Tag Archives: Slow

A Guide To The Glorious, Miserable World Of Funeral Doom

funeral doom

Illustrations by Funeral French

Although the seeds of heavy metal’s many subgenres were planted in the 1980s, the early 1990s saw death metal, black metal, grindcore, and more blossom into quests for maximum extremity. Somewhat counterintuitively, doom metal experienced a similar moment of seemingly accidental intensification in the early ‘90s, when a number of bands with death-metal roots began deconstructing that genre by taking the bedrock principles of doom—slow, dark, and heavy—to their natural endpoint. It is from this context that funeral doom was born.
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Meet Markov Soroka’s Tchornobog, the Self-Devouring Extreme Metal Monster


Photo by Nona Limmen.

The mind of extreme metal musician Markov Soroka seems to be a self-contained multiverse. Sometimes, when an artist is involved with a myriad of different projects, it’s easy for the wires to get tangled, and soon one band starts sounding an awful lot like the other. But Soroka’s three primary ventures not only retain unique sonic identities, they have narratives all their own. From Aureole’s cosmically atmospheric black metal to the waterlogged funeral doom of Slow, there’s a whole universe of sound separating his various ventures. Somewhere between sky and sea is the distinctly earthen and timeless death metal fury of Tchornobog, which slithers through every extreme metal style without sacrificing an ounce of classic death metal ferocity. Whether operating at a hideous crawl or an explosive frenzy, the self-consuming chaos of Tchornobog’s self-titled debut is built to instill fear.

The fusion of melancholic melody with monstrous atmosphere makes for a perfect soundtrack to self-loathing and ugliness. Instead of turning this disgust inward, Soroka has created a beast of his own disgust, and made that beast the project’s namesake. When asked about the emergence of Tchornobog, it became clear that the music is a direct reflection of Soroka’s own mind. We traveled together through synesthesia and trauma and the interdependence between art and artist, which is embodied directly in the form of the Tchornobog itself.

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