Temple Witch‘s sophomore album, Ocean Thousand, Mountain Thousand, represents a formidable offering in the doom metal landscape, fusing crushing riffs with ethereal, often sombre melodies to create a deeply immersive auditory experience. This American trio, composed of guitarist and vocalist Andy Russell, bassist Jacob Jones, and drummer Jacob Wherley, delves into profound themes of personal loss, existential confusion, and philosophical growth, making for an album as introspective as it is heavy.

From the opening notes of the semi-titular track,  Ocean Thousand, Temple Witch sets a grave yet majestic tone. The song’s long, resonant chords and atmospheric layers immediately envelop the listener, creating a sense of vastness akin to the album’s namesake. The influence of doom titans like YOB and SubRosa is palpable, yet Temple Witch manages to carve out their unique sonic identity, blending their inspirations with their distinctive approach to songcraft.

Knew It Once follows with a more structured and riff-centric approach. Here, the interplay between Russell’s guitar and Jones’s bass is particularly compelling, each instrument weaving in and out of the other’s path, building tension and then releasing it with expert precision. Wherley’s drumming, while comparatively restrained by modern standards, provides a solid backbone, ensuring the track remains anchored amidst its expansive soundscape.

The album’s thematic core becomes more apparent in This Too Shall Pass, a track that explores the transient nature of suffering and the inevitable march towards change and growth. Russell’s vocals, though often submerged in the mix, carry a haunting quality, imbuing the lyrics with a sense of weary resolve. The slow, deliberate pace of the song mirrors the contemplative journey it describes, drawing the listener into a meditative state. Fans of Tool will enjoy the yearning desperation evident in this track.

Chase Tigers Away continues the good work, developing from a sparse, darkly foreboding intro section before transmuting into a lurching tour de force of doom, with sheets of pure black falling from Russell’s guitar and turning everything they touch to utter despair. This is counterpointed by the fragility of Russell’s vocals; together these elements form a harrowing yet strangely uplifting noise that really needs to be heard to be truly appreciated.

The penultimate track, Other Things, takes a turn towards the ethereal, with Russell’s plaintive acoustic guitar work painting fragile strokes against a near-ambient backdrop that evokes a sense of otherworldliness. This track stands out from the rest not only because it signally lacks the sturm und drang to be found elsewhere but also because of the beautiful arrangement and vocal interplay that is redolent, strangely, of American alt.rock Titans Hüsker Dü.

Motion closes the album on a semi-poignant note, its sombre melodies and introspective lyrics encapsulating the journey that Ocean Thousand, Mountain Thousand represents. The track’s gradual build-up to a cathartic crescendo mirrors the album’s overarching narrative of facing and overcoming personal trials, and features Jones’ best playing on the album. As the final notes fade, the listener is left with a sense of resolution, yet also a lingering awareness of the cyclical nature of struggle and growth.

Ocean Thousand, Mountain Thousand is not merely an album; it’s an exploration of the human condition, a philosophical odyssey set to a backdrop of doom-laden riffs and haunting melodies. Temple Witch has succeeded in crafting a deeply resonant work that speaks to the universal experiences of loss, confusion, and the relentless pursuit of understanding. For those willing to delve into its depths, this album offers a richly rewarding experience, cementing Temple Witch’s place in the modern doom metal pantheon.

One Thousand, Mountain Thousand releases on August 3oth.