Vehemency Females playing metal is nothing new whatsoever, but females playing funeral doom is an entirely different thing - at least to me - so this 2-piece Murkrat and their second full-length Drudging the Mire is no short of an intriguing release, for sure. And the outcome is largely positive even if the 72-minute mammoth has its glitches as well.

Fitting for the style, Drudging the Mire sounds cavernous and utterly dark. Slow drum beats reverberate in the sinister soundfield, synths and pianos having a prominent role along with the simple guitar chords. But the most important feature here is the vocal delivery of Mandy VKS Cattleprod that goes from a clean yet viperish chant-like approach (”Faceless”, the close-to-ambient ”World”) to demented moans and snarls (”I, Rodent”, ”Speak”). Those used to hearing mere deep male growls in funeral doom might have hard time stomaching her style, but I find the output only refreshing.

During the course of the lengthy whole, not all riffs truly stand out with pure brilliance, but for the most part, Drudgin the Mire is surprisingly consistent throughout. The album is probably at its best on the centerpiece ”Electric Womb” where the oppressive, repetitive patterns work like magic - truly haunting and impressive, I must say. The droney bookends - ”Processional: Drudging the Mire” and ”Berceuse - Slow Immersion” - are well done pieces too, beginning and ending the long journey in fitting buzzing and howling sounds.

While still waiting for the eternally delayed Elysian Blaze album, Drudging the Mire is a real treat. Personally I’m not so fond of some of the experimental, faster elements that appear here on a few corners, but overall, Murkrat has created a really nice record, recommendable for fans of the genre who do not avoid uncompromising approaches to vocals.