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Wormphlegm > Tomb of the Ancient King > Reviews
Wormphlegm - Tomb of the Ancient King

A Testament to the Art of Doom Itself - 100%

Jwalsh9, November 16th, 2021

The tomb of the ancient king may just be my favourite doom metal album. It’s whole existence is shrouded in mist and intrigue. No one but the two band members themselves quite know what brought this album amongst the shambles of its own dyer existence into being. It almost seemingly came out of thin air with no foretelling on its release years after the band recorded its first demo ep in 2003. The mysterious nature on the band and this very album is no stranger to rumours and speculation, as was only bound to happen given the little foresight we have on this release. I care little for the rumours themselves, however the true tragic scope and obscurity of this project builds a level of interest and “other worldly-ness” to the very song structures and oddities this album is composed of. It is impossible to predict what sort of mysteries this album may hold.. only that it’s dark, morbid and seismically uncanny.

Side A (30 minutes) consists purely of just one track. On first listen, the pure scale of the first half of this album being only one song shocked me; even though I expected to be somewhat surprised considering the rumours that surround this release. While Doom metal (especially funeral doom) is no stranger to tracks that soar off well over 10 minutes, it very rarely has its first song being such a length. Especially when it’s only 30 minutes. One of the main striking points of this album is its cover. A mysterious king (that looks an awful lot like Yhorm the giant from Dark Souls 3) is siting alone besides a long dead camp fire, reminiscing his ancient kingdom fallen from times past as the skulls of his defied legion surround him, almost taunting his very miserable existence as a failed undead king to which the dark only extends unto itself. There’s many ways you can speculate on the album cover itself, which is perfect given the context on the ‘Tomb of the Ancient King’ and the very music that makes it up. There’s an unfound sense of timelessness and isolation oozing upon the contents of the cover, which only compliments the music even further. And as much as I can awe on the former presentation of this album, the music can speak for itself.

The riffs soar with edge and mystique throughout this 30 minute track. The tone for the guitars and bass is wired to perfection, allowing the instruments to pierce through the listener’s ears in enchanting glory. The drum work isn’t anything too spectacular, however it doesn’t need to be when the atmosphere the instruments creates defy all laws of musicality. It’s able to add a sense of balance yet at the same time instability within the noises that accomodate it, which is perfect for encapsulating a sense of dread and faultiness to its already well ruined core. In the album’s own ironic nature and twisted logic, past the soaring growls and screeching pessimism found among the vocals, there is a story to be told here. Even though it is impossible to properly decipher what the hell the vocals (if you would even call them that) are saying.

I highly recommend searching for the lyrics yourself as they are purposefully made obscure and difficult to comprehend, however my interpretation of the lyrics is feelings of isolation, rejection, powerlessness and wanting. Themes that are ever more so present within the actual music itself. I want go too deeply here, as the lyrics clearly aren’t the main focus of this album, however they are significant in understanding the inner meaning this album contains. A tribe is present through a forest, bounded by blood and spirit amongst a tomb that holds a king of some kind. There is almost no information given on the king other than the fact his dead. The tribe itself is likely given meaning and initiative by connecting to the ancient past that has forged the people that make up the tribe’s own soul and body. Cast asunder by an old woman (not exactly sure whats the symbolism behind her), the tomb itself and the king’s flesh is jeopardised amongst modern dictatorship. Meaningless roads and traffic is built in place upon the king’s own hallowed death all in the greater sight of unfound greed. I believe this to be a comment on the feelings of detachment on our past and how insignificant we as humans truly are, no matter how much power we may have had. The king has been rendered nothing but dirt at this point, however there are those that exist that have kept his spirit from forbidding itself. I believe the music itself is a pronounced statement on the king’s deterioration and his dying voice present in the form of this album.

It’s beauty and tragedy all displayed through two perfect forms of media. The album cover could be the kings former image waning away at the tomb that imprisons him as his ancient kingdom is edging closer to myth and doom as unnancounsts dusk goes by. The other two songs in the album have lyrics spoken, however either none of them haven’t been released. Perhaps this was an intentional decision; only as a terrible comment on the unfinished state of this album’s tale, or other poems the lyrics in the other songs may contain. The actual song writing on this album however, feels awfully tacky and undefined in many moments of this album. I think this actually benefits the album as it creates a sense of unease and adds to the further avant-garde nature that is present within many of the elements that possess the tracks in the album. Riffs are repeated several times - sometimes being altered or layered - and are also found to be present during the beginning and end of nearly every song. Some people may not like this decision, but I believe it only adds to the caving despair and separation of one’s senses this album brings amongst its listener. And while the riffs themselves are pure evil incarnate, they somehow manage to be catchy and memorable at the same time. I’m incredibly impressed how this band is so effortlessly able to draw me in and keep me invested through each of the three tracks. Not once was I un-captured by the mesmerising and binding scent the instruments somehow managed to hold.

Another dimension found in ‘The Tomb of the Ancient King’ is a synthesiser that is present within the near entirety of this album’s 61 minute run time. The synth work is easily the most insignificant instrument found within the album’s mix (aside from the piano used only two times), however it manages to add to the hellish atmosphere and intensity to each instrument. The production is absolutely perfect. It manages to be harsh, excruciating and hypnotising yet does not hinder the flow created amongst the song writing. In some points of the album, the tracks may actually distort and confine within themselves. This only speaks wonders to the album’s unique soundscape and creativity the two artists behind this project managed to behold. There are two main vocal styles - however they aren’t the only vocals found in the album. One which is high, and another which is low. Each used in accordance in conjunction to the tempos and noises that most effectively accompanies it. It’s difficult to do the vocal’s justice in this review. The vocals define the very idea of pain and anguish itself. The vocal performance is dynamically able to interchange itself with the mercilessly seeped melodies that surround it. It’s almost as if whoever is in charge of the vocals (presumably the king) is physically unable to come to terms with the hells-cape he’s bounded by, and each spark of desperation and inhumanity that make the vocal themselves are potent and unequivocal in each of the two band member’s stellar performances.

Each song has something unique going for it (examples being a gladiatorial crowd chanting in some parts of the first song or a riff so unearthly and avant-garde it almost feels like it shouldn’t be fitted into the same category of the other melodies heard earlier in the album being repeated several times in the near entirety of the last track) that aren’t found in the other tracks which only makes each song more distinct from the rest that allocates for a present story un-empathetically told in each song that’s impossible for mere mortals to grasp. This album is not your average listening experience. It demands the listener’s fullest attention as its contents slowly poison the very essence of whoever dares listens to it. What Wormphlegm was able to manage here is nothing less than a masterpiece. Something that I myself - who is fairly well defined in his personal musical journey’s knowledge and sensibilities - was awestricken by. It’s impossible to detail the mood and utter pitilessness this album was able to present itself. It feels almost as if a part of my very being has become permanently disjointed and antagonised by the sheer other-worldly feeling this album provoked, and I advice you or anyone who is even remotely serious about extreme music in general to give this album a chance. Though don’t expect it to be an easy listen, especially when inexperienced with this kind of “music”…

Utter Dark - 95%

igglyjubbo, February 16th, 2017

It is very rare that one will find an album that is crushingly packed with emotion and makes the head spin with dizzying possibilities. Equally as rare, are albums that can shift one's understanding of music as a medium. Rarer, is a gem that can do both.

Ladies and gentlemen, meet Wormphlegm's masterpiece in macabre, "Tomb Of The Ancient King". Absolutely overflowing with malcontent and hatred, this hour long slog comprises just three songs, each as gruesome and bleak as the last, although my personal favorite is "Epejumalat..." While this is described as funeral doom, I find it is in a whole league of it's own in terms of grimness and seething hatred. The picture on the front conjures a fairly good picture of this album: Dark, lonely, cold, distant, and empty. I still haven't had the courage to listen to this album absolutely alone, in a good, dark setting in the cold. Perhaps a cemetery mid-winter. I am simply terrified I will attempt to take my own life with this blasting at full volume.

I realize this may sound like a lot of hype to fall on this album, and I for one detest hype. I will describe the sound plainly from now on, but I suggest you pull this album up on youtube and listen as you read.

I think this has a sort of nightmarish texture to it. Distant, but real. Kind of sucking you in deeper and deeper. I'm not sure why exactly, I've never considered myself a musician, but a dreary dream-like feeling can be best associated with this work. The vocals sound inhumane. I mean just tortured and strangled. It is easy to believe the rumors that this band really did self harm while producing this work. The guitars push along at a slow speed, faster than most funeral doom, but not quick enough to be considered anything but. The riffs just plow along slowly, minding their own business I suppose, treating the listener with indifference, not caring if you like their ugly, emptiness. Making you feel insignificant, small. Worthless.The drums are also very slow. Crashing away in the background. Complementing the vocals and guitar. Mainly the vocals. They are the main part in any case. The screams, as I stated previously, are absolute insanity.

This album is best enjoyed in a cold cemetery, alone at night during a particularly depressing time in your life. Keep all sharp objects away.

Ethereal resonance - 85%

The Infamous Bastard, November 20th, 2013

I have always taken Wormphlegm as a very special band with its ability to create equivocal, surreal music. The intensity that their music creates and their capability to create something of a mental terror with their epic long and comprehensive songs have shined throughout their short lifespan. Tomb of the Ancient King is comprised of three songs, all extending beyond usual lengths, and which greatly define the band's tendency to bring dark demonic fantasies to life through aural medium.

The sound is dirty. The sound is grim. The sound is barbaric. The tracks progress devastatingly slow, heavily athwart the chambers of evil, immersing a listener to the larger dimensions of gloom and distress. The intention of this album is clear – to give a nightmarish pleasure, driving a listener to a terrifying voyage to the ethereal, and it does fulfill that purpose. The atmosphere is fittingly generated with the wickedly crafted instrumentation alone – the guitar riffs exploring the unorthodox arenas of blackened funeral doom metal songwriting, and the vocals penetrating the ambiance with a permutation of intermittent growls and melancholic throat-ripping screams. The songwriting, in addition, is veiled by experimentation to a notch, inviting concoction with unconventional riffing patterns and lead guitars.

The harsh, dark music has unusual but well-built song structures, each portion of a song contributing as a fragment to the larger picture. That's how the album has kept its stamina and preserved the climaxes throughout the exhausting track lengths. One of the facets which may come with a surprise to most funeral doom purists is the tone of the guitar – the tone being rather sharp and higher than the usual doom adherents, but which still embarks the heaviness.

Tomb of the Ancient King is one of the most insane albums ever written of any style. Finnish death/doom metal for me is always a win, and this one takes you to the most horrendous and lurid ride like none others. Too bad they disbanded way too early!

Abandon all hope and sanity ye who enter! - 89%

Tomb_of_Cunt, March 15th, 2013

Just like “Death – Pierce Me” of Silencer, albums by Bethlehem and Shining, this album is certainly not to be taken lightly. Take this lightly and you might just burn your fingers. This band delves into the darkest abyss of the subjective subconscious and explores the unexplored fringes of the shadows. From the very first time that I listened to this, I could hear the deep sincerity and the genuine pain. The guitars alter between the typical ultra-slow riffs that we find in drone and funeral doom and more high pitched parts that are masterly combined to construct a solid piece of music.

The vocals are very intense and painstakingly honest. It ranges from deep growls that almost sound like the devil awakening from a deep slumber, to torturous screams that sound like it’s coming from a medieval torture chamber. The first track, which is a raw and torturous 29:15 long, embodies a very strong metaphysical dimension. When you take a look at the lyrics, you will see that it is basically a list of the names of false Finnish gods. In light of this it is almost as if the metaphysical dimension of this album is addressing an ancient battle between the two opposite poles of the afterlife. This dimension is such that it cannot really be described in words.

The general aura of the music is perverse. It conjures up a storm of struggling trauma that is painful beyond belief. Whereas the first track is much more universal in the sense that the metaphysical is directly addressed, the rest of the album is much more on a personal, existential level. The drums form an integral part of the music and are definitely not just used to provide a rhythm. The drumming is almost hypnotic and contributes to a very ritualistic feeling.

In general it is very difficult to sum this album up – I would describe it as a very sincere piece that rips your soul apart, throws it somewhere in a dark corner of an insane asylum and then vomits on your grave. This is anything but easy-listening and I wouldn’t be surprised if this album has traumatised quite a few listeners. This is brutal, filled with unimaginable pain, this is non-conformist in the true sense of the word ...this is true art!

Funeral Doom with Black Metal Sensibilities - 76%

Charcaroth, June 24th, 2011

Wormphlegm's "Tomb of the Ancient King" isn't bad, it's actually pretty good, but it's still overrated as hell.

What we have here is funeral doom with the sensibility of black metal. Specifically, we have the snail's pace, guttural vocals, crushing, droning guitars, and the desolate, miserable atmosphere of funeral doom, mixed with the cold, bleak spitefulness, and the ambient, low rent sonic aesthetic of primitive, "kvlt" black metal. A fairly interesting combination, and they execute it well enough.

The production on the other hand, while adequate, is a little hard to get used to at first. Purists of either doom or black metal may have trouble dealing with the sound of this album, as it tries for a kind of compromise between a funeral doom and a black metal production, wherein the guitars and bass are thinner and less "crushing" than any doom fan will be used to, and the sound is also less cold and "spiky" than most black metal fans are used to as well. This basically requires the listener to simply focus on the material itself, and accept it for what it is, and the production will sort of fall into place, bridging the gap between the two styles well enough to allow the material to stand on it's own. Oddly, each of the three tracks sounds a little different, as if they were each recorded or mixed a little differently, and the final track, "Return of the Ice Age and the Tortyrant" seems to have a thicker, more atmospheric, "doomier" sound than the other two.

As much as was made about how sick and fucked up this material is, I was hoping for something truly heavy and disgusting and horrifying in the realm of funeral doom, but no dice. just imagine the more desolate, suicidal funeral doom you've heard, toss it in a blender with some good, cold, scathing old black metal and that's the vibe. It's interesting and it's enjoyable. It'll black out the sun pretty well and create a uniquely bleak and dark atmosphere, but once again, damn the hype for raising my expectations excessively.

If you're a big fan of both funeral doom and black metal, you should probably get a listen to this.

"Torture Doom" is all too perfect of a label. - 91%

Apatheria, August 7th, 2009

As crushing and oppressive as some funeral doom can be, Wormphlegm goes beyond the confines of the word “oppression” and gives us one hell of a diseased album. On the exact opposite end of the spectrum from typically mournful funeral doom, Wormphlegm’s music is abysmal, plague-ridden doom that oozes menace and hate. This is a band out to usher in the end times of this wretched world with their music. Influences from doom titans like Esoteric are obvious, but whereas Esoteric ascends into psychedelic territory, Wormphlegm lurks below ground, in the deepest, murkiest sewers, at home amongst the filth.

They’ve been described as “torture doom”, and I can think of nothing more appropriate. The first track, “Epejumalat monet tesse muinen palveltin caucan ja lesse”, begins with a brooding piano intro that finally explodes into the torturous riffs and sickening vocals that comprise the rest of the album. Sonic leads soar above funeral riffs and agonizingly slow drumming, while the most unholy of all grunts and gut-wrenching shrieks constitute the vocals, with a morbid chant thrown in for good measure. And it’s altogether too easy to be lured in; soon you’ll be intoxicated in the filth, and find yourself headbanging to one or two riffs that have a classic doom groove to them, despite the music’s crushing atmosphere. By the time this 30 minute epic comes to a close, you’ll crave more.

The title track picks up right where “Epejumalat…” left off, initially favoring a stronger melodic approach than the previous track. Of course, the vile melodies coupled with the agonizing rhythms hardly paint a pretty picture; rest assured, the album’s filthy approach is still very much at work on this track. However, nearing the song’s end point, a monotonous passage seeps into the mix that numbs your senses, almost delving into a nihilistic approach as the vocals become darker and deeper than before.

The nihilistic approach continues into the final track, as the music contorts into something even filthier than before; the vocals sound more nauseating, the melodies sound more sinister, the rhythms become uglier. It feels as though you are descending deeper into the nightmare the album has created as the song continues to weave its web of inescapable madness. The guitars begin to grind their way into your psyche, in an attempt to break it down entirely. This isn’t just the soundtrack to madness anymore. It’s now the soundtrack to your own personal Hell.

The music isn’t overall very complex, as is typical in funeral doom, and the musicianship is nothing spectacular either. But it doesn’t need to be. Funeral doom has always been a genre that emphasizes atmosphere above all else, and in that regard, Wormphlegm has exceeded expectation. It’s interesting to note that because these guys are so evasize, little is known about them. I suspect that they are the same two men responsible for Tyranny, another brutally heavy funeral doom band, who are also from Finland, which strikes me as remarkably coincidental. Regardless, as rare as Wormphlegm is, they are well worth seeking out.

Originally written for: http://circleofdestruction.net/wp/

harsh, powerful and unparalleled in recent years - 90%

stonetotem, June 19th, 2009

Wormphlegm are a Finnish doom metal duo often described as funeral doom, although I think of them as just strange and original doom without any of that depressive/suicidal and moody junk (when a basic distinction doesn't quite fit, calling something "extreme doom metal" is good enough). "Tomb of the Ancient King" is their first album, which was long awaited after their highly praised "In an Excruciating Way..." demo in 2003. The album is certainly an improvement and a more realized and full effort, and perhaps the best doom metal album of the decade.

It should be mentioned up front that this is agonizingly sluggish and painfully abrasive doom and is only suitable for those who are familiar with the genre's most extreme bands, especially those fitting in with the "drone doom" subgenre (Moss, Otesanek, Khanate, Teeth of Lions Rule the Divine, etc). The album is three tracks and over an hour long, with the opening track clocking in at nearly a half hour in and of itself. For many this is a warning sign for tedious, boring and unimpressive doom that's not really worth the effort to listen. On the contrary, this album maintains its harshness and intensity for its complete duration.

Wormphlegm's style is comrpised of mega-sluggish, intensely heavy, harsh and dark riffs and chilling leads crawling underneath pretty much constantly. The tone of the guitar isn't particularly low end or full-sounding, but slightly higher than usual and more grating tone adds to the overall harshness of the sound. The leads are slow moving eerie melodies that really accentuate the mammoth filthy riffs. They chillingly squeal and work excellently in the extremes of low and heavy and high and piercing. This same relationship is seen in the dual vocal performance, trading off between low death metal grunts and super high torture screams. The vocal performances are absolutely excellent. The grunts are just puked out with a vile harshness and intensity, followed by torturous screeches and working into the general theme of torture and pain employed by the group (that may seem corny, but you gotta listen to the stuff to know what I'm talkin' about). The drums plod and smash along and are played relatively well. Don't expect an amazing performance, but you gotta give the guy some credit for having to play for a half hour nonstop for one song (even if they did loop the drums in the recording, these guys have played live). As is typical with snail-paced doom, the main function of the drums is to bash something when a chord is first struck and add to the primitive violent sound. At times I'm reminded of 90s doom masters Esoteric (the chilling constant leads and overall oppressive and torturous atmosphere) and other 90s greats that laid the foundations for maniacs like these.

Another important aspect of Wormphlegm is the structure and composition of the songs. Unlike many of the bands associated with drone doom, they never resort to lengthy sections of chords just ringing out and semi-improvisational bits. Every minute of the music played properly, on time, and almost moving like movements within a much larger piece. They have been criticized by some for basically using the same structures, doing an opening riff, repeating it later with some alterations, and ultimately bringing back the first section to close the song. I think this circular way of composition actually adds to the atmosphere and feeling of the music. When that first riff in the opening track comes back again after almost 30 minutes, it just sounds all the more intense (although some people would just be relieved that they actually made it through a 30 minute song without falling asleep or diverting their attention for a great deal of it).

Wormphelgm are a filthy, disgusting and harsh doom metal band and certainly my favourite of the past 10 years. They lie on a polar extreme in the genre playing intensely slow abrasive shit and employing some of the most wretched riffs, vocals and overall composition I've ever encountered. Unless you're a total doom freak such as myself I doubt you'd have much interest in sitting through this hour long perverse monstrosity. For fans of the most sluggish and extreme doom, so slow it must at some point be deemed "drone" (played so slow they let a tone ring out for a really really long time), this is just what the doctor ordered. However, even among dedicated doom metal fans this kind of stuff isn't always appreciated. I'd describe it as a personal favourite for that reason, as it has most of the qualities I look for in modern doom and a lot of originality and bizarreness to boot, but it isn't everyone's cup of tea. Get it now if you're ready for a putrescent sluggish onslaught, or don't if you'd prefer something a little more listener friendly.

Suffocating torture and evil. - 99%

Bart, July 22nd, 2008

"Tomb of the Ancient King" by Wormphlegm literally takes no prisoners. It's has to be one of the most evil, torturous and suffocating funeral doom records I have ever heard. The stench of death and decay reeks from this hideous album. This insane soundtrack to hellish torture and butchery contains only three compositions. The opening track "Epejumalat Monet Tesse Muinen Palveltin Caucan Ja Lesse" is a 30 minutes long sonic nightmare with incredibly heavy guitar riffing, powerful sound and truly unsettling mood. I can tell the same about two following shorter tracks "Tomb of the Ancient King" and "Return of the Ice Age and the Tortyrant". One thing needs to be mentioned: absolutely nerve-wracking and repulsive vocals by Maggotworm Incinerator Abscess and Grubgorge Pestilent Diarrhoeator. Agonizing shrieks of torture and deep growls sounding like the echo from bottomless well. They bring fear and misery, they bring utter devastation of psyche. As an avid funeral doom enthusiast I'm always looking for the most painful and depressing musical acts and Wormphlegm easily tops them all. Can't wait for the new album of those two Finnish gentlemen... Bring me more sonic torture and pain, please!

Favourite tracks: all three, but I listen to "Return of the Ice Age and the Tortyrant" most often.

Absolutely Insane - 100%

Sargon_The_Terrible, November 12th, 2007

This album is just insane. Wormphlegm is a side project of the guys from Tyranny, only Wormphlegm are like the dark side of Tyranny - a statement that only shows just how utterly merciless this album is. I thought Tyranny's Tides Of Awakening set a new bar for heavy, crushing, pitiless Doom, but I had not yet heard the glory that is Tomb Of The Ancient King, which is Doom so slow, so heavy, so evil it flattens everything in its path.

Imagine the heaviest, most crushingly slow Funeral Doom you can conceive of, then imagine the album your imagined music would flee from in abject terror – you'll be close. Wormphlegm take the Thergothon worship of Tyranny in an even darker, more hideous direction by adding a gut-wrenching guitar tone and vocals that alternate between an agonized bellow and an even more agonized scream. The 'opening' track is a ball-crushing 30 minutes of orchestrated inimical destruction that amply shows off the fact that the guys responsible for it are utterly out of their minds, not to mention brilliant. Wormphlegm avoid the 'plodding' trap by employing chord progressions that build tension rather than resolving it, and they use silence like a wave-trough to set you up for the next riff to slap you down. There are no keys here, no female vocals, no catchy melodies, just an aeon of Doom-fueled misanthropic destruction. There is an aura of slavering hatred suffusing this album, bringing an almost Black Metal atmosphere and seeping feel of wrath rather than despair. If you avoid Doom because of the depressing lyrics, then this malevolent, child-murdering album is just what you need.

Wormphlegm are kvlt as fuck, as I am not sure their label really even exists, and their webpage is famously unhelpful, so you will not have an easy time finding this fucker. But if you want to hear the best fucking Funeral Doom album this year, do whatever you have to do to get Tomb Of The Ancient King.

I don't know that worms actually have phlegm - 56%

Cheeses_Priced, March 25th, 2007

This is one of those bands that has such a gravity well of hype surrounding them and whose releases are so rare-yet-sought-after that I'm much too cynical in advance to be disappointed in retrospect. I mean, if you've only heard about the band and haven't gotten around to buying their album downloading their mp3s, have a bit of sense and try to keep your expectations grounded in reality.

But how good are they, actually? My first impression, after hearing their first demo tape mp3, was “not very”, and my first shot at this album didn't improve my opinion much, and to be totally honest I'd have written the band off quite a while ago if not for the vain hope that so many people can't possibly be quite that wrong. I've about had my fill of primitive simplicity and all these assurances that you have to listen to the feeling and not “just” the music are not very convincing: the feeling that music creates does in fact come from its sound, you know, and I do usually want something more from music than something depressing-sounding and repetitive to wallow in. Art's not just about airing out one's misery as loudly as possible, I hope: it would be peachy if there were some eloquence or articulation.

It's taken multiple listens but I'm beginning to appreciate the more subtle elements at work here. Oddly enough, minimalistic music usually turns out to be all about variation, if it's even the slightest bit good, but instead of being totally varied only small bits and pieces get changed a little bit at a time... so it might seem like Wormphlegm are just hammering away at the same old funeral doom riff for the trillionth time, but no, now you'll notice there's a little tremolo in the guitar and the drums have changed a bit. That doesn't sound like much, but the point is more to explore all aspects of a certain atmosphere, accomplished by shifts in the different layers of sound. They haven't come here to entertain you, per se.

I'm beginning to get to the point that I'm almost liking this, sort of, at least at moments. Here are a couple of tips for enjoying Wormphlegm, drawn from personal experience:

1. Night listening is better; being tired seems to help as well. 3:00 A.M. or thereabout is probably the ideal time.

2. Total isolation is a necessity, obviously. No one else should be within earshot.

3. It's true that you'll only get out of the music what you bring to it, so try exercising your imagination a bit.

4. I'm split as to whether or not you should listen to it in the background or give it your full attention. The music's a bit thin for keeping one's attention at points, to be honest, but then again you've really got to focus your mind on it to feel it properly.

I'm sick of trying to get into this, though. Would I be seriously “not getting it” to point out the fact that the band seems awfully fond of using riffs with very similar rhythms and melodies, and that the main riff from the first song sounds pretty much like the one from the second song which sounds a lot like the demo? Or that they're pretty attached to playing in 4/4 and at a particular tempo? You're not supposed to have to try to like music, anyway.

Pain has never sound so good! - 100%

Legitimate, March 13th, 2007

This album is truly a masterpiece. If not much of a Funeral Doom listener, this album might appear a bit too hard to swallow, at first. The dark and mysterious atmosphere of this album is almost hypnotizing. The drums and guitars are very straightforward, but it adds on to the rawness of the production. The screeches are loud and powerful almost painful, again adding to the dark atmosphere.
The album starts out with “Epejumalat Monet Tesse Muinen…” which is a 30 minute track. Church bells are heard in the beginning and than at around 2:25 the slow and heavy drums and guitars kick in along with screeches which continues on, until about 16:50 where it changes its pace and becomes slightly heavier. Eventually it gets back to its original pace at around 26:01 and follows through. The track ends with the church bells, which it began with in the beginning.
The next track, “Tomb of the Ancient King,” just starts out powerful with the drums coming in first than the vocals and guitars. It changes it’s pace at around 6:27, picking up the speed just a little bit in the drumming, than goes back at around 7:20 to it’s original pace. The vocals are very prominent, along with the drumming and towards the end it emulates that of a heart beat. One can really feel the hate, ugliness and the evilness that the band portrays very well in this track.
Than the album ends with “Return of the Ice Age and the Tortyrant,” and once again very moving atmospheric track. The track goes on just like the other two -- powerful heavy guitar stringing and drumming with a touch of deep and heavy vocals.
If you’re looking for soul crushing Doom, this is the band for you. However, it is an acquired taste, therefore, may take a few listens before one can actually appreciate it. Though the drumming and guitaring are very simplistic, it is combined and done very well. Fans of this kind of music should definitely check out Senthil, another Funeral Doom act, which is very similar to Wormphlegm.