Known for their unrelenting ferocity, they’ve carved out a unique space where aggression, atmosphere, and chaos collide. Devoured By The Mouth of Hell is the next logical evolution in their sonic assault, pushing their boundaries further into an abyss of noise and fury, all while sharpening their trademark savagery.
Building on the blistering success of their previous singles, such as “Enter the Flesh,” “Cleansed Existence,” and their EP Profound Morality, Heriot’s debut full-length does not hold back. Openers “Foul Void” and “Harm Sequence” prove that with a dizzying one-two punch, the first song being a powerhouse of groove with melodic touches, whereas the second’s a full-tilt metalcore rampage.
The listener is dropped into a maelstrom of crushing guitars, gut-wrenching screams, and pulsating industrial beats. There’s an undeniable Nails-like violence to the music, but Heriot differentiates itself with layers of murky atmosphere and a knack for creating moments of eerie calm amidst the storm usually stemming from the vocalising or riffs of singer-guitarist Debbie Gough heard best on “Visage” and “Mourn”.
Jake Packer’s guttural roars infuse yet more into the
album’s sonic palette which is vast yet punishingly consistent. Tracks
like “Opaline” and “Siege Lord” exemplify their ability to marry
bone-crushing heaviness with eerie, industrial undercurrents that invoke
a dystopian wasteland. The downtuned guitars and relentless drums are
perfectly in sync, creating a machine-like brutality. The dual vocal
dynamic is a key feature of Heriot’s sound, giving their music an
unsettling, multifaceted edge.
Lyrically, Devoured By The Mouth of Hell doesn’t
shy away from bleakness, as the title suggests. The album explores
themes of existential despair, societal decay, and personal torment,
tapping into a well of darkness that feels both contemporary and
timeless. On “Mourn,” Gough’s lyrics paint a picture of suffocating
inevitability, while “Foul Void” is a nihilistic scream seemingly
against the futility of existence. Heriot’s ability to weave
philosophical depth into their sonic chaos gives the album a sense of
weight that extends beyond its sheer brutality.
Elsewhere, the ambient and prog rock tones found in
“Opaline” and “Visage” still sound as raw and direct as ever, yet
there’s a refinement and delicacy on show too. In the mire of squalling
sludge and reverb-heavy feedback is a band pushing boundaries,
attempting to withstand the crush of hype and expectation around them.
It’s this attention that sees the band focus so intently on their craft,
meticulously honing their writing and working with producer Josh
Middleton to ensure every sonic element hits with maximum impact. Drum
engineer Justin Hill and Will Putney's mixing also amplifies and
coalesces the sound throughout incorporating everything from death and
blackened metal, speedcore, slowcore, ambient, intricate fretwork, and
pummelling industrial beats.
What truly sets Devoured By The Mouth of Hell
apart is the band’s willingness to experiment with structure and
texture. It’s a debut album that feels like a culmination of years of
honing while pushing their sound into new, harrowing territories. It’s a
record that fans of extreme music won’t want to miss, oppressive yet
diverse, a perfect soundtrack to the feeling of the world falling apart.
