Golem Dance Cult Unleashes a Hypnotic, Genre-Bending Triumph with “Call of the Wendigo”
- STAFF
- Jul 15
- 4 min read
By: Staff
Darkly cinematic and sonically fearless, Golem Dance Cult delivers an unforgettable journey with "Call of the Wendigo."
We discovered the electrifying artist Golem Dance Cult through their latest music video release, “Call of the Wendigo.” From the first strike, the guitars and drums crash in like a primal storm: raw, relentless, and urgent. Vocals slither in like a shadowed whisper from the edge of the woods, dark, harrowing, and chilling enough to crawl right down your spine.
“Call of the Wendigo” draws from an old Native North American legend, where a Wendigo is a person transformed into a cannibalistic monster. But this song doesn’t just tell that story; it becomes it. The transformation it captures is psychological and visceral. What was also wild for us is that it doesn't feel like it's just about flesh and bone, but about the hunger within, addiction, greed, and inner demons clawing to the surface. It captures that eerie, seductive moment when you stop resisting and let the monster in.
We were completely drawn in by the spellbinding pull of the vocals throughout the entire experience. Each chorus landed like a ritualistic incantation—haunting, entrancing, and impossible to resist. A standout moment arrives when the lyric “there’s something behind me” is delivered with a sharp turn, pointing toward the eerie imagery unfolding behind him. It doesn’t just suggest fear; it summons a visceral, almost cinematic dread that transforms the song into a fully immersive piece of performance art. The unnerving visuals, ancient symbols, looming totems, and jars filled with what appear to be human remains intensify this sense of dark enchantment. The result is a sensory assault that lingers long after the final note, unforgettable and deeply affecting.
From the disturbing costumes to the shadow-drenched, smoke-laced stage scenes, the entire video plays out like a fevered hallucination. Each frame is meticulously designed to awaken something primal and unsettling, merging horror aesthetics with surreal theatricality in a way that feels both artful and otherworldly.
This performance is backed by a deeply skilled and cohesive group of players, each contributing with authority and nuance. The production itself is nothing short of stunning. Each instrument is rendered with clarity and presence, allowing every sound to stand confidently in its lane while remaining beautifully connected to the rest. Much credit is due to recording engineer Charles Why, whose work at Black Obsidian Woodshed Studio brings out the band’s full dynamic range with a warm, immersive quality. Assisting that effort is Klaus Karloff, whose technical precision and attention to detail help elevate the textures and depth in each track. The final mastering, completed by Joe Carra at Crystal Mastering in Melbourne, adds an exceptional polish, balancing power and subtlety in a way that allows every sonic element to breathe while still hitting with force. The result is immersive and commanding, making it impossible to passively consume.
After seeing this, we couldn’t resist diving into their full album release, Shamanic Faultlines. The next track we explored, “Pretty at Dawn,” opens with an exciting rhythmic bass that instantly sets it apart. The silky, soft vocals glide in effortlessly, offering a beautiful contrast to the prior track’s more intense delivery. It’s a brilliant way to highlight the band's technical versatility and expressive range. When the drums enter, their thunderous yet carefully restrained pulse creates a sense of movement that feels both grounding and expansive. That subtle tension evokes a push-and-pull sensation that gives the song a graceful duality.
We then landed on the final and title track, “Shamanic Faultlines.” Its slow-burning, hypnotic energy was absolutely captivating. The ghostlike beats and dreamlike orchestral textures gave the song an ethereal, cinematic feel. The restraint in the vocal delivery, tucked deeper into the mix, felt emotionally intense in a way that was quieter but equally resonant to what we felt in “Call of the Wendigo.” It wasn’t just a performance; it was a mood that fully consumed the space it occupied. Following that moment, it became clear that this band operates without limitations. Golem Dance Cult not only understands how to push boundaries but also how to do so with a level of finesse and sophistication that makes it all feel intentional, refined, and fearless.
Overall, we were incredibly impressed by this band. Their distinct style and technique are a true testament to their artistic vision. They understand how to construct deeply dramatic and explosive sonic landscapes, with every element contributing to an intense and unforgettable listening experience. The result is a sound that lingers, offering a lasting emotional and sensory imprint on the audience. Golem Dance Cult is not just performing music—they are building immersive worlds with every track, and inviting us to step in and stay a while.
“Call of the Wendigo” by Golem Dance Cult is a masterclass in immersive horror-glam—feral, hypnotic, and bold.
After the release of their 2021 debut EP Grotesque Radio and the full-length Legend of the Bleeding Heart in 2023, Golem Dance Cult now returns with their powerful new album Shamanic Faultlines via Pugilat Deluxe Records. Available on vinyl, CD, and digital formats, this release showcases thirteen striking new tracks that blend heavy guitar riffs, deep grooves, and vocals drenched in dark glam and moody rock atmospheres.
The Franco-Australian duo expands their sonic universe with guest contributions from a dazzling lineup of collaborators, including guitarists Dick Dens, Haydn Walker, and Michael Gonthier. Australian vocalist Inga Liljestrom brings luminous vocal textures to songs like “Pretty at Dawn” and “Shamanic Faultlines,” while Alex Zillon Jean adds rich, brooding tones to “Escher Drawings.” Additional instrumentation, from cello by Jean-Philippe Feiss to theremin by Peter Miller, synths by Locki Lockwood, and Moog and organ by Boris Boubil, further expands the emotional and stylistic range of the album.
All of this is brought to life through recording at the atmospheric Black Obsidian Woodshed Studio and mastering at Crystal Mastering in Melbourne. The audio work throughout reflects a high level of creative synergy and craftsmanship, resulting in an album that feels layered, polished, and alive.
We’re so excited to have found and can’t wait to hear more from the endlessly inspired and undeniably masterful Golem Dance Cult.
