Review: Heriot – Devoured by the Mouth of Hell

A few bands may come to mind when you think about the current British metal scene. Perhaps you think of the melodically crushing Sleep Token? Or the technical mastery of Architects? Maybe even the boundary-smashing mammoths Bring Me the Horizon. If you thought of every or any of those bands, then you’d be correct. However, there’s a band that everyone needs to now add into the mix – the brutal, doomy metalcore of Swindon’s finest metal export: Heriot.

Ever since the release of their Profound Morality EP in 2022, the band quickly turned from metal’s best-kept secret to metal’s worst-kept secret; vastly becoming more and more popular with every festival appearance and support act slot that they play, be that at Download, Slam Dunk, Hellfest or Bloodstock, to name just 4. And now, here we finally are in 2024, with the release of their debut album Devoured by the Mouth of Hell – an album that, just from the title alone, should be enough to give away what the following 10 tracks will be like. When I first read that it was recorded by Josh Middleton (Sylosis, ex-Architects) and mixed by Will Putney (Fit for an Autospy) too, I knew it would be a beast of a record. It’s been a long time coming, and it’s safe to say that it was DEFINITELY worth the wait.

The opener Foul Void starts slow and suspenseful, with some menacing-sounding ride cymbal hits to build the anxiety levels up. Then the tension breaks when vocalist/guitarist Debbie Gough screams “Exist in me, the fear of your judgment”, to which vocalist/bassist Jake Packer replies “Cruel is your father’s tongue” in a guttural growl. From that moment on you, quite literally, get devoured by the mouth of hell (no pun intended. Ok maybe…) It’s a crushing display of metalcore greatness, but it also simultaneously makes you want to groove along to the beat at the same time. The track as a whole embodies the complex variety and sheer talent that the band has as a collective. Before you can even catch your breath, the next track Harm Sequence starts right away and goes in for a suckerpunch through your headphones, audibly knocking you out with its surprisingly frenetic and intense nature. Just 2 songs in and already, I’m speechless. Not that I’m surprised.

But it’s not all just screams and growls; Debbie has a softer, more melodic side to her than what you might expect or imagine. Take the track Opaline, for example – led by an eerily atmospheric guitar intro and a slow but steady drumbeat, before her clean vocals filter their way through the doomy fog. Visage is another example, as she delivers a very haunting vocal display that almost feels Billie Eilish-like in its soft yet ghostly tone. Even with a disgustingly dirty bass line, explosive rhythm guitar bursts, and pounding drums in the background, the vocals fit perfectly. But then, when the final 20 seconds of Visage play out, it all suddenly 180’s on itself and Debbie lets out some massive, gnarly screams, reminding me of the equally-as-manic outro to Sleep Token’s song Take Me Back to Eden.

The album has some brilliant instrumental moments – like the Randy Rhoads-esque divebombs that occur on Sentenced to the Blade, or the literal minute-and-a-half-long breakdown during At the Fortress Gate after Debbie screams “The devouring mouth of hell demands your forgiveness.” Frankly, the record never gets boring – it’s always keeping you on your toes and holding your attention in a tight vice. When the album finale Mourn kicks in, it’s only fair that they give you a crushing closer. The growls from Jake, on this track especially, can only be described as “pure violence” – both absolutely insane and ferociously menacing. Both the pulsating double kicks and echoey snare drum hits add to the textural elements of the track, especially in the chorus. And, just when you think it’s over and the track starts to go quiet, it pulls a massive “Psyche!” on you and kicks back in for one final brutal breakdown to end their debut album right.

It’s no real mystery at this point; Heriot are straight-up killing it. Their cult underground following has already led them to support pivotal bands in the genre such as Architects and Sleep Token, and it’s clear to see that the only way they can go now is up. They are the most exciting British metal band on the scene right now, and if you need proof, this album is just that. Whether you’re a fan of metalcore, black metal, sludge metal, groove metal, or even thrash metal, then you need to look no further. And I know that, if it sounds this good on record, it can only sound better live.

Available September 27th via Century Media, more information HERE

Review – Joe Richardson

Full list of HERIOT UK live dates:

27/09/24 EXCHANGE, BRISTOL [ALBUM RELEASE SHOW – SOLD OUT]

With Fit For An Autopsy, Sylosis, and Darkest Hour:

22/11/24 ELECTRIC BRIXTON, LONDON
23/11/24 STYLUS, LEEDS
24/11/24 QMU, GLASGOW
26/11/24 O2 RITZ, MANCHESTER
27/11/24 O2 INSTITUTE, BIRMINGHAM
28/11/24 SWX, BRISTOL

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