The North

September 2025

1. Emperor - "Towards the Patheon" (from "In the Nightside Eclipse", 1994)

2. Hades - "An Oath Sworn in Bjorgvin" (from "...Again Shall Be", 1994) [submitted by Karl]

3. Nattverd - "Hvisk Deg Vekk" (from "Tidloes Naadesloes", 2025) [submitted by Vinny]

4. Aara - "Todesbiwak" (from "Eiger", 2024) [submitted by Saxy]

5. Satyricon - "The Pentagram Burns" (from "Now, Diabolical", 2006)

6. Wode - "Celestial Dagger" (from "Servants of the Countercosmos", 2017) [submitted by Vinny]

7. Sühnopfer - D.S.F.R. (from "Nous sommes d'hier", 2023) [submitted by Karl]

8. Waidelotte - "Celestial Shrine" (from Celestial Shrine, 2024) [submitted by Andi]

9. Odium - "Towards the Forest Horizon" (from "The Sad Realm of the Stars", 1998) [submitted by Karl]

10. Vorna - "Maa martona makaa" (from "Sateet palata saavat", 2019)

11. Deafheaven - "Honeycomb" (from "Ordinary Corrupt Human Love", 2018) [submitted by Sonny]

12. Profane Order - "A Sombre Passage" (from "One Nightmare Unto Another", 2023)

13. Gorgoroth - "Maaneskyggens slave" (from "Pentagram", 1994) [submitted by Sonny]

14. Infernal War - "Crush the Tribe of Jesus Christ" (from "Terrorfront", 2005) [submitted by Karl]

15. The Great Sea - "The Maze" (from "Noble Art of Desolation", 2025) [submitted by Vinny]

16. Primordial - "No Nation On This Earth" (from "To the Nameless Dead", 2007)

17. Sinmara - "Shattered Pillars" (from "Aphotic Womb", 2014) [submitted by Vinny]

18. Obtained Enslavement - "Soulblight" (from "Soulblight", 1998) [submitted by Karl]

19. Krallice - "Telluric Rings" (from "Diotima", 2011) [submitted by Sonny]

One more please Ben:

Skuggor (Sweden)

Making the most of my day working from home, as well as getting through The Fallen playlist, I also ploughed on through The North one as well.

A bit more of a challenging listen for me this one once Sühnopfer kicked in and then Waidelotte too.  I actually sat through the Deafhaven track without skipping it, but it was not my most comfortable moment.

Thankfully the likes of Gorgoroth, Primordial, Krallice, Emperor and Satyricon kept me focused.

Rotting Christ - "Non serviam" (1994)

The highly regarded sophomore album from these Hellenic black metal kings also happens to be my favourite Rotting Christ release. I picked it up on CD at the time of release & have always seen it as a step up from their debut full-length "Thy Mighty Contract". It's a measured, consistent & highly focused release that sees the band keeping well within their limited technical abilities while championing a unique atmosphere built on repetitive mid-range tempos & palm-muted death metal riffs that are given a black metal feel by shrieking vocals & subtle synthesizer use, ending up somewhere between the melodic & conventional black metal subgenres. The use of melodic lead guitar themes definitely borrows from the early doom/death movement too & sees "Non serviam" sitting in the top couple of releases from the whole Hellenic black metal movement in my opinion. Highly recommended.

For fans of Varathron, Samael & Thou Art Lord.

4/5

Here's my updated Top Ten Melodic Black Metal Releases of All Time list:

01. Dissection – “Storm Of The Light’s Bane” (1995)

02. Mare Cognitum – “Solar Paroxysm” (2021)

03. Les Chat de Nihil – “Le tyran et l’esthete” (2021)

04. Rotting Christ – “Non Seriam” (1994)

05. Dawn - "Nær sólen gar niþer for evogher" (1994)

06. Dawn – “Slaughtersun (Crown Of The Triarchy)” (1998)

07. Iskald – “The Sun I Carried Alone” (2011)

08. Naglfar – “Teras” (2012)

09. Abigail Williams - "In The Absence Of Light" (2010)

10. Dissection - "The Somberlain" (1993)

https://metal.academy/lists/single/164

For my nomination for The North clan this month I have gone with a release from Icelandic black metallers, Sinmara and their debut album Aphotic Womb.  This is the peak of Sinmara's output for me, with the subsequent EP and sophomore effort failing to lIve up to the debut effort.

Feel free to comment, point and laugh or write a review as you see fit.

https://metal.academy/releases/10446

As I mentioned previously, I have only had a brief, but exceedingly positive, association with Aeternus. Their 1995 "Dark Sorcery" EP is one of my favourite black metal EPs and their 1997 debut album "Beyond the Wandering Moon" isn't bad either, so I went into this in a positive frame of mind. Luckily, this uncharacteristically positive attitude wasn't misplaced and this is a nice slab of medium-paced, melodic, norwegian black metal that was very easy to get into with Immortal being an obvious touchstone for me.

A striking atmosphere is set with the introduction to the epic opener, "There's No Wine Like the Bloods Crimson" which starts off with a warrior's raging and a brief snatch of liturgical singing before giving way to a martial drum beat which sets the conflict-riven battlefield scene where most of the album's events take place. The theme here is the horrors and glories of war, particularly toe-to-toe, whites-of-their-eyes, blood and guts medieval warfare. The riffs are fairly melodic and memorable enough to catch yourself humming along occasionally. The odd riff also has a folk metal component to it, with second track "As I March" containing a prime example. The sound is pretty thick, not the lo-fi, washed out and icy thin sound often associated with nineties black metal, but with a noticeable death metal influence which is well-suited to the blood-riven theme of the album. I always love a good drum track and Vrolok's percussive contribution is well-handled here. The track "Blodsverging", where he really gets to let rip, is a great example. I am not clued in enough to know how technically good Vrolok is, but the drums sound absolutely brilliant and I love what he was doing with the aggressive, but well-controlled, battering that he is visiting upon his kit. There is some fairly sparse utilisation of keyboards, but they are subtly handled and never smother the riffs, merely adding a thin atmospheric layer to proceedings.

I am not going to claim that "...And So the Night Became" is a top-drawer norwegian black metal classic or anything, but it is very good and I found it exceedingly easy to get into with a musical consistency and atmospheric integrity that showcases the songwriting skills of all involved. Aeternus may not get a huge amount of credit or acknowlegement in the black metal world, but here they reveal themselves to be a very accomplished black metal act that almost certainly deserve more plaudits than they receive. There is some really good stuff on here and this is definitely an album I will return to in the future.

4/5

https://metalinjection.net/news/zoe-federoff-posts-her-contract-with-cradle-of-filth-details-how-little-she-was-paid

Wow! Not a great look for Dani Filth & management.

All that + a collaboration with Ed Sheeran = zero credibility.

Aldaaron - "Par-delà les cimes" (2025)

I have a project list in my office for sub-genres I need to conduct a deep dive on. Pagan black metal is one item listed there as I have very little, formal knowledge of the sub-genre. When I come to a release that is tagged as “pagan” on the Metal Academy site I instantly think of folk metal, then I quickly remember that is a different thing. At least I think it is? Anyway, I won’t let the study of the tag take over the whole review, but if pagan black metal has more of what Aldaaron offer on Par-delà les cimes then I will be taking that deep dive sooner rather than later. The title of the album translates as “how pagan black metal differs to folk metal”. No, wait that’s wrong. “Beyond the Peaks” is the correct translation and the album is dedicated to their fallen comrade Thöl who covered bass duties in the band 2010-2012. Sadly, he passed away in 2022.

The album caught me off guard in two aspects if I am honest. Firstly, its potent aggression is vivid and striking from the off. The harrowing scream that starts album opener ‘Antediluvian Prophecies’ is an early taste of the venom of Aldaaron have coursing through their veins. The second item that was unexpected is how atmospheric and expansive the sound is here. Beyond those earthy tones there are soaring tremolos and majestic melodies that loop up into the air around them. Although the release has a thirty-six-minute duration, there are only four tracks here and with a couple of them stretching over the ten-minute mark it is important that the main duo of Ioldar and Voldr create some enchantment to these tracks. Thankfully they achieve this in bundles.

The choral passages are unobtrusive and befitting to the aesthetic of the album. Spaced well apart from the blackened material that drive the tracks in the main, these more ethereal sections are a clever contrast option. The charging tremolo of tracks such as ‘Chants d’hiver et de solitude’ are a joy to behold. Add into this mix, the thoughtful production job that allows each instrument some space to be heard. The vocals are superb throughout, with their ghastly edge creating atmospheres all of their own. The way you can pick out the bass on the final track, ‘Under the Icy Sky, Memories Fade Away’ is pleasing on the ear and the soaring lead work only adds to the allure of the track. A superb discovery, if not a little too short overall.

4/5

Pestilential Shadows - "Wretch"

Northern Silence, in conspiracy with Brilliant Emperor, are proud to present Pestilential Shadows' highly anticipated eighth album, Wretch.

One of Australia's longest-running and most respected black metal bands, Pestilential Shadows have been building a towering canon of work since 2003. Whereas many of their native land's extreme metal exports either tend toward the chaotic or too clean, the shadowy collective led by founding vocalist / guitarist Balam consistently create compelling swathes of drama and darkness, all-enveloping emotion and regal-yet-gritty grandeur. Truly, Pestilential Shadows are black metal classicism par excellence.

And while the last handful of their albums the past decade-plus have seen sizable gaps between them, Pestilential Shadows strike while the iron's hot with Wretch. Simply and substantially titled, Wretch follows from last year's Devil's Hammer and continues the band's progression / regression toward uglier, gnarlier expanses. Mind you, it's a lateral development rather than a vertical one - the "form" is still BLACK METAL, and its attendant contents are ruminations on death and the beyond - but the fact that Pestilential Shadows can subtly-to-significantly shift their sonic palette whilst conveying their characteristic melancholy and tragedy speaks to the enduring strength of their songwriting. What's more, the album's production is palpably professional, feeling effervescent and crisp even when running through those uglier, gnarlier expanses. If anything, said recording style of Wretch - mastered by Krvna mainman Krvna Vatra, who played on the aforementioned Devil's Hammer, with mixing done by Balam - gives the record a uniquely ethereal aspect, even when the band have kicked into ultraviolent overdrive. Above all, the eight songs that comprise the 49-minute Wretch prove Pestilential Shadows as masters of pacing, doling out the sublime and the profane with equally windswept aplomb. Of especial note is the solemn procession of "Where Sunlight Goes to Die," which features guest choral vocals from Dis Pater of Midnight Odyssey.

As always, totality is key, and thus has Greallach Art been brought back to provide stark & austere cover artwork for Wretch. On the strength of this album alone, Pestilential Shadows continue to assert their position as a classics-minded black metal vanguard, and will cement that position in the flesh with a European tour slated for late August through September and then an Australian / New Zealand tour to follow in October. 

Esoctrilihum - "Ghostigmatah - Spiritual Rites of the Psychopomp Abxulöm"

From Bandcamp, “Often accused of having no sense of measure, Asthâghul churns out a new double album that is grandiose, symphonic, psychedelic, liturgical, delirious. In a word, excessive. "Ghostigmatah" is a prism that reflects every single nuance of the ESOCTRILIHUM sound. Conceptually, the album is divided into four chapters, each of which tells a ritual stage in the long journey of dead souls towards the jaws of the eight-eyed psychopomp Abxulöm, who will finally deliver them to eternal nothingness. A post-mortem ritual that is told in the secret grimoire of the “Ghostigmatah,” a sort of modern Necronomicon that constitutes another piece in ESOCTRILIHUM's phantasmagorical visionary world.”

The album has ten long-titled songs. “Hark! The Bewitched Trumpet of the Red Harbinger Is Calling the Dead to Gather” is first. The sounds that spew forth are like the worst utterings that Hell has to offer…thick, resonating bass notes, a wall of guitars, backing keyboards that are harrowing, machine gun drumming, and harsh vocals screams/gutturals. “Kneeling Before the Keeper of the Golden Key to the Absolute Void” has a more traditional Black Metal sound, but still, this is a lot of sonority coming from a single composer. The keyboards add a layer of melody to the song, but it’s mostly a landscape of controlled aggression. “Flesh Pierced by the Blades of Thritônh, Eyes Devoured by Vulth Suidarl, the Giant Fly” has both deeper elements on the low end, and surprisingly melodic ones on the upper end. A lot of the song seems to be part of a sight seeing trip down each plane of Hell.

“Hypnotic Danse Macabre of the Blind Noctivagants” embraces melody, and leaves some of the aggression behind. The abrupt change of pacing is a testament to the composer’s songwriting skills. “Orgiastic Sacrificial Mass to Conjur Abxulöm, Psychopomp Supreme” returns to some of the naked aggression of the previous songs. Harrowing elements abound, and it’s akin to being tortured over and over again. The bass work here is outstanding. “The Cosmic Deathbringer Comes, Riding a Bloody Horse of Goshenite” features deep, cavernous vocals and chaos that almost sees the wheels come off of the speeding bus. There is so much dissonance, it’s about all that you can peer through. “Mauled, Swallowed and Dissolved Into Nothingness by the 8-Eyed Psychopomp” features a gentler sound as well as some clean vocals, but take that with a grain of salt…it’s still dark, dangerous, and aggressive.

“Supplication of the Veiled Saint from the Secret Book of the Ghostigmatah Rites” is the final offering, and mysterious tones end the album. For me, the psychedelic landscape brings up more questions than answers. The album seemed to encapsulate everything that someone might come across in the underground…chaotic aggression, and vocals that can frighten you even when you are asleep. The composer is obviously talented, and the album is just diverse enough. Any fans of Extreme Metal will find this to their liking.

Kvelertak - "Kvelertak" (2010)

The debut album from this Norwegian crew offers a fairly enjoyable example of the black 'n' roll style, combining blackened hardcore screams with really well produced & executed punk & hard rock instrumentation. The energy levels are excellent throughout & one can easily pick up the influence of classic hard rock artists such as AC/DC, Motorhead, Jimi Hendrix & Led Zeppelin along with flashes of black metal aggression. This isn't generally my sort of release on paper but I can't deny that it's been beautifully done & has kept me engaged for the majority of its run time.

For fans of Owls Woods Graves, Wormwitch & Zorn.

3.5/5

Drudkh - Shadow Play (2025)

Genres: Atmo-Black Metal

Now we all know that Drudkh had a leading say in the development of nature-themed black metal.  They were basically THE band for the job.  They had a bit of a rocky road after their 2009 album Microcosmos, as the people say, but there seemed to be, ahem, light in the forest, during recent years.  So while I came into 2025's Shadow Play with some good expectations, I remained aware that those expectations wouldn't be met.  So while the album's getting great reviews, I have to say that they've once again become a passable and generic black metal band.  This whole album is all about relying on, and drawing out, half of the basics they had already mastered in the 2000's from Forgotten Legends to Blood in Our Wells.  The album's going for finely-tuned production above everything else, so black metal riffs and melodies come off as unoriginal.  As well, the production doesn't always balance out the ambient backgrounds and the riffs in the foreground, occasionally coming off as muddily-handled despite the ambiance.  I mean, Drudkh influenced so many bands that have done this album so many times that it's not a joke.  Did you know, if you just check the RYM charts and filter it by year and with only black metal, you'll get 25 pages of 40 black metal albums?  And 25 is the maximum they show in custom charts.  That means every year, we get over 1000 black metal albums.  These days, thanks to other nature-themed atmo-black bands like Panopticon and Ashenspire, I can guarantee you a good portion of those albums is nature-themed.  That means Drudkh has gone from influencing a classic form of metal to producing the same tripe that their own imitators make every year, just with better studio production that sometimes gets in the way.  What an overrated disappointment.  Production will keep it tolerable throughout, but otherwise this is kinda bogus.

52

Beherit - "The Oath of Black Blood" (1991)

A compilation of two early war metal releases from these Finnish underground heroes. I'm not a huge fan of 1990's "Demonomancy" demo to tell you the truth but the "Dawn of Satan's Millenium" E.P. makes up for it with a more consistent level of execution. This is super-raw shit right here & you may struggle with it a bit if you haven't spent time in the tape trading scene of the 1980's & 1990's. I love those demonic vocals which were clearly an influence on what was to come. The grindcore influence is obvious at times & it's also worth remembering that this material was drawn from well before the Norwegian Second Wave of Black Metal explosion in 1992. Beherit's 1993 debut album "Drawing Down the Moon" was a clear step up from here but that's not to say that "The Oath of Black Blood" isn't worth seeking out if you're into the war metal sound.

For fans of Blasphemy, Archgoat & Von.

3.5/5

Demonomancy demo - 3/5

Dawn of Satan's Millennium E.P. - 3.5/5

Have finally had to kiss goodbye this classic Dissection hoodie which became too dodgy looking to wear out in public some time ago. I did the gardening in it this morning & it got so covered in thorns that I decided it was easier to simply toss it out than to remove them all effectively.

Thanks everyone.

Alcest - "Spiritual Instinct" (2019)

The sixth full-length from these French blackgaze gods probably isn't one of their finest releases to date but it's still worth checking out as there are no weak tracks included & it oozes of professionalism. I'd suggest that the track programming could have been a little better because the best material doesn't arrive until right at the end of the tracklisting with the very solid "Le miroir" & album highlight "Spitirual Instinct" being comfortably my pick of the six songs on offer. I don't think it's a coincidence that those two are also the only tracks that I'd call post-metal either as I've found myself appreciating that side of Alcest's sound a touch more than their signature blackgaze one here. I don't think I can see myself reaching for "Spiritual Instinct" over records like "Kodama", "Les voyages de l'âme" or "Souvenirs d'un autre monde" but it's certainly not a creative failure & is easily more rewarding than 2014's "Shelter".

For fans of Amesoeurs, Lantlôs & Deafheaven.

3.5/5

I tend to agree with you Vinny. I've never been much of a fan of "Noregs vaapen" & don't think any of Taake's subsequent full-lengths are a match for their first three full-lengths to be honest.

https://open.spotify.com/playlist/0Sw9mEcyXo1pGyFHR3znLT

1. Bathory - "Enter the Eternal Fire" (from "Under the Sign of the Black Mark", 1987) [submitted by Sonny]

2. Norrhem - "Teräsmyrskyssä" (from "Aurinko ja teräs", 2025) [submitted by Vinny]

3. Enthroned - "Deny the Holy Book of Lies" (from "Prophecies of Pagan Fire", 1995) [submitted by Karl]

4. Trespasser - "To the Barricades!" (from "Чому не вийшло?", 2018) [submitted by Sonny]

5. Immortal - "Storming Through Red Clouds and Holocaustwinds" (from "Pure Holocaust", 1993) [submitted by Karl]

6. Varathron - "Unholy Funeral" (from "His Majesty at the Swamp", 1993) [submitted by Karl]

7. Enslaved - "Lifandi liv undir hamri" (from "Vikingligr veldi", 1994) [submitted by Sonny]

8. Regnum Noricum - "Aminata Muscaria" (from "Lost Legacy", 2025) [submitted by Vinny]

9. Groza - "Dysthymian Dreams" (from "Nadir", 2024) [submitted by Saxy]

10. Shylmagoghnar - "A New Dawn" (from "Emergence", 2014) [submitted by Andi]

11. Häxkapell - "Metamorfos" (from "Om jordens blod och urgravens grepp", 2025) [submitted by Vinny]

12. Mystifier - "The Baphometic Goat of Knights Templar in the 12th Century" (from "Göetia", 1993) [submitted by Karl]

13. Niden Div. 187 - "A View in the Mirror Black" (from "Impergium", 1997) [submitted by Karl]

14. Lycopolis - "Lord of the Necropolis" (from "The Procession", 2021) [submitted by Sonny]

15. Mortuary Drape - "Evil Death" (from "Secret Sudaria", 1997) [submitted by Karl]

16. Void of Hope - "The Hollow Hymn" (from "Proof of Existence", 2025) [submitted by Vinny]

17. Deathspell Omega - "Wings of Predation" (from "Paracletus", 2010) [submitted by Sonny]

18. Summoning - "Beyond Bloodred Horizons" (from "Lugburz", 1995) [submitted by Karl]

19. Malokarpatan - "Ve starém mlyne čerti po nocách mariáš hrávajú" (from "Nordkarpatenland", 2017) [submitted by Sonny]

20. Moonsorrow - "Pimeä" (from "Verisäkeet", 2005)

Next playlist due September 2025

8 minutes of boring dark ambient which, apart from turning a half-hour EP into a full album, is uncalled for:

Native instruments such as the bandura are in superb balance with heavy riffing:

I have only just got round to this one and I am liking what I am hearing at this point. I will give it a few more spins and see if I can work a review up.

Mysterivm Xarxes - 'In Resonance with the Carnalized Manifestations' (2025)

In Resonance with the Carnalized Manifestations has been on my review list for what feels like months now. I mean, yes it was released way back in January and we are now well into May, but it feels like I have been toying with it for longer than the last nearly half a year. As I just start to remember why I usually find keeping up with the slew of new releases each year such a challenge, here I am finally committing my thoughts to review. With Austria not being my usual go to country for black metal, to find such a raw and intense experience that instantly recalls the jarring horror of Leviathan is a real treat. Indeed, first track proper, ‘Bound and Condemmed in the Chamber of Your Insignificance’ is as harsh and unforgiving as the track title suggests. It is clear from the off that if you are looking for some catchy, black ‘n roll style bm, you are in the wrong hole.

The crude melodicism of the dashing tremolos, which are generated by the guitarist just dashing their hand up and down the fretboard it seems, does bring an unexpected sense of underlying depth when you take time to listen critically. In fact, the more I listen to this EP the more it has grown. The EP format does not make this a smash ‘n grab bm release either, Homvnkvlvs does everything on Mysterivm Xarxes releases and his marauding style of black metal more than hints at thought and structure beneath the ghastlier aesthetic that he presents in his music. The melody is primitive to an almost pagan extent at times, but the fact is that the tracks are in a continued state of flux. The pacing and tempos change with a degree of regularity, keeping you guessing as to where tracks might be going next. By the time we get to the middle of third track ‘At the Threshold of Purification’ we are almost straying into a progressive build for a few bars before we descend back into raging black metal fury again.

Therefore, despite being only a little over thirty-one-minutes in duration, the EP feels very fulfilling. It is like everything that is wanting to be said is expelled in an enormously entertaining manner. The ambient sections work just as well as the more aggressive parts when they are given the floor. Keying up the final act of the release, instrumental number ‘Dawn of Inner Renewal’ does just enough with its gentle ambience to settle our nerves for one last foray into the rampant black metal of ‘Shards of Lasting Rememberance’. This last track comes charging out of the blocks like a possessed animal. That fearsomely strummed tremolo drives the track forward with unrelenting fury, all making for a satisfying end to fine release overall.

4/5

Another month flies by, which means it's time to select a new feature release for The North. This time, I've elected to go with the 1997's "Impergium" LP from the short-lived Swedish black metal outfit Niden Div. 187, featuring members of Dawn, Thy Primordial & A Canorous Quintet. Very much in opposition to the mentioned bands' epic & melodic leanings, this is a short (just under 26 minutes) & sweet slab of relentless black metal brutality that should satisfy fans of Legion-era Marduk, Sammath & Zyklon-B. Highly recommended!

https://metal.academy/releases/28870

I have done a couple of listens through to this and although I get the talent and the direction, it just doesn’t work for me.  For a start, the songs are too long and have far too much to say over their duration.  As a result they feel like a collection of ideas moulded (although not forcibly so) into whole songs.  I find myself losing interest pretty quickly to be honest and then I get snapped back into the room by a more beautiful or interesting moment.  I even tried the bedtime black metal trick, where I sit in bed with headphones on and listen to something in the dark, yet this still didn’t keep me present with the album.

I like my folk music now and again (in fact, increasingly so of late) but I almost just want this to be all folk or all black metal really.  As I say, clearly a talent, but not one that is resonating with me.

2/5

https://open.spotify.com/playlist/0Sw9mEcyXo1pGyFHR3znLT?si=e1f1eac0cfee4656

1. Satyricon - "Du som hater gud" (from "Nemesis Divina", 1996) [submitted by Karl]

2. Desaster - "In the Ban of Satan's Sorcery" (from "Hellfire's Dominion", 1998) [submitted by Sonny]

3. Kvist - "Stupet" (from "For kunsten maa vi evig vike", 1996) [submitted by Vinny]

4. Emperor - "Night of the Graveless Souls" (from "Emperor", 1993) [submitted by Karl]

5. Satanic Warmaster - "Harken the Bells of Damnation" (from "Exultation of Cruelty", 2024) [submitted by Vinny]

6. Dawn - "Sorrow Flew on Black Wings" (from "Sorgh på svarte vingar fløgh", 1996) [submitted by Karl]

7. Primordial - "The Mouth of Judas" (from "Redemption at the Puritan's Hand, 2011) [submitted by Sonny]

8. Oubliette - "Desolate Path" (from "Eternity Whispers", 2024) [submitted by Saxy S]

9. Stormlord - "Under the Samnites' Spears" (from At the Gates of Utopia, 2001) [submitted by Andi]

10. Black Witchery - "Barbarism Domination" (from "Inferno of Sacred Destruction", 2010) [submitted by Sonny]

11. Revenge - "Revelation Emaciated (Chalice Abominate)" (from "Violation.Strife.Abominate", 2025) [submitted by Sonny]

12. Ungfell - "Im Ruusch" (from "De Ghörnt", 2024) [submitted by Vinny]

13. Sorcier des Glaces - "The Winter Nightsky" (from "Snowland", 1998) [submitted by Karl]

14. Saor - "Glen of Sorrow" (from "Amidst the Ruins", 2025)

15. møl - "Jord" (from "Jord", 2018)

16. Majestic Mass - "Sanguine Dreams of Lust" (from "Savage Empire of Death", 2018)

17. Ieschure - "Cold Stars of Eternity" (from "Cold Stars of Eternity" EP, 2020) [submitted by Sonny]

18. Inferi (ARG) - "Marked with Our Ancestors Blood" (from "The Awakening of the Black Hordes", 2005) [submitted by Karl]

19. Ruïm - "Fall of Seraphs" (from "Black Royal Spiritism - I - O Sino da lgreja", 2023) [submitted by Vinny]

20. Demoncy - "Risen from the Ancient Ruins" (from "Empire of the Fallen Angel: Eternal Black Dominion", 2015) [submitted by Karl]

21. Helheim - "raunijaR" (from "raunijaR", 2015)

Here's my review summary:

What makes Stormlord stand out in the symphonic black metal pack is the lyrics centered around Italian mythology, and it fits well for when the music alternates between melodic and thrashy. At the Gates of Utopia is the band's second album and their first with the locally popular Scarlet Records after a decade in the underground. Many songs have an epic black metal structure of fast guitars and drums occasionally slowing down for a gloomy section. Even people like me who aren't into black metal that much can enjoy this power and glory. There's also some dramatic choir and male operatic singing. Still we have great speed in the guitars, bass, and drums, in conjunction with the epic atmosphere. As amazing as At the Gates of Utopia is, I still don't feel up to switching back to the on side of my on-off relationship with black metal. Nonetheless, this is the best I've heard from symphonic black metal in a long while, particularly in some highly memorable tracks including the title intermission. As for a couple tracks, they rule too but could've had less forced ideas. With all that said, power metal-ish symphonic black metal might just be worth it for any metal listener!

4.5/5

Recommended tracks: "Under the Samnites' Spears", "Xanadu (A Vision in a Dream)", "At the Gates of Utopia", "The Curse of Medusa", "The Secrets of the Earth"

For fans of: Arcturus' 1996 debut, Bal-Sagoth, Demoniac (the pre-DragonForce band formed in New Zealand)

Ben, Sonny, Xephyr, Rex....this amazing offering of power metal-ish symphonic black metal might just be worth you guys' time:

Gorgoroth:

1. Under the Sign of Hell
2. Pentagram
3. Antichrist
4. Destroyer
5. The Last Tormentor / Bergen 1996
6. A Sorcery Written in Blood demo
7. Quantos possunt ad Satanitatem trahunt
8. True Norwegian Black Metal - Live in Grieghallen
9. Incipit Satan
10. Instinctus bestialis
11. Under the Sign of Hell 2011
12. Ad majorem Sathanas gloriam
13. Twilight of the Idols

I honestly think they managed to avoid dipping below a certain level of quality across the whole discography. I'd suggest that even the lowest placed records on the list ain't that bad, although I certainly am biased as far as this band goes - Gorgoroth were my first love when it comes to extreme metal, and I will always place them among the highest deities of my metal pantheon. I hope we're going to hear from them once more - it's been 10 years already since "Instinctus bestialis" and I wouldn't mind at all to witness yet another "Rebirth".

Edit: For every connoisseur of Infernus' unique riff attack, allow me to recommend some 2024 releases to scratch the itch a bit:

1. Förgjord (FIN) - "Perkeleen weri"

2. Sørgelig (GRE) - "Φθορά"

3. Isolert (GRE) - "Wounds of Desolation"

How's it going, fellas, as it is my turn to nominate the featured release for The North, I would like to, once again, use the opportunity to introduce you to one of my personal highlights of 2024, this time of the black metal variety. My pick this time is going to be the second full-length from the New York-based conventional black metal crew Spite, "The Third Temple". The album offers a nice marriage between the Immortal-esque melodic riffing against the backdrop of cozy pre-Norwegian warmth and heavy/speed metal tendencies reminiscent of the likes of Master's Hammer and Grand Belial's Key. The lyrical themes form another link with the latter, concerning ancient biblical tales and Jewish mysticism, although notably without the antisemitic component that is notorious of GBK. All in all, I've found plenty to enjoy on this record - let me know what you think!

https://metal.academy/releases/55216

https://open.spotify.com/playlist/0Sw9mEcyXo1pGyFHR3znLT?si=e1f1eac0cfee4656

Tracklist:

1. Bathory - "A Fine Day To Die" (from "Blood Fire Death, 1988) [submitted by Sonny]

2. Dark Funeral – “My Dark Desires” (from “Dark Funeral” E.P., 1994) [submitted by Daniel]

3. Kampfar - "Kledd i brynje og smykket blodorm" (from "Mellom skogkleedde aaser", 1997) [submitted by Karl]

4. Novembre – “Let Me Hate” (from “Dreams d’azur”, 2002) [submitted by Daniel]

5. The Great Old Ones - "Me, the Dreamer" (from "Kadath", 2024) [submitted by Vinny]

6. Keep of Kalessin - "Obliterator" (from "Reclaim", 2003)

7. Black Anvil - "On Forgotten Ways" (from "As Was", 2017) [submitted by Sonny]

8. Ragnarok - "Minner om svunne tider" (from "Nattferd", 1995) [submitted by Karl]

9. Imber Luminis - "We Are Not Free" (from "Nausea", 2017)

10. Ellende - "Ballade Auf Den Tod" (from "Todbringer", 2016) [submitted by Vinny]

11. Al-Namrood - "Kail be mekialain" (from "Wala'at", 2020)

12. Aggressa – “VooDoo Doll” (from “Nuclear Death” E.P., 1988) [submitted by Daniel]

13. Kvlthammer - "Hounds" (from "Kvlthammer", 2014)

14. Gehenna - "Morningstar" (from "First Spell", 1994) [submitted by Sonny]

15. Bestial Warlust – “At the Graveyard of God” (from “Vengeance War ‘Till Death”, 1994) [submitted by Daniel]

16. Angantyr - "De dødes valg" (from "Indsigt", 2024) [submitted by Karl]

17. Impaled Nazarene – “Steelvagina” (from “Suomi Finland perkele”, 1994) [submitted by Daniel]

18. Barshasketh - "Nitimur in vetitum" (from "Antinomian Asceticism", 2025) [submitted by Sonny]

19. The Black – “The Black Opal Eye” (from “The Priest of Satan”, 1994) [submitted by Daniel]

20. Смрт - "U raljama košave" (from "Na utrini", 2024) [submitted by Karl]

21. No Point In Living - "The Path To the End" (from "The Cold Night", 2017)

The next playlist for The North will be published at the beginning of April, so suggestions in by 15th March please.

So with the start of a new year it's once again time to have a look at the covers for all the releases for each clan. I personally like to rate a whole stack of covers all at once, rather than doing them one at a time throughout the year, as it allows me to get a better feel for where each cover sits in comparison to others. With that in mind, I've just rated every cover for releases in The North for 2024.

Below are some of the releases that are currently competing for the prestigious 2024 The North Cover of the Year Award. The winner will be announced on the 1st of February, so there's still time to get your ratings in.

The following link will take you to the Gallery, displaying the top North releases that you have not rated yet: CLICK HERE

Got around to the Sargeist tune today. That is fucking great and fits right in. Good Swap IMO!

Here is my review:

Knowing nothing of Code, I did my due diligence and it turns out that they are from the UK, or at least founding member (and only remaining member of the lineup that recorded Nouveau Gloaming), Aort, is. He began the band as a solo project called Seaonal Code in 1998, recording a number of demos before shortening the name to Code and expanding the lineup by bringing in fellow Brit Kvohst as vocalist and recording a further demo in 2002. Further expansion to a five-piece with the addition of US guitarist, Vyttra and a norwegian rhythm section of bassist Viper and drummer AiwarikiaR, saw the release of this, their debut, in 2005.

An initial, cursory listen-through reveals something a little unusual with Nouveau Gloaming, which is the liberal use of clean vocals on what is, essentially, a black metal album. Not exclusively, to be sure, but enough to make the listener sit up and take notice. Kicking off with opener, "The Cotton Optic", things begin fairly conventionally with a very tightly-performed slice of conventional black metal which has a memorable, medium-paced riff that wouldn't sound out of place on a Satyricon album. Very soon, though, things take a different turn with second track "Brass Dogs" being the first to feature the aforementioned clean vocals. It starts and ends with a crackling sound and those clean vocals, recorded very thinly, as if playing on an old record player through cheap speakers. A fairly ominous and slow-tempo tremolo riff joins in along with sluggish drum beats to provide accompaniment to the, obviously deliberately, oddly-produced and slightly disorientating vocals. This is quite a stange track and it does have a kind of disconcerting effect on the listener, which, after the fairly conventional and accessible opener made me wonder where Code would be taking us next.

"An Enigma In Brine" has a post-black feeling to it, with the tremolo riffs forming a wall of sound, alternating clean and harsh vocals and a slow tempo, with lumbering drumbeats, eventually building in tempo and intensity. This is followed by "A Cloud-Formed Teardrop Asylum" which begins with a liturgical chant vibe and those increasingly familiar clean vocals before turning in a progressive black direction that feels a little like the kind of track latter-day Enslaved would be very comfortable with, sounding both epic and poignant, although I felt it ended a little too abruptly.

I think by now you get the picture that this is not exactly your typical black metal album, but something far broader in scope, with a diversity of structure and texture from track to track. It must be said, however, that the album as a whole, despite the individual tracks' diversity does have a coherent and cohesive tone and atmosphere, with a general feeling of discomfort and unease generated by the feeling that something is somehow amiss. I see that the band later went in a more progressive direction and that is certainly hinted at here in their earliest work as even this early on they seem to be seeking to breach the boundaries and constrictions of their chosen genre. Technically the band sound consumately accomplished to my untrained ear and their songwriting is forward-looking and ambitious, building a fairly unique atmosphere with their musical abilities rather than relying on production techniques to do the heavy-lifting atmosphere-wise as some are wont to do. The production is exceedingly clear and allows each member ample exposure in the mix.

I must admit I am very pleasantly surprised by Nouveau Gloaming as I was unaware of the UK having been the home of such a unique black metal release. It is both accessible and thoughtful, whilst still generating the kind of uneasy air that great black metal is so consummately suited for and is one of the UK's more interesting black metal efforts.

4/5

Yeah, I don't mind them too much and still like the debut album, The Principle of Evil Made Flesh, along with my personal favourite Middian and Nymphetamine is OK. I don't really think they have been classed as black metal for many a year now, gothic metal being the most usual tagging for them. 

Do you also hear a bit of an industrial sound here too, Daniel, particularly in the machine-like dehumanisation of tracks like the title track and "Ikikäärme"?

I do but I wouldn't say that it's worthy of aq secondary tag as it's not all that prominent in the overall direction of the album. The psychedelic side of the Oranssi Pazuzu sound has certainly been pushed to the back this time though, hasn't it? I'm gonna put up a Hall of Judgement poll to have the album put into The North at some stage today so make sure that you vote in that mate.

I just finished reviewing the latest Paysage d'Hiver album & it's another classic in my opinion. It honestly had the potential to be one of the all-time great black metal records if not for one flaw which I go into detail about but, as it stands, I'm gonna place it in second place for my The North award, slightly behind Oranssi Pazuzu (if we end up counting it here of course).

Then we have Drudkh and Immortal too boot, again with tracks pulled from two great albums. 

Yeah, those Drudkh & Immortal tracks are both very solid, aren't they?  The whole "Autumn Aurora" album is too actually but I have to admit that I've never considered "Sons of Northern Darkness" to be anything more than decent. I think it's just a little more melodic & accessible than I'd like from Immortal to be honest. I certainly get some enjoyment out of it but I rarely feel like returning to it when I have their more aggressive material to turn to.

Could not get on with that Bathory track

I don't mind that track actually. In fact, I don't mind a good two-thirds of the songs on "Requiem" but the other third is bad enough to see me generally steering well clear.

The Slaughter Lord inclusion is probably my favourite song from them. Anyone that thinks that war metal came about through Blasphemy in 1989 should take a listen to that track & some of the early Sarcofago demo tapes in my opinion.

Just for reference, if you are checking this out on Spotify, they have made a right cock-up of the track listing. The short intro track isn't on the original album and they have all the titles wrong - track 2 on Spotify is actually "Bestial Warlust", track 3 is "Dweller of the Bottomless Pit" and so on, until you get to track 6 which is "Hammering Down the Law of the New Gods" / "Holocaust Wolves of the Apocalypse" with the first part being a short intro.

I'm glad you mentioned that because I based my review on the Spotify version so have had to change my track references now. It was bloody confusing while listening to the album as my recollections of my enjoyment of each track were drastically out of whack.

https://open.spotify.com/playlist/0Sw9mEcyXo1pGyFHR3znLT?si=e1f1eac0cfee4656

1. Stiriah - Sterbend im Nebel (from Portal, 2024) [Submitted by Karl]

2. Yoth Iria - We Call Upon the Elements (from Blazing Inferno, 2024)

3. Aara - Senkrechte Welten (from Senkrechte Welten, 2024)

4. Emperor - Wrath of the Tyrant (from Emperor, 1993) [Submitted by Daniel]

5. Furia - Ptaki Ida (from Nocel, 2014) [Submitted by Xephyr]

6. Labrynthus Stellarum - The Light of Dying Worlds (from Vortex of the Worlds, 2024) [Submitted by Vinny]

7. Sørgelig - Those of the Depths (from Φθορά, 2024) [Submitted by Karl]

8. Panzerfaust - Occam's Fucking Razor (from The Suns of Perdition - Chapter IV: To Shadow Zion, 2024)

9. Watain - The Limb Crucifix (from Rabid Death’s Curse, 2000) [Submitted by Daniel]

10. Gargul - Gallows (from Gallows, 2024) [Submitted by Karl]

11. Horna - Haudanusva (from Perimä vihassa ja verikostossa, 2000) [Submitted by Vinny]

12. Veilburner - Ill Visions of Hex-Shaped Hiss, Behead the Howling Spirit (from The Duality of Decapitation and Wisdom, 2024)

13. Necrowretch - Dii Mauri (from Swords of Dajjal, 2024) [Submitted by Xephyr]

14. Dark Horizon - Secrets of the Nightmare Prophecies (from Darkness Falls upon Mankind, 2024) [Submitted by Karl]

15. Nargaroth - Black Metal ist Krieg (from Black Metal ist Krieg, 2001) [Submitted by Vinny]

16. Saor - Amidst the Ruins (from Amidst the Ruins, 2024)

17. Imperial Triumphant - Hotel Sphinx (from Hotel Sphinx, 2024)

18. Isolert - The End of Beauty (from Wounds of Desolation, 2024) [Submitted by Karl]

19. Enslaved - Slaget I skogen bortenfor (from Hordanes Land, 1993) [Submitted by Daniel]

I was already across this release as we headed into November and so seeing it added to the feature roster lined it up nicely for review. As those folky rich melodies sent my brain into a near trace-like state, I did start to question my credentials as a nail coated wristband wearing black metal fan. But then I remembered my enjoyment of Mare Cognitum and Darkspace and convinced myself that my icy soul was no nearer to being thawed as I first feared. The inclusion of such a heavy amount of synths is perhaps the most challenging part of Vortex of the Worlds yet at the same time it would not work as well as an album without them. They do sound incredibly artificial and are without doubt the main culprit in steering the album away from the more extreme boundaries of black metal, but I find at the same time they are relatively easy to make peace with given their obvious contribution to such a rich and luscious soundscape.

When taken out of consideration for a moment, the synths are far from the only positive element of the instrumentation. The tremolo riffing is excellent (Transcendence) both in isolation and also in accompaniment to everything else. When paired with vocals, they ground the album in the more familiar and safe territory of atmo-black. The programmed drums do not go unnoticed, but are hardly a problem either as I do not believe that Labyrinthus Stellarum wrote Vortex of the Worlds with any desire to focus on percussion. The lack of bass is the only real issue I have as it does makes things sound unnecessarily sterile and gives those synths an almost smothering edge at times. There is a rumbling "something" in the background but I would suggest it is just the intentionally density added in the production to mask the lack of bass.

My instinct suggests that Labyrinthus Stellarum will move too far away from a core black metal sound in subsequent releases to this one. For now, Vortex of the Worlds is a sensible gateway into that vortex that I sense will soon lose some of its appeal in the coming records. I am more than happy to celebrate the successes of this record though and acknowledge its bravery in sticking to its ideals and values. It retains a unique edge without dropping into a Summoning level of repetition and genuinely has some exciting and intense moments that standout. The songwriting suggests that particular methodology is sound enough as the crescendos mid-track are effective and create some of the strongest moments in the record. The album has grown on me with repeated listens but I can sense that looming distance is coming still.

3.5/5

 I am familiar with the Walknut and Satyricon tracks and it was fantastic to hear them again.

I absolutely love "Walk the Path of Sorrow" & my recent revisit of "Dark Medieval Times" has only further fueled those flames. It's the only genuine classic on that record in my opinion. I could have picked a number of tracks from "Graveforests & Their Shadows" actually but the extra aggression in the shorter closing track gave it a slight edge over the other more solid inclusions on that album.

I don't mind DMT, but The Shadowthrone is my favourite Satyricon album if you don't count the The Forest Is My Throne / Yggdrasill split with Enslaved.

Here's my review:

Popular Swedish black metallers Watain first came to my attention around fifteen years ago through their 2003 sophomore album "Casus Luciferi", an experience that I really enjoyed which saw me venturing either side of it to indulge in the band's first & third albums in 2000's "Rabid Death's Curse" & 2007's "Sworn to the Dark". The latter offered me a similar level of appeal to "Casus Luciferi" & saw my interest in Watain being well & truly maintained while their debut album "Rabid Death's Curse" delivered a milder brand of entertainment which didn't encourage me to seek out repeat visits. Watain have very much lost their way with me since that time with the 2010's not treating them very well at all. Even my couple of live experiences have been fairly lacklustre to tell you the truth but things started to look up again with 2022's "The Agony & Ecstasy of Watain" seventh album which was their best work in a long time. It's been eons since I heard the Swede's first-up effort though & this month's feature release nomination would seem like as good a time as any to reassess the merits of Watain's early sound.

The production job on "Rabid Death's Curse" isn't amazing. I guess it's nothing out of the ordinary by black metal standards but Håkan Jonsson's drum sound is terribly lacklustre while bassist Erik Danielsson's vocals could probably have been better highlighted. It took me a listen or two to get used to but I eventually found myself coming to terms with it. This is a different sounding Watain to the one that most fans have flocked to anyway though as it's much less melodic & entirely more traditional in its take on the classic black metal sound. You won't find too many dalliances with Dissection-style melodics here as there are relatively few risks taken on "Rabid Death's Curse", so much so that I'd argue that most of us would likely not have come across this release if it had sported a different band moniker on the front cover. Most of this material goes for broke on the higher tempo blasting with much less time afforded to eerie atmospherics. There's a clear tendency to want to portray themselves as being "evil" too & it's easy to see that Watain were still fairly young & immature at this early stage with the band all still sitting within an age bracket of 18-20.

The biggest obstacle that I faced with "Rabid Death's Curse" can be found in the drumming of Jonsson. He clearly seems to fancy himself as a Marduk-style blaster but his ability to deliver on that concept falls noticeably short of the mark with his blast beats being very messy indeed. This flaw takes a lot of the gloss off of those sections & leaves me with the clear understanding that early Watain were at their best when they showed more restraint by slowing things down a touch. Guitarists Pelle Forsberg & C. Blom produce some more than acceptable black metal riffs here although they aren't always terribly original in how they go about creating them. You see, Watain were a little late to the table to get away with producing an album that sounds this familiar with the Scandinavian scene having well & truly peaked during the middle of the previous decade. Still... there's something about the classic black metal model that lends itself to well produced emulation, isn't there?

"Rabid Death's Curse" is essentially a flat line when it comes to quality & consistency with all eight tracks included sitting at pretty much the same standard. This leaves the listener with a tough task when trying to identify favourites amongst this lot as there are no clear highlights. In saying that though, there are no creative failures to speak of either so I've found myself enjoying the whole album, at least once I'd found a way past my issues with the blast beats. If I had to pick a few of the stronger songs then I'd probably go for opener "The Limb Crucifix", "Life Dethroned" & "On Horns Impaled" but I could just as easily have selected any of the other five songs too given how closely they sit to each other.

Despite the consistency in the tracklisting, there's can be no denying that Watain were not a top tier act at this stage of their evolution. In fact, I'd suggest that they sat smack-bang in the middle of the third tier which is where I place most of the artists that give me mild enjoyment without commanding much in the way of replay value. The Swedes would quickly improve on that position over the course of their next two full-lengths but I'd still suggest that "Rabid Death's Curse" was an acceptable first-up effort for a young band that was still discovering their own capabilities. It may not make any sort of bold creative statement but it does showcase an understanding for the genre from an aesthetic point of view with the atmosphere being suitably dark & grim & the song-writing being attractive enough to keep me engaged. The band would return much better for the run in three years time, this time having dropped guitarist Blom for a new three-piece lineup, & would begin their attempts at global domination with what I consider to be their best record, so one gets the feeling that "Rabid Death's Curse" was an essential stepping-stone in that process. It's just not necessarily an essential one for your average black metal listener, even if I think it's definitely worth a spin or three.

For fans of Valkyrja, Mayhem & Ondskapt.

3.5/5

https://open.spotify.com/playlist/0Sw9mEcyXo1pGyFHR3znLT?si=e1f1eac0cfee4656

1. Dreamless Veil - Dim Golden Rave (from Every Limb of the Flood, 2024)

2. Necrowretch - Total Obilteration (from Swords of Dajjal, 2024) [Submitted by Vinny]

3. Samael - Rebellion (from Rebellion, 1995) [Submitted by Daniel]

4. Horna - Hymni I (from Nyx - Hymnejä yölle, 2024)

5. Firtan - Arkanum (from Ethos, 2024)

6. Satanic Warmaster - Bafomet (from Aamongandr, 2022) [Submitted by Karl]

7. Unanimated - Blackness of the Fallen Star (from In the Forest of the Dreaming Dead, 1993) [Submitted by Daniel]

8. Winterfylleth - Upon This Shore (from The Imperious Horizon, 2024) [Submitted by Vinny]

9. Spite Extreme Wing - Acqua di fonte di gloria (from Magnificat, 2003) [Submitted by Karl]

10. Vafurlogi - Reikul vofa (from Í vökulli áþján, 2024)

11. Impaled Nazarene - Hate (from Ugra-Karma, 1993) [Submitted by Daniel]

12. Marduk - Those of the Unlight (from Those of the Unlight, 1993) [Submitted by Karl]

13. Agrypnie - Aus rauchlosem Feuer (from erg, 2024)

14. Sorhin - Livets löfte (from Apokalypsens ängel, 2000) [Submitted by Karl]

15. Rotting Christ - The 4th Knight of Revelation (from Thy Mighty Contract, 1993) [Submitted by Daniel]

16. Groza - Dysthymian Dreams (from Nadir, 2024)

17. Beherit - Lord of Shadows & Golden Wood (from Drawing Down The Moon, 1993) [Submitted by Daniel]

18. Trelldom - Fra Mitt Gaml (from Til Minne…, 2007) [Submitted by Vinny]

19. Funeral Mist - Funeral Mist (from Devilry, 1998) [Submitted by Karl]

20. Ellende - Scherben Teil I (from Todbringerin, 2024)

Here's my review:

I wasn't surprised in the slightest to find Ben nominating the sole album from Moscow-based atmospheric black metallers Walknut for feature release status this month as he's been raving about it for a good fifteen years now. In fact, it was one of a whole bunch of releases that he recommended to me to explore upon my return to metal in 2009 so I've been well across it for a long time now & have given it a number of return visits over that period. As with most siblings, my tendency is always to want to slam something that Ben adores as my first point of call so I probably went into my first listen to "Graveforests & Their Shadows" with a level of defensiveness & subsequently found myself taking little away from the experience which allowed my to give Ben the smug feedback I'd always intended on giving (i.e. "I dunno what you see in this bro. You can't even hear the riffs!") but time & repeat listens have seen me gaining a strong affection for this Russian artist, if not to the same stratospheric levels as Ben or Sonny.

Walknut is the solo project of Anton Svyagir who goes by the pseudonym of StringsSkald. He's fairly well known in the underground for his work with other Russian black metal acts like Forest, Nitberg & Темнозорь who you may be aware of but "Graveforests & Their Shadows" is by far his most celebrated work. This sole album sees him collaborating with Темнозорь lyricist & Stellar Winter Records owner Gorruth (known as Ravnaskrik for this project) who provides him with well-articulated stories of icy landscapes & tortured souls with which to layer over his lo-fi black metal instrumentation. I've often been critical of the use of the atmospheric black metal subgenre tag in recent years as it seems to have lost a lot of its meaning with people failing to understand its original intent & attempting to chuck it over far too many conventional black metal releases for my liking. But the tag fits the Walknut sound like a tailored glove as "Graveforests & Their Shadows" is far more about texture & subtlety than it is blasphemy & brutality & it does a great job at creating a fantasy world in which the listener can almost see, touch & feel the scenes being portrayed in Ravnaskrik's lyrics.

The lo-fi production job employed is nothing unusual for the atmospheric black metal subgenre but it's certainly well done on this occasion. I still maintain that the guitar riffs are quite difficult to pick out of the mix when taken in isolation as they're used more for texture than they are for melodic direction. It's the keyboards that are layered over the top that are tasked with giving the guitars their melodic context & this technique works quite well, contributing to the album's unique character. The tempos are generally fairly restrained with minimal use of blast-beats & three of the six tracks exceed the ten-minute mark which isn't all that uncommon for releases of this type. Stringsskald's tortured screams are another highlight as he sounds genuinely inhuman a lot of the time which only adds to the frostbitten atmosphere. Unlike a lot of European black metal though, Walknut's fuzzy musical tapestries feel somehow comfortable & you don't get the feeling that the intent was to suffocate or intimidate the listener. There's a warmth to be found in all of the frost if you know what I mean & I feel that this element is what makes the Walknut album stand out from the wealth of similar releases on the market.

The tracklisting kicks off with a well-executed one-minute ambient piece called "Hrimfaxi" that I really enjoy before taking off into the proper black metal material. Of the five metal songs, there are a few that stand out as highlights but all are worth listening to. The more expansive pieces like "Come, Dreadful Ygg" & "Grim Woods" are excellent examples of their type but I think it's the more upfront & aggressive four-minute instrumental closer "Skinfaxi" that appeals to me the most which is perhaps not all that surprising. Opener "Motherland Ostenvegr" is probably the most popular track but I rank it slightly below these other three along with the ridiculously titled "The Midnightforest of the Runes". It's a very consistent album overall though with the entire 43-minute runtime being worth exploring.

I've said a lot of positive things about "Graveforests & Their Shadows" so far, haven't I? And four-stars is more than respectable rating. But why don't I regard Walknut's lone album as highly as some of our other members by placing it up on a pedestal with the absolute cream of the black metal crop then? I think it's to do with some of the melodic ideas portrayed in the instrumentation to be honest. As well-executed as this material is, I often find that the motifs don't quite fully connect with me in the same way as peers like Paysage d'Hiver or Burzum do when they're at their best & it's important to me that I save my elite ratings for releases that I regard as being genuinely life-changing. The programmed drums are fairly obvious too which does detract from the overall package a touch, although I admittedly find myself getting more used to them with each listen. Nonetheless, "Graveforests & Their Shadows" is an excellent example of the atmospheric black metal subgenre & if that's something that you usually dig then I have no doubt that you've find a lot of enjoyment in it.

For fans of Drudkh, Ygg & Wędrujący Wiatr.

4/5

https://open.spotify.com/playlist/0Sw9mEcyXo1pGyFHR3znLT?si=e1f1eac0cfee4656

1. Pestilential Shadows - Devil's Hammer (from Devil's Hammer, 2024) [Submitted by Karl]

2. Spectral Wound - Aristocratic Suicidal Black Metal (from Songs of Blood and Mire, 2024)

3. Impaled Nazarene - I Al Purg Vompo: My Blessing (The Beginning Of The End) (from Tol Cormpt Norz Norz Norz…, 1993) [Submitted by Daniel]

4. Schammasch - They Have Found Their Master (from They Have Found Their Master, 2024)

5. Ljå - Til Satan (from Til avsky for livet, 2006) [Submitted by Karl]

6. Aetheria Conscientia - The Blossoming (from The Blossoming, 2024) [Submitted by Daniel]

7. Korgonthurus - Syyttäjäenkeli (from Kuolleestasyntynyt, 2020) [Submitted by Vinny]

8. Oranssi Pazuzu - Valotus (from Valotus, 2024)

9. Véhémence - L'étrange clairière (from Par le sang versé, 2019) [Submitted by Karl]

10. Mystifier - An Elizabethan Devil Worshipper's Prayer Book (from Göetia, 1993)

11. Havohej - Fucking of Sacred Assholes (from Dethrone the Son of God, 1993) [Submitted by Daniel]

12. In Aphelion - A Winter Moon's Gleam (from Reaperdawn, 2024)

13. Hulder - Hearken the End (from Verses in Oath, 2024) [Submitted by Vinny]

14. Wraithfyre - Ablaze in Abyssal Frosts (from Of Fell Peaks and Haunted Chasms, 2024)

15. Absu - Infinite & Profane Thrones (from Barathrum: V.I.T.R.I.O.L., 1993) [Submitted by Daniel]

16. Ymir - Silvery Howling (from Ymir, 2020) [Submitted by Vinny]

17. Paysage d'Hiver - Urgrund (from Urgrund, 2024)

18. Blut aus Nord - Elevation (from Memoria Vetusta II: Dialogue With The Stars, 2009) [Submitted by Daniel]

Here's my review:

The 1993 "Tol Cormpt Norz Norz Norz..." debut album from Finnish black metallers Impaled Nazarene made a significant impact on me after I picked it up on CD shortly after release. It's blend of simple, catchy, yet still pretty evil sounding black/war metal was really well produced & executed which left me with the impression of an artist that was aware of its limitations & worked really hard at maximizing its strengths. I wasn't surprised that Impaled Nazarene's tongue-in-cheek approach got a few purists noses out of joint (I'm looking at you Ben) but I could manage to look past it in order to take "Tol Cormpt Norz Norz Norz..." for what it is i.e. one of the more fun black metal releases of its time. So, when news of Impaled Nazarene's sophomore album hit my ears only ten months later, I found myself eagerly reaching into my pocket for another helping.

The "Ugra-Karma" album makes for a very good accompaniment for the band's debut actually as it possesses many of the same traits & qualities. It was recorded by the same lineup in the same recording studio with the same producer & only a short time later so I guess that was to be expected though, wasn't it? It's of a pretty similar quality too so if you liked "Tol Cormpt Norz Norz Norz..." then you were probably always gonna like "Ugra-Karma" too. The production job is once again extremely solid, making the most of the simple, uncluttered arrangements by presenting them within a tight, rock-solid framework. The drum kit sounds particularly powerful while front man Mika Luttinen's grim black metal vocals are once again a highlight.

The twelve track, 38-minute tracklisting is generally pretty solid with only the misguided industrial black metal piece "Gott ist tot (Antichrist War Mix)" failing to hit the mark. In fact, that particular number fell well below the bar so I've struggled to justify its inclusion to be honest. There's less of the war metal sound that I enjoyed so much on the debut this time but we find Impaled Nazarene replacing it with a punk rock influence that we'd see them expanding on further on future releases. The wonderful "Hate" is by far the best track on the album in my opinion with its incorporation of synthesizers giving it more of a classic Norwegian feel than most of the other material. I also really enjoy the more aggressive & brutal tracks like "Coraxo", "Goatzied" & "Cyberchrist".

"Ugra-Karma" has gone on to become Impaled Nazarene's most highly regarded release over the years & it's not hard to see why as it showcases a flare for violence & brutality wrapped in an air of accessibility, a lethal combination when done just right. There's been very little attempt at any sort of sophistication & there's a place for that sort of record in my life given my history as an old-school tape trader. I do have to admit that I prefer the debut over "Ugra-Karma" though, mainly because I prefer war metal over punk rock by a considerable margin. I also miss the dark Mayhem-style power chord riffs that "Tol Cormpt Norz Norz Norz..." delivered with such success. However, I've returned to "Ugra-Karma" many times over the years & will likely continue to for some time yet as there's no doubt that it's a very solid example of mid-90's European black metal.

For fans of Sadistik Exekution, Impiety & Belial.

4/5

https://open.spotify.com/playlist/0Sw9mEcyXo1pGyFHR3znLT?si=e1f1eac0cfee4656

1. Seth - Et que vive le diable (from La France des maudits, 2024) [Submitted by Karl]

2. Vananidr - The Watcher (from Beneath the Mold, 2022) [Submitted by Vinny]

3. Aura Noir - Conqueror (from Black Thrash Attack, 1996) [Submitted by Daniel]

4. Sear Bliss - The Winding Path (from Heavenly Down, 2024) [Submitted by Xephyr]

5. Gaerea - Hope Shatters (from Hope Shatters, 2024)

6. Samael - After the Sepulture (from Blood Ritual, 1992) [Submitted by Daniel]

7. Whoredom Rife - Den vrede makt (from Den vrede makt, 2024) [Submitted by Karl]

8. Gorgoroth - På slagmark langt mot nord (from Destroyer, 1998) [Submitted by Karl]

9. Sig:Ar:Tyr - Awaiting the Last Dawn (from Citadel of Stars, 2024)

10. Hail Spirit Noir - The Temple of Curved Space (from Fossil Gardens, 2024)

11. Keep of Kalessin - Through Times of War (from Through Times of War, 1997) [Submitted by Karl]

12. Krallice - Fatestorm Sanctuary (from Inorganic Rites, 2024)

13. Yoth Iria - The Great Hunter (from As the Flame Withers, 2021) [Submitted by Xephyr]

14. Cradle of Filth - To Eve the Art of Witchcraft (from The Principles of Evil Made Flesh, 1994) [Submitted by Daniel]

15. Diocletian - Barbaric Hunt (Feral Prey) (from Inexorable Nexus, 2024)

16. Kvaen - De Dodas Sang (from The Formless Fires, 2024) [Submitted by Xephyr]

17. Nattefrost - Primitive Death (from Terrorist: Nekronaut Pt. 1, 2005) [Submitted by Vinny]

18. Inherits the Void - The Orchard of Grief (from Scars of Yesteryears, 2024)

19. Enslaved - Heimdallr (from Ygdrasill, 1992) [Submitted by Daniel]

20. Dark Funeral - Shadows Over Transylvania (Re-Recording 2024) (from Shadows Over Transylvania (Re-Recording 2024), 2024)

I agree with Vinny on removing Batushka. I've listened to a lot of modern Black Metal and there aren't a lot of bands that follow in Batushka's footsteps with the chanting aspect; the only one that springs to mind is Thy Darkened Shade and their 2014 album Liber Lvcifer I: Khem Sedjet which predates the Batushka album. 

Since we're going purely influential, I'm also with Vinny on removing Conqueror and keeping Blasphemy as the sole War Metal representative, unless someone else wants to suggest an example that's pushing the genre in the modern era. Something like Infernal Coil's Within a World Forgotten since that seems to be hailed as War Metal graduating into something more than the original Blasphemy-core, but I'm not an expert on that. 

I don't listen to a lot of Depressive Black Metal so take this opinion/suggestion as you will: I would keep Xasthur and Leviathan and remove Silencer. Unless Silencer's 2001 is cited as being a real influence on either of the other two albums, in which case I would keep Silencer and Xasthur. I did find out that Bethlehem's Dictius Te Necare predates all of these under the Depressive Black Metal tag, releasing in 1996, and while the production is much clearer and the songwriting isn't as frantic, it still has the reflective and despairful atmosphere along with a vocal style that I've heard from many a Black Metal band. I'm just not sure how well this album was known by other musicians at the time. If Bethlehem comes into the discussion, it'd be Bethlehem and Xasthur for me personally. I went back and forth but I think Ben's right in saying that Xasthur is the more quintessential Depressive Black Metal sound, even though I think Leviathan has the more interesting album.

I think Enslaved stays.

I'm unsure on having both Cradle of Filth and Dimmu Borgir beside each other as the final Symphonic Black Metal representatives, especially since In the Nightside Eclipse is already there. I'm not an expert on either of these bands, but from what I can tell, modern Black Metal bands more closely follow Dimmu Borgir's Enthrone Darkness Triumphant than Dusk and Her Embrace, which sounds still sounds pretty unique to me. I'd have to spend some more time coming up with a more modern representative for Symphonic Black Metal, I don't know if there is one to be honest. 

I also get frustrated by the need to further sub-categorise metal genres, but I think in this instance it's a valid one. The influence that Deathspell Omega have had on black metal can't be overstated. There are many (admittedly) lesser known bands that are attempting to utilise a similar sound. I reviewed one here at Metal Academy not long back actually...

https://metal.academy/releases/23898

Bekor Qilish, Kvadrat and Skaphe are other bands that come to mind that are very obviously bringing Deathspell-like dissonance into their music. I do feel there's something quite distinct about the sound that was introduced by Blut Aus Nord's The Work Which Transforms God and Deathspell Omega's mid-2000s releases. They don't have traditional black metal riffs at all.

For anyone interested, I think these are good examples...

https://open.spotify.com/track/2eDaorhzqRSmuYdPFW7Jnu?si=728c5b45a7584f69

https://open.spotify.com/track/5FSASFBCaKkBYhH6iYq4kN?si=9f51be8b321a4f29

https://open.spotify.com/track/377pFq2o7qSZSU9wAo8oiI?si=635093e767b540a0

Here's my review:

My earliest experiences with French black metal stars Blut aus Nord came through the tape trading scene of the mid-to-late 1990’s when I became exposed to their first two albums, both of which I really enjoyed. My self-imposed hiatus from the metal scene for pretty much the entirety of the 2000’s saw me almost completely forgetting about this band though & it wasn’t until Ben encouraged me to investigate their classic 2003 fourth album “The Work Which Transforms God” upon my return to metal in 2009 that my passion for Blut aus Nord was reignited & boy it was an exhilarating experience too. That record possesses a purity of darkness that few in the black metal scene can touch & it affected me on a deep enough level to see me flogging the album for months to come. Since that time though, I’ve found Blut aus Nord to be a little hit & miss with some of their releases falling a little flat & others reaching the higher stratospheres of the black metal air space. 2009’s seventh album “Memoria Vetusta II: Dialogue With The Stars” has always been one that I’ve taken very positively though, even if it perhaps doesn’t sit amongst my favourite Blut aus Nord records overall. I’ve returned to it several times over the years but have never afforded it the dedicated attention required for a well-informed review until now. Let’s take a look at what it’s all about.

Blut aus Nord releases inevitably possess their own unique characters & “Memoria Vetusta II” is no different in that regard. It contains some really big positives that drive its appeal but it also presents us with a couple of weaknesses that prevent the album from becoming the true classic it seems to have the potential to be on the surface. Unlike some of Blut aus Nord’s more experimental or avant-garde efforts, “Memoria Vetusta II” is noticeably more accessible & is unquestionably an atmospheric black metal record. It’s a lot more about producing ethereal soundscapes than it is about battering or intimidating the listener with its tone creating a calmer & more contemplative view of the world than a record like “The Work Which Transforms God” which was significantly darker. There’s a strong focus on melody here with the stunning guitar riffs combining with some subtly incorporated, almost angelic synthesizers to wonderful effect. In fact, the keyboard work sometimes reminds me of German ambient producer Gas with its soft, organic timbre beautifully intertwining with the guitar work to produce some quite vivid visuals. This is the real strength of “Memoria Vetusta II” as there’s an undeniable class about the way Vindsval creates his guitar parts & I find this element of the record to be infinitely impressive.

Unfortunately, there are a couple of things that detract a little from the strength of those components though. Firstly, the programmed drums sound weak & obviously artificial which goes against the more organic nature of the rest of the instrumentation. There are certainly those more industrially-tinged Blut aus Nord releases where the drum machine plays an intrinsic role in the atmosphere but here I find that it lacks the required cohesion with the rest of the instrumentation, a flaw that is only further highlighted by the fact that the bass guitar is so low in the mix that it’s almost redundant. Similarly, Vindsval’s grim black metal vocals reside quite a bit further back in the mix than I’d ideally like to see them sitting. This technique works really well for many of your more lo-fi & noisy black metal artists but here I find myself consistently wishing they were a little further towards the front so that they could compliment the clear strength in the guitar work. Sadly, this was not to be & I’ll have to take “Memoria Vetusta II” for what it is. Let’s not sit here dwelling on what-if’s though because this is still a damn fine black metal record in its own right.

The nine-song tracklisting is a wonderfully consistent collection of material that flows very nicely together, despite containing a few interesting deviations from the standard atmospheric black metal model. My pick of the bunch is actually the ambient/dungeon synth intro piece “Acceptance (Aske)” which puts me into a lovely warm & meditative state before the black metal assault firmly jolts me to attention. The more traditional black metal numbers are all very solid with "....The Meditant (Dialogue With the Stars)" & "Antithesis of the Flesh (...And Then Arises a New Essence)" being the most significant compositions in my opinion. The well-executed clean folk guitar piece “Translucent Body of Air (Sutta Anapanasati)“ works very well to break up the album while instrumental closer “Elevation” is also worth mentioning as it's comfortably my favourite of the metal tracks. I love the way that it manages to transcend the black metal genre through the use of repetitive, melodic motifs which wash over the listener. It’s a stunning way to finish what was already a highly rewarding hour of black metal.

Look, perhaps “Memoria Vetusta II: Dialogue With The Stars” isn’t the career-defining masterpiece that so many black metal fans seem to claim it as these days but it is a damn fine record nonetheless & one that I can’t see disappointing too many extreme metalheads, at least once they’ve given it a few spins & accepted the initially distracting drum programming. I have to admit that this was an obstacle for me on each occasion that I’ve revisited “Memoria Vetusta II” over the years but those feelings of hesitation inevitably fade once I became reacquainted with the obvious quality in the guitar hooks. There are three or four Blut aus Nord releases that I’d reach for before “Memoria Vetusta II” when I feel like a fix of high-class French black metal but there’s no doubt that it’s a record of substance that needs to be heard in an underground scene that’s so chock full of followers. These guys clearly fit into the category of leaders & their influence on not only their local scene but the international one is beyond question.

For fans of The Ruins of Beverast, Akhlys & The Eye.

4/5

https://open.spotify.com/playlist/0Sw9mEcyXo1pGyFHR3znLT?si=e1f1eac0cfee4656

1. Gaerea - World Ablaze (from World Ablaze, 2024)

2. Akhlys - Maze of Phobetor (from House of the Black Geminus, 2024)

3. Árstíðir lífsins - Nauð greyprs élreka (from Aldrlok, 2024)

4. Adversarial - Merging Within the Destroyer (from Solitude With the Eternal..., 2024)

5. Enslaved - I lenker til Ragnarok (In Chains Until Ragnarok) (from Blodhemn, 1998)

6. Warmoon Lord - Blazing Warrior Soul (from Burning Banners of Funereal War, 2019) [Submitted by Vinny]

7. Whoredom Rife - The Beautiful End of All (from Den vrede makt, 2024)

8. Master's Hammer - Utok (from Ritual, 1991) [Submitted by Daniel]

9. Sólstafir - Hin helga kvöl (from Hin helga kvöl, 2024)

10. Critical Defiance - Full Paranoia (from The Search Won't, 2024) [Submitted by Daniel]

11. Begotten - If All You Have Known Is Winter (from If All You Have Known Is Winter, 2020)

12. Saidan - Genocidal BloodFiend (from Visual Kill: The Blossoming of Psychotic Depravity, 2024) [Submitted by Vinny]

13. Emperor - My Empire's Doom (from Wrath of the Tyrant, 1992) [Submitted by Daniel]

14. Ætheria Conscientia - Endless Cycle (from The Blossoming, 2024)

15. Satanic North - Village (from Satanic North, 2024) [Submitted by Vinny]

16. Amiensus - A Consciousness Throughout Time (from Reclamation, 2024)

17. Evilfeast - From The Northern Wallachian Forest… Tyranny Returns (from Elegies of the Stellar Wind, 2017)

18. Pestilent Hex - Chapter II: "Nature of the Spirit" (from The Ashen Abhorrence, 2022)

19. Summoning - The Passing of the Grey Company (from Minas Morgul, 1995)

Cool find. I would have probably never heard of this one if I hadn't joined the Academy. After giving it a few spins over the course of last week, I decided to review it as well:

https://metal.academy/reviews/35546/9858