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2LP on 180 gram vinyl in heavy board gatefold jacket.

For years, if not decades, Heavy Metal’s heaviest sub-genre known as Doom Metal has been something of an enigma, generally ignored by the metal masses, its flames kept fanned by a mere handful of cave-dwelling enthusiasts that fully understood its emotional depth and beauty. With this in mind, it was almost inconceivable that it would become as widely acknowledged and appreciated as it is today. Since recent times the term ‘Doom Metal’ is used almost as commonly as any other form of metal, and while many trends have come and gone, Doom never went away.
Now that it is a more commonly-accepted genre, it has typically led to an abundance of bandwagon jumpers coming to the funeral. Using as much copy and paste occult paraphernalia possible can’t disguise the fact that they’re not genuinely into the art, or in fact particularly that great.
Witchsorrow are a prime example of a band unaffected by this Johnny-come-lately approach and play their pure and epic non-pretentious brand of Doom Metal straight from the heart. If their self-titled debut suggested that, "God Curse Us" confirms it across almost an hour of unsullied doom.
Recorded by Chris Fielding at Wales’ ultra-remote Foel Studios (Electric Wizard, Primordial, Hawkwind), "God Curse Us" is an album that brings the dark spirit of ’70s Sabbath forward to the future. Capturing the dark essence of classic doom: heavy mournful riffs, oppressive atmosphere, bleak sinister vocals and full-power metal freakouts, there’s no mistaking it for anything else.

"Some of the best moments on British trio Witchsorrow’s second album, God Curse Us, come when the band is lurking. As on the quiet stretches of “Megiddo,” the Saint Vitus-style string-benders have an appeal of their own, but that’s only bolstered by the creepy ambience and the prevailing cultish mood the three-piece creates on the album, which is released on Rise Above. That mood could derive in part from Electric Wizard, as much doom seems to these days, but there’s an underpinning of early Cathedral-style traditionalism that makes God Curse Us a less stylized and more straightforward outing. That works to the advantage of the songs, since although they vary in pace enough that the nine-minute “Masters of Nothing” feels downright antithetical to the upbeat “Breaking the Lore” later in the album the mood that prevails is one of gray defeat. Together with bassist Emily Witch and David Wilbraham, Ruskell crafts a doom that is obviously aware of its roots: he is a writer for Kerrang as well as guitarist/vocalist here, and he seems to be sincerely creating something truly individual. For traditional doom, that’s about as much as you can ask and still hope to keep that “traditional” part intact. As the closer “Den of Serpents” enacts its psyche-devouring madness-swirl build to round out the album, Witchsorrow aren’t so out of league with some of what their countrymen in The Wounded Kings have been able to accomplish over the last several years, taking otherwise familiar elements and putting them to use in fascinating new ways. If not for the utter despair of the thing, you might even dare to call God Curse Us somewhat enlightened, at least in a conceptual sense. Maybe that’s a little strong, but it’s not easy to make traditional doom sound fresh, and for the most part, Witchsorrow do that on God Curse Us, reveling in drear and overarching miseries with little to no letup sonically." - The Obelisk

01. Aurora Atra
02. God Curse Us All
03. Masters of Nothing
04. Ab Antiquo
05. Megiddo
06. Breaking the Lore
07. Den of Serpents