Finnish one-woman project Shedfromthebody has once again delivered a haunting masterpiece.
Release date: October 23, 2025 | Independent | Instagram | Bandcamp | Website | Streaming
2025 has been a good year for albums that fall into the large and varied ‘-gaze’ genre bucket, so much so that editor Dominik ran a feature about the rise of ‘Deftonescore’. Doomgaze in particular has really been cooking lately, with Mary Mortem dropping Phantoms of the Fall, and Faetooth releasing the excellent Labyrinthine. Shedfromthebody, a one-woman project by Finnish musician, producer, and visual artist Suvi Savikko recently released her fifth full-length album (and second in a few months) titled Everything Out There Has Teeth, and in doing so has lifted up the entirety of the doomgaze scene’s output this year.
Much like Geese’s Getting Killed, the opening few tracks of Everything Out There Has Teeth do a lot of heavy lifting and provide a nice microcosm of the album as a whole. We open with “Crossing”, a foreboding, plodding track rife with tom drums and layered harmonies that immediately gives the listener a feel for the mixture of vocals vs instruments on this record. The track starts with a huge sound, epic in scale, driving forwards with a lot of intensity due to the aforementioned drums; it almost feels like something you’d hear on an ancient warpath. ‘Ancient’ is a good way to describe this album in general–the connection to nature, to history, to some sort of deity feels very present both lyrically and in the general essence.
“Heima”, on the other hand, is an excellent representative for the softer dark folk side of Everything Out There Has Teeth, scored primarily by fingerpicked acoustic guitar and featuring some of Savikko’s more ethereal vocals. Think of it like if Grimes was less evil politically but a little bit evil in like, a bog witch kind of way. There’s something very otherworldly about her delivery on this entire record, always piquing the listener’s interest but never getting so out there that she’s not understandable. In fact, this album inspired me to make a very long playlist of female-fronted doomgaze that I titled ‘Music for Bog Spirits’ because I really could not stop thinking about that concept. I hope that doesn’t come across as rude. Anyway–the slow build up into a nice big doom drop towards the back half of the song is absolutely hypnotizing, and a good indicator of later tracks.
Savikko then explores a more surprising punk/post-hardcore angle on “Nature’s Weapons”, which comes barging in with a very math-y distorted guitar riff and half-growled, half-shouted vocals. There’s a great tension here, courtesy of her shockingly casual delivery of visceral lines like ‘my god is a weapon/he takes things from me/things I don’t need’ and ‘we watch the guinea pigs eat themselves’.
The lyrics deserve a lot of attention on this album, because much like the music itself, they walk a very fine line between warmth and danger, between grim and gorgeous. “Spine”, which is the closest we get to ’90s Portishead territory in a way that still feels contemporary, is a great example:
‘Held like a sigh
caught on a wire fence, you’re dancing all wrong
it’s gonna be a song
it’s gonna be a song to meif nature doesn’t kill you, I’m gonna
that’ll harden your spine more than this‘
The contrast between ‘dancing’ and ‘caught’ carries a lot of weight here and is a nice glimpse into the kind of evocative poetry Shedfromthebody is capable of. “Shattermind” goes more towards the introspective end of things, using everyday imagery to convey the emptiness of depression:
‘I know you wanna stay a while, but I don’t
I’m just watching the milk go sour
the best of times I wouldn’t even know how to unfurl
or how to find a way back out‘
It’s clear from lines like this that Savikko is also a visual artist, concerned with creating an overall aesthetic palette that straddles the beauty of nature and being alive, and the utter terror that comes along with it. I consider this general approach to be… not exactly the other side of the Faetooth coin, but perhaps a different coin in the same purse, if that makes sense. It’s very easy to get lost in this album despite it having more sonic variety than a lot of doom projects, and that’s a positive thing in my book.
Bog witch, right?
In that vein, I appreciate that Shedfromthebody has created a very moody and dark sound while still prioritizing melody and production values. While I do, in fact, like a good amount of atmospheric black metal, I had a similar emotional experience listening to Everything Out There Has Teeth and Ragana and Drowse’s collaborative Ash Souvenir. However, I’ve revisited the former a lot more than the latter, mostly due to the fact that there are bonafide hooks and surprisingly catchy moments. The general production is very polished, but not so much so that it feels dispassionate or shiny, or cheesy. It’s a difficult balance to strike, sounding clear and professional while maintaining an emotional edge, and Shedfromthebody continues to deliver on that front.
I mentioned it earlier, but I’m going to bring up the fact that this is a one-woman project again, because the sheer magnitude of the sound of this album makes that feel kind of insane. There’s a ton of varied instrumentation and vocals, from the almost ambient Nine Inch Nails Ghosts I-IV-esque guitar on “Ginger” to the brutal fry screams reminiscent of Spiritbox‘s Courtney LaPlante on “Horses”. Simply put: a lot of impressive work went into Everything Out There Has Teeth, and it feels even more incredible knowing this all came from a single source.
If you need me, I’ll be in the bog.
