#cometogrief — Public Fediverse posts

Seeking revenge for her son’s death, Grendel’s mother thrusts her sword at Beowulf. ‘Him on eaxle læg / breostnet broden,’ the Beowulf poet pens,1 ‘þæt gebearh feore, / wið ord ond wið ecge ingang forstod.’ For those unfluent in Old English: Beowulf’s chainmail saved his life, withstanding both the edge and ‘ord’ (tip/spear) of the vengeful matriarch’s sword. From this archaic term for the spear of a sword, Ordh derives its appellation, which may suggest to readers an Anglo-Saxon-themed war metal outfit. That (killer) Paolo Girardi artwork, however, screams cosmic-prog death,2 with Blind in Abyssal Realms being the Vermont quartet’s first full-length lunge at the metal community. Ordh will need to be sharper than the sword of Grendel’s mother, though, for the generic chainmail of progressive death metal is more tightly braided than that adorned by the King of the Geats.3

The cosmic-prog death of Blind in Abyssal Realms claims roots in an earthier subgenre. After the dissolution of progressive sludgers Barishi, guitarist Graham Brooks joined forces with vocalist Jonathan Hébert of sludge-doomers Come to Grief to form a new band. In shifting from the slurry of sludge to the heft of death metal while retaining progressive and doom elements, Ordh ends up sounding like an atmospheric Mortiferum. Brooks’s riffs, whether on low or high strings, always possess grandeur, and his solos splotch like Jackson Pollock splashing paint across a canvas. Brooks also engineered the album’s synths, which are noticeable but never overpower the guitarwork. Hébert’s gutturals keep things terrestrial, hollering at the heavens from his earth-bound cave. Joining Brooks and Hébert are rhythm section Josh Smith (bass) and Dylan Blake (drums, ex-Barishi). Blake especially shines, mixing typical death-metal pounding with jazzy roving and glorious rototom runs. Given Ordh’s previous experience in sludge, it’s impressive how sharp their first attempt at cosmic-prog death is, standing toe to toe with the likes of Cosmic Putrefaction and Blood Incantation.

Blind in Abyssal Realms by Ordh

What makes Blind in Abyssal Realms cut deep is its balancing of atmosphere with instantly memorable riffs. Opener “Apis Bull” perfectly demonstrates this dichotomy; its big, bendy Oldpeth figure alternates with a spacey, higher-register version of itself before exploring new terrain. Similarly, “Moon of Urd” rises with a delightfully demented earworm that reveals a lush blanket of pure psych twilight. “Phlegraean Fields,” the most adventurous song on here, builds an ever-morphing, synth-laden melody, capturing a stranger surveying a mythical landscape with terror-tinged curiosity.4 Right out the gate, Ordh understands that the ‘cosmic’ in ‘cosmic-prog death’ should not be cosmetic. Indeed, the synths support consistently superb riffs on this debut, imbuing them with enriching depth.

Some aspects of Blind in Abyssal Realms dull its attack. Production-wise, the record sounds good but lacks a bit of low end. The caveman parts don’t hit as hard as they should; Blake’s kick drum could use more oomph, and Smith’s bass is frequently hard to detect in anything other than clean sections. Concerning the album’s pacing, the last two tracks don’t quite measure up to the ascending quality of the opening trio. “Blind in Abyssal Realms” is a strong song that, at over 12 minutes, could use editing. “Hierothesion” refreshingly closes out the record as its most straightforward pummeler, but similarly, some concision would amplify its effect. And as for originality, Ordh mostly sounds like itself, though occasionally, combinations of blast beats, dive bombs, and ‘aaaghs!’ are a bit too on the Blood Incantation nose.

Nitpicks aside, Ordh drives home its point with Blind in Abyssal Realms. This is an impressive debut that makes a mark on progressive death metal. Comprised of five tracks at just under 45 minutes, Blind in Abyssal Realms advances as a filler-free affair, trading violent slashes with chilled-out parries in a manner inviting repeat engagements. Fans of the genre should definitely spar with this sonic sword. Swīðe gōd weorc, Ordh!

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Pulverised Records
Websites: Bandcamp | Instagram | Facebook
Releases Worldwide: April 17th, 2026

https://www.europesays.com/uk/302671/ Goblinsmoker – The King’s Eternal Throne Review #2025 #3.5 #AThroneInHazeAWorldAblaze #Bongripper #ComeToGrief #Conan #DoomMetal #Entertainment #Goblinsmoker #Jul25 #music #Review #Reviews #Stoner #StonerDoom #TheKing'sEternalThrone #Thou #Truckfighters #UK #UnitedKingdom

Goblinsmoker – The King’s Eternal Throne Review

By Angry Metal Guy

By: Nameless_n00b_602

Concept albums inherently have higher aspirations than the average release and therefore necessitate an elevated standard of critique. Not only must the music delight, but everything on the album—lyrics, instruments, tone, track placement, pace—must support a well-developed central narrative. Enter Goblinsmoker. This Durham, UK, duo tells the legend of the exiled Toad King, who inhales the fumes of his willingly self-immolating subjects for…reasons. The first two installments of this trilogy, Toad King and A Throne in Haze, a World Ablaze, recount the establishment of the goblin army and subsequent annihilation of the ruling toad kingdom. Goblinsmoker now concludes the story with The King’s Eternal Throne. Breathe in and join the king’s court.

The King’s Eternal Throne is an album of two halves. From “Shamanic Rites” through the midpoint of “Burn Him,” Goblinsmoker hauls you face-first through Conan’s prehistoric tar pits. Vocals are sparse, and riffs drag their knuckles and rattle teeth. Vitriolic like Thou or Come to Grief, multi-instrumentalist and vocalist Adam Kennedy rasps that not all is well in the kingdom (“Shamanic Rites”). The Shaman, having manipulated the Toad King to achieve his goal of toadal destruction, now seeks to eliminate the pawn. Drummer Michael Guthrie embodies the Shaman’s contempt for the Toad King with lurching, powerful kit work, and Kennedy, deftly wielding strings and vocals, manifests both the cold, insurrectionist plotting of “Shamanic Rites” and the searing violence of “Burn Him.” On the latter, Guthrie viciously punctuates his bandmate’s vocal attacks with snares and cymbals, fanning the flames of goblin fervor. Meanwhile, Kennedy’s guitar and bass march inexorably toward the pyre, dragging the King like a caveman drags dead game.

Then the Toad King burns, and everything changes. Backs straighten, eyes look skyward, and at the 6:00 mark of “Burn Him,” Goblinsmoker evolves from Bongripper to Truckfighters. As flames consume the Toad King, an upbeat lead and energetic fill give way to the greatest bass hook I have ever heard.1 The Shaman calls, his goblins respond, and they dance rapturously in this hazy Valley of the Sun. Where the Toad King once ruled only as a panacea for misanthropy, the Shaman reigns exultant, evinced by prime musical synergy. A suitably psychedelic bass solo chronicles the Shaman’s first taste of power as he takes “The King’s Eternal Throne” and inhales the sacred smoke. Kennedy’s funky axe work dispels the darkness of the Toad King’s rule, cruising through the Goblin Forest to spread the good news. Guthrie drives these tidings, bumping and grooving with the boom-bap sensibility of golden age hip hop. This combination creates a sound at once nostalgic, swaggering, and as infinite as the new goblin kingdom.

My qualms feel like nitpicks in the face of a tale so well told. Clocking in at 30 minutes, The King’s Eternal Throne is short, especially for a doom record. Even with three tracks exceeding eight minutes, it’s easily digestible and doesn’t overstay its welcome, but it could still benefit from some trimming. Fade-ins and fadeouts can linger, which is expected for the genre and isn’t too bothersome on a casual listen, but repeated spins find me impatient for the next chapter to begin. Closer “Toad King (Forest Synth Offering)” is a rework of the eponymous track from Goblinsmoker’s debut, and while it’s good dungeon forest synth, it has no narrative value. It’s a decent enough palate cleanser after inhaling the fumes of so many burning bodies, but it ultimately weakens the impact of the should-be closer “The King’s Eternal Throne.”2

Writing a successful concept album—and the conclusion of a concept trilogy—is no easy feat, but Kennedy and Guthrie are up to the task. From the brooding riffage of “Shamanic Rites” to the triumphant groove of the title track, Goblinsmoker handles storytelling, tonal shifts, and musical evolutions with aplomb. The only things keeping this album from a coveted 4.03 are minor but tough to ignore. Luckily, those quibbles can be resolved with little more than a hacksaw and some glue. I’m not sure where their path leads from here, but with The King’s Eternal Throne, Goblinsmoker puts to rest the legend of the Toad King and any doubts they could tell it.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: APF Records
Websites: Bandcamp | Instagram | Facebook
Releases Worldwide: July 25th, 2025

#2025 #35 #AThroneInHazeAWorldAblaze #Bongripper #ComeToGrief #Conan #DoomMetal #Goblinsmoker #Jul25 #Review #Reviews #Stoner #StonerDoom #TheKingSEternalThrone #Thou #Truckfighters

Goblinsmoker – The King’s Eternal Throne Review

By Angry Metal Guy

By: Nameless_n00b_602

Concept albums inherently have higher aspirations than the average release and therefore necessitate an elevated standard of critique. Not only must the music delight, but everything on the album—lyrics, instruments, tone, track placement, pace—must support a well-developed central narrative. Enter Goblinsmoker. This Durham, UK, duo tells the legend of the exiled Toad King, who inhales the fumes of his willingly self-immolating subjects for…reasons. The first two installments of this trilogy, Toad King and A Throne in Haze, a World Ablaze, recount the establishment of the goblin army and subsequent annihilation of the ruling toad kingdom. Goblinsmoker now concludes the story with The King’s Eternal Throne. Breathe in and join the king’s court.

The King’s Eternal Throne is an album of two halves. From “Shamanic Rites” through the midpoint of “Burn Him,” Goblinsmoker hauls you face-first through Conan’s prehistoric tar pits. Vocals are sparse, and riffs drag their knuckles and rattle teeth. Vitriolic like Thou or Come to Grief, multi-instrumentalist and vocalist Adam Kennedy rasps that not all is well in the kingdom (“Shamanic Rites”). The Shaman, having manipulated the Toad King to achieve his goal of toadal destruction, now seeks to eliminate the pawn. Drummer Michael Guthrie embodies the Shaman’s contempt for the Toad King with lurching, powerful kit work, and Kennedy, deftly wielding strings and vocals, manifests both the cold, insurrectionist plotting of “Shamanic Rites” and the searing violence of “Burn Him.” On the latter, Guthrie viciously punctuates his bandmate’s vocal attacks with snares and cymbals, fanning the flames of goblin fervor. Meanwhile, Kennedy’s guitar and bass march inexorably toward the pyre, dragging the King like a caveman drags dead game.

Then the Toad King burns, and everything changes. Backs straighten, eyes look skyward, and at the 6:00 mark of “Burn Him,” Goblinsmoker evolves from Bongripper to Truckfighters. As flames consume the Toad King, an upbeat lead and energetic fill give way to the greatest bass hook I have ever heard.1 The Shaman calls, his goblins respond, and they dance rapturously in this hazy Valley of the Sun. Where the Toad King once ruled only as a panacea for misanthropy, the Shaman reigns exultant, evinced by prime musical synergy. A suitably psychedelic bass solo chronicles the Shaman’s first taste of power as he takes “The King’s Eternal Throne” and inhales the sacred smoke. Kennedy’s funky axe work dispels the darkness of the Toad King’s rule, cruising through the Goblin Forest to spread the good news. Guthrie drives these tidings, bumping and grooving with the boom-bap sensibility of golden age hip hop. This combination creates a sound at once nostalgic, swaggering, and as infinite as the new goblin kingdom.

My qualms feel like nitpicks in the face of a tale so well told. Clocking in at 30 minutes, The King’s Eternal Throne is short, especially for a doom record. Even with three tracks exceeding eight minutes, it’s easily digestible and doesn’t overstay its welcome, but it could still benefit from some trimming. Fade-ins and fadeouts can linger, which is expected for the genre and isn’t too bothersome on a casual listen, but repeated spins find me impatient for the next chapter to begin. Closer “Toad King (Forest Synth Offering)” is a rework of the eponymous track from Goblinsmoker’s debut, and while it’s good dungeon forest synth, it has no narrative value. It’s a decent enough palate cleanser after inhaling the fumes of so many burning bodies, but it ultimately weakens the impact of the should-be closer “The King’s Eternal Throne.”2

Writing a successful concept album—and the conclusion of a concept trilogy—is no easy feat, but Kennedy and Guthrie are up to the task. From the brooding riffage of “Shamanic Rites” to the triumphant groove of the title track, Goblinsmoker handles storytelling, tonal shifts, and musical evolutions with aplomb. The only things keeping this album from a coveted 4.03 are minor but tough to ignore. Luckily, those quibbles can be resolved with little more than a hacksaw and some glue. I’m not sure where their path leads from here, but with The King’s Eternal Throne, Goblinsmoker puts to rest the legend of the Toad King and any doubts they could tell it.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: APF Records
Websites: Bandcamp | Instagram | Facebook
Releases Worldwide: July 25th, 2025

#2025 #35 #AThroneInHazeAWorldAblaze #Bongripper #ComeToGrief #Conan #DoomMetal #Goblinsmoker #Jul25 #Review #Reviews #Stoner #StonerDoom #TheKingSEternalThrone #Thou #Truckfighters

Goblinsmoker – The King’s Eternal Throne Review

By Angry Metal Guy

By: Nameless_n00b_602

Concept albums inherently have higher aspirations than the average release and therefore necessitate an elevated standard of critique. Not only must the music delight, but everything on the album—lyrics, instruments, tone, track placement, pace—must support a well-developed central narrative. Enter Goblinsmoker. This Durham, UK, duo tells the legend of the exiled Toad King, who inhales the fumes of his willingly self-immolating subjects for…reasons. The first two installments of this trilogy, Toad King and A Throne in Haze, a World Ablaze, recount the establishment of the goblin army and subsequent annihilation of the ruling toad kingdom. Goblinsmoker now concludes the story with The King’s Eternal Throne. Breathe in and join the king’s court.

The King’s Eternal Throne is an album of two halves. From “Shamanic Rites” through the midpoint of “Burn Him,” Goblinsmoker hauls you face-first through Conan’s prehistoric tar pits. Vocals are sparse, and riffs drag their knuckles and rattle teeth. Vitriolic like Thou or Come to Grief, multi-instrumentalist and vocalist Adam Kennedy rasps that not all is well in the kingdom (“Shamanic Rites”). The Shaman, having manipulated the Toad King to achieve his goal of toadal destruction, now seeks to eliminate the pawn. Drummer Michael Guthrie embodies the Shaman’s contempt for the Toad King with lurching, powerful kit work, and Kennedy, deftly wielding strings and vocals, manifests both the cold, insurrectionist plotting of “Shamanic Rites” and the searing violence of “Burn Him.” On the latter, Guthrie viciously punctuates his bandmate’s vocal attacks with snares and cymbals, fanning the flames of goblin fervor. Meanwhile, Kennedy’s guitar and bass march inexorably toward the pyre, dragging the King like a caveman drags dead game.

Then the Toad King burns, and everything changes. Backs straighten, eyes look skyward, and at the 6:00 mark of “Burn Him,” Goblinsmoker evolves from Bongripper to Truckfighters. As flames consume the Toad King, an upbeat lead and energetic fill give way to the greatest bass hook I have ever heard.1 The Shaman calls, his goblins respond, and they dance rapturously in this hazy Valley of the Sun. Where the Toad King once ruled only as a panacea for misanthropy, the Shaman reigns exultant, evinced by prime musical synergy. A suitably psychedelic bass solo chronicles the Shaman’s first taste of power as he takes “The King’s Eternal Throne” and inhales the sacred smoke. Kennedy’s funky axe work dispels the darkness of the Toad King’s rule, cruising through the Goblin Forest to spread the good news. Guthrie drives these tidings, bumping and grooving with the boom-bap sensibility of golden age hip hop. This combination creates a sound at once nostalgic, swaggering, and as infinite as the new goblin kingdom.

My qualms feel like nitpicks in the face of a tale so well told. Clocking in at 30 minutes, The King’s Eternal Throne is short, especially for a doom record. Even with three tracks exceeding eight minutes, it’s easily digestible and doesn’t overstay its welcome, but it could still benefit from some trimming. Fade-ins and fadeouts can linger, which is expected for the genre and isn’t too bothersome on a casual listen, but repeated spins find me impatient for the next chapter to begin. Closer “Toad King (Forest Synth Offering)” is a rework of the eponymous track from Goblinsmoker’s debut, and while it’s good dungeon forest synth, it has no narrative value. It’s a decent enough palate cleanser after inhaling the fumes of so many burning bodies, but it ultimately weakens the impact of the should-be closer “The King’s Eternal Throne.”2

Writing a successful concept album—and the conclusion of a concept trilogy—is no easy feat, but Kennedy and Guthrie are up to the task. From the brooding riffage of “Shamanic Rites” to the triumphant groove of the title track, Goblinsmoker handles storytelling, tonal shifts, and musical evolutions with aplomb. The only things keeping this album from a coveted 4.03 are minor but tough to ignore. Luckily, those quibbles can be resolved with little more than a hacksaw and some glue. I’m not sure where their path leads from here, but with The King’s Eternal Throne, Goblinsmoker puts to rest the legend of the Toad King and any doubts they could tell it.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: APF Records
Websites: Bandcamp | Instagram | Facebook
Releases Worldwide: July 25th, 2025

#2025 #35 #AThroneInHazeAWorldAblaze #Bongripper #ComeToGrief #Conan #DoomMetal #Goblinsmoker #Jul25 #Review #Reviews #Stoner #StonerDoom #TheKingSEternalThrone #Thou #Truckfighters

Goblinsmoker – The King’s Eternal Throne Review

By Angry Metal Guy

By: Nameless_n00b_602

Concept albums inherently have higher aspirations than the average release and therefore necessitate an elevated standard of critique. Not only must the music delight, but everything on the album—lyrics, instruments, tone, track placement, pace—must support a well-developed central narrative. Enter Goblinsmoker. This Durham, UK, duo tells the legend of the exiled Toad King, who inhales the fumes of his willingly self-immolating subjects for…reasons. The first two installments of this trilogy, Toad King and A Throne in Haze, a World Ablaze, recount the establishment of the goblin army and subsequent annihilation of the ruling toad kingdom. Goblinsmoker now concludes the story with The King’s Eternal Throne. Breathe in and join the king’s court.

The King’s Eternal Throne is an album of two halves. From “Shamanic Rites” through the midpoint of “Burn Him,” Goblinsmoker hauls you face-first through Conan’s prehistoric tar pits. Vocals are sparse, and riffs drag their knuckles and rattle teeth. Vitriolic like Thou or Come to Grief, multi-instrumentalist and vocalist Adam Kennedy rasps that not all is well in the kingdom (“Shamanic Rites”). The Shaman, having manipulated the Toad King to achieve his goal of toadal destruction, now seeks to eliminate the pawn. Drummer Michael Guthrie embodies the Shaman’s contempt for the Toad King with lurching, powerful kit work, and Kennedy, deftly wielding strings and vocals, manifests both the cold, insurrectionist plotting of “Shamanic Rites” and the searing violence of “Burn Him.” On the latter, Guthrie viciously punctuates his bandmate’s vocal attacks with snares and cymbals, fanning the flames of goblin fervor. Meanwhile, Kennedy’s guitar and bass march inexorably toward the pyre, dragging the King like a caveman drags dead game.

Then the Toad King burns, and everything changes. Backs straighten, eyes look skyward, and at the 6:00 mark of “Burn Him,” Goblinsmoker evolves from Bongripper to Truckfighters. As flames consume the Toad King, an upbeat lead and energetic fill give way to the greatest bass hook I have ever heard.1 The Shaman calls, his goblins respond, and they dance rapturously in this hazy Valley of the Sun. Where the Toad King once ruled only as a panacea for misanthropy, the Shaman reigns exultant, evinced by prime musical synergy. A suitably psychedelic bass solo chronicles the Shaman’s first taste of power as he takes “The King’s Eternal Throne” and inhales the sacred smoke. Kennedy’s funky axe work dispels the darkness of the Toad King’s rule, cruising through the Goblin Forest to spread the good news. Guthrie drives these tidings, bumping and grooving with the boom-bap sensibility of golden age hip hop. This combination creates a sound at once nostalgic, swaggering, and as infinite as the new goblin kingdom.

My qualms feel like nitpicks in the face of a tale so well told. Clocking in at 30 minutes, The King’s Eternal Throne is short, especially for a doom record. Even with three tracks exceeding eight minutes, it’s easily digestible and doesn’t overstay its welcome, but it could still benefit from some trimming. Fade-ins and fadeouts can linger, which is expected for the genre and isn’t too bothersome on a casual listen, but repeated spins find me impatient for the next chapter to begin. Closer “Toad King (Forest Synth Offering)” is a rework of the eponymous track from Goblinsmoker’s debut, and while it’s good dungeon forest synth, it has no narrative value. It’s a decent enough palate cleanser after inhaling the fumes of so many burning bodies, but it ultimately weakens the impact of the should-be closer “The King’s Eternal Throne.”2

Writing a successful concept album—and the conclusion of a concept trilogy—is no easy feat, but Kennedy and Guthrie are up to the task. From the brooding riffage of “Shamanic Rites” to the triumphant groove of the title track, Goblinsmoker handles storytelling, tonal shifts, and musical evolutions with aplomb. The only things keeping this album from a coveted 4.03 are minor but tough to ignore. Luckily, those quibbles can be resolved with little more than a hacksaw and some glue. I’m not sure where their path leads from here, but with The King’s Eternal Throne, Goblinsmoker puts to rest the legend of the Toad King and any doubts they could tell it.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: APF Records
Websites: Bandcamp | Instagram | Facebook
Releases Worldwide: July 25th, 2025

#2025 #35 #AThroneInHazeAWorldAblaze #Bongripper #ComeToGrief #Conan #DoomMetal #Goblinsmoker #Jul25 #Review #Reviews #Stoner #StonerDoom #TheKingSEternalThrone #Thou #Truckfighters

Goblinsmoker – The King’s Eternal Throne Review

By Angry Metal Guy

By: Nameless_n00b_602

Concept albums inherently have higher aspirations than the average release and therefore necessitate an elevated standard of critique. Not only must the music delight, but everything on the album—lyrics, instruments, tone, track placement, pace—must support a well-developed central narrative. Enter Goblinsmoker. This Durham, UK, duo tells the legend of the exiled Toad King, who inhales the fumes of his willingly self-immolating subjects for…reasons. The first two installments of this trilogy, Toad King and A Throne in Haze, a World Ablaze, recount the establishment of the goblin army and subsequent annihilation of the ruling toad kingdom. Goblinsmoker now concludes the story with The King’s Eternal Throne. Breathe in and join the king’s court.

The King’s Eternal Throne is an album of two halves. From “Shamanic Rites” through the midpoint of “Burn Him,” Goblinsmoker hauls you face-first through Conan’s prehistoric tar pits. Vocals are sparse, and riffs drag their knuckles and rattle teeth. Vitriolic like Thou or Come to Grief, multi-instrumentalist and vocalist Adam Kennedy rasps that not all is well in the kingdom (“Shamanic Rites”). The Shaman, having manipulated the Toad King to achieve his goal of toadal destruction, now seeks to eliminate the pawn. Drummer Michael Guthrie embodies the Shaman’s contempt for the Toad King with lurching, powerful kit work, and Kennedy, deftly wielding strings and vocals, manifests both the cold, insurrectionist plotting of “Shamanic Rites” and the searing violence of “Burn Him.” On the latter, Guthrie viciously punctuates his bandmate’s vocal attacks with snares and cymbals, fanning the flames of goblin fervor. Meanwhile, Kennedy’s guitar and bass march inexorably toward the pyre, dragging the King like a caveman drags dead game.

Then the Toad King burns, and everything changes. Backs straighten, eyes look skyward, and at the 6:00 mark of “Burn Him,” Goblinsmoker evolves from Bongripper to Truckfighters. As flames consume the Toad King, an upbeat lead and energetic fill give way to the greatest bass hook I have ever heard.1 The Shaman calls, his goblins respond, and they dance rapturously in this hazy Valley of the Sun. Where the Toad King once ruled only as a panacea for misanthropy, the Shaman reigns exultant, evinced by prime musical synergy. A suitably psychedelic bass solo chronicles the Shaman’s first taste of power as he takes “The King’s Eternal Throne” and inhales the sacred smoke. Kennedy’s funky axe work dispels the darkness of the Toad King’s rule, cruising through the Goblin Forest to spread the good news. Guthrie drives these tidings, bumping and grooving with the boom-bap sensibility of golden age hip hop. This combination creates a sound at once nostalgic, swaggering, and as infinite as the new goblin kingdom.

My qualms feel like nitpicks in the face of a tale so well told. Clocking in at 30 minutes, The King’s Eternal Throne is short, especially for a doom record. Even with three tracks exceeding eight minutes, it’s easily digestible and doesn’t overstay its welcome, but it could still benefit from some trimming. Fade-ins and fadeouts can linger, which is expected for the genre and isn’t too bothersome on a casual listen, but repeated spins find me impatient for the next chapter to begin. Closer “Toad King (Forest Synth Offering)” is a rework of the eponymous track from Goblinsmoker’s debut, and while it’s good dungeon forest synth, it has no narrative value. It’s a decent enough palate cleanser after inhaling the fumes of so many burning bodies, but it ultimately weakens the impact of the should-be closer “The King’s Eternal Throne.”2

Writing a successful concept album—and the conclusion of a concept trilogy—is no easy feat, but Kennedy and Guthrie are up to the task. From the brooding riffage of “Shamanic Rites” to the triumphant groove of the title track, Goblinsmoker handles storytelling, tonal shifts, and musical evolutions with aplomb. The only things keeping this album from a coveted 4.03 are minor but tough to ignore. Luckily, those quibbles can be resolved with little more than a hacksaw and some glue. I’m not sure where their path leads from here, but with The King’s Eternal Throne, Goblinsmoker puts to rest the legend of the Toad King and any doubts they could tell it.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: APF Records
Websites: Bandcamp | Instagram | Facebook
Releases Worldwide: July 25th, 2025

#2025 #35 #AThroneInHazeAWorldAblaze #Bongripper #ComeToGrief #Conan #DoomMetal #Goblinsmoker #Jul25 #Review #Reviews #Stoner #StonerDoom #TheKingSEternalThrone #Thou #Truckfighters

To celebrate and embrace #SaturDoom by @lpl:

#Summa: Tides of Doom

https://song.link/mcfvbxfgp8zk4

FFO #ChainedToTheBottomOfTheOcean #ComeToGrief #Moor