Carrying generations of opposition in-skull the contempt and resilience which drives this moodiest fourth full-length album from England/Germany-based epic doom metal sextet THRONEHAMMER now posits where next to conquer. In purely stylistic terms ‘Slay Kill Erase‘ intends some infusion of post-metallic qualities for effect while continuing to spin plates between epic doom hurrah, sludge-burnt tones, and now more death metal heave than ever. Though that might read like an overstuffed order they’ve managed to retain a high standard for richly characterized fusion-craft throughout its imposing double-length run.

Thronehammer formed circa 2012 by way of guitarist Stuart West (ex-Obelyskkh) inspired by the traditions of doom, sludge, death metal and the collective conveyance of melancholy and destruction between them. A trio had amassed between veterans from British and German doom by the time their impressive debut LP (‘Usurper of the Oaken Throne‘, 2019) released as the years between produced an ambitious record with a high fantasy theme, extended pieces and aggressive sound design. Upon expanding to a quintet further development of their sound followed, a prime connection made between ritualistic sludge cadence and pure heavy metal, which I’d describe as if Stygian Crown and Conan collaborated on a Solstice (U.K.) cover. There isn’t a huge stylistic chasm between their second and third records but I’d recommend giving ‘Kingslayer‘ (2023) due attention as it contains some of the band’s best material in shorter cuts, features some of vocalist Kat Shevil‘s finest displays of ouevre and likewise plunges into the extremity we now find up front on this new album.

At eight songs and over >73 minutes in length ‘Slay Kill Erase‘ might appear imposing but each of Thronehammer‘s releases to date has featured similar length and much like it’s predecessor this record avoids stretching far beyond the ten minute mark per piece. For the amount of material included here they’ve not thrown ashes to the wind here, recalling the deeply immersive station of their debut with what I’d argue is the most aggressive LP from the group to date. The Runemagick-worthy main progression and growling vocals which lead opener “Slay Kill Erase” enforce this observation up front, likely keying new listeners into thinking they’re in for a death/doom (and sludge) record outright though the song does end with a clean vocal salvo.

The intent or evolutionary catalyst which sparks within ‘Slay Kill Erase‘ is suggested as some manner of post-metal inspire which informs their compositions and treatment of atmospheric movement. In the past the appeal of the band lie in sludge/doom metal adjacent grooves defining their more aggressive movement and this edge doesn’t dull despite the mention of post-music, a quick hit of “Blade to the Heart” and you’ll find a no less ‘heavy metal’ experience from them here, but this is most definitely a step beyond the high of ‘Kingslayer‘ into potentially immersive variety and a more balanced hybrid form of epic heavy/doom metal and various echoes of death metal. The Candlemass-esque drape of “To Never Return” in alternating verse with bellowed-through sludge chug n’ roar offers a fine example of this crossover outright, a fine example of the expressivity available to the full listen where melancholy and stridency hang together in atmosphere, as if early Anathema veered fully into epic doom metal bartering and even some blackened movement.

Over on Side B the romanticist melodic death/doom edge of Thronehammer‘s efforts arrives loudest within “Rise of Resistance“, some of my favorite vocal patternation from Shevil on this record as well as the first clear pulls from post-music expanse (re: ~4:46 minutes). The cleans which follow the riff ~2:38 minutes into the song offers a particularly lucid interval where a hint of 2000’s Finnish doom, or at least the dramatic heft of it, seems to back the moment. The shorter “Destroyer of Light” prompts something like slow motion Bolt Thrower with a Solitude Aeternus chaser and compliments the total integration we find soon after on Side C‘s “Thrown Into the Abyss”. Though they are a flipside apart these two pieces are among my favorite pair of songs on the full listen per their dip into death/doom metal edged territory with aggressive, hypnotic style pushing along.

If you’re looking for epic heavy metal with a folken rouse the soaring choruses and inspired leads of “Dethroned” should offer a major standout, a brutal yet melodramatic piece which compliments the impact of “Blade to the Heart” before it but leans heavier into the sort of mid-90’s dark metal/melodic death-doom mustiness which is healthily emphasized throughout ‘Slay Kill Erase‘. For my taste the former is the crowning moment of the whole experience and preferable to the more experimental closer “Onwards to Oblivion”. The grand finale here probably best showcases the post-metal weighted dynamic suggested by the band, steadily introducing movement more closely related to post-rock/alt rock or even just post-hardcore in its second half. It doesn’t so much break the immersion wrought over the course of the full listen but turns its proverbial stylistic corner too sharply into those new ideas.

Without missing the immersive intent of and/or reducing the irrefutable consistency of Thronehammer‘s output an hourlong record would’ve been just as effective per my own experience. Though every song here is tightly crafted and makes great use of a broad, years-hewn ouevre the contained nature of each piece here rarely calls for a double album sprawl in order to thrive. Granted there are maybe one or two pieces here which feel either redundant or unfitting within the running order. Otherwise these folks are old pros and haven’t allowed much else to chip away at here, especially if you’re already privvy their balance of heavy metal, sludge heft and now even more death metal adjacent trait. A high recommendation.

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