REVIEW

The first EP from Oregon-based psychedelic doom rock band Blackwater Holylight.

Formed in Portland in 2016, the all-female quartet has steadily drawn attention for its exploratory approach to heavy music. The current lineup consists of Sunny Farris (bass/guitar/vocals), Sarah McKenna (synthesizers), Mikayla Mayhew (bass/guitar), and Eliese Dorsay (drums). After establishing a strong presence with their self-titled debut album “Blackwater Holylight” (2018)—defined by a sultry, narcotic blend of psychedelia and stoner rock—the band pushed further into heaviness on “Veils of Winter” (2019). Their third album, “Silence/Motion” (2021), expanded the palette again, incorporating violin and ritualistic vocal elements to explore a darker, more somber atmosphere. Each release has marked a clear evolution, consistently offering listeners a sense of discovery.

On this EP, the band appears to add another dimension to their established framework. Alongside the weight of Black Sabbath, the mysticism of Dead Can Dance, the haze of psychedelic rock, and progressive rock’s structural elegance, shoegaze textures are introduced as a new layer—suggesting the beginning of a fresh chapter rather than a radical break.

That shift is most evident on #2 “Torn Reckless.” What initially presents itself as a catchy, melody-driven pop song is soon enveloped in fiercely refracting walls of guitar noise reminiscent of My Bloody Valentine. It invites the kind of speculation one might have when imagining how Blackwater Holylight would reinterpret “when you sleep.”

#1 “Wandering Lost” opens gently with floating keyboards and vocals before unfolding into a vast soundscape driven by heavy guitars. Midway through, the song pivots into aggressive, irregular riffs, only to resolve back into its opening theme. The dynamic, progressive-minded structure stands out as one of the EP’s most compelling moments.

#3 “Fate Is Forward” leans toward a bleak fusion of slowcore and doomgaze. Ethereal vocals spread like fog, gradually obscuring any sense of orientation and pulling the listener into a state of near-disorientation.

The EP closes with a cover of Radiohead’s “All I Need.” While largely faithful to the original, the latter half is reshaped with dense, heavy guitar layers, subtly asserting the band’s own identity.

Rather than simply “going shoegaze,” each track arrives with a distinct character—four songs that feel like different gemstones cut from the same stone. The band’s adaptability suggests a kind of alchemy within the psychedelic and doom realms, and the incorporation of shoegaze textures feels less like a destination than an opening move. Listeners drawn to artists such as Iress, King Woman, or Shedfromthebody should find much to engage with here.