For over two decades, Hampshire's Witchsorrow have quietly built a reputation as one of Britain's most uncompromising traditional doom metal bands. Never chasing trends and never softening their sound, the trio have consistently embraced crushing riffs, occult atmosphere and the slow-burning heaviness that defines classic doom. After an eight-year wait since Hexenhammer, they've returned with what may well be their strongest statement yet: The Devil and All His Works.
Released through Church Road Records on 3 July 2026, the album immediately feels like the work of a band completely comfortable in their own darkness. Rather than reinventing themselves, Witchsorrow refine everything that has made them such a respected name in modern doom, while allowing a richer psychedelic edge to seep into the music.
Opening with the mammoth eleven-minute "Omnia Finiuntur," the album wastes no time pulling listeners into its suffocating atmosphere. Thick, lumbering riffs move with absolute confidence, while Nick Ruskell's unmistakable vocals sound more ritualistic than ever. Every note feels deliberate, every pause calculated to maximise tension.
Tracks like "Bacchus" and "Hades Chains" demonstrate just how expansive Witchsorrow have become. The latter even features guest vocals from Serena Cherry of Svalbard, adding another layer of menace to one of the album's standout moments. Throughout the record, there's a subtle psychedelic undercurrent that keeps the songs evolving without sacrificing the crushing weight that fans expect.
What makes The Devil and All His Works particularly impressive is its patience. In an era where many heavy bands chase instant gratification, Witchsorrow remain committed to the long game. Songs breathe naturally, riffs unfold gradually, and the oppressive atmosphere grows heavier with every passing minute. It's an album designed to be experienced from beginning to end rather than cherry-picked for individual tracks.
The record also marks the final studio appearance of longtime drummer David "Wilbrahammer" Wilbraham before his departure from the band, making the album feel even more significant within Witchsorrow's catalogue. His powerful, measured drumming provides the perfect foundation beneath the band's immense walls of guitar and bass.
Fans of Black Sabbath, Saint Vitus, Candlemass and Electric Wizard will naturally find plenty to admire here, but reducing Witchsorrow to simple influences would be doing them a disservice. By this stage in their career, they've carved out an identity entirely their own—one built on authentic devotion to doom rather than nostalgia.
The production deserves special praise, striking a fine balance between vintage warmth and modern clarity. Every instrument has room to breathe, allowing the album's colossal riffs to retain both weight and definition without descending into murk. The result is an immersive listening experience that rewards repeat plays, with fresh details revealing themselves each time the needle drops.
For doom metal devotees, The Devil and All His Works is more than just another solid release—it's one of the defining records the genre has produced in 2026. Witchsorrow haven't merely returned; they've delivered a masterclass in atmosphere, patience and crushing heaviness that reminds everyone why true doom remains such a powerful force.
Slow, sinister and utterly spellbinding, The Devil and All His Works stands as one of this year's finest occult doom albums—and one that deserves a place in every serious metal fan's collection.