#newwaveoftraditionalheavymetal — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #newwaveoftraditionalheavymetal, aggregated by home.social.
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Band of the day: Dark Forest (UK)
The Nwothmhttps://www.youtube.com/watch?v=b7CW5SVxyyM&list=RDb7CW5SVxyyM&start_radio=1
Band: Dark Forest
Country: UK
Label: Cruz del Sur Music
Members: Josh Winnard – Vocals Christian Horton – Guitars, Bass Patrick Jenkins – Guitars Adam Sidaway – Drums
Album: Ridge & Furrow (EP)
Track Info: 1. Skylark 00:00 2. The Golden Acre 06:40 3. Ridge & Furrow 12:18 4. Meadowland 18:45 5. Under The Greenwood Tree 20:57
Dark Forest is a heavy metal band from Dudley in the West Midlands, England. Formed in 2002, they are known for blending soaring melodies with themes drawn from mythology, history, patriotism and classic metal traditions. Signed to Cruz del Sur Music, the band has released a series of acclaimed albums including Dark Forest, Dawn of Infinity, The Awakening, Beyond the Veil and Oak, Ash & Thorn. Their music has appeared on several compilations, including Fear Candy and British Steel, marking their place in the rising force of British heavy metal.
https://www.youtube.com/watch?v=j21z8KCbuVc&list=RDj21z8KCbuVc&start_radio=1
Links
Bandcamp: https://darkforest-uk.bandcamp.com/album/ridge-and-furrow
Facebook: https://www.facebook.com/Darkforestuk
Instagram:
Label: https://www.cruzdelsurmusic.com/store/
#bandOfTheDay #britishHeavyMetal #cruzDelSuMusic #darkForest #heavyMetal #newWaveOfTraditionalHeavyMetal #nwothm #ridgeFurrow #thenwothmCom
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Band of the day: Arkham Witch (UK)
The Nwothmhttps://www.youtube.com/watch?v=tdYpWEWrBV8
Band: Arkham Witch
Country: UK
Label: Independent
Members: Leafy Greens – Vocals Sly Tinnie – Guitars Kanye Diggit – Guitars Helen Heaven – Bass Tanya Hide – Drums
Album: Master Eternal
Track Info:
1. Three Bladed Doom 00:00 2. High Magic! 03:45 3. Master Eternal 07:59 4. Evil Spells 14:02 5. Savage Sword 19:02 6. Death by Heavy Metal 25:04Arkham Witch is a heavy/doom metal band from Keighley, West Yorkshire, England, active since 2008. Their sound fuses Lovecraftian horror, sword-and-sorcery epics, and occult weirdness into riff-heavy anthems. Releases include Legions of the Deep (2012), I Am Providence (2015), and Swords Against Death (2022), alongside a prolific run of demos, EPs, and compilations. They’ve also contributed exclusive tracks to genre-spanning metal samplers. Logo by Jowita Kamińska-Peruzzi.
Links
Bandcamp: https://arkhamwitch.bandcamp.com/
Facebook: https://www.facebook.com/ArkhamWitch
Linktree: https://linktr.ee/arkham_witch
#arkhamWitch #arkhamWitchUK #BandOfTheDay #BritishHeavyMetal #HeavyMetal #NewWaveOfTraditionalHeavyMetal #NWOTHM #thenwothm
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Interview: Girder (UK)
18 minutesThe Nwothm
Forged in the seaside grit of Bournemouth and tempered by Brazilian fire, Girder are dragging true heavy metal back to the frontline. With their self-titled debut roaring loud and proud, the quartet channel chaos, camaraderie, and classic NWOBHM spirit into pure sonic steel. We caught up with them to talk origins, mayhem, and keeping metal true.
Interview
heNwothm: For those just discovering you, who or what is Girder—and what should they expect when they hit play?
Metal Matt: We’re a family of old school heavy metal maniacs; half English and half Brazillian! Our band is made up of 4 unique characters; Metal Dress on lead vocals, (myself) Metal Matt bass and vocals, Iron Paul on guitar and vocals and Hordak II on drums. If people like 80’s heavy metal, then they will love us!
Hordak II: When someone hit play they’ll listen to a range of heavy music, from hard rock to thrash metal, eventually melodic, but mostly old school metal. Just don’t expect anything close to nu metal. If they want modern metal, don’t listen to us.
TheNwothm: How did Girder form and what stories can you share from your early days?
Hordak II: Since when me and Metal Dress first met with Metal Matt at one of our gigs we started bumping into each other at other gigs and concerts very often, what showed is that we all had similar tastes in music. As soon as we joined ourselves to make music together we felt a really powerful connection that worked really well as a band.
Metal Matt: We formed the band three years ago, after my previous progressive rock band Crimson Creatures ended. I sang lead vocals and played bass in that band.
I met the Brazilian couple (now my best friends) Hordak II and Metal Dress a year or so before whilst watching their gothic, funeral project Morbus Fatalis. Like Hordak said, we bonded over our mutual love for heavy metal, and Metal Dress urged me to form a band with them on multiple occasions, but I declined since I was busy in two bands.The moment Crimson Creatures ended, I instantly phoned Hordak II to immediately form a heavy metal band whilst they were moving house!
We had a big meeting as Hordak II, Metal Dress and Metal Matt. We started writing ideas for our clothes, style and lyrics. We all agreed that we will never play Nu-Metal- and we would play Old/True heavy metal! I started writing the lyrics for Killers of the Night and 6:30 late at night round Metal Dress’ house, and in the morning, a boy got murdered down the street. As if my pen was writing about what was happening there and then! We agreed that we wanted a fourth member to play guitar. I met Iron Paul in a pub a week or so later, and thus we had the Girder lineup after several pints!
https://www.youtube.com/watch?v=ytZ9mDWHUAA&list=RDytZ9mDWHUAA&start_radio=1
TheNwothm: Bournemouth isn’t the first place people associate with dragons, slugs, and metal mayhem. How has your hometown shaped your sound or attitude?
Hordak II: Girder was basically forged in Boscombe, Bournemouth, a place that has one of the highest crime rates in the UK. Me and Metal Dress come from a big town in South America with lots of violence and crime too. So these were the subject of our first songs. But our music is not only about mayhem and crimes, as we also make music about fun and boozing at the beach, as that’s a big thing in Bournemouth too.
Metal Matt: We are all fans (especially Metal Dress) of going to the beach and having parties and BBQ’s, so that sunny, positive attitude blends naturally into our music. Being into progressive rock as much as I am into metal, I love that our area of Dorset has had famous names in the music scene like Lee Kerslake, Robert Fripp, Greg Lake and John Wetton to name a few. Tolkien even lived down here!
TheNwothm: What’s the story behind the name “Girder”? Was it a eureka moment or a pub-fuelled accident?
Metal Matt: Knowing us, probably the latter. I remember Iron Paul and I talking about song ideas and band names down the pub several times. I’m sure Iron Paul brought up the name, as we were looking for something unmistakingly metal. A girder? Brilliant! I’ll buy another round…
Hordak II: We wanted a name that expressed what our music is, so Girder fit perfectly either to the music we make, as well as to what we listen to and love watching.
TheNwothm: Dorset’s got beaches, fossils, and now a heavy metal band singing about murder and parties. How does the local culture feed into your themes?
Hordak II: Local culture has always much to add to our music, as it is part of our everyday life in the streets. We have the police around all the time. Last year a body was found in pieces at Boscombe beach cliff. At our free time we enjoy boozing and having fun around, so thats all in our music.
Metal Matt: As the main songwriter in the band, I tend to get inspired by Iron Paul’s experiences then Hordak II and Metal Dress’ experiences in Brazil. Whenever I’m not recording and writing song ideas about fantasy dragons or slugs, I’m taking inspiration from local murders and Brazilian drug crime. Unfortunately, we have a lot of local murders and it inspired me to write our songs ‘Killers of the Night’, ‘6:30’ and ‘Rekindle the Flame’.
TheNwothm: Do you feel connected to the wider UK metal scene, or is Girder more of a rogue unit doing its own thing?
Metal Matt: Kind of both. Hordak and Metal Dress will feel connected to their music scene in Curitriba back in Brazil, and Iron Paul would feel more connected to the local grassroots music scene. I’m friends with several London, Somerset and Southampton bands like Toldeo Steel and Sanguis Mortem, so it does feel like we have that dual connection with Curitriba and the Southern UK metal scene.
Hordak II: As Metal Matt says, we feel connected to our local scene and have already started to get connected to a wider scene, but there is much more still to be achieved, considering we have just over two years as a band and we are still quite new to the UK wider scene.
TheNwothm: What’s your take on the current state of British heavy metal? Any scenes or bands you’re watching closely? Do you think Nwothm is still relatively underground in the UK?
Hordak II: British heavy metal scene has always been one of the most influential in the world and it will probably always be. As a South American I can tell the scene over there is quite big too, but we don’t hear about those bands over here, whilst the British bands are known worldwide. Nwothm is underground in the UK and everywhere, as mainstream music industry has no room for true metal music anymore. However, it will always be a strong underground movement with worldwide connections, as true metal culture is widely spread all around the globe.
Metal Matt: I’m friends with a lot of Southern UK metal bands and I go to a lot of local gigs, and it feels alive and strong. It will never go away at this point- especially in the underground. I’m only watching what my friend’s bands are doing like Seven Sisters, Tailgunner, Sanguis Mortem, Desolator or Toldeo Steel.
https://www.youtube.com/watch?v=n5Y-kPqkSdU
TheNwothm: Let’s talk about the debut. “Girder” dropped in March 2025 so what was the first track you wrote for it, and did it set the tone for the rest?
Metal Matt: Girder, from the onset, was my chance to finally write metal music in a band, and the others wanted me to start writing songs quickly, so we had songs to practice.
At one point I was recording and pitching a new song idea every other week. I wrote and recorded demos for Headbanger’s Ball, Killers of the Night and 6:30 in a week and in that order. For the Girder demos, I play all the guitars, bass, programmed drums and vocal parts, as I prefer delivering finished song ideas that the band can twist and turn into our own, as opposed to just delivering a riff with no song structure or lyrics.
Hordak II: To my point of view we’ve got a few different styles in the album. Although all songs may be classified as “old school metal”, they vary on rhythms, speed and melody, so I would not say the first compositions set the tone for the others.
TheNwothm: “Headbanger’s Ball” kicks things off with a bang. Was that always meant to be the opener?
Hordak II: Yes! I’m glad you also felt it “kicks things off with a bang”! Good way to start an album!
Metal Matt: It was always meant to be the opener in my eyes, as it was the first song I wrote. We only properly started talking about the album sequence in recording. I convinced the others that the first three songs should be in the order we learnt and played them.
TheNwothm: “Killers of the Night” and “City Dealer” both sound like they could soundtrack a neon-lit brawl. Are there stories behind those tracks?
Metal Matt: A Girder brawl would be insane! Killers of the Night is about the local murders, rapes and stabbings in Bournemouth, and the message of looking out for each other and staying safe. Beware the killers of the night!
Hordak II: As Metal Matt says, Killers of the night was inspired by the sad reality of youngsters stabbing each other for stupid reasons, and at the same night we wrote it a 18 year old guy was stabbed to death less than a mile from us. By the way, there is a music video coming out soon for this one!
City dealer is about drug dealer gangs controlling communities at the outskirts of big towns in Brazil. Believe me, these gangsters can do more benefits for the local communities than than the government would ever do, and so they get the local residents to use fire weapons such as guns, rifles and machine guns to protect the drug business, including drug buyers and sellers, like an army that not even the police dare to tackle. Metal Dress has lived her childhood near one of these communities, where the sound of gun shots are a common thing to be heard daily.
TheNwothm: “Rekindle the Flame” stretches over five minutes. Was that your epic moment or a spontaneous jam that got out of hand?
Hordak II : It was indeed and epic moment.
Metal Matt: That’s my favourite song that I wrote for the album. I thought the others would hate the song when I presented the demo I had made, since this song is closer to my more progressive rock leaning solo music with some complex chords, funkier bits, genre-bending and a longer length that I thought would be a big ‘no-no’ in Girder land.
Fortunately, Iron Paul, Metal Dress and Hordak II loved this song! The concept I created, with the song telling the story of divorced couple reconciling and falling in love again by mutually murdering people and doing other horrible things, was very compelling. I wanted a song where Metal Dress and I sung as two different characters.
What I love about this first album of ours is that has proven that we can go in different directions with our songs: injecting more NWOBHM, glam, thrash, doom, prog, punk or death/black, and dare I say funk and jazz without angering the Hordak and Iron Paul!
Our second album is going to be pushing in multiple directions from shorter thrashier songs to radio hits to more experimental leaning arrangements.
TheNwothm: “Metal Changed, Not Me” feels like a statement. What inspired that track, and who were you aiming it at?
Metal Matt: Iron Paul, being the oldest and wisest member of Girder, once told us three how he fell out of touch with Metal for a while (probably the ambiguity of the 90s), and how it was like Metal changed style, but not him- he still wanted to hear stuff in the style of Motorhead and Judas Priest.
With this concept in mind, I wanted to write a really heavy song- almost a hate song! Which is funny as we tell people that this is our love ballad to metal, which it is, but it is also talking about the styles of music and metal that we do not like.
The song is also about going insane and having fun to heavy metal!
Once we started practicing the song, Hordak II mentioned how we have to mention that modern moshpits are kindergarten compared to moshpits he was in when he was younger!
Hordak II: Moshpit is one of the 80’s and 90’s heavy music trademarks. It was an expression of anarchy and chaos, with no patterns or organised movements and at the same time peaceful. The new metal generation twisted this culture to the opposite of what it used to be. Now moshpit became a circlepit and everyone follows the same direction, like everyone has to move and look to the same side. Now the peaceful chaos is gone. So it makes no more sense as an expression of freedom.
TheNwothm: The album closes with “Girder.” Was that a mission statement, a self-roast, or something else entirely?
Hordak II: It expresses how the four of us engaged at a band project and ended up like a family, where despite of the differences we love each other like siblings.
Metal Matt: We loved the idea of closing the album with a bang, and having our self titled song felt perfect! It ends the album like the ending to a big party. I wanted the self titled song to be about how the band formed in a semi-realistic way minus the dragons!
TheNwothm: What can you share about each of the band members?
Metal Matt: I’m Metal Matt. I’m the youngest member and I love women! I started playing bass, guitar and singing 7 years ago. I’m releasing my twelfth solo album (under my real name Matthew Cornes) very soon where I play all the instruments and sing, and I go from black metal to jazz to prog rock to 80s balladry. I also drew our Girder album cover and I do the artwork for my solo albums too. I am also in another rock band called Rhinefield and we are recording our first album in the next few weeks!
Hordak II and Metal Dress are the Brazillians. They came over to the UK to be closer to the music they love, and to form a metal band with some British blokes like Iron Paul and myself. Metal Dress loves the beach, and is like having an older sister. She loves putting on new outfits for our shows. Hordak II killed Hordak I, because he was jealous of Hordak I having Metal Dress to himself.
Iron Paul is the oldest member and has played guitar for longer than I have been alive! He loves a Les Paul, and he was forged in the fires of Hades!!! Iron Paul eats his own guitar strings and has beef with microphones and they end up falling down! He plays in a local covers band called Oktober Rust, but has played in many more!
Hordak II: I’m Hordak II. I started playing at the punk rock scene in Brazil in 1996 as a teenager. Soon after started playing also at thrash and death metal bands. Always very involved in the music scene of Curitiba, have produced festivals and played gigs all around South Brazil and Paraguay. Metal Dress also has a punk background having sung at punk, post punk and grunge bands in Brazil. Metal Dress and me have a duo project of funeral gothic music caller Morbus Fatalis, and we have just released our second album.
TheNwothm: What’s your go-to post-gig ritual: pub crawl, kebab run, or straight to the sea?
Metal Matt: Unpack, have a beer and chat to our fans, then straight to bed and sleep!
Hordak II: At summer time we’re definitely straight to the sea, but we also love to sit at a pub and watch a good rock’n’roll band performing. We’re very keen to watching local bands, even if they are of different styles. It is very important to support the local scene.
TheNwothm: What’s the dream tour setup for Girder? Any bands you’d love to share a stage with—or avoid at all costs?
Metal Matt: The dream tour setup would be pairing up with like minded fellow metalheads. We would love to go on tour with our friends Sanguis Mortem or Toledo Steel. I know Metal Dress and Iron Paul would want to tour with Seven Sisters, a London Nwothm band that we supported in Portsmouth this year. Great metal music!
We missed out on supporting Tailgunner a year or so ago in Bournemouth, which frustrated me, as I really enjoy their music, and I’m glad that they have been getting attention in the last few years. I know Hordak II and the other two would say this too- as Girder we want to keep playing new gigs with different styles of metal and music in general. We think it is important to be respectful of other artists even if we don’t like them.
Hordak II: We’re still working our way to play around the UK, as a first step. But we certainly intend to strike Europe within the next few of years, before we start looking at South America, where I’ve played most of my life. Touring around the world might feel like a distant dream for a band thats barely two years old, but the time is passing and when the right moment comes we’ll be ready. Anywhere we go we’ll be happy to play with local bands, to show them our support just like we enjoy playing with touring bands that come over here.
TheNwothm: Thinking ahead are there any shows or tours planned for the rest of 2025/2026?
Metal Matt: We are supporting London thrash metal band Thrasherwolf, who are playing on November 14th in Bournemouth with our friends Sanguis Mortem. Tickets can be found on SeeTickets or through our links attached to this interview. Apart from that, we are busy writing new songs for the second album. Even Hordak II has been writing songs this time, and Metal Dress and Iron Paul have had more input into my song ideas as well!
TheNwothm: Are you already penning ideas for your next release?
Hordak II: We already have two new songs at our current gigs, but we’re working on another few ones. We shall soon have the songs ready for the next album.
Metal Matt: We are expanding on the foundations we have made on our first album. We want to continue the mix of styles. Our songs will be covering themes such as beach parties, slugs, prostitutes, teaching metal (I’m a guitar/bass teacher too), dragons and death!
TheNwothm: How can our readers buy your music and merch?
Metal Matt: Come to our shows, we sell our merch there. For the time being, you can get our album digitally on Bandcamp!
TheNwothm: Where can fans follow you online?
Metal Matt: YouTube, TikTok, Instagram, Facebook and Bandcamp!
TheNwothm: Anything else you would like to mention?
Metal Matt: As Hordak said earlier, we have a music video for ‘Killers of the Night’ coming out soon. You can check out the music video for our song ‘Fire to the Realm’ on our Girder YouTube channel right now! Thank you guys for interviewing us. Girder will continue to bring metal mayhem to the world!
Hordak II: GIRDERRR!!!!!
Metal Matt: GIRDERRRR!!!
Bandcamp: https://girder.bandcamp.com/
Facebook: https://www.facebook.com/profile.php?id=61551896919110
Instagram: https://www.instagram.com/girderband
Other: https://linktr.ee/girderband
YouTube: https://www.youtube.com/@GirderHeavyMetal
#brazilianHeavyMetal #BritishHeavyMetal #CrimsonCreatures #Girder #GirderBand #GirderHeavyMetal #HeavyMetal #NewWaveOfTraditionalHeavyMetal #NWOTHM #SanguisMortem #sevenSisters #Tailgunner #thenwothm #ToledoSteel
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Horned Legions Arise: one-day metal festival hits Hereford in support of HRRO
A new metal festival is set to take over Hereford on Saturday, 31 January 2026, bringing ten bands together for a single day of live music in aid of the Herefordshire Reuse and Recycling Organisation (HRRO). The event, titled Horned Legions Arise, will be held at The Victory (formerly The Jolly Roger) and runs from 2:00 pm to 11:30 pm.
The lineup features a mix of rising and established underground acts including Toledo Steel, Hanowar, Desolator, Arkham Witch, Koba, Mudlarker, Grave Altar, Kinstrife, Mount Slatra, and Bullhead. Expect a full spectrum of heavy metal styles from classic riff-driven anthems to doom, speed, and raw underground energy.
All proceeds will go directly to HRRO, supporting local sustainability and reuse initiatives. The day will also feature a charity raffle, merchandise stalls, and a full bar.
Tickets are priced at £10 and available now via Eventbrite: https://www.eventbrite.co.uk/e/horned-legions-arise-one-day-metal-festival-in-aid-of-hrro-tickets-1740113037939
Venue details: The Victory (formerly The Jolly Roger) 88 Saint Owen’s Street Hereford HR1 2QD United Kingdom
#ArhamWitch #Bullhead #Desolator #GraveAltar #Hanowar #HeavyMetal #Kinstrife #Koba #MountSlatra #Mudlarker #NewWaveOfTraditionalHeavyMetal #News #NWOTHM #thenwothm #thenwothmCom #ToledoSteel
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Review: WitchHound “Mountain Knows”
Release date: May 26, 2025
9 minutesMark Pruett
In Poland, the city of Warsaw tells a tale of two hearts. On one hand, there is the stoic beauty of the Old Town with cobblestone streets, Gothic spires, and the echoes of centuries past whispering through amber-lit alleyways. It stands as a defiant monument to heritage, resilience, and the soul of a nation that has weathered fire and fury. Juxtaposed against this is the gleaming skyline of modernity, where glass towers, neon veins, and the pulse of a city are racing toward the future. All at once, Warsaw is a city in tension, harmony, and evolution.
This duality (old world reverence and new world ambition) finds a fitting echo in Poland’s metal scene. Long revered for its ferocity and depth, the country has birthed titans like Vader, Crystal Viper, and the genre-defining Behemoth. Beneath the shadow of these giants, there is a new generation rising. A movement of passionate, inventive bands is clawing its way into the spotlight, armed with riffs, rage, and reverence. Just like the skyscrapers of downtown cast their shadows over the traditions in old town, there is a legacy being born in metal.
Enter Witch Hound, a Warsaw-based trio forged in friendship and united to stoke the fires of the revolution. Guitarist and lead vocalist Konrad Czeredys, drummer Paweł Królikowski, and bassist Jakub Liszewski (both on backing vocals) channel the spirit of classic heavy metal while carving their own path through the doom-laden wilderness. Their debut album, Mountain Knows, is a bold declaration featuring eight tracks of raw, riff-driven power steeped in something dark and dangerous.
In a city where past and future collide, Witch Hound stands as a sonic bridge that honors the roots of metal while roaring into the unknown. Their debut album, Mountain Knows, is a statement: the hounds have been unleashed, and the mountain is listening.
Review
The album kicks off with its title track, “Mountain Knows”, which is a bold opener that wastes no time. A galloping guitar riff charges in, thick and aggressive, setting the terrain with classic heavy metal muscle. The song quickly finds its stride in a melodic groove that pulses like a heartbeat beneath the storm. Vocally, the track begins with a muted edge (it is more subdued than the instrumentation demands) but there’s a noticeable evolution. As the song unfolds, the vocals gain traction, shedding their initial flatness and rising with a newfound vibrance. By the midpoint, they lock in with the rhythm, adding grit and character. A juicy, well-placed solo then takes the reins, soaring through the final stretch and carrying the song home with conviction.
“Face of Our God” storms in with powerful drums and a hard staccato guitar lick that immediately commands attention. The rhythm section lays down a muscular foundation, driving the track forward with classic metal swagger. As the song builds into its chorus, there’s a glimmer of vocal promise. Fleeting moments where melody and grit begin to align, but the voice still struggles to fully match the intensity and precision of the instrumentation. It’s a tension that lingers, slightly muting the impact of an otherwise standout composition. Still, the track delivers where it counts: a strong, confident solo slices through the mix, elevating the song and reaffirming Witch Hound’s instrumental prowess.
“Flesh and Bone” enters with a riff that channels the hypnotic weight of Tool: a slow-burning groove that saunters in like a shadow at dusk. There’s a dark elegance to its pacing, a sinister swagger that feels both deliberate and dangerous. Vocals kick off strong here, finally finding their footing and riding the rhythm with confidence. It’s aggressive, but the kind of aggression that simmers rather than explodes, like a predator circling its prey. Midway through, the guitar solo slices through the gloom with a bright, cutting tone like a flash of steel against the storm. It’s a well-crafted track that stands out for its balance of menace and melody, and marks a turning point in the album’s vocal delivery.
The opening of “Throne of Lies” cuts like a serrated blade: sharp, deliberate, and full of intent. The drums begin with a pulse just off the beat, adding a restless energy that keeps the listener slightly on edge, while the vocals (more assured this time) cut through with a newfound clarity. This is where Witch Hound begins to hit their stride. The track shifts into gear with the confidence of a band finding its voice, fusing hard rock swagger with a classic metal flourish. There’s a mechanical precision to the arrangement, but it never feels sterile… this is a living, breathing metal machine, revving hot and hungry. The guitar solo soars with melodic flair, adding a flash of colour to the song’s otherwise gritty palette. “Throne of Lies” hints at the heights this band could reach when all cylinders are firing.
https://www.youtube.com/watch?v=dem4z_MoaWU
“Lust for Blood” creeps out of the shadows with deliberate menace, stretching nearly six minutes in a slow, calculated prowl. The riff is killer with it’s low-slung and muscular presence, evoking a sense of dread without sacrificing groove. Vocals are barked with conviction, raw and primal, matching the song’s sinister tone. The bass rumbles like distant thunder, clearly audible and ominous, while the drums hit with enough force to rattle teeth and shake foundations. Midway through, the track opens up into a breakdown that feels like a ritual pause, tense and expectant, before a lingering guitar solo rises from the gloom. It soars with clarity and purpose, casting light on the darkness while delivering a warning: something wicked this way comes. It’s a standout moment of pacing and atmosphere, proving Witch Hound knows how to wield restraint as well as fury.
Like a whisper on the breeze, “Ash in the Wind” begins with a slow, wispy guitar riff strummed with restraint, setting a mood that feels fragile and haunted. But Witch Hound doesn’t linger in the mist for long. The track soon erupts into a crunchy, aggressive charge, channeling the spirit of Blind Guardian through galloping riffs, layered vocals, and a tone that feels both epic and urgent. Midway through, the momentum falters deliberately. The breakdown slows to a crawl, teetering on the edge of collapse, as if the song itself is gasping for breath. Then, like a beacon piercing the fog, the guitar solo rings out—clear, soaring, and full of resolve. It’s a moment of resurrection, pulling the track back from the brink and reconnecting it to its aggressive core. “Ash in the Wind” is a masterclass in pacing and tension, proving that Witch Hound knows how to wield silence and fury in equal measure.
“Sinner” unfolds with a crisp, foreboding guitar line that signals the doom-laden dirge ahead. The track lurches to life like something summoned from the shadows… slow, heavy, and brimming with ill intent. Musically, it’s a masterclass in mood: eerie riffs, thunderous low-end, and a pacing that feels ritualistic. But the vocals struggle to find their place in this haunted landscape. There’s a tonal mismatch—where the music conjures dread and weight, the vocal delivery feels disconnected, unable to fully inhabit the darkness it’s meant to echo. It’s a jarring contrast that pulls the listener out of the spell. “Sinner” has the bones of something truly sinister, but the voice guiding it feels like it’s reading from a different book.
The closing track, “War Within,” begins with a haunting touch where guitars are plucked to mimic the toll of distant bells, setting a somber, ceremonial tone. Then, without warning, the song roars to life. Fast, crunchy, and brimming with urgency, it feels like a final charge into battle, determined to leave a lasting impression. The instrumentation is tight and aggressive, clearly out to prove something. But once again, the vocals falter. Delivered in a low, unassertive manner, they fail to rise to the occasion, undercutting the track’s intensity and emotional weight. It’s a mismatch that dulls the impact of what could have been a climactic finish. “War Within” had all the makings of a triumphant closer… but instead, it feels like a missed opportunity, leaving the listener with a sense of what could have been.
Conclusion
Mountain Knows is a lot like the city of Warsaw, where two forces are trying to coexist. On one side, there’s the band’s instrumental prowess: tight, expressive, and deeply rooted in the traditions of classic and doom metal. Musically, this album is a journey through everything that makes the genre great: crunchy riffs, thunderous drums, and solos that soar with clarity and conviction. The mix is impressive, revealing subtle flourishes in the guitars and key rhythmic moments that show real attention to craft.
But against this glorious metal tapestry, the vocals often sit back. Unfortunately, they are often lacking the grit, passion, or tonal alignment needed to fully elevate the songs. There are flashes of promise, especially in tracks like “Flesh and Bone” and “Throne of Lies,” where the voice begins to find its place. Yet elsewhere, particularly in “War Within,” the disconnect is too stark to ignore. It’s a missed opportunity to match the music’s intensity with vocal fire.
Lyrically, the album struggles to forge a personal connection. For a genre that thrives on mythic battles, existential dread, and cathartic release, the themes here feel underdeveloped. Whether it’s a delivery issue or a need for deeper lyrical refinement, the result is a lack of emotional resonance. I didn’t feel the weight of struggle, the grandeur of conflict, or the paradox of life and death that metal so often channels.
Still, Witch Hound has laid a strong foundation. The musicianship is there. The vision is forming. With time, refinement, and a deeper alignment between voice and sound, they could become a formidable force in Poland’s rising metal scene. Mountain Knows may not be perfect, but it’s a bold first step. Without a doubt, the mountain is listening!
TheNwothm Score: 7/10
Links
Bandcamp:https://witchhoundoom.bandcamp.com/
Facebook: https://www.facebook.com/witchhoundofficial
Instagram:https://www.instagram.com/witch.hound
Label:https://www.deezer.com/en/artist/323179141
https://www.youtube.com/watch?v=54-8HlfOr0c
Read More Reviews
#albumReview #DoomMetal #HeavyMetal #MountainKnows #NewAlbum #NewWaveOfTraditionalHeavyMetal #NWOTHM #PolishDoomMetal #PolishHeavyMetal #thenwothmCom #witchHound
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Review: WitchHound “Mountain Knows”
Release date: May 26, 2025
9 minutesMark Pruett
In Poland, the city of Warsaw tells a tale of two hearts. On one hand, there is the stoic beauty of the Old Town with cobblestone streets, Gothic spires, and the echoes of centuries past whispering through amber-lit alleyways. It stands as a defiant monument to heritage, resilience, and the soul of a nation that has weathered fire and fury. Juxtaposed against this is the gleaming skyline of modernity, where glass towers, neon veins, and the pulse of a city are racing toward the future. All at once, Warsaw is a city in tension, harmony, and evolution.
This duality (old world reverence and new world ambition) finds a fitting echo in Poland’s metal scene. Long revered for its ferocity and depth, the country has birthed titans like Vader, Crystal Viper, and the genre-defining Behemoth. Beneath the shadow of these giants, there is a new generation rising. A movement of passionate, inventive bands is clawing its way into the spotlight, armed with riffs, rage, and reverence. Just like the skyscrapers of downtown cast their shadows over the traditions in old town, there is a legacy being born in metal.
Enter Witch Hound, a Warsaw-based trio forged in friendship and united to stoke the fires of the revolution. Guitarist and lead vocalist Konrad Czeredys, drummer Paweł Królikowski, and bassist Jakub Liszewski (both on backing vocals) channel the spirit of classic heavy metal while carving their own path through the doom-laden wilderness. Their debut album, Mountain Knows, is a bold declaration featuring eight tracks of raw, riff-driven power steeped in something dark and dangerous.
In a city where past and future collide, Witch Hound stands as a sonic bridge that honors the roots of metal while roaring into the unknown. Their debut album, Mountain Knows, is a statement: the hounds have been unleashed, and the mountain is listening.
Review
The album kicks off with its title track, “Mountain Knows”, which is a bold opener that wastes no time. A galloping guitar riff charges in, thick and aggressive, setting the terrain with classic heavy metal muscle. The song quickly finds its stride in a melodic groove that pulses like a heartbeat beneath the storm. Vocally, the track begins with a muted edge (it is more subdued than the instrumentation demands) but there’s a noticeable evolution. As the song unfolds, the vocals gain traction, shedding their initial flatness and rising with a newfound vibrance. By the midpoint, they lock in with the rhythm, adding grit and character. A juicy, well-placed solo then takes the reins, soaring through the final stretch and carrying the song home with conviction.
“Face of Our God” storms in with powerful drums and a hard staccato guitar lick that immediately commands attention. The rhythm section lays down a muscular foundation, driving the track forward with classic metal swagger. As the song builds into its chorus, there’s a glimmer of vocal promise. Fleeting moments where melody and grit begin to align, but the voice still struggles to fully match the intensity and precision of the instrumentation. It’s a tension that lingers, slightly muting the impact of an otherwise standout composition. Still, the track delivers where it counts: a strong, confident solo slices through the mix, elevating the song and reaffirming Witch Hound’s instrumental prowess.
“Flesh and Bone” enters with a riff that channels the hypnotic weight of Tool: a slow-burning groove that saunters in like a shadow at dusk. There’s a dark elegance to its pacing, a sinister swagger that feels both deliberate and dangerous. Vocals kick off strong here, finally finding their footing and riding the rhythm with confidence. It’s aggressive, but the kind of aggression that simmers rather than explodes, like a predator circling its prey. Midway through, the guitar solo slices through the gloom with a bright, cutting tone like a flash of steel against the storm. It’s a well-crafted track that stands out for its balance of menace and melody, and marks a turning point in the album’s vocal delivery.
The opening of “Throne of Lies” cuts like a serrated blade: sharp, deliberate, and full of intent. The drums begin with a pulse just off the beat, adding a restless energy that keeps the listener slightly on edge, while the vocals (more assured this time) cut through with a newfound clarity. This is where Witch Hound begins to hit their stride. The track shifts into gear with the confidence of a band finding its voice, fusing hard rock swagger with a classic metal flourish. There’s a mechanical precision to the arrangement, but it never feels sterile… this is a living, breathing metal machine, revving hot and hungry. The guitar solo soars with melodic flair, adding a flash of colour to the song’s otherwise gritty palette. “Throne of Lies” hints at the heights this band could reach when all cylinders are firing.
https://www.youtube.com/watch?v=dem4z_MoaWU
“Lust for Blood” creeps out of the shadows with deliberate menace, stretching nearly six minutes in a slow, calculated prowl. The riff is killer with it’s low-slung and muscular presence, evoking a sense of dread without sacrificing groove. Vocals are barked with conviction, raw and primal, matching the song’s sinister tone. The bass rumbles like distant thunder, clearly audible and ominous, while the drums hit with enough force to rattle teeth and shake foundations. Midway through, the track opens up into a breakdown that feels like a ritual pause, tense and expectant, before a lingering guitar solo rises from the gloom. It soars with clarity and purpose, casting light on the darkness while delivering a warning: something wicked this way comes. It’s a standout moment of pacing and atmosphere, proving Witch Hound knows how to wield restraint as well as fury.
Like a whisper on the breeze, “Ash in the Wind” begins with a slow, wispy guitar riff strummed with restraint, setting a mood that feels fragile and haunted. But Witch Hound doesn’t linger in the mist for long. The track soon erupts into a crunchy, aggressive charge, channeling the spirit of Blind Guardian through galloping riffs, layered vocals, and a tone that feels both epic and urgent. Midway through, the momentum falters deliberately. The breakdown slows to a crawl, teetering on the edge of collapse, as if the song itself is gasping for breath. Then, like a beacon piercing the fog, the guitar solo rings out—clear, soaring, and full of resolve. It’s a moment of resurrection, pulling the track back from the brink and reconnecting it to its aggressive core. “Ash in the Wind” is a masterclass in pacing and tension, proving that Witch Hound knows how to wield silence and fury in equal measure.
“Sinner” unfolds with a crisp, foreboding guitar line that signals the doom-laden dirge ahead. The track lurches to life like something summoned from the shadows… slow, heavy, and brimming with ill intent. Musically, it’s a masterclass in mood: eerie riffs, thunderous low-end, and a pacing that feels ritualistic. But the vocals struggle to find their place in this haunted landscape. There’s a tonal mismatch—where the music conjures dread and weight, the vocal delivery feels disconnected, unable to fully inhabit the darkness it’s meant to echo. It’s a jarring contrast that pulls the listener out of the spell. “Sinner” has the bones of something truly sinister, but the voice guiding it feels like it’s reading from a different book.
The closing track, “War Within,” begins with a haunting touch where guitars are plucked to mimic the toll of distant bells, setting a somber, ceremonial tone. Then, without warning, the song roars to life. Fast, crunchy, and brimming with urgency, it feels like a final charge into battle, determined to leave a lasting impression. The instrumentation is tight and aggressive, clearly out to prove something. But once again, the vocals falter. Delivered in a low, unassertive manner, they fail to rise to the occasion, undercutting the track’s intensity and emotional weight. It’s a mismatch that dulls the impact of what could have been a climactic finish. “War Within” had all the makings of a triumphant closer… but instead, it feels like a missed opportunity, leaving the listener with a sense of what could have been.
Conclusion
Mountain Knows is a lot like the city of Warsaw, where two forces are trying to coexist. On one side, there’s the band’s instrumental prowess: tight, expressive, and deeply rooted in the traditions of classic and doom metal. Musically, this album is a journey through everything that makes the genre great: crunchy riffs, thunderous drums, and solos that soar with clarity and conviction. The mix is impressive, revealing subtle flourishes in the guitars and key rhythmic moments that show real attention to craft.
But against this glorious metal tapestry, the vocals often sit back. Unfortunately, they are often lacking the grit, passion, or tonal alignment needed to fully elevate the songs. There are flashes of promise, especially in tracks like “Flesh and Bone” and “Throne of Lies,” where the voice begins to find its place. Yet elsewhere, particularly in “War Within,” the disconnect is too stark to ignore. It’s a missed opportunity to match the music’s intensity with vocal fire.
Lyrically, the album struggles to forge a personal connection. For a genre that thrives on mythic battles, existential dread, and cathartic release, the themes here feel underdeveloped. Whether it’s a delivery issue or a need for deeper lyrical refinement, the result is a lack of emotional resonance. I didn’t feel the weight of struggle, the grandeur of conflict, or the paradox of life and death that metal so often channels.
Still, Witch Hound has laid a strong foundation. The musicianship is there. The vision is forming. With time, refinement, and a deeper alignment between voice and sound, they could become a formidable force in Poland’s rising metal scene. Mountain Knows may not be perfect, but it’s a bold first step. Without a doubt, the mountain is listening!
TheNwothm Score: 7/10
Links
Bandcamp:https://witchhoundoom.bandcamp.com/
Facebook: https://www.facebook.com/witchhoundofficial
Instagram:https://www.instagram.com/witch.hound
Label:https://www.deezer.com/en/artist/323179141
https://www.youtube.com/watch?v=54-8HlfOr0c
Read More Reviews
#albumReview #DoomMetal #HeavyMetal #MountainKnows #NewAlbum #NewWaveOfTraditionalHeavyMetal #NWOTHM #PolishDoomMetal #PolishHeavyMetal #thenwothmCom #witchHound
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Review: WitchHound “Mountain Knows”
Release date: May 26, 2025
9 minutesMark Pruett
In Poland, the city of Warsaw tells a tale of two hearts. On one hand, there is the stoic beauty of the Old Town with cobblestone streets, Gothic spires, and the echoes of centuries past whispering through amber-lit alleyways. It stands as a defiant monument to heritage, resilience, and the soul of a nation that has weathered fire and fury. Juxtaposed against this is the gleaming skyline of modernity, where glass towers, neon veins, and the pulse of a city are racing toward the future. All at once, Warsaw is a city in tension, harmony, and evolution.
This duality (old world reverence and new world ambition) finds a fitting echo in Poland’s metal scene. Long revered for its ferocity and depth, the country has birthed titans like Vader, Crystal Viper, and the genre-defining Behemoth. Beneath the shadow of these giants, there is a new generation rising. A movement of passionate, inventive bands is clawing its way into the spotlight, armed with riffs, rage, and reverence. Just like the skyscrapers of downtown cast their shadows over the traditions in old town, there is a legacy being born in metal.
Enter Witch Hound, a Warsaw-based trio forged in friendship and united to stoke the fires of the revolution. Guitarist and lead vocalist Konrad Czeredys, drummer Paweł Królikowski, and bassist Jakub Liszewski (both on backing vocals) channel the spirit of classic heavy metal while carving their own path through the doom-laden wilderness. Their debut album, Mountain Knows, is a bold declaration featuring eight tracks of raw, riff-driven power steeped in something dark and dangerous.
In a city where past and future collide, Witch Hound stands as a sonic bridge that honors the roots of metal while roaring into the unknown. Their debut album, Mountain Knows, is a statement: the hounds have been unleashed, and the mountain is listening.
Review
The album kicks off with its title track, “Mountain Knows”, which is a bold opener that wastes no time. A galloping guitar riff charges in, thick and aggressive, setting the terrain with classic heavy metal muscle. The song quickly finds its stride in a melodic groove that pulses like a heartbeat beneath the storm. Vocally, the track begins with a muted edge (it is more subdued than the instrumentation demands) but there’s a noticeable evolution. As the song unfolds, the vocals gain traction, shedding their initial flatness and rising with a newfound vibrance. By the midpoint, they lock in with the rhythm, adding grit and character. A juicy, well-placed solo then takes the reins, soaring through the final stretch and carrying the song home with conviction.
“Face of Our God” storms in with powerful drums and a hard staccato guitar lick that immediately commands attention. The rhythm section lays down a muscular foundation, driving the track forward with classic metal swagger. As the song builds into its chorus, there’s a glimmer of vocal promise. Fleeting moments where melody and grit begin to align, but the voice still struggles to fully match the intensity and precision of the instrumentation. It’s a tension that lingers, slightly muting the impact of an otherwise standout composition. Still, the track delivers where it counts: a strong, confident solo slices through the mix, elevating the song and reaffirming Witch Hound’s instrumental prowess.
“Flesh and Bone” enters with a riff that channels the hypnotic weight of Tool: a slow-burning groove that saunters in like a shadow at dusk. There’s a dark elegance to its pacing, a sinister swagger that feels both deliberate and dangerous. Vocals kick off strong here, finally finding their footing and riding the rhythm with confidence. It’s aggressive, but the kind of aggression that simmers rather than explodes, like a predator circling its prey. Midway through, the guitar solo slices through the gloom with a bright, cutting tone like a flash of steel against the storm. It’s a well-crafted track that stands out for its balance of menace and melody, and marks a turning point in the album’s vocal delivery.
The opening of “Throne of Lies” cuts like a serrated blade: sharp, deliberate, and full of intent. The drums begin with a pulse just off the beat, adding a restless energy that keeps the listener slightly on edge, while the vocals (more assured this time) cut through with a newfound clarity. This is where Witch Hound begins to hit their stride. The track shifts into gear with the confidence of a band finding its voice, fusing hard rock swagger with a classic metal flourish. There’s a mechanical precision to the arrangement, but it never feels sterile… this is a living, breathing metal machine, revving hot and hungry. The guitar solo soars with melodic flair, adding a flash of colour to the song’s otherwise gritty palette. “Throne of Lies” hints at the heights this band could reach when all cylinders are firing.
https://www.youtube.com/watch?v=dem4z_MoaWU
“Lust for Blood” creeps out of the shadows with deliberate menace, stretching nearly six minutes in a slow, calculated prowl. The riff is killer with it’s low-slung and muscular presence, evoking a sense of dread without sacrificing groove. Vocals are barked with conviction, raw and primal, matching the song’s sinister tone. The bass rumbles like distant thunder, clearly audible and ominous, while the drums hit with enough force to rattle teeth and shake foundations. Midway through, the track opens up into a breakdown that feels like a ritual pause, tense and expectant, before a lingering guitar solo rises from the gloom. It soars with clarity and purpose, casting light on the darkness while delivering a warning: something wicked this way comes. It’s a standout moment of pacing and atmosphere, proving Witch Hound knows how to wield restraint as well as fury.
Like a whisper on the breeze, “Ash in the Wind” begins with a slow, wispy guitar riff strummed with restraint, setting a mood that feels fragile and haunted. But Witch Hound doesn’t linger in the mist for long. The track soon erupts into a crunchy, aggressive charge, channeling the spirit of Blind Guardian through galloping riffs, layered vocals, and a tone that feels both epic and urgent. Midway through, the momentum falters deliberately. The breakdown slows to a crawl, teetering on the edge of collapse, as if the song itself is gasping for breath. Then, like a beacon piercing the fog, the guitar solo rings out—clear, soaring, and full of resolve. It’s a moment of resurrection, pulling the track back from the brink and reconnecting it to its aggressive core. “Ash in the Wind” is a masterclass in pacing and tension, proving that Witch Hound knows how to wield silence and fury in equal measure.
“Sinner” unfolds with a crisp, foreboding guitar line that signals the doom-laden dirge ahead. The track lurches to life like something summoned from the shadows… slow, heavy, and brimming with ill intent. Musically, it’s a masterclass in mood: eerie riffs, thunderous low-end, and a pacing that feels ritualistic. But the vocals struggle to find their place in this haunted landscape. There’s a tonal mismatch—where the music conjures dread and weight, the vocal delivery feels disconnected, unable to fully inhabit the darkness it’s meant to echo. It’s a jarring contrast that pulls the listener out of the spell. “Sinner” has the bones of something truly sinister, but the voice guiding it feels like it’s reading from a different book.
The closing track, “War Within,” begins with a haunting touch where guitars are plucked to mimic the toll of distant bells, setting a somber, ceremonial tone. Then, without warning, the song roars to life. Fast, crunchy, and brimming with urgency, it feels like a final charge into battle, determined to leave a lasting impression. The instrumentation is tight and aggressive, clearly out to prove something. But once again, the vocals falter. Delivered in a low, unassertive manner, they fail to rise to the occasion, undercutting the track’s intensity and emotional weight. It’s a mismatch that dulls the impact of what could have been a climactic finish. “War Within” had all the makings of a triumphant closer… but instead, it feels like a missed opportunity, leaving the listener with a sense of what could have been.
Conclusion
Mountain Knows is a lot like the city of Warsaw, where two forces are trying to coexist. On one side, there’s the band’s instrumental prowess: tight, expressive, and deeply rooted in the traditions of classic and doom metal. Musically, this album is a journey through everything that makes the genre great: crunchy riffs, thunderous drums, and solos that soar with clarity and conviction. The mix is impressive, revealing subtle flourishes in the guitars and key rhythmic moments that show real attention to craft.
But against this glorious metal tapestry, the vocals often sit back. Unfortunately, they are often lacking the grit, passion, or tonal alignment needed to fully elevate the songs. There are flashes of promise, especially in tracks like “Flesh and Bone” and “Throne of Lies,” where the voice begins to find its place. Yet elsewhere, particularly in “War Within,” the disconnect is too stark to ignore. It’s a missed opportunity to match the music’s intensity with vocal fire.
Lyrically, the album struggles to forge a personal connection. For a genre that thrives on mythic battles, existential dread, and cathartic release, the themes here feel underdeveloped. Whether it’s a delivery issue or a need for deeper lyrical refinement, the result is a lack of emotional resonance. I didn’t feel the weight of struggle, the grandeur of conflict, or the paradox of life and death that metal so often channels.
Still, Witch Hound has laid a strong foundation. The musicianship is there. The vision is forming. With time, refinement, and a deeper alignment between voice and sound, they could become a formidable force in Poland’s rising metal scene. Mountain Knows may not be perfect, but it’s a bold first step. Without a doubt, the mountain is listening!
TheNwothm Score: 7/10
Links
Bandcamp:https://witchhoundoom.bandcamp.com/
Facebook: https://www.facebook.com/witchhoundofficial
Instagram:https://www.instagram.com/witch.hound
Label:https://www.deezer.com/en/artist/323179141
https://www.youtube.com/watch?v=54-8HlfOr0c
Read More Reviews
#albumReview #DoomMetal #HeavyMetal #MountainKnows #NewAlbum #NewWaveOfTraditionalHeavyMetal #NWOTHM #PolishDoomMetal #PolishHeavyMetal #thenwothmCom #witchHound
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Review: WitchHound “Mountain Knows”
Release date: May 26, 2025
9 minutesMark Pruett
In Poland, the city of Warsaw tells a tale of two hearts. On one hand, there is the stoic beauty of the Old Town with cobblestone streets, Gothic spires, and the echoes of centuries past whispering through amber-lit alleyways. It stands as a defiant monument to heritage, resilience, and the soul of a nation that has weathered fire and fury. Juxtaposed against this is the gleaming skyline of modernity, where glass towers, neon veins, and the pulse of a city are racing toward the future. All at once, Warsaw is a city in tension, harmony, and evolution.
This duality (old world reverence and new world ambition) finds a fitting echo in Poland’s metal scene. Long revered for its ferocity and depth, the country has birthed titans like Vader, Crystal Viper, and the genre-defining Behemoth. Beneath the shadow of these giants, there is a new generation rising. A movement of passionate, inventive bands is clawing its way into the spotlight, armed with riffs, rage, and reverence. Just like the skyscrapers of downtown cast their shadows over the traditions in old town, there is a legacy being born in metal.
Enter Witch Hound, a Warsaw-based trio forged in friendship and united to stoke the fires of the revolution. Guitarist and lead vocalist Konrad Czeredys, drummer Paweł Królikowski, and bassist Jakub Liszewski (both on backing vocals) channel the spirit of classic heavy metal while carving their own path through the doom-laden wilderness. Their debut album, Mountain Knows, is a bold declaration featuring eight tracks of raw, riff-driven power steeped in something dark and dangerous.
In a city where past and future collide, Witch Hound stands as a sonic bridge that honors the roots of metal while roaring into the unknown. Their debut album, Mountain Knows, is a statement: the hounds have been unleashed, and the mountain is listening.
Review
The album kicks off with its title track, “Mountain Knows”, which is a bold opener that wastes no time. A galloping guitar riff charges in, thick and aggressive, setting the terrain with classic heavy metal muscle. The song quickly finds its stride in a melodic groove that pulses like a heartbeat beneath the storm. Vocally, the track begins with a muted edge (it is more subdued than the instrumentation demands) but there’s a noticeable evolution. As the song unfolds, the vocals gain traction, shedding their initial flatness and rising with a newfound vibrance. By the midpoint, they lock in with the rhythm, adding grit and character. A juicy, well-placed solo then takes the reins, soaring through the final stretch and carrying the song home with conviction.
“Face of Our God” storms in with powerful drums and a hard staccato guitar lick that immediately commands attention. The rhythm section lays down a muscular foundation, driving the track forward with classic metal swagger. As the song builds into its chorus, there’s a glimmer of vocal promise. Fleeting moments where melody and grit begin to align, but the voice still struggles to fully match the intensity and precision of the instrumentation. It’s a tension that lingers, slightly muting the impact of an otherwise standout composition. Still, the track delivers where it counts: a strong, confident solo slices through the mix, elevating the song and reaffirming Witch Hound’s instrumental prowess.
“Flesh and Bone” enters with a riff that channels the hypnotic weight of Tool: a slow-burning groove that saunters in like a shadow at dusk. There’s a dark elegance to its pacing, a sinister swagger that feels both deliberate and dangerous. Vocals kick off strong here, finally finding their footing and riding the rhythm with confidence. It’s aggressive, but the kind of aggression that simmers rather than explodes, like a predator circling its prey. Midway through, the guitar solo slices through the gloom with a bright, cutting tone like a flash of steel against the storm. It’s a well-crafted track that stands out for its balance of menace and melody, and marks a turning point in the album’s vocal delivery.
The opening of “Throne of Lies” cuts like a serrated blade: sharp, deliberate, and full of intent. The drums begin with a pulse just off the beat, adding a restless energy that keeps the listener slightly on edge, while the vocals (more assured this time) cut through with a newfound clarity. This is where Witch Hound begins to hit their stride. The track shifts into gear with the confidence of a band finding its voice, fusing hard rock swagger with a classic metal flourish. There’s a mechanical precision to the arrangement, but it never feels sterile… this is a living, breathing metal machine, revving hot and hungry. The guitar solo soars with melodic flair, adding a flash of colour to the song’s otherwise gritty palette. “Throne of Lies” hints at the heights this band could reach when all cylinders are firing.
https://www.youtube.com/watch?v=dem4z_MoaWU
“Lust for Blood” creeps out of the shadows with deliberate menace, stretching nearly six minutes in a slow, calculated prowl. The riff is killer with it’s low-slung and muscular presence, evoking a sense of dread without sacrificing groove. Vocals are barked with conviction, raw and primal, matching the song’s sinister tone. The bass rumbles like distant thunder, clearly audible and ominous, while the drums hit with enough force to rattle teeth and shake foundations. Midway through, the track opens up into a breakdown that feels like a ritual pause, tense and expectant, before a lingering guitar solo rises from the gloom. It soars with clarity and purpose, casting light on the darkness while delivering a warning: something wicked this way comes. It’s a standout moment of pacing and atmosphere, proving Witch Hound knows how to wield restraint as well as fury.
Like a whisper on the breeze, “Ash in the Wind” begins with a slow, wispy guitar riff strummed with restraint, setting a mood that feels fragile and haunted. But Witch Hound doesn’t linger in the mist for long. The track soon erupts into a crunchy, aggressive charge, channeling the spirit of Blind Guardian through galloping riffs, layered vocals, and a tone that feels both epic and urgent. Midway through, the momentum falters deliberately. The breakdown slows to a crawl, teetering on the edge of collapse, as if the song itself is gasping for breath. Then, like a beacon piercing the fog, the guitar solo rings out—clear, soaring, and full of resolve. It’s a moment of resurrection, pulling the track back from the brink and reconnecting it to its aggressive core. “Ash in the Wind” is a masterclass in pacing and tension, proving that Witch Hound knows how to wield silence and fury in equal measure.
“Sinner” unfolds with a crisp, foreboding guitar line that signals the doom-laden dirge ahead. The track lurches to life like something summoned from the shadows… slow, heavy, and brimming with ill intent. Musically, it’s a masterclass in mood: eerie riffs, thunderous low-end, and a pacing that feels ritualistic. But the vocals struggle to find their place in this haunted landscape. There’s a tonal mismatch—where the music conjures dread and weight, the vocal delivery feels disconnected, unable to fully inhabit the darkness it’s meant to echo. It’s a jarring contrast that pulls the listener out of the spell. “Sinner” has the bones of something truly sinister, but the voice guiding it feels like it’s reading from a different book.
The closing track, “War Within,” begins with a haunting touch where guitars are plucked to mimic the toll of distant bells, setting a somber, ceremonial tone. Then, without warning, the song roars to life. Fast, crunchy, and brimming with urgency, it feels like a final charge into battle, determined to leave a lasting impression. The instrumentation is tight and aggressive, clearly out to prove something. But once again, the vocals falter. Delivered in a low, unassertive manner, they fail to rise to the occasion, undercutting the track’s intensity and emotional weight. It’s a mismatch that dulls the impact of what could have been a climactic finish. “War Within” had all the makings of a triumphant closer… but instead, it feels like a missed opportunity, leaving the listener with a sense of what could have been.
Conclusion
Mountain Knows is a lot like the city of Warsaw, where two forces are trying to coexist. On one side, there’s the band’s instrumental prowess: tight, expressive, and deeply rooted in the traditions of classic and doom metal. Musically, this album is a journey through everything that makes the genre great: crunchy riffs, thunderous drums, and solos that soar with clarity and conviction. The mix is impressive, revealing subtle flourishes in the guitars and key rhythmic moments that show real attention to craft.
But against this glorious metal tapestry, the vocals often sit back. Unfortunately, they are often lacking the grit, passion, or tonal alignment needed to fully elevate the songs. There are flashes of promise, especially in tracks like “Flesh and Bone” and “Throne of Lies,” where the voice begins to find its place. Yet elsewhere, particularly in “War Within,” the disconnect is too stark to ignore. It’s a missed opportunity to match the music’s intensity with vocal fire.
Lyrically, the album struggles to forge a personal connection. For a genre that thrives on mythic battles, existential dread, and cathartic release, the themes here feel underdeveloped. Whether it’s a delivery issue or a need for deeper lyrical refinement, the result is a lack of emotional resonance. I didn’t feel the weight of struggle, the grandeur of conflict, or the paradox of life and death that metal so often channels.
Still, Witch Hound has laid a strong foundation. The musicianship is there. The vision is forming. With time, refinement, and a deeper alignment between voice and sound, they could become a formidable force in Poland’s rising metal scene. Mountain Knows may not be perfect, but it’s a bold first step. Without a doubt, the mountain is listening!
TheNwothm Score: 7/10
Links
Bandcamp:https://witchhoundoom.bandcamp.com/
Facebook: https://www.facebook.com/witchhoundofficial
Instagram:https://www.instagram.com/witch.hound
Label:https://www.deezer.com/en/artist/323179141
https://www.youtube.com/watch?v=54-8HlfOr0c
Read More Reviews
#albumReview #DoomMetal #HeavyMetal #MountainKnows #NewAlbum #NewWaveOfTraditionalHeavyMetal #NWOTHM #PolishDoomMetal #PolishHeavyMetal #thenwothmCom #witchHound
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Band of the day: Silver Talon (USA)
The Nwothmhttps://www.youtube.com/watch?v=d5MqJYnsFvI
Band: Silver Talon
Country: USA
Label: M-Theory Audio
Members:Bryce Adams Vanhoosen Guitars), Wyatt Howell Vocals, Walter Hartzell Bass, Devon Miller Guitars, Michael Thompson Drums
Album: Decadence And Decay
Track Info: Deceiver, I Am ,Resistance 2029, As the World Burns, Next to the Sun, Divine Fury, Kill All Kings, What Will Be, Touch the Void
Silver Talon formed in Portland, Oregon in 2017 after the breakup of Spellcaster, with guitarist Bryce VanHoosen and vocalist Wyatt Howell driving a heavier, more aggressive sound. Their debut EP Becoming A Demon (2018) featured a guest solo from Jeff Loomis and set the tone for their raw-edged style. By 2019, the lineup solidified with Devon Miller on guitar and Walter Hartzell on bass.
Their full-length debut Decadence and Decay arrived in 2021, earning critical acclaim and featuring a collaboration with Andy La Rocque on the track Resistance 2029. The band toured extensively post-pandemic, appearing at Hell’s Heroes and Legions of Metal, and sharing stages with Cynic, Atheist, and Exmortus.
Now signed to M-Theory Audio, Silver Talon is preparing their second album, continuing to fuse dark, brooding heavy metal with classic influences like King Diamond, Nevermore, and Judas Priest.
Photos credit: Peter BesteLinks
Bandcamp: https://silvertalon.bandcamp.com/
Facebook: https://www.facebook.com/silvertalon93
Site: https://silvertalon.us/v
Label: https://www.m-theoryaudio.com/
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