Heavy Song of the Week: DevilDriver Turn to Black Metal Decadence on “Through the Depths”

Plus, honorable mentions from Dave Lombardo, Poison Ruïn, and Veil of Maya

devildriver through the depths
DevilDriver, photo by Jeremy Saffer

    Heavy Song of the Week is a new feature on Heavy Consequence breaking down the top metal and hard rock tracks you need to hear every Friday. This week the top spot goes to DevilDriver’s “Through the Depths.”

    Earlier this week, we published an exclusive piece in which DevilDriver ’s Dez Fafara and Cradle of Filth’s Dani Filth picked their five favorite songs from one another’s band . What struck me was how observant and knowledgeable they were about one other’s art. Of course, Dez and Dani are longtime friends and colleagues, with Dez managing Cradle of Filth. But knowing that only added to the sincerity of their remarks.

    Dez’s breakdown of his five favorite Cradle tracks was particularly analytic and made me listen to DevilDriver’s new single “Through the Depths” in a different light. It’s got all the classic DevilDriver linchpins — grooving riffs, and rock-and-roll energy, Dez’s distinct howl — but subtle, Cradle-esque black metal motifs began to stand out to me, as well.


    There’s a black metal theatricality to it all, with the over-the-top narrative vocals, fast-as-hell blast beats, and keyboard-like layers of guitar. All typifying ornate, gothic black metal such as Cradle of Filth. But in no way is it an obvious homage — even if the bands are currently touring together (tickets available here ). You can tell it’s DevilDriver when you hear it for the first time, but those embellishments in production go a long way in making this a daring comeback single as the band’s first new music since 2020.

    — Jon Hadusek
    Senior Staff Writer

    Honorable Mentions:

    Dave Lombardo – “Journey of the Host”

    Upon first listen, Dave Lombardo ’s debut solo single “Journey of the Host” sounds like a collage of random percussion — one of metal’s most influential drummers just laying into a room full of noise-makers. After a couple more plays (the song’s just under three minutes long), the genius presents itself: Everything you’re hearing is a drum of some kind. The layered tones and harmonics were all achieved via percussion, per Lombardo’s mission statement to keep the album drums-only. It’s a one-man drum symphony.

    Poison Ruïn – “Resurrection II”

    “Resurrection II” is another absolute ripper from Poison Ruïn , whose upcoming album Härvest is quickly becoming our most-anticipated album of the spring. The Philly band manages to combine timeless riffs, post-punk dissonance, and medieval aesthetics (the song’s sword-and-sorcery-silent-film video is glorious), all refracted through the sound of an old four-track tape machine.


    Veil of Maya – “Red Fur”

    “Red Fur” is metalcore with cybernetic implants. Guitarist Marc Okubo openly admitted that attending a Rufus Du Sol concert inspired the song’s prominent electronic aesthetics, from the pulsing house intro to the crushed-out glitch beats during the drops. Combining electronic music and metal doesn’t always work, but Veil of Maya ’s music is already so technical and precise, the digital dabblings lock right into place.