Twenty Minutes in Angers: An Interview with Endeavour
Drummer Simon on studios, influences, and the particular weight of building something heavy in a city that has never asked for it.
Clay and Kabbalah: DER GOLEM (1920)
Germany, 1920. The war is lost, the empire is gone, and a Jewish rabbi is building a protector from mud. Paul Wegener’s Der Golem is a film about what happens when the thing you created to save you stops listening.
Doom From the Wine-Dark Sea: Interview with Catapult The Sun
Athens band Catapult The Sun arrive at their first full-length with a record built from copper engravings, biblical quotation, Greek myth, and live feedback. Guitarist and composer Panagiotis explains how all of it belongs in the same room.
(((SIGNALS))) Fossile – No King
Fossile are a stoner doom band from Finland, and “No King” is their debut single, arriving ahead of their first full-length album, due in May 2026. Lanke answered our three questions.
STATE OF DOOM #18: NEW AND NEWER SOUNDS IN DOOM METAL
STATE OF DOOM #18: NEW AND NEWER SOUNDS IN DOOM METAL
Review: The Ruins of Beverast – Tempelschlaf (2026)
Twenty-three years into one of extreme metal’s most uncompromising discographies, The Ruins of Beverast deliver Tempelschlaf: seven tracks of blackened doom that move closer to the live stage than anything von Meilenwald has attempted before, while remaining as resistant to easy interpretation as the oracular dreams the album takes its name from.
The Devastation: Vienna’s Youngest Are Not Waiting for Permission
Demetra Cartsos is fifteen years old. She fronts a band, writes the songs, manages the bookings, runs the social media, attends regular school and music school in the same week, and still finds time to have nightmares worth writing about. The Devastation, the Vienna occult rock and metal band she founded in February 2025 at fourteen, spent their first year winning competitions, opening for established acts, and playing every serious doom stage the Austrian underground had to offer
Daughters of Darkness: ALUCARDA (1977)
Doom Cinema exists because certain films and certain music share the same blood. They were built in different rooms, by different hands, but they arrive at the same place: enclosed spaces, obsessive bonds, institutions rotting from within, the body as a site of punishment and desire. Alucarda is one of those films, and its roots run deep: Le Fanu’s 1872 Carmilla, Stoker’s 1897 Dracula, de Sade’s Justine from 1791, Goya painting his black visions onto the walls of a house nobody else was meant to enter. Director J.L Moctezuma drew from all of it, fed it through the Panic Movement, and came out the other side with something that belongs at the center of everything doom has ever been about.
Beyond the Doom: Darvaza – We Are Him (2025)
Released in December 2025 through Terratur Possessions, We Are Him is a visceral reminder of what happens when black metal is played with genuine, predatory intent. Omega handles every instrument with a level of focused aggression that bypasses the typical lo-fi murk, opting instead for a production style that is punchy and massive.