{"id":232526,"date":"2026-03-04T17:57:46","date_gmt":"2026-03-04T16:57:46","guid":{"rendered":"https:\/\/www.angrymetalguy.com\/?p=232526"},"modified":"2026-03-04T18:21:42","modified_gmt":"2026-03-04T17:21:42","slug":"temple-of-void-the-crawl-review","status":"publish","type":"post","link":"https:\/\/www.angrymetalguy.com\/temple-of-void-the-crawl-review\/","title":{"rendered":"Temple of Void – The Crawl Review"},"content":{"rendered":"

\"\"Detroit’s death-doom institution Temple of Void<\/strong> had an interesting journey over their 12-year career. Their 2014 debut split the baby between 90s Peaceville doom and nasty death metal like Asphyx<\/strong> and Bolt Thrower<\/strong>, and the end product was heavy as fook. 2017’s Lords of Death<\/em> shifted toward death metal without losing any of the crushing, venomous intensity. It wasn’t until 2020s The World That Was<\/em> that Temple of Void<\/strong> really started experimenting with the scope of their sound as influences like post-metal crept in. When 2022s Summoning the Slayer<\/em> arrived, it seemed like the band was losing the plot, as their sound became overly pared down and simplistic, causing tedium to set in. That brings us to their fifth album, The Crawl<\/em>. With a new bassist in tow, the band stated that they set out to write a heavy record without regard to how many death or doom influences were included. In that pursuit, they’ve expanded the scope of their sound to include elements like grunge and Goth for greater dynamism and diversity. Will that be a boon or bane to those who just want another ball-busting, skull-crushing death-doom platter?<\/p>\n

I’ll give Temple of Void<\/strong> some credit for spicing up their recipe this time out. Opener “Poison Icon” is a hard-rocking death-meets-stoner-doom meat paste that’s bright and upbeat while managing to remain pretty damn heavy. There’s a rowdy urgency to the riffs that doesn’t fit neatly into death or doom camps, and the segues into hard rock stanzas with guttural death vocals over the top remind me of various melodeath Rogga products and the recent works of Hooded Menace<\/strong>. It’s not the nasty Temple of Void<\/strong> that I long for, but it’s entertaining nonetheless. “Godless Cynic “moves into darker, more grotesque death-doom territory with riffs that slither and snake all over, and when teamed with really hostile death vocals, things feel threatening and dangerous. It’s one of the album highlights, and it reminds me of the long-forgotten, criminally underrated Dutch doom band Another Messiah<\/strong>, which is a win in my book. 1<\/a><\/sup> The title track is classic death-doom designed to pulverize and pummel. It does the job well, and the riffs are grisly fun as they swing from death stomp to doom plod.<\/p>\n

Things also heat up on “A Dead Issue,” as discordant leads and eerie keyboards conspire to create an ominous, unsettling soundscape. The dreamy, ethereal guitars that weave in and out add another layer and make for a dynamic listen. The 7:41 closer “The Twin Stranger” is ferocious, with huge riffs dropping from the sky like spiked anvils. There’s enough forward momentum tank chugs to recall the glory days of Bolt Thrower<\/strong> and the pacing keeps the song from feeling as long as it is. Not every track is as successful at world-building, though. “Thy Mountain Eternal” attempts to cram an epic Viking metal element into the death-doom foundation, but ultimately ends up sounding more like recycled Omnium Gatherum<\/strong> than Ereb Altor<\/strong>, and at just under 7-minutes, it drags on too long. At 41-plus minutes, The Crawl<\/em> is just about the ideal length for this kind of fare, and though there are moments of bloat to be found, most of the tracks are fairly fit and spry. The production gives the guitars enough raw power to intimidate, and those death vocals will shake the molars out of your head.<\/p>\n

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The Temple of Void<\/strong> edifice is highly reliant on the riff firepower brought to bear, and Alexander Awn and Michael Erdody bring enough explosives to flatten a small city. Yes, they dabble in outside influences, but this is a death-doom album at heart, and the bulldozing leads aim to harm. The rock, Goth, and other outside elements decorate the riffs, but they don’t replace the hammer and axe. There are many hook-tastic leads and smoking solos to absorb, and the diversity keeps things from feeling like a monolithic slog. Erdody’s large-scale death roars are highly effective, and he keeps things heavy no matter what genre the guitars decide to visit. It’s really the writing that elevates The Crawl<\/em> beyond what was heard on Summoning the Slayer<\/em>. This is a much more ambitious, adventurous outing, and it sounds like the band felt more confident and free to develop their sound this time out.<\/p>\n

I came into The Crawl<\/em> concerned that Temple of Void<\/strong> was going to evolve right into an early grave, but the material here is full of life, liberty, and the pursuit of the best bits of death and doom. There’s variety and inventiveness, but it will still flatten your ass regularly. I doubt they will ever give us another Lords of Deat<\/em>h, but this ain’t so bad in its stead. Visit the newly renovated Temple<\/strong>.<\/p>\n