There’s a fine line between dark rock that feels theatrical and dark rock that feels transportive. On Death Knocks, Hoaxed land firmly in the latter. This is an album that doesn’t just flirt with atmosphere but commits to it fully, wrapping heavy riffs, melodic hooks, and occult-tinged drama into something that feels natural and not staged.
Three years in the making, Death Knocks marks a clear evolution for the Portland trio, now featuring bassist/vocalist April Dimmick alongside vocalist/guitarist Kat Keo and drummer Kim Coffel. Dimmick’s addition is immediately felt. Coming from a classic heavy metal background, she brings both weight and texture to the band’s sound, pushing Hoaxed toward bigger choruses, sharper riffing, and a more confident low end. The result isn’t a reinvention so much as a sharpening of intent. Hoaxed sound more assured of exactly what kind of band they are.
The album opens with “Where the Seas Fall Silent,” a track that establishes the record’s spellbinding tone from the first moments. It moves with a ritualistic patience, letting atmosphere build before the hooks sink in. Keo’s vocals float between fragility and command, sounding equally capable of whispering secrets or delivering warnings. There’s a cinematic quality here, but it never drifts into excess. Every element feels purposeful.
“Kill Switch” tightens the screws. It’s more direct, more physical, and one of the album’s hardest-hitting moments. The groove locks in, the riffs bite, and Dimmick’s raspy backing vocals add a dangerous edge that keeps things from tipping too far into polish. This is Hoaxed at their most assertive, proving they can hit hard without sacrificing mood.
Elsewhere, tracks like “The Family” lean into a dimly lit power-pop sensibility, pairing infectious melodies with shadowy undertones. It’s one of the album’s quiet strengths. “Death Knocks” understands the power of contrast. Heavy moments feel heavier because the band knows when to pull back, when to let a hook breathe, and when to let silence do some of the work.
Production-wise, the album sounds massive without losing clarity. Recorded at Falcon Recording Studios with Gabe Johnston (Unto Others, Vintersea) and mixed and mastered by Arthur Rizk (Power Trip, Kreator), Death Knocks strikes a balance between polish and grit. The bass rumbles, the drums hit with authority, and the guitars cut without overwhelming the mix. That the band tracked the album in just eight days only adds to its sense of immediacy. This doesn’t sound labored over; it sounds captured.
Typically, this genre of metal/rock isn’t my first choice to listen to you. However, listening to these songs, I can tell you that they are extremely well written and will take you to a witchy land far, far away. What ultimately makes Death Knocks so compelling is its cohesion. Hoaxed don’t chase trends or overload the record with ideas. Instead, they trust their instincts, letting witchy atmosphere, heavy-metal backbone, and melodic songwriting intertwine naturally. The album feels like the product of a band that has grown together on stage, learned each other’s rhythms, and come out the other side stronger.
Death Knocks isn’t just Hoaxed’s darkest record, but their most confident. Fans of Unto Others, Chelsea Wolfe, and Windhand will have this in regular rotation. A brooding, hook-laden statement that proves atmosphere and heaviness don’t have to compete. Sometimes, they thrive best when they haunt the same space. These songs are musical hexes and will burrow into your soul and not let go.
