#sludge-metal — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #sludge-metal, aggregated by home.social.
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Unyielding Love / Maldacht / The Listener / Kathexis @ Batiment 7 - Monday, October 12th, 2026
Batiment 7, Monday, October 12 at 07:00 PM EDT
Viridian Cult Productions presents:
A night of unholy brutality! Irish blackened sludge metallers Unyielding Love and Toronto crust metalpunks Maldacht will be joined by local black metal conquerors The Listener and Kathexis at Batiment 7 on Monday, October 12th!
Monday, October 12th, 2026
@ Batiment 7
1900 Rue Le Ber
Doors @ 7:00 PM
Show @ 8:00 PM
$20
All AgesPoster by Artemis Tratnik (@plantgenitals).
Unyielding Love:
https://unyielding-love.bandcamp.com/album/flesh-of-the-furnaceMaldacht:
https://maldacht.bandcamp.com/album/maldachtThe Listener:
https://thelistenermtl.bandcamp.com/album/where-hatred-reigns-supreme -
Unyielding Love / Maldacht / The Listener / Kathexis @ Batiment 7 - Monday, October 12th, 2026
Batiment 7, Monday, October 12 at 07:00 PM EDT
Viridian Cult Productions presents:
A night of unholy brutality! Irish blackened sludge metallers Unyielding Love and Toronto crust metalpunks Maldacht will be joined by local black metal conquerors The Listener and Kathexis at Batiment 7 on Monday, October 12th!
Monday, October 12th, 2026
@ Batiment 7
1900 Rue Le Ber
Doors @ 7:00 PM
Show @ 8:00 PM
$20
All AgesPoster by Artemis Tratnik (@plantgenitals).
Unyielding Love:
https://unyielding-love.bandcamp.com/album/flesh-of-the-furnaceMaldacht:
https://maldacht.bandcamp.com/album/maldachtThe Listener:
https://thelistenermtl.bandcamp.com/album/where-hatred-reigns-supreme -
Unyielding Love / Maldacht / The Listener / Kathexis @ Batiment 7 - Monday, October 12th, 2026
Batiment 7, Monday, October 12 at 07:00 PM EDT
Viridian Cult Productions presents:
A night of unholy brutality! Irish blackened sludge metallers Unyielding Love and Toronto crust metalpunks Maldacht will be joined by local black metal conquerors The Listener and Kathexis at Batiment 7 on Monday, October 12th!
Monday, October 12th, 2026
@ Batiment 7
1900 Rue Le Ber
Doors @ 7:00 PM
Show @ 8:00 PM
$20
All AgesPoster by Artemis Tratnik (@plantgenitals).
Unyielding Love:
https://unyielding-love.bandcamp.com/album/flesh-of-the-furnaceMaldacht:
https://maldacht.bandcamp.com/album/maldachtThe Listener:
https://thelistenermtl.bandcamp.com/album/where-hatred-reigns-supreme -
CTHULTISTS (Estats Units) presenta nou àlbum: "A Greater Schism" #Cthultists #DeathMetal #SludgeMetal #Setembre2026 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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CTHULTISTS (Estats Units) presenta nou àlbum: "A Greater Schism" #Cthultists #DeathMetal #SludgeMetal #Setembre2026 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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Went to a show last night. Never heard of any of the bands before seeing the flyer the day before.
Asked the opening band if they wanted a bassist and gave one of the dudes my info. Spoke with some of the others about booking and other venues in the area. Someone told me one place might be looking for a #soundguy / #soundengineer!
While standing at the merch table, a guy from one of the bands walked over and grabbed me... 🥴 I'm glad it was just the wallet in my really baggy pants! (No money left.) Apparently he thought I was one of his bros... 🤨
Anyway..
Picked up some CDs and made a new buddy! -
Went to a show last night. Never heard of any of the bands before seeing the flyer the day before.
Asked the opening band if they wanted a bassist and gave one of the dudes my info. Spoke with some of the others about booking and other venues in the area. Someone told me one place might be looking for a #soundguy / #soundengineer!
While standing at the merch table, a guy from one of the bands walked over and grabbed me... 🥴 I'm glad it was just the wallet in my really baggy pants! (No money left.) Apparently he thought I was one of his bros... 🤨
Anyway..
Picked up some CDs and made a new buddy! -
Went to a show last night. Never heard of any of the bands before seeing the flyer the day before.
Asked the opening band if they wanted a bassist and gave one of the dudes my info. Spoke with some of the others about booking and other venues in the area. Someone told me one place might be looking for a #soundguy / #soundengineer!
While standing at the merch table, a guy from one of the bands walked over and grabbed me... 🥴 I'm glad it was just the wallet in my really baggy pants! (No money left.) Apparently he thought I was one of his bros... 🤨
Anyway..
Picked up some CDs and made a new buddy! -
Went to a show last night. Never heard of any of the bands before seeing the flyer the day before.
Asked the opening band if they wanted a bassist and gave one of the dudes my info. Spoke with some of the others about booking and other venues in the area. Someone told me one place might be looking for a #soundguy / #soundengineer!
While standing at the merch table, a guy from one of the bands walked over and grabbed me... 🥴 I'm glad it was just the wallet in my really baggy pants! (No money left.) Apparently he thought I was one of his bros... 🤨
Anyway..
Picked up some CDs and made a new buddy! -
🔴 LIVE NOW ON VORTEX
📻 VorteX MiX Saturday 🎧 (Saturday Night Mix)
──────────────
🎵 Ms* Gloom - Dumb 4 All▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net💬 Join us on Discord:
https://discord.gg/d82hJZBeDE -
Oh my, Apple Music’s recommendations coming in huge today.
I’ve never heard of the band The Body before but this is massively up my street. Sludgy, screamy, lovely. Shall be picking some stuff up.
https://music.apple.com/gb/album/cop-killer/1895681565?i=6764198550
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Oh my, Apple Music’s recommendations coming in huge today.
I’ve never heard of the band The Body before but this is massively up my street. Sludgy, screamy, lovely. Shall be picking some stuff up.
https://music.apple.com/gb/album/cop-killer/1895681565?i=6764198550
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Oh my, Apple Music’s recommendations coming in huge today.
I’ve never heard of the band The Body before but this is massively up my street. Sludgy, screamy, lovely. Shall be picking some stuff up.
https://music.apple.com/gb/album/cop-killer/1895681565?i=6764198550
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Oh my, Apple Music’s recommendations coming in huge today.
I’ve never heard of the band The Body before but this is massively up my street. Sludgy, screamy, lovely. Shall be picking some stuff up.
https://music.apple.com/gb/album/cop-killer/1895681565?i=6764198550
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Oh my, Apple Music’s recommendations coming in huge today.
I’ve never heard of the band The Body before but this is massively up my street. Sludgy, screamy, lovely. Shall be picking some stuff up.
https://music.apple.com/gb/album/cop-killer/1895681565?i=6764198550
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Τι ωραία συνεργασία είναι τούτη;
(Είναι safe και για πιο ευαίσθητα αυτάκια, παρόλα τα φωνητικά που ξεπετάγονται από εδώ και από εκεί :P)
Oaken x BORU - Coalescence (2026)
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Τι ωραία συνεργασία είναι τούτη;
(Είναι safe και για πιο ευαίσθητα αυτάκια, παρόλα τα φωνητικά που ξεπετάγονται από εδώ και από εκεί :P)
Oaken x BORU - Coalescence (2026)
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Τι ωραία συνεργασία είναι τούτη;
(Είναι safe και για πιο ευαίσθητα αυτάκια, παρόλα τα φωνητικά που ξεπετάγονται από εδώ και από εκεί :P)
Oaken x BORU - Coalescence (2026)
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SAUROS (Alemanya) presenta nou àlbum: "Offense" #Sauros #DoomMetal #SludgeMetal #Setembre2026 #Alemanya #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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SAUROS (Alemanya) presenta nou àlbum: "Offense" #Sauros #DoomMetal #SludgeMetal #Setembre2026 #Alemanya #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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Shower time. Nothing like a #SludgeMetal shower.
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Shower time. Nothing like a #SludgeMetal shower.
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Shower time. Nothing like a #SludgeMetal shower.
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Shower time. Nothing like a #SludgeMetal shower.
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#CurrentlyListeningTo Mastodon - Marrow Deep #HeavyMetal #DoomMetal #SludgeMetal 🇺🇲 RIP Brent
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#CurrentlyListeningTo Mastodon - Marrow Deep #HeavyMetal #DoomMetal #SludgeMetal 🇺🇲 RIP Brent
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#CurrentlyListeningTo Mastodon - Marrow Deep #HeavyMetal #DoomMetal #SludgeMetal 🇺🇲 RIP Brent
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#CurrentlyListeningTo Mastodon - Marrow Deep #HeavyMetal #DoomMetal #SludgeMetal 🇺🇲 RIP Brent
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#CurrentlyListeningTo Chat Pile - Who Loves The Sun #HeavyMetal #SludgeMetal #NoiseRock 🇺🇸
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#CurrentlyListeningTo Chat Pile - Who Loves The Sun #HeavyMetal #SludgeMetal #NoiseRock 🇺🇸
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#CurrentlyListeningTo Chat Pile - Who Loves The Sun #HeavyMetal #SludgeMetal #NoiseRock 🇺🇸
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#CurrentlyListeningTo Chat Pile - Who Loves The Sun #HeavyMetal #SludgeMetal #NoiseRock 🇺🇸
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NOTT (Estats Units) presenta nou àlbum: "As All Is Undone" #Nott #Deathcore #Djent #SludgeMetal #Setembre2026 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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NOTT (Estats Units) presenta nou àlbum: "As All Is Undone" #Nott #Deathcore #Djent #SludgeMetal #Setembre2026 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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Celeste en Chile: Habitando entre la oscuridad y el desastre | vía #ZumbidoCL
https://zumbido.cl/celeste-en-chile-habitando-entre-la-oscuridad-y-el-desastre/
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🔴 LIVE NOW ON VORTEX
📻 Vortex Night ⚡ (Electro beat & tribal)
──────────────
🎵 Ms* Gloom - Dumb 4 All▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net💬 Join us on Discord:
https://discord.gg/d82hJZBeDE -
Review: Mastodon – Marrow Deep
Published by Clay on 2026/09/012026/09/01 Artwork by Paul Romano Style: Progressive metal, sludge metal (mixed vocals)Recommended for fans…
#NewsBeep #News #Music #2026 #7 #august #Englishlyrics #Entertainment #Georgia #LomaVistaRecords #mixedvocals #ProgressiveMetal #SludgeMetal #UK #UnitedKingdom #UnitedStates
https://www.newsbeep.com/uk/756902/ -
Fane – Armageddon Scars Review By Thus SpokeWho is this man who bears a pentagram and drapes his horse with astrological signs? Why does he carry a scythe, and why is he wearing armor? What does he see in the distance beyond the farmland? As the face of Armageddon Scars—debut LP of Louisiana sludge-doom duo Fane—he stands as a symbol for its contents, “[e]xploring themes of endurance, damage, and aftermath” by referencing an old world perhaps not so dissimilar from the present one. We may not get answers to our opening questions, but Fane’s musical expression can speak for itself. But in this genre epitomised by down-tuned dourness, is what it says any less vague and unanswerable?
Armageddon Scars sounds exactly like you think it does: a bit fuzzy, a bit wobbly, steady, sometimes groovy, but all in moderation. It finds some middle point between the promo’s advertised YOB, Primitive Man, and Crowbar, which manages to be quite listenable despite how that may sound. There’s a consistent atmosphere of stoicism, formed through the variously soft and spikey aspects of stoner-adjacent guitar drawls and grittier sludge chugs, that’s more than endearing. As opener “Flatline” fades in through the chirping of crickets and muted chords, this feeling starts to increase, augmented by the biting gutturals that take the lead and the tempo upshift that is echoed in the consistent turns of the album’s remainder.
Fane come into their own with a textured hook and the coalescence of passion with rhythmic delivery. It takes a while to get there, but “Flatline”‘s lead refrain hits a satisfying groove in its blended stoner-sludge riffs and crashing cymbals; “Poisoned Crown” fares better in delivery speed and general quality, but you do have to wait until the end of the album to reach its syncopated percussion and drawling soloing. This percussion is consistently enjoyable to listen to, but hits best when the album steps out of the template just a tad and messes with patterns (“Flatline,” “Passages”). Likewise, while Armageddon Scars remains melodically driven by simple yet effective riffing—and the theme in “Mariner” stands out particularly here—it’s usually when Fane mix in a little more dissonance or complexity that their solid base feels strongest. A guitar line whose twisting dissonance (“Dead Shepherd”), or high mirroring of another (“Flatline”) adds welcome urgency and intrigue. The bouts of atmosphere in the mix—to bring in the sounds of the sea, introduce the opening chords, or cloak the album’s only true solo—also contrasts nicely with the more solid foundation. When screams pitch above the fracas for vicious (“Passages,” “Mariner”) or agonised (“Dead Shepherd”) emphasis, they successfully pull their sober surroundings up with them, whose weight then lends these moments the punch they need.
Yet despite such signs, Armageddon Scars falters in large part because it fails to distinguish itself. There’s a fine line between a reassuring familiarity and staleness, and Fane fall on the bad side more often than not, with the bulk of the riffing and rhythms occupying that middle Venn diagram of their influences. It’s seemingly not for lack of imagination or skill, as the above indicates the band are experimenting a little and adding at least some layers and elements of darkness, atypicality, or poignancy. What’s there is just not enough to counteract how quickly the admittedly good rhythms and refrains lose their vivacity, and sometimes it even goes badly, as with the spoken-word (“Mariner,” “Passages”) that comes across as bland and non-committal. Perhaps the album’s greatest compliment just is its commitment to a singular sound and the fact that Fane have still made it just that bit more modern, but it feels like a shame in the face of their evident efforts beyond this.
Armageddon Scars is a strong album buried in a forgettable one. There’s enough to it that any fans of this sludge-doom sound will likely find something to believe in, even though it doesn’t convince me personally. Fane may have a brilliant journey and mysteries to unravel ahead of them, but currently there appears to be only unexplained adornments on a well-trodden scene.
Rating: Mixed
#25 #2026 #AmericanMetal #ArgonautaRecords #ArmageddonScars #Aug26 #Crowbar #DoomMetal #Fane #OctopusRising #PrimitiveMan #Review #Reviews #SludgeDoom #SludgeMetal #StonerMetal #Thou #YOB
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Argonauta Records (Octopus Rising)
Websites: Bandcamp | Instagram
Releases Worldwide: August 28th, 2026 -
Fane – Armageddon Scars Review By Thus SpokeWho is this man who bears a pentagram and drapes his horse with astrological signs? Why does he carry a scythe, and why is he wearing armor? What does he see in the distance beyond the farmland? As the face of Armageddon Scars—debut LP of Louisiana sludge-doom duo Fane—he stands as a symbol for its contents, “[e]xploring themes of endurance, damage, and aftermath” by referencing an old world perhaps not so dissimilar from the present one. We may not get answers to our opening questions, but Fane’s musical expression can speak for itself. But in this genre epitomised by down-tuned dourness, is what it says any less vague and unanswerable?
Armageddon Scars sounds exactly like you think it does: a bit fuzzy, a bit wobbly, steady, sometimes groovy, but all in moderation. It finds some middle point between the promo’s advertised YOB, Primitive Man, and Crowbar, which manages to be quite listenable despite how that may sound. There’s a consistent atmosphere of stoicism, formed through the variously soft and spikey aspects of stoner-adjacent guitar drawls and grittier sludge chugs, that’s more than endearing. As opener “Flatline” fades in through the chirping of crickets and muted chords, this feeling starts to increase, augmented by the biting gutturals that take the lead and the tempo upshift that is echoed in the consistent turns of the album’s remainder.
Fane come into their own with a textured hook and the coalescence of passion with rhythmic delivery. It takes a while to get there, but “Flatline”‘s lead refrain hits a satisfying groove in its blended stoner-sludge riffs and crashing cymbals; “Poisoned Crown” fares better in delivery speed and general quality, but you do have to wait until the end of the album to reach its syncopated percussion and drawling soloing. This percussion is consistently enjoyable to listen to, but hits best when the album steps out of the template just a tad and messes with patterns (“Flatline,” “Passages”). Likewise, while Armageddon Scars remains melodically driven by simple yet effective riffing—and the theme in “Mariner” stands out particularly here—it’s usually when Fane mix in a little more dissonance or complexity that their solid base feels strongest. A guitar line whose twisting dissonance (“Dead Shepherd”), or high mirroring of another (“Flatline”) adds welcome urgency and intrigue. The bouts of atmosphere in the mix—to bring in the sounds of the sea, introduce the opening chords, or cloak the album’s only true solo—also contrasts nicely with the more solid foundation. When screams pitch above the fracas for vicious (“Passages,” “Mariner”) or agonised (“Dead Shepherd”) emphasis, they successfully pull their sober surroundings up with them, whose weight then lends these moments the punch they need.
Yet despite such signs, Armageddon Scars falters in large part because it fails to distinguish itself. There’s a fine line between a reassuring familiarity and staleness, and Fane fall on the bad side more often than not, with the bulk of the riffing and rhythms occupying that middle Venn diagram of their influences. It’s seemingly not for lack of imagination or skill, as the above indicates the band are experimenting a little and adding at least some layers and elements of darkness, atypicality, or poignancy. What’s there is just not enough to counteract how quickly the admittedly good rhythms and refrains lose their vivacity, and sometimes it even goes badly, as with the spoken-word (“Mariner,” “Passages”) that comes across as bland and non-committal. Perhaps the album’s greatest compliment just is its commitment to a singular sound and the fact that Fane have still made it just that bit more modern, but it feels like a shame in the face of their evident efforts beyond this.
Armageddon Scars is a strong album buried in a forgettable one. There’s enough to it that any fans of this sludge-doom sound will likely find something to believe in, even though it doesn’t convince me personally. Fane may have a brilliant journey and mysteries to unravel ahead of them, but currently there appears to be only unexplained adornments on a well-trodden scene.
Rating: Mixed
#25 #2026 #AmericanMetal #ArgonautaRecords #ArmageddonScars #Aug26 #Crowbar #DoomMetal #Fane #OctopusRising #PrimitiveMan #Review #Reviews #SludgeDoom #SludgeMetal #StonerMetal #Thou #YOB
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Argonauta Records (Octopus Rising)
Websites: Bandcamp | Instagram
Releases Worldwide: August 28th, 2026 -
Fane – Armageddon Scars Review By Thus SpokeWho is this man who bears a pentagram and drapes his horse with astrological signs? Why does he carry a scythe, and why is he wearing armor? What does he see in the distance beyond the farmland? As the face of Armageddon Scars—debut LP of Louisiana sludge-doom duo Fane—he stands as a symbol for its contents, “[e]xploring themes of endurance, damage, and aftermath” by referencing an old world perhaps not so dissimilar from the present one. We may not get answers to our opening questions, but Fane’s musical expression can speak for itself. But in this genre epitomised by down-tuned dourness, is what it says any less vague and unanswerable?
Armageddon Scars sounds exactly like you think it does: a bit fuzzy, a bit wobbly, steady, sometimes groovy, but all in moderation. It finds some middle point between the promo’s advertised YOB, Primitive Man, and Crowbar, which manages to be quite listenable despite how that may sound. There’s a consistent atmosphere of stoicism, formed through the variously soft and spikey aspects of stoner-adjacent guitar drawls and grittier sludge chugs, that’s more than endearing. As opener “Flatline” fades in through the chirping of crickets and muted chords, this feeling starts to increase, augmented by the biting gutturals that take the lead and the tempo upshift that is echoed in the consistent turns of the album’s remainder.
Fane come into their own with a textured hook and the coalescence of passion with rhythmic delivery. It takes a while to get there, but “Flatline”‘s lead refrain hits a satisfying groove in its blended stoner-sludge riffs and crashing cymbals; “Poisoned Crown” fares better in delivery speed and general quality, but you do have to wait until the end of the album to reach its syncopated percussion and drawling soloing. This percussion is consistently enjoyable to listen to, but hits best when the album steps out of the template just a tad and messes with patterns (“Flatline,” “Passages”). Likewise, while Armageddon Scars remains melodically driven by simple yet effective riffing—and the theme in “Mariner” stands out particularly here—it’s usually when Fane mix in a little more dissonance or complexity that their solid base feels strongest. A guitar line whose twisting dissonance (“Dead Shepherd”), or high mirroring of another (“Flatline”) adds welcome urgency and intrigue. The bouts of atmosphere in the mix—to bring in the sounds of the sea, introduce the opening chords, or cloak the album’s only true solo—also contrasts nicely with the more solid foundation. When screams pitch above the fracas for vicious (“Passages,” “Mariner”) or agonised (“Dead Shepherd”) emphasis, they successfully pull their sober surroundings up with them, whose weight then lends these moments the punch they need.
Yet despite such signs, Armageddon Scars falters in large part because it fails to distinguish itself. There’s a fine line between a reassuring familiarity and staleness, and Fane fall on the bad side more often than not, with the bulk of the riffing and rhythms occupying that middle Venn diagram of their influences. It’s seemingly not for lack of imagination or skill, as the above indicates the band are experimenting a little and adding at least some layers and elements of darkness, atypicality, or poignancy. What’s there is just not enough to counteract how quickly the admittedly good rhythms and refrains lose their vivacity, and sometimes it even goes badly, as with the spoken-word (“Mariner,” “Passages”) that comes across as bland and non-committal. Perhaps the album’s greatest compliment just is its commitment to a singular sound and the fact that Fane have still made it just that bit more modern, but it feels like a shame in the face of their evident efforts beyond this.
Armageddon Scars is a strong album buried in a forgettable one. There’s enough to it that any fans of this sludge-doom sound will likely find something to believe in, even though it doesn’t convince me personally. Fane may have a brilliant journey and mysteries to unravel ahead of them, but currently there appears to be only unexplained adornments on a well-trodden scene.
Rating: Mixed
#25 #2026 #AmericanMetal #ArgonautaRecords #ArmageddonScars #Aug26 #Crowbar #DoomMetal #Fane #OctopusRising #PrimitiveMan #Review #Reviews #SludgeDoom #SludgeMetal #StonerMetal #Thou #YOB
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Argonauta Records (Octopus Rising)
Websites: Bandcamp | Instagram
Releases Worldwide: August 28th, 2026 -
Fane – Armageddon Scars Review By Thus SpokeWho is this man who bears a pentagram and drapes his horse with astrological signs? Why does he carry a scythe, and why is he wearing armor? What does he see in the distance beyond the farmland? As the face of Armageddon Scars—debut LP of Louisiana sludge-doom duo Fane—he stands as a symbol for its contents, “[e]xploring themes of endurance, damage, and aftermath” by referencing an old world perhaps not so dissimilar from the present one. We may not get answers to our opening questions, but Fane’s musical expression can speak for itself. But in this genre epitomised by down-tuned dourness, is what it says any less vague and unanswerable?
Armageddon Scars sounds exactly like you think it does: a bit fuzzy, a bit wobbly, steady, sometimes groovy, but all in moderation. It finds some middle point between the promo’s advertised YOB, Primitive Man, and Crowbar, which manages to be quite listenable despite how that may sound. There’s a consistent atmosphere of stoicism, formed through the variously soft and spikey aspects of stoner-adjacent guitar drawls and grittier sludge chugs, that’s more than endearing. As opener “Flatline” fades in through the chirping of crickets and muted chords, this feeling starts to increase, augmented by the biting gutturals that take the lead and the tempo upshift that is echoed in the consistent turns of the album’s remainder.
Fane come into their own with a textured hook and the coalescence of passion with rhythmic delivery. It takes a while to get there, but “Flatline”‘s lead refrain hits a satisfying groove in its blended stoner-sludge riffs and crashing cymbals; “Poisoned Crown” fares better in delivery speed and general quality, but you do have to wait until the end of the album to reach its syncopated percussion and drawling soloing. This percussion is consistently enjoyable to listen to, but hits best when the album steps out of the template just a tad and messes with patterns (“Flatline,” “Passages”). Likewise, while Armageddon Scars remains melodically driven by simple yet effective riffing—and the theme in “Mariner” stands out particularly here—it’s usually when Fane mix in a little more dissonance or complexity that their solid base feels strongest. A guitar line whose twisting dissonance (“Dead Shepherd”), or high mirroring of another (“Flatline”) adds welcome urgency and intrigue. The bouts of atmosphere in the mix—to bring in the sounds of the sea, introduce the opening chords, or cloak the album’s only true solo—also contrasts nicely with the more solid foundation. When screams pitch above the fracas for vicious (“Passages,” “Mariner”) or agonised (“Dead Shepherd”) emphasis, they successfully pull their sober surroundings up with them, whose weight then lends these moments the punch they need.
Yet despite such signs, Armageddon Scars falters in large part because it fails to distinguish itself. There’s a fine line between a reassuring familiarity and staleness, and Fane fall on the bad side more often than not, with the bulk of the riffing and rhythms occupying that middle Venn diagram of their influences. It’s seemingly not for lack of imagination or skill, as the above indicates the band are experimenting a little and adding at least some layers and elements of darkness, atypicality, or poignancy. What’s there is just not enough to counteract how quickly the admittedly good rhythms and refrains lose their vivacity, and sometimes it even goes badly, as with the spoken-word (“Mariner,” “Passages”) that comes across as bland and non-committal. Perhaps the album’s greatest compliment just is its commitment to a singular sound and the fact that Fane have still made it just that bit more modern, but it feels like a shame in the face of their evident efforts beyond this.
Armageddon Scars is a strong album buried in a forgettable one. There’s enough to it that any fans of this sludge-doom sound will likely find something to believe in, even though it doesn’t convince me personally. Fane may have a brilliant journey and mysteries to unravel ahead of them, but currently there appears to be only unexplained adornments on a well-trodden scene.
Rating: Mixed
#25 #2026 #AmericanMetal #ArgonautaRecords #ArmageddonScars #Aug26 #Crowbar #DoomMetal #Fane #OctopusRising #PrimitiveMan #Review #Reviews #SludgeDoom #SludgeMetal #StonerMetal #Thou #YOB
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Argonauta Records (Octopus Rising)
Websites: Bandcamp | Instagram
Releases Worldwide: August 28th, 2026 -
Fane – Armageddon Scars Review By Thus SpokeWho is this man who bears a pentagram and drapes his horse with astrological signs? Why does he carry a scythe, and why is he wearing armor? What does he see in the distance beyond the farmland? As the face of Armageddon Scars—debut LP of Louisiana sludge-doom duo Fane—he stands as a symbol for its contents, “[e]xploring themes of endurance, damage, and aftermath” by referencing an old world perhaps not so dissimilar from the present one. We may not get answers to our opening questions, but Fane’s musical expression can speak for itself. But in this genre epitomised by down-tuned dourness, is what it says any less vague and unanswerable?
Armageddon Scars sounds exactly like you think it does: a bit fuzzy, a bit wobbly, steady, sometimes groovy, but all in moderation. It finds some middle point between the promo’s advertised YOB, Primitive Man, and Crowbar, which manages to be quite listenable despite how that may sound. There’s a consistent atmosphere of stoicism, formed through the variously soft and spikey aspects of stoner-adjacent guitar drawls and grittier sludge chugs, that’s more than endearing. As opener “Flatline” fades in through the chirping of crickets and muted chords, this feeling starts to increase, augmented by the biting gutturals that take the lead and the tempo upshift that is echoed in the consistent turns of the album’s remainder.
Fane come into their own with a textured hook and the coalescence of passion with rhythmic delivery. It takes a while to get there, but “Flatline”‘s lead refrain hits a satisfying groove in its blended stoner-sludge riffs and crashing cymbals; “Poisoned Crown” fares better in delivery speed and general quality, but you do have to wait until the end of the album to reach its syncopated percussion and drawling soloing. This percussion is consistently enjoyable to listen to, but hits best when the album steps out of the template just a tad and messes with patterns (“Flatline,” “Passages”). Likewise, while Armageddon Scars remains melodically driven by simple yet effective riffing—and the theme in “Mariner” stands out particularly here—it’s usually when Fane mix in a little more dissonance or complexity that their solid base feels strongest. A guitar line whose twisting dissonance (“Dead Shepherd”), or high mirroring of another (“Flatline”) adds welcome urgency and intrigue. The bouts of atmosphere in the mix—to bring in the sounds of the sea, introduce the opening chords, or cloak the album’s only true solo—also contrasts nicely with the more solid foundation. When screams pitch above the fracas for vicious (“Passages,” “Mariner”) or agonised (“Dead Shepherd”) emphasis, they successfully pull their sober surroundings up with them, whose weight then lends these moments the punch they need.
Yet despite such signs, Armageddon Scars falters in large part because it fails to distinguish itself. There’s a fine line between a reassuring familiarity and staleness, and Fane fall on the bad side more often than not, with the bulk of the riffing and rhythms occupying that middle Venn diagram of their influences. It’s seemingly not for lack of imagination or skill, as the above indicates the band are experimenting a little and adding at least some layers and elements of darkness, atypicality, or poignancy. What’s there is just not enough to counteract how quickly the admittedly good rhythms and refrains lose their vivacity, and sometimes it even goes badly, as with the spoken-word (“Mariner,” “Passages”) that comes across as bland and non-committal. Perhaps the album’s greatest compliment just is its commitment to a singular sound and the fact that Fane have still made it just that bit more modern, but it feels like a shame in the face of their evident efforts beyond this.
Armageddon Scars is a strong album buried in a forgettable one. There’s enough to it that any fans of this sludge-doom sound will likely find something to believe in, even though it doesn’t convince me personally. Fane may have a brilliant journey and mysteries to unravel ahead of them, but currently there appears to be only unexplained adornments on a well-trodden scene.
Rating: Mixed
#25 #2026 #AmericanMetal #ArgonautaRecords #ArmageddonScars #Aug26 #Crowbar #DoomMetal #Fane #OctopusRising #PrimitiveMan #Review #Reviews #SludgeDoom #SludgeMetal #StonerMetal #Thou #YOB
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Argonauta Records (Octopus Rising)
Websites: Bandcamp | Instagram
Releases Worldwide: August 28th, 2026 -
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