Cromlech: Expect Poison – Album Review | Louder Than War

Cromlech: Expect Poison

(Deathbed Tapes)

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Andy Brown reviews Expect Poison from Manchester’s Cromlech; an album rife with heavy filth and goth-inspired atmospherics.

Once again, Chris Williams – the man behind Cromlech – has created the ideal summer soundtrack for those after some dark, loud underground sounds as they step out into the heatwave dressed entirely in black. Andrew Eldritch would surely approve. Expect Poison finds the Manchester-based project swirling goth, darkwave and doom into a decidedly heavy post punk stew. All of this while providing a kind of bleak and angry accompaniment to these troubling times. And honestly, what could be more summery than that?

Now, all rise for the national anthem. I Plunge Headlong Into Disaster begins with a sheer wall of rumbling synths. Said sounds were achieved using a Behringer Solina, which – I’m reliably informed – is a clone of the synth used by Joy Division. There are many things I love about this album but it’s these wonderfully ominous and omnipresent synths that really pull me in. Over this – and some suitably dramatic drum machine drums – Williams paints an image of a country plagued by ill-informed flag bearers. The immensely sludgy, blown out guitar that follows feels like the only natural response.

While it would be easy to bury the vocals under all the noise, Williams instead chooses to really lean into his best darkwave-indebted tones. “You made a safe place for my hate,” he booms on the relentlessly intense Evangel; coming across like some doom-laden amalgamation of Scott Walker and Ian Curtis. The guitars give Sunn0))) a run for their money while the synths tap into Disintegration-era Cure. Cromlech ultimately lies beyond easy categorisation yet the influences remain reassuringly impeccable. He must have a bangin’ record collection.

Myrllen’s Coat combines heavenly synths and a surprising, Hooky-esque bassline with some of the filthiest, loudest and most crushing guitar work you could hope for. It might sound like an odd mix on paper, but – believe me when I say – it’s incredibly effective. Utterly dread-inducing. It’s around this point when it becomes abundantly clear – in a bleak and murky sort of way – that Expect Poison is Cromlech’s finest album to date. The songwriting, atmospheare and recording are all at their absolute peak. And yes, it’s all the work of one man.

Sister takes us to the goth disco with a meaty yet unexpectedly catchy track that recalls fellow underground travellers Hateful Abandon. “Sister, sister, I’m still here,” intones Williams like a vampire crawling from his crypt. Again, those synths are utterly glorious. Deep End dives ever deeper into the gloom with a clanging, industrial juggernaut. The lyrics paints a picture of sociopathic posh boys and those right-wing loudmouths that are apparently very concerned about, “the death of the culture.” You listening, Elon?

Outlands channels all those influences into something mesmeric and darkly euphoric. If you heard this track without any context you’d assume you’d stumbled across some great, long-lost eighties-era band. The album comes to a close with the title track and – honestly – I really wasn’t prepared. Williams has long since mastered the art of the riff but this – well, this is something else altogether. A powerful and solemn slow march towards the horizon. Just let those synths really sink in.

While Primitive Knot has rightly earned its place as his best-known project, Expect Poison marks a noteworthy shift in the Chris Williams musical universe. Put simply, this is some of the best music he’s ever made. The rain-soaked streets of his hometown and the turmoil of the country at large are baked into this dark, loud and atmospheric offering. Don’t let it pass you by.

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You can find Cromlech on Facebook, Instagram and Bandcamp.

All words by Andy Brown. You can visit his author profile and read more of his reviews for Louder Than War HERE.