On the foggy Quantock Hills (Somerset – UK) one can find an earthwork consisting of a bank with a ditch along the west side running for approximately 950 metres known as Dead Woman’s Ditch. According to local folklore, the location was named after the murder of Sarah Walford by her husband John in 1789.
This is the background of Seo-Mere-Saetan, the debut album from the local eponimous band Dead Woman’s Ditch. To be strictly concise, I could describe this release as a revamped version of Burzum works, (or post-Burzum if you will), complemented with a dirty Electric Wizard feeling, but this would be utterly simplicistic.
“The right dose of doom, black and psyche to obliterate your ears!” says the tagline from the label, and that’s exactly what we have here. An album full of screaming vocals and tremolo guitars, eerie atmospheres, sudden tempo changes and melancholic melodies filled with a morbid fascination for the dark nature and the essence of their natural surroundings.
A peculiar fact of this release, which somehow mirrors the band’s itself, is the duality of musical styles herein (i.e. Black metal and sludge/Doom) going hand in hand with the duality of the vocal styles (i.e. George Rhone for the evil screaming and Glenn Charman for the tortured laments). This is a sort of Achilles’ heel that in a way keeps the two souls of the album aseptically separated when it should be the other way around.
About Dead Woman’s Ditch