Solo artists in metal often face an uphill battle, but do they always hit the mark? St. Unholyness, the brainchild of Christina Earlymorn from Pfarrkirchen, Germany, is a bold attempt at blending genres, but does it rise to the occasion or fall flat? Let’s dive into Through High Holy Haze, a debut that’s as ambitious as it is divisive.
As someone who’s always fascinated by musicians, I’ve long admired the solo artist’s journey. The sheer skill and vision required are staggering, and Earlymorn’s project is no exception. With a background in black metal since 2008, she’s no stranger to the scene, but Through High Holy Haze is a departure from her roots. While blackened elements like blistering riffs and blast beats appear in tracks like “Hate Response” and the title track, this album is firmly rooted in stoner metal. Earlymorn injects a raw, gritty edge using the HM-2 buzzsaw, creating a dirty yet malleable foundation that she layers with an array of styles. From the groove-heavy “Black Tooth Brothers (Abbott Brothers Tribute),” which channels a stoned Cowboys from Hell vibe, to the macho, anthemic “Loud and Proud,” reminiscent of Manowar’s brotherhood ethos, the album is a genre-bending experiment. “Hate Response” stands out as a whirlwind, seamlessly shifting between heavy, death, and black metal—a testament to Earlymorn’s ambition.
But here’s where it gets controversial: While the ideas are bold, the execution often falls short. Earlymorn’s guitar work is undeniably impressive—her bluesy hooks in the title track and Swedish death metal-inspired riffs in “Hate Response” are highlights. However, her vocals are a weak link. Her clean vocals feel stiff and monotone, while her blackened rasps lack the intensity they demand. The deeply personal lyrics, as described in the promo material, deserve a vocalist with more range and experience. Similarly, the programmed drums feel robotic, lacking the emotion a live drummer could bring. It’s a missed opportunity, as the fusion of black and stoner metal, paired with Swedish death tones on bluesy riffs, is genuinely intriguing—but these ideas needed a collaborative touch to truly shine.
And this is the part most people miss: Through High Holy Haze isn’t just unpolished—it’s plagued by technical issues. Audio artifacts and clipping are frequent, and the mix often buries the album’s potential. Tracks like “Dampflok des Todes” and “Alchemist Blues” have vocals that could soar, but they’re lost in a flat, uninspiring mix. Mac Carrigan’s bass shines in moments like “Black Tooth Brothers” and the self-titled track, but it’s often overshadowed. The songwriting, too, is a challenge. Mismatches between intros and main sections, as well as disjointed leads and rhythm sections, create a discordant experience. Bloat is another issue—interludes in “Black Tooth Brothers” and “Alchemist Blues” feel aimless, and “St. Unholyness” relies heavily on repetition to fill its runtime.
From start to finish, Through High Holy Haze feels like a rough draft rather than a polished release. Its unfocused approach, poor mixing, and disjointed songwriting undermine its potential. There’s no denying the compelling ideas here, but without collaboration and refinement, they remain just that—ideas. Is it fair to judge a solo project by the same standards as a full band? Or does the DIY spirit excuse its flaws? Let me know your thoughts in the comments.
Rating: 1.5/5.0
DR: 8 | Format Reviewed: ~190kbps VBR mp3
Label: Self-released
Websites: Official | Facebook | Instagram
Releases Worldwide: December 25th, 2025
