alive. This organic improvement over Extinction would be nothing to write home about, however, without the impressive songcraft Racine showcases here. Whether it’s a distorted, electronic bridge amidst tribal yet airy instrumentals (“Lotis”), impactful usage of audio effects (“Pearls Beneath the Embers,” “Virginia’s Mirror”), or shimmering synths draped over wistful strings (“The Fountain of Helicon”), everything fits together and flows effortlessly. Of particular note is “When Beauty is a Crime,” where -ii- mirrors its lyrical violence with a tense and uncomfortable atmosphere that refuses to let the listener move on. Apostles of the Flesh is intentional. It’s meticulously crafted. And metal or not, -ii- undoubtedly possesses the Metal Spirit™.
Two elements in particular drive this album’s high caliber: Ruzic’s vocals and l’Huillier’s drums. By turns conflicted (“The Birth of Venus”), seductive (“Sisyphus in Red”), defiant (“Where the Diamonds are Hurled”), and spiteful (“Under the Skin”), Ruzic guides the listener through an examination of the body and its inextricable link to the spirit. Lyrically, she’s transgressive like Ethel Cain or GGGOLDDD, but less direct. Her delivery hies closer to Chelsea Wolfe or Darkher, although -ii- fosters a greater sense of rhythmic urgency. This is largely accomplished by l’Huillier’s standout performance, both carnal and tribal. Hammering at his kit with artful brutality, l’Huillier drives ritualistic numbers (“Sisters of the Coven,” “Digging for Blood”), stricken passages (“Under the Skin,” “When Beauty is a Crime”), and enraptured crescendos (“The Birth of Venus”) with the same skilled hand. The spiraling climax of “The Fountain of Helicon” is a high point, as l’Huillier recklessly hurtles the listener toward the fabled spring. L’Huillier brings an intensity to Apostles of the Flesh that, combined with Ruzic’s provocative and emotive singing, cements this album not just as a collection of good songs, but as an intense, ritualistic experience.
Not only is Racine responsible for the musical arrangements, but he also handles much of the production. The mix is big and spacious, and each instrument gets plenty of room to flourish. Even in the most chaotic moments of Apostles of the Flesh, when drums, vocals, strings, or synths rise to a fever pitch, each element is clear and vibrant (“The Birth of Venus,” “Lotis,” “The Fountain of Helicon”). His use of the soundstage is equally impressive, and because of this, Apostles of the Flesh excels in a pair of headphones over a speaker system. Quivering strings and ethereal synths dynamically float through the space, creating a lost, forlorn sensation on “When Beauty is a Crime” and “Virginia’s Mirror.” Ruzic sounds so close and so private amid the waves and rainfall of spoken word piece “L’Onde et l’Abysse,” it’s as if she speaks to the listener alone.
Apostles of the Flesh is not an album to play in the background, and it’s not for everyone. It demands both your attention and an emotional investment to shine, but shine it does. Some might balk at a 65-minute runtime or note that several songs go on long after Ruzic is done singing. I consider it a testament to Racine’s compositional prowess that these longer outros feel valuable and that the album holds my attention front to back. Apostles of the Flesh is passionate, vulnerable, and cathartic. For those willing to commit, -ii- offers an intense, surreal journey you won’t soon forget.
Rating: 4.0/5.0
DR: 7 | Format Reviewed: PCM
Label: Self-Released
Websites: Bandcamp | Facebook | Instagram | Youtube
Releases Worldwide: October 3rd, 2025#2025 #40 #ApostlesOfTheFlesh #ChelseaWolfe #Darkher #Darkwave #Electronica #EthelCain #FrenchMusic #GGGOLDDD #Goth #HEALTH #II #Industrial #NineInchNails #Noise #Oct25 #PostRock #Review #Reviews #SelfReleased #Shoegaze #Synthwave #TripHop
-
-ii- – Apostles of the Flesh Review
By Spicie Forrest
Before you ask, it’s pronounced “two eyes.” -ii- formed in Nancy, France in 2018. Since then, they’ve released a handful of EPs and singles, as well as a debut LP, Extinction, in 2021. Historically a duo—composer/multi-instrumentalist Benjamin Racine and singer Hélène Ruzic—the band brought on multi-instrumentalist Maxime Keller and drummer/percussionist David l’Huillier for their sophomore effort, Apostles of the Flesh.1 As a sucker for anything vaguely sacrilegious, that album title is what caught my interest, and I’m glad it did. Apostles of the Flesh is an intimate and visceral experience, and it’s one you shouldn’t miss.
-ii- is not a metal band. They play what they seem to call “ghost wave,” which sits somewhere between post-rock, goth, darkwave, trip-hop, and industrial, at times recalling HEALTH or Nine Inch Nails. If this sounds fairly electronics-heavy, it is. But on Apostles of the Flesh, -ii- eschews the drum machines and some other electronics of their debut in favor of live instrumentation, and it’s a resounding success. With l’Huillier’s lively drumming and Racine’s unique instruments,2 Apostles of the Flesh feels alive. This organic improvement over Extinction would be nothing to write home about, however, without the impressive songcraft Racine showcases here. Whether it’s a distorted, electronic bridge amidst tribal yet airy instrumentals (“Lotis”), impactful usage of audio effects (“Pearls Beneath the Embers,” “Virginia’s Mirror”), or shimmering synths draped over wistful strings (“The Fountain of Helicon”), everything fits together and flows effortlessly. Of particular note is “When Beauty is a Crime,” where -ii- mirrors its lyrical violence with a tense and uncomfortable atmosphere that refuses to let the listener move on. Apostles of the Flesh is intentional. It’s meticulously crafted. And metal or not, -ii- undoubtedly possesses the Metal Spirit™.
Two elements in particular drive this album’s high caliber: Ruzic’s vocals and l’Huillier’s drums. By turns conflicted (“The Birth of Venus”), seductive (“Sisyphus in Red”), defiant (“Where the Diamonds are Hurled”), and spiteful (“Under the Skin”), Ruzic guides the listener through an examination of the body and its inextricable link to the spirit. Lyrically, she’s transgressive like Ethel Cain or GGGOLDDD, but less direct. Her delivery hies closer to Chelsea Wolfe or Darkher, although -ii- fosters a greater sense of rhythmic urgency. This is largely accomplished by l’Huillier’s standout performance, both carnal and tribal. Hammering at his kit with artful brutality, l’Huillier drives ritualistic numbers (“Sisters of the Coven,” “Digging for Blood”), stricken passages (“Under the Skin,” “When Beauty is a Crime”), and enraptured crescendos (“The Birth of Venus”) with the same skilled hand. The spiraling climax of “The Fountain of Helicon” is a high point, as l’Huillier recklessly hurtles the listener toward the fabled spring. L’Huillier brings an intensity to Apostles of the Flesh that, combined with Ruzic’s provocative and emotive singing, cements this album not just as a collection of good songs, but as an intense, ritualistic experience.
Not only is Racine responsible for the musical arrangements, but he also handles much of the production. The mix is big and spacious, and each instrument gets plenty of room to flourish. Even in the most chaotic moments of Apostles of the Flesh, when drums, vocals, strings, or synths rise to a fever pitch, each element is clear and vibrant (“The Birth of Venus,” “Lotis,” “The Fountain of Helicon”). His use of the soundstage is equally impressive, and because of this, Apostles of the Flesh excels in a pair of headphones over a speaker system. Quivering strings and ethereal synths dynamically float through the space, creating a lost, forlorn sensation on “When Beauty is a Crime” and “Virginia’s Mirror.” Ruzic sounds so close and so private amid the waves and rainfall of spoken word piece “L’Onde et l’Abysse,” it’s as if she speaks to the listener alone.
Apostles of the Flesh is not an album to play in the background, and it’s not for everyone. It demands both your attention and an emotional investment to shine, but shine it does. Some might balk at a 65-minute runtime or note that several songs go on long after Ruzic is done singing. I consider it a testament to Racine’s compositional prowess that these longer outros feel valuable and that the album holds my attention front to back. Apostles of the Flesh is passionate, vulnerable, and cathartic. For those willing to commit, -ii- offers an intense, surreal journey you won’t soon forget.
Rating: 4.0/5.0
DR: 7 | Format Reviewed: PCM
Label: Self-Released
Websites: Bandcamp | Facebook | Instagram | Youtube
Releases Worldwide: October 3rd, 2025#2025 #40 #ApostlesOfTheFlesh #ChelseaWolfe #Darkher #Darkwave #Electronica #EthelCain #FrenchMusic #GGGOLDDD #Goth #HEALTH #II #Industrial #NineInchNails #Noise #Oct25 #PostRock #Review #Reviews #SelfReleased #Shoegaze #Synthwave #TripHop
-
-ii- – Apostles of the Flesh Review
By Spicie Forrest
Before you ask, it’s pronounced “two eyes.” -ii- formed in Nancy, France in 2018. Since then, they’ve released a handful of EPs and singles, as well as a debut LP, Extinction, in 2021. Historically a duo—composer/multi-instrumentalist Benjamin Racine and singer Hélène Ruzic—the band brought on multi-instrumentalist Maxime Keller and drummer/percussionist David l’Huillier for their sophomore effort, Apostles of the Flesh.1 As a sucker for anything vaguely sacrilegious, that album title is what caught my interest, and I’m glad it did. Apostles of the Flesh is an intimate and visceral experience, and it’s one you shouldn’t miss.
-ii- is not a metal band. They play what they seem to call “ghost wave,” which sits somewhere between post-rock, goth, darkwave, trip-hop, and industrial, at times recalling HEALTH or Nine Inch Nails. If this sounds fairly electronics-heavy, it is. But on Apostles of the Flesh, -ii- eschews the drum machines and some other electronics of their debut in favor of live instrumentation, and it’s a resounding success. With l’Huillier’s lively drumming and Racine’s unique instruments,2 Apostles of the Flesh feels alive. This organic improvement over Extinction would be nothing to write home about, however, without the impressive songcraft Racine showcases here. Whether it’s a distorted, electronic bridge amidst tribal yet airy instrumentals (“Lotis”), impactful usage of audio effects (“Pearls Beneath the Embers,” “Virginia’s Mirror”), or shimmering synths draped over wistful strings (“The Fountain of Helicon”), everything fits together and flows effortlessly. Of particular note is “When Beauty is a Crime,” where -ii- mirrors its lyrical violence with a tense and uncomfortable atmosphere that refuses to let the listener move on. Apostles of the Flesh is intentional. It’s meticulously crafted. And metal or not, -ii- undoubtedly possesses the Metal Spirit™.
Two elements in particular drive this album’s high caliber: Ruzic’s vocals and l’Huillier’s drums. By turns conflicted (“The Birth of Venus”), seductive (“Sisyphus in Red”), defiant (“Where the Diamonds are Hurled”), and spiteful (“Under the Skin”), Ruzic guides the listener through an examination of the body and its inextricable link to the spirit. Lyrically, she’s transgressive like Ethel Cain or GGGOLDDD, but less direct. Her delivery hies closer to Chelsea Wolfe or Darkher, although -ii- fosters a greater sense of rhythmic urgency. This is largely accomplished by l’Huillier’s standout performance, both carnal and tribal. Hammering at his kit with artful brutality, l’Huillier drives ritualistic numbers (“Sisters of the Coven,” “Digging for Blood”), stricken passages (“Under the Skin,” “When Beauty is a Crime”), and enraptured crescendos (“The Birth of Venus”) with the same skilled hand. The spiraling climax of “The Fountain of Helicon” is a high point, as l’Huillier recklessly hurtles the listener toward the fabled spring. L’Huillier brings an intensity to Apostles of the Flesh that, combined with Ruzic’s provocative and emotive singing, cements this album not just as a collection of good songs, but as an intense, ritualistic experience.
Not only is Racine responsible for the musical arrangements, but he also handles much of the production. The mix is big and spacious, and each instrument gets plenty of room to flourish. Even in the most chaotic moments of Apostles of the Flesh, when drums, vocals, strings, or synths rise to a fever pitch, each element is clear and vibrant (“The Birth of Venus,” “Lotis,” “The Fountain of Helicon”). His use of the soundstage is equally impressive, and because of this, Apostles of the Flesh excels in a pair of headphones over a speaker system. Quivering strings and ethereal synths dynamically float through the space, creating a lost, forlorn sensation on “When Beauty is a Crime” and “Virginia’s Mirror.” Ruzic sounds so close and so private amid the waves and rainfall of spoken word piece “L’Onde et l’Abysse,” it’s as if she speaks to the listener alone.
Apostles of the Flesh is not an album to play in the background, and it’s not for everyone. It demands both your attention and an emotional investment to shine, but shine it does. Some might balk at a 65-minute runtime or note that several songs go on long after Ruzic is done singing. I consider it a testament to Racine’s compositional prowess that these longer outros feel valuable and that the album holds my attention front to back. Apostles of the Flesh is passionate, vulnerable, and cathartic. For those willing to commit, -ii- offers an intense, surreal journey you won’t soon forget.
Rating: 4.0/5.0
DR: 7 | Format Reviewed: PCM
Label: Self-Released
Websites: Bandcamp | Facebook | Instagram | Youtube
Releases Worldwide: October 3rd, 2025#2025 #40 #ApostlesOfTheFlesh #ChelseaWolfe #Darkher #Darkwave #Electronica #EthelCain #FrenchMusic #GGGOLDDD #Goth #HEALTH #II #Industrial #NineInchNails #Noise #Oct25 #PostRock #Review #Reviews #SelfReleased #Shoegaze #Synthwave #TripHop
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-ii- – Apostles of the Flesh Review
By Spicie Forrest
Before you ask, it’s pronounced “two eyes.” -ii- formed in Nancy, France in 2018. Since then, they’ve released a handful of EPs and singles, as well as a debut LP, Extinction, in 2021. Historically a duo—composer/multi-instrumentalist Benjamin Racine and singer Hélène Ruzic—the band brought on multi-instrumentalist Maxime Keller and drummer/percussionist David l’Huillier for their sophomore effort, Apostles of the Flesh.1 As a sucker for anything vaguely sacrilegious, that album title is what caught my interest, and I’m glad it did. Apostles of the Flesh is an intimate and visceral experience, and it’s one you shouldn’t miss.
-ii- is not a metal band. They play what they seem to call “ghost wave,” which sits somewhere between post-rock, goth, darkwave, trip-hop, and industrial, at times recalling HEALTH or Nine Inch Nails. If this sounds fairly electronics-heavy, it is. But on Apostles of the Flesh, -ii- eschews the drum machines and some other electronics of their debut in favor of live instrumentation, and it’s a resounding success. With l’Huillier’s lively drumming and Racine’s unique instruments,2 Apostles of the Flesh feels alive. This organic improvement over Extinction would be nothing to write home about, however, without the impressive songcraft Racine showcases here. Whether it’s a distorted, electronic bridge amidst tribal yet airy instrumentals (“Lotis”), impactful usage of audio effects (“Pearls Beneath the Embers,” “Virginia’s Mirror”), or shimmering synths draped over wistful strings (“The Fountain of Helicon”), everything fits together and flows effortlessly. Of particular note is “When Beauty is a Crime,” where -ii- mirrors its lyrical violence with a tense and uncomfortable atmosphere that refuses to let the listener move on. Apostles of the Flesh is intentional. It’s meticulously crafted. And metal or not, -ii- undoubtedly possesses the Metal Spirit™.
Two elements in particular drive this album’s high caliber: Ruzic’s vocals and l’Huillier’s drums. By turns conflicted (“The Birth of Venus”), seductive (“Sisyphus in Red”), defiant (“Where the Diamonds are Hurled”), and spiteful (“Under the Skin”), Ruzic guides the listener through an examination of the body and its inextricable link to the spirit. Lyrically, she’s transgressive like Ethel Cain or GGGOLDDD, but less direct. Her delivery hies closer to Chelsea Wolfe or Darkher, although -ii- fosters a greater sense of rhythmic urgency. This is largely accomplished by l’Huillier’s standout performance, both carnal and tribal. Hammering at his kit with artful brutality, l’Huillier drives ritualistic numbers (“Sisters of the Coven,” “Digging for Blood”), stricken passages (“Under the Skin,” “When Beauty is a Crime”), and enraptured crescendos (“The Birth of Venus”) with the same skilled hand. The spiraling climax of “The Fountain of Helicon” is a high point, as l’Huillier recklessly hurtles the listener toward the fabled spring. L’Huillier brings an intensity to Apostles of the Flesh that, combined with Ruzic’s provocative and emotive singing, cements this album not just as a collection of good songs, but as an intense, ritualistic experience.
Not only is Racine responsible for the musical arrangements, but he also handles much of the production. The mix is big and spacious, and each instrument gets plenty of room to flourish. Even in the most chaotic moments of Apostles of the Flesh, when drums, vocals, strings, or synths rise to a fever pitch, each element is clear and vibrant (“The Birth of Venus,” “Lotis,” “The Fountain of Helicon”). His use of the soundstage is equally impressive, and because of this, Apostles of the Flesh excels in a pair of headphones over a speaker system. Quivering strings and ethereal synths dynamically float through the space, creating a lost, forlorn sensation on “When Beauty is a Crime” and “Virginia’s Mirror.” Ruzic sounds so close and so private amid the waves and rainfall of spoken word piece “L’Onde et l’Abysse,” it’s as if she speaks to the listener alone.
Apostles of the Flesh is not an album to play in the background, and it’s not for everyone. It demands both your attention and an emotional investment to shine, but shine it does. Some might balk at a 65-minute runtime or note that several songs go on long after Ruzic is done singing. I consider it a testament to Racine’s compositional prowess that these longer outros feel valuable and that the album holds my attention front to back. Apostles of the Flesh is passionate, vulnerable, and cathartic. For those willing to commit, -ii- offers an intense, surreal journey you won’t soon forget.
Rating: 4.0/5.0
DR: 7 | Format Reviewed: PCM
Label: Self-Released
Websites: Bandcamp | Facebook | Instagram | Youtube
Releases Worldwide: October 3rd, 2025#2025 #40 #ApostlesOfTheFlesh #ChelseaWolfe #Darkher #Darkwave #Electronica #EthelCain #FrenchMusic #GGGOLDDD #Goth #HEALTH #II #Industrial #NineInchNails #Noise #Oct25 #PostRock #Review #Reviews #SelfReleased #Shoegaze #Synthwave #TripHop
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-ii- – Apostles of the Flesh Review
By Spicie Forrest
Before you ask, it’s pronounced “two eyes.” -ii- formed in Nancy, France in 2018. Since then, they’ve released a handful of EPs and singles, as well as a debut LP, Extinction, in 2021. Historically a duo—composer/multi-instrumentalist Benjamin Racine and singer Hélène Ruzic—the band brought on multi-instrumentalist Maxime Keller and drummer/percussionist David l’Huillier for their sophomore effort, Apostles of the Flesh.1 As a sucker for anything vaguely sacrilegious, that album title is what caught my interest, and I’m glad it did. Apostles of the Flesh is an intimate and visceral experience, and it’s one you shouldn’t miss.
-ii- is not a metal band. They play what they seem to call “ghost wave,” which sits somewhere between post-rock, goth, darkwave, trip-hop, and industrial, at times recalling HEALTH or Nine Inch Nails. If this sounds fairly electronics-heavy, it is. But on Apostles of the Flesh, -ii- eschews the drum machines and some other electronics of their debut in favor of live instrumentation, and it’s a resounding success. With l’Huillier’s lively drumming and Racine’s unique instruments,2 Apostles of the Flesh feels alive. This organic improvement over Extinction would be nothing to write home about, however, without the impressive songcraft Racine showcases here. Whether it’s a distorted, electronic bridge amidst tribal yet airy instrumentals (“Lotis”), impactful usage of audio effects (“Pearls Beneath the Embers,” “Virginia’s Mirror”), or shimmering synths draped over wistful strings (“The Fountain of Helicon”), everything fits together and flows effortlessly. Of particular note is “When Beauty is a Crime,” where -ii- mirrors its lyrical violence with a tense and uncomfortable atmosphere that refuses to let the listener move on. Apostles of the Flesh is intentional. It’s meticulously crafted. And metal or not, -ii- undoubtedly possesses the Metal Spirit™.
Two elements in particular drive this album’s high caliber: Ruzic’s vocals and l’Huillier’s drums. By turns conflicted (“The Birth of Venus”), seductive (“Sisyphus in Red”), defiant (“Where the Diamonds are Hurled”), and spiteful (“Under the Skin”), Ruzic guides the listener through an examination of the body and its inextricable link to the spirit. Lyrically, she’s transgressive like Ethel Cain or GGGOLDDD, but less direct. Her delivery hies closer to Chelsea Wolfe or Darkher, although -ii- fosters a greater sense of rhythmic urgency. This is largely accomplished by l’Huillier’s standout performance, both carnal and tribal. Hammering at his kit with artful brutality, l’Huillier drives ritualistic numbers (“Sisters of the Coven,” “Digging for Blood”), stricken passages (“Under the Skin,” “When Beauty is a Crime”), and enraptured crescendos (“The Birth of Venus”) with the same skilled hand. The spiraling climax of “The Fountain of Helicon” is a high point, as l’Huillier recklessly hurtles the listener toward the fabled spring. L’Huillier brings an intensity to Apostles of the Flesh that, combined with Ruzic’s provocative and emotive singing, cements this album not just as a collection of good songs, but as an intense, ritualistic experience.
Not only is Racine responsible for the musical arrangements, but he also handles much of the production. The mix is big and spacious, and each instrument gets plenty of room to flourish. Even in the most chaotic moments of Apostles of the Flesh, when drums, vocals, strings, or synths rise to a fever pitch, each element is clear and vibrant (“The Birth of Venus,” “Lotis,” “The Fountain of Helicon”). His use of the soundstage is equally impressive, and because of this, Apostles of the Flesh excels in a pair of headphones over a speaker system. Quivering strings and ethereal synths dynamically float through the space, creating a lost, forlorn sensation on “When Beauty is a Crime” and “Virginia’s Mirror.” Ruzic sounds so close and so private amid the waves and rainfall of spoken word piece “L’Onde et l’Abysse,” it’s as if she speaks to the listener alone.
Apostles of the Flesh is not an album to play in the background, and it’s not for everyone. It demands both your attention and an emotional investment to shine, but shine it does. Some might balk at a 65-minute runtime or note that several songs go on long after Ruzic is done singing. I consider it a testament to Racine’s compositional prowess that these longer outros feel valuable and that the album holds my attention front to back. Apostles of the Flesh is passionate, vulnerable, and cathartic. For those willing to commit, -ii- offers an intense, surreal journey you won’t soon forget.
Rating: 4.0/5.0
DR: 7 | Format Reviewed: PCM
Label: Self-Released
Websites: Bandcamp | Facebook | Instagram | Youtube
Releases Worldwide: October 3rd, 2025#2025 #40 #ApostlesOfTheFlesh #ChelseaWolfe #Darkher #Darkwave #Electronica #EthelCain #FrenchMusic #GGGOLDDD #Goth #HEALTH #II #Industrial #NineInchNails #Noise #Oct25 #PostRock #Review #Reviews #SelfReleased #Shoegaze #Synthwave #TripHop
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By Steel Druhm
I’ve been an Amorphis fanboy since I first heard Tales from the Thousand Lakes. That album captured a special kind of magic, and to this day it remains a “desert island” release for Yours Steely. I loved them through their early days of perpetual evolution and was thrilled when Tomi Joutsen brought them new fire and force when he joined for 2006s Eclipse. Tomi’s first 3 albums with Amorphis resulted in what is perhaps one of the most potent trilogies in metal history, and though their output has been less consistently amazing since then, it’s hard to dislike anything they do. That said, I liked but didn’t love 2022s Halo effort despite really wanting to. Sure, it was Amorphis, but it felt a bit tired and like they were spinning their wheels at times. Obviously, I wanted Borderlands to reignite my love and affection for one of my favorite bands of all time, but is it fair to expect Amorphis to churn out another Silent Waters or Skyforger at this point? With cold logic tempering heated expectations, I approached the border, hopeful but world-weary and cynical.
Lo and behold, to my great delight, the first half of Borderlands is primo modern-day Amorphis, leveraging all their charm and guile to recapture the joyous hook-factor of the early Tomi days. Opener “The Circle” is classic Amorphis fare and exactly what I want from them. It’s comfortable like an old t-shirt in that it’s what the band has done since 2006, but that formula can still produce bangers that let Tomi drop his vocal magic. He does exactly that here on a big chorus supported by that bouncing, airy guitar work we all love. His croons and death roars are still vital and fit the melodic songcraft perfectly. And for a while, at least, the hits keep coming. “Bones” delivers excellently deep, crushing death vocals paired with uber-melodic and folk-inflected rock leads, and it’s like a follow-up to “Death of a King.” The album highlight comes early on with “Dancing Shadow,” which is the best example of the Amorphis magic in full effect. Those twinkling guitars pair so well with Tomi’s clean vocals, and he drops the death croaks into the mix as killer accents. This one reminds me why I’ve had a love affair with these guys for so many years.
You get five top-notch songs to kick Borderlands off, and by the time “The Strange” is over, you’ll be excused for thinking this is a big return to form after the somewhat somnambulistic Halo. While Borderlands never falls off the tracks, the back half is less stacked with goodies than the front. There are winners to be sure, like “Light and Shadow,” which feels like something from The Beginning of Times, and the title track, which delivers their classic sound very well. Yet a few songs like “The Lantern,” and to a lesser extent, closer “Despair” offer smaller amounts of sizzle and pop. They aren’t bad, but they lack the primal hooks that the earlier ones flaunt. Luckily, the balance is in favor of the very good, and Borderlands is a consistently entertaining platter.
All the usual stars are present and delivering what the people want. Tomi is his usual awesome self, charming and beguiling with his vocal prowess as he slips back and forth between clean vocal hooks and booming death roars. He’s one of those special vocalists who make everything he touches better, and Amorphis was blessed to find him since he’s still paying dividends 20 years later. Esa Holopainen and Tomi Koivusaari continue to refine and polish their otherworldly guitar style, blending metal, rock, and folk in a way no one else does to forge their signature sound. Their bright, open leads swarm all over the material, rarely dropping into heavy, beefy riffs, opting instead to soar above it all with glimmering beauty. Their lush noodling is accentuated by the melodic keys of Santeri Kyösti Kallio, and together they create the Amorphis experience and a collection of new hits.
When Halo hit, I had concerns that the Amorphis magic was slowly seeping away and we would eventually be left with recycled ideas and faded glories. Borderlands partially allays that fear, showing Amorphis can still summon their specialized sorcery when needed. Borderlands may be front-loaded, but the overall quality is there, the highs are high, the lows aren’t too low, and most songs leave an imprint on the ear. What more can an Amorphis fan ask for?1
Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Reigning Phoenix
Websites: amorphis.net | facebook.com/amorphis | instagram.com/amorphisband
Releases Worldwide: September 26th, 2025#2025 #35 #Amorphis #Borderlands #FinnishMetal #Halo #HeavyMetal #MelodicDeathMetal #ReigningPhoenixMusic #Review #Reviews
-
By Steel Druhm
I’ve been an Amorphis fanboy since I first heard Tales from the Thousand Lakes. That album captured a special kind of magic, and to this day it remains a “desert island” release for Yours Steely. I loved them through their early days of perpetual evolution and was thrilled when Tomi Joutsen brought them new fire and force when he joined for 2006s Eclipse. Tomi’s first 3 albums with Amorphis resulted in what is perhaps one of the most potent trilogies in metal history, and though their output has been less consistently amazing since then, it’s hard to dislike anything they do. That said, I liked but didn’t love 2022s Halo effort despite really wanting to. Sure, it was Amorphis, but it felt a bit tired and like they were spinning their wheels at times. Obviously, I wanted Borderlands to reignite my love and affection for one of my favorite bands of all time, but is it fair to expect Amorphis to churn out another Silent Waters or Skyforger at this point? With cold logic tempering heated expectations, I approached the border, hopeful but world-weary and cynical.
Lo and behold, to my great delight, the first half of Borderlands is primo modern-day Amorphis, leveraging all their charm and guile to recapture the joyous hook-factor of the early Tomi days. Opener “The Circle” is classic Amorphis fare and exactly what I want from them. It’s comfortable like an old t-shirt in that it’s what the band has done since 2006, but that formula can still produce bangers that let Tomi drop his vocal magic. He does exactly that here on a big chorus supported by that bouncing, airy guitar work we all love. His croons and death roars are still vital and fit the melodic songcraft perfectly. And for a while, at least, the hits keep coming. “Bones” delivers excellently deep, crushing death vocals paired with uber-melodic and folk-inflected rock leads, and it’s like a follow-up to “Death of a King.” The album highlight comes early on with “Dancing Shadow,” which is the best example of the Amorphis magic in full effect. Those twinkling guitars pair so well with Tomi’s clean vocals, and he drops the death croaks into the mix as killer accents. This one reminds me why I’ve had a love affair with these guys for so many years.
You get five top-notch songs to kick Borderlands off, and by the time “The Strange” is over, you’ll be excused for thinking this is a big return to form after the somewhat somnambulistic Halo. While Borderlands never falls off the tracks, the back half is less stacked with goodies than the front. There are winners to be sure, like “Light and Shadow,” which feels like something from The Beginning of Times, and the title track, which delivers their classic sound very well. Yet a few songs like “The Lantern,” and to a lesser extent, closer “Despair” offer smaller amounts of sizzle and pop. They aren’t bad, but they lack the primal hooks that the earlier ones flaunt. Luckily, the balance is in favor of the very good, and Borderlands is a consistently entertaining platter.
All the usual stars are present and delivering what the people want. Tomi is his usual awesome self, charming and beguiling with his vocal prowess as he slips back and forth between clean vocal hooks and booming death roars. He’s one of those special vocalists who make everything he touches better, and Amorphis was blessed to find him since he’s still paying dividends 20 years later. Esa Holopainen and Tomi Koivusaari continue to refine and polish their otherworldly guitar style, blending metal, rock, and folk in a way no one else does to forge their signature sound. Their bright, open leads swarm all over the material, rarely dropping into heavy, beefy riffs, opting instead to soar above it all with glimmering beauty. Their lush noodling is accentuated by the melodic keys of Santeri Kyösti Kallio, and together they create the Amorphis experience and a collection of new hits.
When Halo hit, I had concerns that the Amorphis magic was slowly seeping away and we would eventually be left with recycled ideas and faded glories. Borderlands partially allays that fear, showing Amorphis can still summon their specialized sorcery when needed. Borderlands may be front-loaded, but the overall quality is there, the highs are high, the lows aren’t too low, and most songs leave an imprint on the ear. What more can an Amorphis fan ask for?1
Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Reigning Phoenix
Websites: amorphis.net | facebook.com/amorphis | instagram.com/amorphisband
Releases Worldwide: September 26th, 2025#2025 #35 #Amorphis #Borderlands #FinnishMetal #Halo #HeavyMetal #MelodicDeathMetal #ReigningPhoenixMusic #Review #Reviews
-
By Steel Druhm
I’ve been an Amorphis fanboy since I first heard Tales from the Thousand Lakes. That album captured a special kind of magic, and to this day it remains a “desert island” release for Yours Steely. I loved them through their early days of perpetual evolution and was thrilled when Tomi Joutsen brought them new fire and force when he joined for 2006s Eclipse. Tomi’s first 3 albums with Amorphis resulted in what is perhaps one of the most potent trilogies in metal history, and though their output has been less consistently amazing since then, it’s hard to dislike anything they do. That said, I liked but didn’t love 2022s Halo effort despite really wanting to. Sure, it was Amorphis, but it felt a bit tired and like they were spinning their wheels at times. Obviously, I wanted Borderlands to reignite my love and affection for one of my favorite bands of all time, but is it fair to expect Amorphis to churn out another Silent Waters or Skyforger at this point? With cold logic tempering heated expectations, I approached the border, hopeful but world-weary and cynical.
Lo and behold, to my great delight, the first half of Borderlands is primo modern-day Amorphis, leveraging all their charm and guile to recapture the joyous hook-factor of the early Tomi days. Opener “The Circle” is classic Amorphis fare and exactly what I want from them. It’s comfortable like an old t-shirt in that it’s what the band has done since 2006, but that formula can still produce bangers that let Tomi drop his vocal magic. He does exactly that here on a big chorus supported by that bouncing, airy guitar work we all love. His croons and death roars are still vital and fit the melodic songcraft perfectly. And for a while, at least, the hits keep coming. “Bones” delivers excellently deep, crushing death vocals paired with uber-melodic and folk-inflected rock leads, and it’s like a follow-up to “Death of a King.” The album highlight comes early on with “Dancing Shadow,” which is the best example of the Amorphis magic in full effect. Those twinkling guitars pair so well with Tomi’s clean vocals, and he drops the death croaks into the mix as killer accents. This one reminds me why I’ve had a love affair with these guys for so many years.
You get five top-notch songs to kick Borderlands off, and by the time “The Strange” is over, you’ll be excused for thinking this is a big return to form after the somewhat somnambulistic Halo. While Borderlands never falls off the tracks, the back half is less stacked with goodies than the front. There are winners to be sure, like “Light and Shadow,” which feels like something from The Beginning of Times, and the title track, which delivers their classic sound very well. Yet a few songs like “The Lantern,” and to a lesser extent, closer “Despair” offer smaller amounts of sizzle and pop. They aren’t bad, but they lack the primal hooks that the earlier ones flaunt. Luckily, the balance is in favor of the very good, and Borderlands is a consistently entertaining platter.
All the usual stars are present and delivering what the people want. Tomi is his usual awesome self, charming and beguiling with his vocal prowess as he slips back and forth between clean vocal hooks and booming death roars. He’s one of those special vocalists who make everything he touches better, and Amorphis was blessed to find him since he’s still paying dividends 20 years later. Esa Holopainen and Tomi Koivusaari continue to refine and polish their otherworldly guitar style, blending metal, rock, and folk in a way no one else does to forge their signature sound. Their bright, open leads swarm all over the material, rarely dropping into heavy, beefy riffs, opting instead to soar above it all with glimmering beauty. Their lush noodling is accentuated by the melodic keys of Santeri Kyösti Kallio, and together they create the Amorphis experience and a collection of new hits.
When Halo hit, I had concerns that the Amorphis magic was slowly seeping away and we would eventually be left with recycled ideas and faded glories. Borderlands partially allays that fear, showing Amorphis can still summon their specialized sorcery when needed. Borderlands may be front-loaded, but the overall quality is there, the highs are high, the lows aren’t too low, and most songs leave an imprint on the ear. What more can an Amorphis fan ask for?1
Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Reigning Phoenix
Websites: amorphis.net | facebook.com/amorphis | instagram.com/amorphisband
Releases Worldwide: September 26th, 2025#2025 #35 #Amorphis #Borderlands #FinnishMetal #Halo #HeavyMetal #MelodicDeathMetal #ReigningPhoenixMusic #Review #Reviews
-
By Steel Druhm
I’ve been an Amorphis fanboy since I first heard Tales from the Thousand Lakes. That album captured a special kind of magic, and to this day it remains a “desert island” release for Yours Steely. I loved them through their early days of perpetual evolution and was thrilled when Tomi Joutsen brought them new fire and force when he joined for 2006s Eclipse. Tomi’s first 3 albums with Amorphis resulted in what is perhaps one of the most potent trilogies in metal history, and though their output has been less consistently amazing since then, it’s hard to dislike anything they do. That said, I liked but didn’t love 2022s Halo effort despite really wanting to. Sure, it was Amorphis, but it felt a bit tired and like they were spinning their wheels at times. Obviously, I wanted Borderlands to reignite my love and affection for one of my favorite bands of all time, but is it fair to expect Amorphis to churn out another Silent Waters or Skyforger at this point? With cold logic tempering heated expectations, I approached the border, hopeful but world-weary and cynical.
Lo and behold, to my great delight, the first half of Borderlands is primo modern-day Amorphis, leveraging all their charm and guile to recapture the joyous hook-factor of the early Tomi days. Opener “The Circle” is classic Amorphis fare and exactly what I want from them. It’s comfortable like an old t-shirt in that it’s what the band has done since 2006, but that formula can still produce bangers that let Tomi drop his vocal magic. He does exactly that here on a big chorus supported by that bouncing, airy guitar work we all love. His croons and death roars are still vital and fit the melodic songcraft perfectly. And for a while, at least, the hits keep coming. “Bones” delivers excellently deep, crushing death vocals paired with uber-melodic and folk-inflected rock leads, and it’s like a follow-up to “Death of a King.” The album highlight comes early on with “Dancing Shadow,” which is the best example of the Amorphis magic in full effect. Those twinkling guitars pair so well with Tomi’s clean vocals, and he drops the death croaks into the mix as killer accents. This one reminds me why I’ve had a love affair with these guys for so many years.
You get five top-notch songs to kick Borderlands off, and by the time “The Strange” is over, you’ll be excused for thinking this is a big return to form after the somewhat somnambulistic Halo. While Borderlands never falls off the tracks, the back half is less stacked with goodies than the front. There are winners to be sure, like “Light and Shadow,” which feels like something from The Beginning of Times, and the title track, which delivers their classic sound very well. Yet a few songs like “The Lantern,” and to a lesser extent, closer “Despair” offer smaller amounts of sizzle and pop. They aren’t bad, but they lack the primal hooks that the earlier ones flaunt. Luckily, the balance is in favor of the very good, and Borderlands is a consistently entertaining platter.
All the usual stars are present and delivering what the people want. Tomi is his usual awesome self, charming and beguiling with his vocal prowess as he slips back and forth between clean vocal hooks and booming death roars. He’s one of those special vocalists who make everything he touches better, and Amorphis was blessed to find him since he’s still paying dividends 20 years later. Esa Holopainen and Tomi Koivusaari continue to refine and polish their otherworldly guitar style, blending metal, rock, and folk in a way no one else does to forge their signature sound. Their bright, open leads swarm all over the material, rarely dropping into heavy, beefy riffs, opting instead to soar above it all with glimmering beauty. Their lush noodling is accentuated by the melodic keys of Santeri Kyösti Kallio, and together they create the Amorphis experience and a collection of new hits.
When Halo hit, I had concerns that the Amorphis magic was slowly seeping away and we would eventually be left with recycled ideas and faded glories. Borderlands partially allays that fear, showing Amorphis can still summon their specialized sorcery when needed. Borderlands may be front-loaded, but the overall quality is there, the highs are high, the lows aren’t too low, and most songs leave an imprint on the ear. What more can an Amorphis fan ask for?1
Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Reigning Phoenix
Websites: amorphis.net | facebook.com/amorphis | instagram.com/amorphisband
Releases Worldwide: September 26th, 2025#2025 #35 #Amorphis #Borderlands #FinnishMetal #Halo #HeavyMetal #MelodicDeathMetal #ReigningPhoenixMusic #Review #Reviews
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By Steel Druhm
I’ve been an Amorphis fanboy since I first heard Tales from the Thousand Lakes. That album captured a special kind of magic, and to this day it remains a “desert island” release for Yours Steely. I loved them through their early days of perpetual evolution and was thrilled when Tomi Joutsen brought them new fire and force when he joined for 2006s Eclipse. Tomi’s first 3 albums with Amorphis resulted in what is perhaps one of the most potent trilogies in metal history, and though their output has been less consistently amazing since then, it’s hard to dislike anything they do. That said, I liked but didn’t love 2022s Halo effort despite really wanting to. Sure, it was Amorphis, but it felt a bit tired and like they were spinning their wheels at times. Obviously, I wanted Borderlands to reignite my love and affection for one of my favorite bands of all time, but is it fair to expect Amorphis to churn out another Silent Waters or Skyforger at this point? With cold logic tempering heated expectations, I approached the border, hopeful but world-weary and cynical.
Lo and behold, to my great delight, the first half of Borderlands is primo modern-day Amorphis, leveraging all their charm and guile to recapture the joyous hook-factor of the early Tomi days. Opener “The Circle” is classic Amorphis fare and exactly what I want from them. It’s comfortable like an old t-shirt in that it’s what the band has done since 2006, but that formula can still produce bangers that let Tomi drop his vocal magic. He does exactly that here on a big chorus supported by that bouncing, airy guitar work we all love. His croons and death roars are still vital and fit the melodic songcraft perfectly. And for a while, at least, the hits keep coming. “Bones” delivers excellently deep, crushing death vocals paired with uber-melodic and folk-inflected rock leads, and it’s like a follow-up to “Death of a King.” The album highlight comes early on with “Dancing Shadow,” which is the best example of the Amorphis magic in full effect. Those twinkling guitars pair so well with Tomi’s clean vocals, and he drops the death croaks into the mix as killer accents. This one reminds me why I’ve had a love affair with these guys for so many years.
You get five top-notch songs to kick Borderlands off, and by the time “The Strange” is over, you’ll be excused for thinking this is a big return to form after the somewhat somnambulistic Halo. While Borderlands never falls off the tracks, the back half is less stacked with goodies than the front. There are winners to be sure, like “Light and Shadow,” which feels like something from The Beginning of Times, and the title track, which delivers their classic sound very well. Yet a few songs like “The Lantern,” and to a lesser extent, closer “Despair” offer smaller amounts of sizzle and pop. They aren’t bad, but they lack the primal hooks that the earlier ones flaunt. Luckily, the balance is in favor of the very good, and Borderlands is a consistently entertaining platter.
All the usual stars are present and delivering what the people want. Tomi is his usual awesome self, charming and beguiling with his vocal prowess as he slips back and forth between clean vocal hooks and booming death roars. He’s one of those special vocalists who make everything he touches better, and Amorphis was blessed to find him since he’s still paying dividends 20 years later. Esa Holopainen and Tomi Koivusaari continue to refine and polish their otherworldly guitar style, blending metal, rock, and folk in a way no one else does to forge their signature sound. Their bright, open leads swarm all over the material, rarely dropping into heavy, beefy riffs, opting instead to soar above it all with glimmering beauty. Their lush noodling is accentuated by the melodic keys of Santeri Kyösti Kallio, and together they create the Amorphis experience and a collection of new hits.
When Halo hit, I had concerns that the Amorphis magic was slowly seeping away and we would eventually be left with recycled ideas and faded glories. Borderlands partially allays that fear, showing Amorphis can still summon their specialized sorcery when needed. Borderlands may be front-loaded, but the overall quality is there, the highs are high, the lows aren’t too low, and most songs leave an imprint on the ear. What more can an Amorphis fan ask for?1
Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Reigning Phoenix
Websites: amorphis.net | facebook.com/amorphis | instagram.com/amorphisband
Releases Worldwide: September 26th, 2025#2025 #35 #Amorphis #Borderlands #FinnishMetal #Halo #HeavyMetal #MelodicDeathMetal #ReigningPhoenixMusic #Review #Reviews
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Novembers Doom – Major Arcana Review
By Steel Druhm
Chicago’s Novembers Doom have charted a unique course for themselves over the last 30 years. Their unnatural pairing of beefy, cargo-beshorted death metal and highly emotional doom originally felt unstable and liable to erupt into chaos at any moment, but over time, they became adept at finding the ideal balance between madman and sadboi. Albums like The Pale Haunt Departure and Hamartia were loaded with ripping riffs and plaintive gloom, and at their best, Novembers Doom can tear at the heartstrings even as they snap your neck. The wild swings from hugely emotional, weepy sadboi melancholy and femur-fracturing death could sometimes feel forced, but more often it just fucking worked. 2019s Nephilim Grove had big moments but felt underbaked with too much filler. It’s been almost six years since, but now we get their 12th album, Major Arcana, and hopefully, a rebound for these Autumnal leaf reapers of despair.
Nothing’s really changed in the way Novembers Doom approach their trade. After an ominous and forboding intro piece, they come out swinging on the massive title track and hit you like a runaway battleship with a wide collection of primal feelz. Grinding riffs are coated with Paul Kuhr’s excellent clean and death metal vocals as the intensity builds and Kuhr warns, “This has gone too far.” The way his vocals increase in intensity is gripping, and all the usual melodic tricks Novembers Doom are known for come to the fore. This is really good shit. Another high point comes with “Mercy,” where the band hits gold with an emotionally crushing piece that evokes Woods of Ypres, Pink Floyd, and latter-era Anthema. It will break your fucking heart with its beauty and poignancy. Also quite tasty is album centerpiece “Bleed Static,” which uses its 8-minute runtime to explore a variety of despondent emotions effectively. Elsewhere, “The Dance” sticks out for its very Amorphis-esque airy, melodic guitar work and a chorus that you can easily imagine Tomi Joutsen singing.
Unfortunately, the rest of Major Arcana doesn’t operate at this level, and though most tracks have something worthwhile to offer, they won’t whisk you away in a leafblower maelstrom. “Ravenous” is a basic melodeath tune that should run 3-4 minutes, but gets stretched to 6 for no good reason. The back third of the album is significantly less enthralling than the early tracks, and while the songs work in the context of the album, they aren’t especially captivating individually. At 56-plus minutes, it would have been easy to drop 2 or 3 tracks to deliver a leaner, meaner release, but that isn’t the Novembers Doom way. This is a mood piece kind of listen, though, and if you’re in the right state of mind, it will all drift by without much resistance.
As ever, Paul Kuhr is the epicenter of the band’s sound, and he does his usual first-rate job. His singing voice is so perfect for doom that he should run a clinic on it.1 He sounds so desperately hurt and broken on “Mercy” that you can’t help but want to give him a big hug and tell him everything will be OK. At times, his singing reminds me a lot of the late great Eric Wagner of Trouble, and that’s great company to be in. His death roars are also as good as ever, big, booming, nasty, and venomous. His transitions between extremes are smooth and well-timed, and he knows how to wring a song for the maximum emotional impact. Lawrence Roberts and Vito Marchese wield potent riff hammers that often feel like they belong on a caveman death metal platter. When they do lapse into doom and melancholic sadboi mode, they deliver the goods there too. On cuts like the title track, “Mercy,” and “Bleed Static,” you can feel the pathos dripping from their fretboards. I just wish they spread that quality more evenly across the whole record.
Albums like Major Arcana can end up a frustrating experience because you get a few really amazing songs and the remainder ends up looking pale in comparison, even if nothing is bad. Novembers Doom have struggled with this issue over their career, and both 2019s Nephilim Grove and this one are held back by inconsistent songcraft. This is a good release with really high points, but you’re left feeling it could be so much more. I want MOAR leaf doom, dammit!
Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Prophecy Productions
Websites: novembersdoom1989.bandcamp.com | facebook.com/novembersdoom1989 | instagram.com/novembersdoom
Releases Worldwide: September 19th, 2025#2025 #30 #AmericanMetal #DoomMetal #FieldsOfNephilim #MajorArcana #NovembersDoom #ProphecyProductions #Review #Reviews #Sep25 #WoodsOfYpres
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Novembers Doom – Major Arcana Review
By Steel Druhm
Chicago’s Novembers Doom have charted a unique course for themselves over the last 30 years. Their unnatural pairing of beefy, cargo-beshorted death metal and highly emotional doom originally felt unstable and liable to erupt into chaos at any moment, but over time, they became adept at finding the ideal balance between madman and sadboi. Albums like The Pale Haunt Departure and Hamartia were loaded with ripping riffs and plaintive gloom, and at their best, Novembers Doom can tear at the heartstrings even as they snap your neck. The wild swings from hugely emotional, weepy sadboi melancholy and femur-fracturing death could sometimes feel forced, but more often it just fucking worked. 2019s Nephilim Grove had big moments but felt underbaked with too much filler. It’s been almost six years since, but now we get their 12th album, Major Arcana, and hopefully, a rebound for these Autumnal leaf reapers of despair.
Nothing’s really changed in the way Novembers Doom approach their trade. After an ominous and forboding intro piece, they come out swinging on the massive title track and hit you like a runaway battleship with a wide collection of primal feelz. Grinding riffs are coated with Paul Kuhr’s excellent clean and death metal vocals as the intensity builds and Kuhr warns, “This has gone too far.” The way his vocals increase in intensity is gripping, and all the usual melodic tricks Novembers Doom are known for come to the fore. This is really good shit. Another high point comes with “Mercy,” where the band hits gold with an emotionally crushing piece that evokes Woods of Ypres, Pink Floyd, and latter-era Anthema. It will break your fucking heart with its beauty and poignancy. Also quite tasty is album centerpiece “Bleed Static,” which uses its 8-minute runtime to explore a variety of despondent emotions effectively. Elsewhere, “The Dance” sticks out for its very Amorphis-esque airy, melodic guitar work and a chorus that you can easily imagine Tomi Joutsen singing.
Unfortunately, the rest of Major Arcana doesn’t operate at this level, and though most tracks have something worthwhile to offer, they won’t whisk you away in a leafblower maelstrom. “Ravenous” is a basic melodeath tune that should run 3-4 minutes, but gets stretched to 6 for no good reason. The back third of the album is significantly less enthralling than the early tracks, and while the songs work in the context of the album, they aren’t especially captivating individually. At 56-plus minutes, it would have been easy to drop 2 or 3 tracks to deliver a leaner, meaner release, but that isn’t the Novembers Doom way. This is a mood piece kind of listen, though, and if you’re in the right state of mind, it will all drift by without much resistance.
As ever, Paul Kuhr is the epicenter of the band’s sound, and he does his usual first-rate job. His singing voice is so perfect for doom that he should run a clinic on it.1 He sounds so desperately hurt and broken on “Mercy” that you can’t help but want to give him a big hug and tell him everything will be OK. At times, his singing reminds me a lot of the late great Eric Wagner of Trouble, and that’s great company to be in. His death roars are also as good as ever, big, booming, nasty, and venomous. His transitions between extremes are smooth and well-timed, and he knows how to wring a song for the maximum emotional impact. Lawrence Roberts and Vito Marchese wield potent riff hammers that often feel like they belong on a caveman death metal platter. When they do lapse into doom and melancholic sadboi mode, they deliver the goods there too. On cuts like the title track, “Mercy,” and “Bleed Static,” you can feel the pathos dripping from their fretboards. I just wish they spread that quality more evenly across the whole record.
Albums like Major Arcana can end up a frustrating experience because you get a few really amazing songs and the remainder ends up looking pale in comparison, even if nothing is bad. Novembers Doom have struggled with this issue over their career, and both 2019s Nephilim Grove and this one are held back by inconsistent songcraft. This is a good release with really high points, but you’re left feeling it could be so much more. I want MOAR leaf doom, dammit!
Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Prophecy Productions
Websites: novembersdoom1989.bandcamp.com | facebook.com/novembersdoom1989 | instagram.com/novembersdoom
Releases Worldwide: September 19th, 2025#2025 #30 #AmericanMetal #DoomMetal #FieldsOfNephilim #MajorArcana #NovembersDoom #ProphecyProductions #Review #Reviews #Sep25 #WoodsOfYpres
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Novembers Doom – Major Arcana Review
By Steel Druhm
Chicago’s Novembers Doom have charted a unique course for themselves over the last 30 years. Their unnatural pairing of beefy, cargo-beshorted death metal and highly emotional doom originally felt unstable and liable to erupt into chaos at any moment, but over time, they became adept at finding the ideal balance between madman and sadboi. Albums like The Pale Haunt Departure and Hamartia were loaded with ripping riffs and plaintive gloom, and at their best, Novembers Doom can tear at the heartstrings even as they snap your neck. The wild swings from hugely emotional, weepy sadboi melancholy and femur-fracturing death could sometimes feel forced, but more often it just fucking worked. 2019s Nephilim Grove had big moments but felt underbaked with too much filler. It’s been almost six years since, but now we get their 12th album, Major Arcana, and hopefully, a rebound for these Autumnal leaf reapers of despair.
Nothing’s really changed in the way Novembers Doom approach their trade. After an ominous and forboding intro piece, they come out swinging on the massive title track and hit you like a runaway battleship with a wide collection of primal feelz. Grinding riffs are coated with Paul Kuhr’s excellent clean and death metal vocals as the intensity builds and Kuhr warns, “This has gone too far.” The way his vocals increase in intensity is gripping, and all the usual melodic tricks Novembers Doom are known for come to the fore. This is really good shit. Another high point comes with “Mercy,” where the band hits gold with an emotionally crushing piece that evokes Woods of Ypres, Pink Floyd, and latter-era Anthema. It will break your fucking heart with its beauty and poignancy. Also quite tasty is album centerpiece “Bleed Static,” which uses its 8-minute runtime to explore a variety of despondent emotions effectively. Elsewhere, “The Dance” sticks out for its very Amorphis-esque airy, melodic guitar work and a chorus that you can easily imagine Tomi Joutsen singing.
Unfortunately, the rest of Major Arcana doesn’t operate at this level, and though most tracks have something worthwhile to offer, they won’t whisk you away in a leafblower maelstrom. “Ravenous” is a basic melodeath tune that should run 3-4 minutes, but gets stretched to 6 for no good reason. The back third of the album is significantly less enthralling than the early tracks, and while the songs work in the context of the album, they aren’t especially captivating individually. At 56-plus minutes, it would have been easy to drop 2 or 3 tracks to deliver a leaner, meaner release, but that isn’t the Novembers Doom way. This is a mood piece kind of listen, though, and if you’re in the right state of mind, it will all drift by without much resistance.
As ever, Paul Kuhr is the epicenter of the band’s sound, and he does his usual first-rate job. His singing voice is so perfect for doom that he should run a clinic on it.1 He sounds so desperately hurt and broken on “Mercy” that you can’t help but want to give him a big hug and tell him everything will be OK. At times, his singing reminds me a lot of the late great Eric Wagner of Trouble, and that’s great company to be in. His death roars are also as good as ever, big, booming, nasty, and venomous. His transitions between extremes are smooth and well-timed, and he knows how to wring a song for the maximum emotional impact. Lawrence Roberts and Vito Marchese wield potent riff hammers that often feel like they belong on a caveman death metal platter. When they do lapse into doom and melancholic sadboi mode, they deliver the goods there too. On cuts like the title track, “Mercy,” and “Bleed Static,” you can feel the pathos dripping from their fretboards. I just wish they spread that quality more evenly across the whole record.
Albums like Major Arcana can end up a frustrating experience because you get a few really amazing songs and the remainder ends up looking pale in comparison, even if nothing is bad. Novembers Doom have struggled with this issue over their career, and both 2019s Nephilim Grove and this one are held back by inconsistent songcraft. This is a good release with really high points, but you’re left feeling it could be so much more. I want MOAR leaf doom, dammit!
Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Prophecy Productions
Websites: novembersdoom1989.bandcamp.com | facebook.com/novembersdoom1989 | instagram.com/novembersdoom
Releases Worldwide: September 19th, 2025#2025 #30 #AmericanMetal #DoomMetal #FieldsOfNephilim #MajorArcana #NovembersDoom #ProphecyProductions #Review #Reviews #Sep25 #WoodsOfYpres
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Novembers Doom – Major Arcana Review
By Steel Druhm
Chicago’s Novembers Doom have charted a unique course for themselves over the last 30 years. Their unnatural pairing of beefy, cargo-beshorted death metal and highly emotional doom originally felt unstable and liable to erupt into chaos at any moment, but over time, they became adept at finding the ideal balance between madman and sadboi. Albums like The Pale Haunt Departure and Hamartia were loaded with ripping riffs and plaintive gloom, and at their best, Novembers Doom can tear at the heartstrings even as they snap your neck. The wild swings from hugely emotional, weepy sadboi melancholy and femur-fracturing death could sometimes feel forced, but more often it just fucking worked. 2019s Nephilim Grove had big moments but felt underbaked with too much filler. It’s been almost six years since, but now we get their 12th album, Major Arcana, and hopefully, a rebound for these Autumnal leaf reapers of despair.
Nothing’s really changed in the way Novembers Doom approach their trade. After an ominous and forboding intro piece, they come out swinging on the massive title track and hit you like a runaway battleship with a wide collection of primal feelz. Grinding riffs are coated with Paul Kuhr’s excellent clean and death metal vocals as the intensity builds and Kuhr warns, “This has gone too far.” The way his vocals increase in intensity is gripping, and all the usual melodic tricks Novembers Doom are known for come to the fore. This is really good shit. Another high point comes with “Mercy,” where the band hits gold with an emotionally crushing piece that evokes Woods of Ypres, Pink Floyd, and latter-era Anthema. It will break your fucking heart with its beauty and poignancy. Also quite tasty is album centerpiece “Bleed Static,” which uses its 8-minute runtime to explore a variety of despondent emotions effectively. Elsewhere, “The Dance” sticks out for its very Amorphis-esque airy, melodic guitar work and a chorus that you can easily imagine Tomi Joutsen singing.
Unfortunately, the rest of Major Arcana doesn’t operate at this level, and though most tracks have something worthwhile to offer, they won’t whisk you away in a leafblower maelstrom. “Ravenous” is a basic melodeath tune that should run 3-4 minutes, but gets stretched to 6 for no good reason. The back third of the album is significantly less enthralling than the early tracks, and while the songs work in the context of the album, they aren’t especially captivating individually. At 56-plus minutes, it would have been easy to drop 2 or 3 tracks to deliver a leaner, meaner release, but that isn’t the Novembers Doom way. This is a mood piece kind of listen, though, and if you’re in the right state of mind, it will all drift by without much resistance.
As ever, Paul Kuhr is the epicenter of the band’s sound, and he does his usual first-rate job. His singing voice is so perfect for doom that he should run a clinic on it.1 He sounds so desperately hurt and broken on “Mercy” that you can’t help but want to give him a big hug and tell him everything will be OK. At times, his singing reminds me a lot of the late great Eric Wagner of Trouble, and that’s great company to be in. His death roars are also as good as ever, big, booming, nasty, and venomous. His transitions between extremes are smooth and well-timed, and he knows how to wring a song for the maximum emotional impact. Lawrence Roberts and Vito Marchese wield potent riff hammers that often feel like they belong on a caveman death metal platter. When they do lapse into doom and melancholic sadboi mode, they deliver the goods there too. On cuts like the title track, “Mercy,” and “Bleed Static,” you can feel the pathos dripping from their fretboards. I just wish they spread that quality more evenly across the whole record.
Albums like Major Arcana can end up a frustrating experience because you get a few really amazing songs and the remainder ends up looking pale in comparison, even if nothing is bad. Novembers Doom have struggled with this issue over their career, and both 2019s Nephilim Grove and this one are held back by inconsistent songcraft. This is a good release with really high points, but you’re left feeling it could be so much more. I want MOAR leaf doom, dammit!
Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Prophecy Productions
Websites: novembersdoom1989.bandcamp.com | facebook.com/novembersdoom1989 | instagram.com/novembersdoom
Releases Worldwide: September 19th, 2025#2025 #30 #AmericanMetal #DoomMetal #FieldsOfNephilim #MajorArcana #NovembersDoom #ProphecyProductions #Review #Reviews #Sep25 #WoodsOfYpres