Doom is a mood. It’s Old Nick and old horror movies, riffs and folklore, beer and bongs, Sabbath and… more Sabbath. It is, for the initiated, a lifetime’s passion.
That’s certainly the case for Witchsorrow, whose unquenchable quest for making dark, slow and dastardly music has lasted almost 20 years. So how do you celebrate two decades as emissaries for evil? With an album like The Devil And All His Works, that’s how.
And the perfect way to kick off said album is in the doomiest way possible, with Omnia Finiuntur and 11-and-a-half-minutes of tolling church bells, ominous organ, twisted guitars and band leader Necroskull’s tortured drone communing, from the sounds of it, from some other dimension.
Despite beginning in such austere fashion, elsewhere there’s evidence this trio, completed by bassist Emily Witch, with drums on the album the swansong for longtime skinsman Wilbrahammer, have loosened their foundations, and even their hips, in places. That’s not to suggest they’ve segued into Earth, Wind & Fire or anything, but there’s an obvious relishing of the album’s more decadent moments.