Release date: Out now!
Triumphant first full-length from emerging Massachusetts doom-tinged heavy metal outfit for fans of Iron Maiden, Pentagram, Trouble and Satan! Nearly four years removed from their cult “Your Turn to Die” EP, THE WATCHER return with their highly anticipated first LP, “Out of the Dark”!
The 2021 release of THE WATCHER’s debut “Your Turn to Die” EP was the culmination of delays, false starts and good, old-fashioned patience. The 2016 creation of guitarist/bassist Max Furst, THE WATCHER was not intended to have such a prolonged gestation for its first release into the metal world, but the wait proved to be worth it: Physical copies of “Your Turn to Die” sold out upon its release, signaling to Furst, vocalist Paden Reed and drummer Chris Spraker that there would be demand for their distinctive brand of NWOTHM with elements of doom. Alas, that moment has arrived in the form of the eight-song “Out of the Dark”. More importantly, the band hopes to arrive on European shores sometime in the near future. For the present, though, “Out of the Dark” emerges as a compelling LP that unifies classic metal and the darkness of doom, fortified through the spirit of three metallic diehards who never say die.
Review
The East Coast trio chose a tried-and-true “all in” approach, opening with a title track and serving the main course like an appetizer—a tactic many bands employ to this day, which can be seen as a frontal assault on the listener’s attention. It seems to work, given the mystical acoustic intro that slowly gains momentum, naturally building into a shredding riff that turns out to be the musical highlight of the opener. The vocals in “Out of the Dark” harmonize notably with the instrumental orchestration, forming a graceful dance and standing out as the sole doom-oriented element in the song’s complex puzzle. This is undoubtedly a multifaceted piece, leaving no room for boredom or cliché. It makes me wonder: are these guys trying to impress us with their best work, or is this just a gentle peek behind the curtain of their creativity?
“Strike Back” hits the ground running with catchy, solid rhythmic riffing—gnarly and naughty in the best hard rock traditions of the late seventies. This energy infects the vocal delivery in the same manner, making you tap your foot and hum the chorus in your mind. The drums take a secondary role, like a substitute player who steps in to win the game without overshadowing the preeminent guitar work. Together, all the elements form an easy-going piece that gradually builds stamina after the two-minute mark, opening the gates for a short, mesmerizing solo and a portion of well-founded singing. As the track moves toward its end, the energy snowballs, culminating in a refined and invigorating finale.
Kudos for the oxymoronic title of “The Dark Burning World,” an igniting banger that rushes in from the first chords, striking a sharp contrast with the tracks so far. The rhythm section regains some prominence, though it still can’t dethrone the vocals, which sit proudly on the throne, smiling at the adoring crowd. This track is far from a miss—quite the opposite. When you pay closer attention to the sing-along chorus, you’ll recognize its well-deserved place at the top of the creative pyramid. Surprisingly, even for my taste, you can feel the heat radiating from this one and appreciate the smooth, effortless transitions between song sections. To prove me wrong, around the halfway point, there’s an abrupt break that rides a wave of moderate tempo, spiced with simplistic yet spot-on soloing that logically leads to the final chorus. Repeating that solo pattern at the very end is a brilliant maneuver. By this point, I’m already smiling with contentment, eagerly watching to see if THE WATCHER will deliver even more.
Full steam ahead, “Exiled” begins with a mellow yet distorted intro that almost always whispers “ballad”—and rightly so, as the vocals gently slide into action, riding the wide-spread wings of melancholy. A background sound effect, reminiscent of wind or a silent storm, amplifies the sensation of grief and naturally explains the band’s choice of title. It’s a short, interlude-like song, flooded with sentiments of lament and disdain. Perhaps someone in the band recently experienced abandonment or another life hardship…
Halfway through, “The Revelator” comes to the rescue, restoring the album’s power and mood as if no emotional downtime had ever occurred. Grateful for this gesture and further enlightened by the same brisk, dense guitar sound we encountered earlier, the band delivers an invigorating output, blending a myriad of musical styles into this nearly five-minute track. It’s safe to say we encounter the most exotic and unconventional elements to date—from the thrashy intro and doom-ish vocals to an captivating chorus and a melting mid-section. Around the 3:30 mark, a pivotal modulation turns everything upside down, shifting toward a heavier, more wicked style reminiscent of classic doom formations from the mid-80s. A glorious punchline to settle the score.
Moving on, we’re faced with the timeless Hamlet-esque dilemma: “Kill or Be Killed.” It’s a title that perhaps dozens of rock bands have in their glossaries, but there’s little time to dwell on it, given the track’s 2:20 runtime. This makes it the “hit and run” exercise of the album, though it’s far from a trivial filler. The jam has its own identity, opening with a masterful riff, a sneering laugh, and a straight-to-the-point hard-rock construct. The ever-present agile solo is in the box as well, though it’s a pity the package feels too small to fully appreciate.
“The Final Hour” strikes, making me smile at the band’s witty decision to place a song with such a title in the penultimate spot. This track brings us back to the basics, circling back to the aesthetic and musical expression that characterized the first few songs. My guess is the band wanted to achieve a sense of completeness in their creation. Of course, there are distinctive moments to highlight, and nothing here is coincidental. The synth intro wave, followed by clear acoustic guitar and a gradually building drum section, lays the groundwork for finessed vocal presence that is both smooth and vibrant, perfectly aligned with the orchestral demeanor. The quintessence of authenticity emerges around the three-minute mark, as the pace shifts to a drum-commanded tempo and a narration delivers a futuristic message, elaborating on the anecdotal foundation of this musical affair. It’s a well-versed technique of storytelling, often exploited in conceptual albums.
Closing the act is “Thy Blade, Thy Blood,” stepping in with a strongly Hendrix-influenced guitar work that evolves into a catchy jam, growing more complex with each bar. The intensity ebbs and flows, with warm bass passages serving as the hidden gem. Open chords instill an aerial frivolity, topping off more than two minutes of instrumental intro—a sincere hat tip to this bold bravado, conveying a strong message about the power of serene melody. The lead singer assumes his vocal duties, extending the vintage style and turning the clock back to the glorious rock days of the mid-seventies, with snippets of eighties exhilaration along the way. The track reaches its burning point five and a half minutes in, when THE WATCHER skillfully turns the tables, transforming the song into a distorted mirror of its intro. Speedy riffage and clockwork soloing follow, with every note and accent falling into the right place. The final verse breaks through a similar state of rebirth, while the ultimate shredding squeezes the last expressive juices out of this banger. Eight minutes of exalted epilogue deserve a slow clap for the Boston trio.
Conclusion
You know that awkward moment in a restaurant when they serve you a new dish, and you look at it with a skeptical grimace—only to take a bite and grin, “That’s actually quite good!” That’s exactly how I felt after diving head-to-tail into Out of the Dark byTHE WATCHER. Unfamiliarity often comes with the peril of disqualification and depreciation, so I’m glad I didn’t fall into that trap. Giving the record a fair amount of attention allowed my mind and senses to speak in unison. While I’m no expert in the subgenre, what I heard and felt here has undeniable value and a rarely matched degree of integrity, skilled craftsmanship, and sophisticated musicianship that could take the band far.
Mixing ideas, styles, and patterns from across four decades of rock and metal lineage—without sounding vanilla or aiming for radio-friendliness—is a rare find in the era of internet-driven attention. Beyond my personal affection, these guys have earned my utmost respect. Even without being a die-hard fan, I believe having more bands like THE WATCHER would be an uplifting force for the scene and an inspirational catalyst for young creators out there.
LINE-UP
Max Furst – Guitar, Bass
Paden Reed – Vocals, Guitar
Chris Spraker – Drums
TheNwothm Score: 8/10
Links
Bandcamp:https://thewatcherheavymetal.bandcamp.com/album/out-of-the-dark
The Nwothm 
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