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To the casual listener, VÖLUR might 'just' appear to write great doom songs with an avant-garde approach using elements from folk, classical music and free jazz. Those delving deeper into InchDeath CultInch will discover a singular dark world where ancient ritual becomes modern angst, a violin has replaced all guitars, and a multitude of fascinating lyrical and musical discoveries awaits. The third full-length of the Canadian trio from Toronto was partly inspired by a suggestion of human sacrifice that Tacitus relates in his book InchGermaniaInch. According to the Roman historiographer, the Germanic tribes of the Baltic Sea worshipped the earth goddess Nerthus by a mysterious ritual that ended with the drowning of four slaves. InchI came to the realisation that this sacrifice to some never answering deity is a repeating cycle of people doing something that does nothing to solve real problems and only leaves dead people behindInch, explains VÖLUR vocalist and bass player Lucas Gadke. InchThis makes 'Death Cult' probably the closest thing to a political album we will ever come up with. It is basically a lament for all the destruction, the burning, and gnawing away of this planet's natural environment. Again, humankind appears to be stuck in a futile vicious cycle until it is too late.Inch The theme of a lament is running through the musical side of InchDeath CultInch, which is denoted by outbursts of anger, moments of melancholy, and audible despair. Although VÖLUR clearly fit into the doom metal mould, they connect to a far broader soundscape. Folk or traditional music playing an important role as exemplified by the violin replacing guitars, but the Canadians are equally at home in contemporary genres. While staying true to the folk doom style that the trio introduced with their debut EP InchDisirInch (2014) and expanded on the first full-length InchAncestorsInch (2017
