In the dimly lit practice spaces of Bristol, where the industrial heritage bleeds into the modern arts scene, Warrior Pope has been conjuring something truly extraordinary. Their fourth full-length album, "A Morbid Parody of Justice," isn't just another doom metal record – it's a historical séance that brings to life one of the most bizarre episodes in medieval history: the infamous Cadaver Synod of 897 AD.
The band, long-standing pillars of Bristol's underground metal scene, have outdone themselves this time. What started as a Wikipedia rabbit hole during the pandemic lockdown has transformed into a crushing sonic document that marries historical scholarship with bone-rattling doom metal. And they've brought along some impressive company for the ride.
"Having Professor Mike Bishop of GWAR and Kepone contribute spoken word parts was absolutely surreal," says bassist Oli Foxen, barely containing his excitement. "We're talking about someone who's not only a metal legend but also holds a doctorate in critical and comparative studies. His involvement adds this perfect layer of academic gravitas to what's essentially a story about a dead pope being put on trial."
The album's concept revolves around the macabre tale of Pope Formosus, whose corpse was exhumed, dressed in papal regalia, and put on trial by his successor, Pope Stephen VI, in what became known as the Cadaver Synod. It's a story so outlandish it seems made for metal, yet surprisingly underexplored in the genre until now.
The current lineup – Foxen on bass, Katya handling drums and pioneering the use of bowed cymbals, Jack Andrews (also of Death by Gimp) on guitar, and David Burke (who's currently pursuing a PhD in heavy metal studies) on vocals and trombone – has created something that transcends traditional doom metal boundaries. The result is a seamless blend of doom, black, post-metal, and stoner elements that defies easy categorization.
Recorded over three intense days in their practice space's live room and meticulously mixed throughout 2024, the album captures the raw energy of their live performances while maintaining the atmospheric depth necessary for such weighty historical material. Katya's innovative use of a double bass bow on cymbals has become a talking point at their shows, creating ethereal soundscapes that perfectly complement the medieval narrative.
"We've always been about mixing things up," explains Burke, whose academic background in metal studies brings an interesting perspective to the band. "The story of the Cadaver Synod isn't just about a dead pope on trial – it's about power, corruption, and the absurdity of human nature. These themes are as relevant today as they were in the 9th century."
The album's production, handled by Mark Roscow alongside the band themselves, strikes a perfect balance between clarity and grit. The DIY approach hasn't compromised the quality – if anything, it's enhanced the authenticity of the recording. The vintage valve amps that have been a staple of Warrior Pope's sound since their inception provide a warm, organic foundation for the massive riffs and atmospheric passages.
Each track unfolds like a chapter in this bizarre historical tale. The addition of Professor Bishop's spoken word segments in "Bishop's Take" and "Condemnations of Formosus" adds a scholarly gravitas that grounds the historical narrative in reality while maintaining the album's overwhelming heaviness.
The visual aspects of the release are equally impressive, featuring cover art by Normal Gergely that captures the macabre nature of the Cadaver Synod, complemented by stunning cemetery photographs from James Fenwick and live shots from a trio of talented photographers (Skywino, VogonLaundromat, and Connor Stanfield).
"A Morbid Parody of Justice" represents a significant evolution for Warrior Pope. While their previous release "Mellified Man" (2020) showcased their ability to craft compelling doom metal, this new album demonstrates a band operating at the peak of their creative powers. The combination of historical storytelling, innovative instrumentation, and collaborative spirit has resulted in something truly unique in the modern metal landscape.
The album's imminent release on Bandcamp (with streaming platforms to follow) marks an important moment not just for the band, but for the UK doom metal scene as a whole. In an era where metal can sometimes feel formulaic, Warrior Pope has created something genuinely original – a historical metal document that educates as much as it pulverizes.
As we sit in their practice space, surrounded by the very equipment used to record the album, the band's enthusiasm for their creation is palpable. "This album is the result of post-pandemic reconstruction, new members, and a whole lot of miserable riffs written while sitting on the sofa with an acoustic bass and nothing else to do," Foxen reflects. "But it's become something much bigger than we initially imagined."
Indeed it has. "A Morbid Parody of Justice" stands as a testament to the continuing evolution of doom metal and the importance of independent, DIY spirit in keeping the genre vital and interesting. It's an album that deserves to be heard not just by doom metal enthusiasts, but by anyone interested in how heavy music can interface with historical storytelling.
The dead pope may have been found guilty in his posthumous trial, but Warrior Pope's verdict is clear – they're innocent of any charges except creating one of the most interesting and ambitious doom metal albums of 2024.
Links:
https://warriorpope.bandcamp.com/
https://www.facebook.com/warriorpope
https://www.instagram.com/warriorpope/
https://www.youtube.com/@WarriorPope
https://x.com/WarriorPope
https://ampstack.wordpress.com/
Cover art: Normal Gergely
www.fb.com/epithalamus.art
www.instagram.com/normalgergely
Cemetery photos by James Fenwick @JamesFenwickPhotography
Live photographs: @Skywinophotography, @VogonLaundromat,
@ConnorStandfieldPhotography