The North

Hi again Ben, could you please add:

Hellreign (USA, Brooklyn)

Över (international)

Úlfarr (UK)

Ulven (USA, Ohio)

Tyrannosorceress (USA, Texas)

Cheers, mate.

July 2026

1. Pillorian - "By the Light of a Black Sun" (from "Obsidian Arc", 2017) [submitted by Vinny]

2. Rotting Christ - "The Forest of N'Gai" (from "Passage to Arcturo", 1991) [submitted by Karl]

3. Satanic Warmaster - "Black Circle of Death" (from "Exultation of Cruelty", 2024) [submitted by Sonny]

4. Ulg - "Dark Woods" (from "Windark", 2017)

5. Dimmu Borgir - "Ulvgjeld & blodsodel" (from "Grand Serpent Rising", 2026) [submitted by Vinny]

6. Sammath - "Ferocious Mortar Fire" (from "Across the Rhine Is Only Death", 2019) [submitted by Karl]

7. Shining - "Claws of Perdition" (from "IV: The Eerie Cold", 2005) [submitted by Sonny]

8. Ancient Rites - "(Ode to Ancient) Europa" (from "Dim Carcosa", 2001)

9. Agastus - "Black Moon's Blood" (from "Dawn of Martyrdom", 1996) [submitted by Vinny]

10. Venusberg Cardinal - "Mundus Loss" (from "Atlas of Dungeons", 2023) [submitted by Sonny]

11. Serpent Lord - "Constrictor" (from "The Once Forgotten Ways of Old", 2026) [submitted by Vinny]

12. Violet Cold - "Mamihlapinatapai" (from "kOsmik", 2019)

13. Psicosfera - "Copulent (XII)" (from "Beta", 2018) [submitted by Sonny]

14. Firtan - "Innenschatten" (from "Innenwelt", 2016) [submitted by Vinny]

15. Octinomos - "Nuclear Blitz" (from "Welcome to My Planet", 1999) [submitted by Karl]

16. Heltekvad - "Ærbødig er den som sejrer" (from "Morgenrødens Helvedesherre", 2022) [submitted by Vinny]

17. Malefic Levitation - "Black Forest Worship" (from "The Ancient Plague EP", 2017) [submitted by Sonny]

18. Equilibrium - "Unter der Eiche" (from "Turis Fratyr", 2005)

19. Skogen - "I döden" (from "I döden", 2014) [submitted by Sonny]

20. Hirilorn - "Last Ride on the Winds of Eternity" (from "Legends of Evil and Eternal Death", 1998) [submitted by Karl]

I lose track of Gorgoroth very easily I find. The early movement of vocalists proper gets confusing for me and by the time we get to this record there’s three of them doing the vocals. There are also four different drummers (albeit one of them only does track three – and it is the mighty Frost). Taking time to bring myself up to speed on Gorgoroth goings on, I can see legal battles, prison sentences, court appearances, trademark registration challenges, firings and assaults of band members. No wonder the line up appears to stick in my mind as being unstable then.

Aside from the fact that most people involved sound like abhorrent individuals, Gorgoroth have always managed to make vicious and scathing black metal that is pleasing to my ear. Aside from the fact that this album has a stupid title that screams immaturity, the content itself is most entertaining. Anyone who thinks that Gorgoroth are smash and grab, one blistering pace of black metal in the vein of Marduk style of band, will find evidence to the contrary on their fourth full length offering. There is variety of pace and tempo on this album and tracks like ‘The Virginborn’ employ a much more exploratory style of writing than I was expecting going into the record.

At the same time, there is still enough necro to keep the kvlt crew happy. Album closer ‘Slottet i det fjerne’ (a Darkthrone cover) caters for this element perfectly, awash with feedback and production values straight from 1994. Similarly, opening track, ‘Destroyer’ makes no bones about the lack of pleasantries to begin the album. Whilst I accept discomfort as being expected and acceptable on a Gorogorth record, there is elements of a little overkill here. It could be my subconscious playing with me a little, knowing that there are multiple different performers on a revolving platter contributing to the record, but the album at times does sound like it may be two different albums put together. Not in terms of the pace and tempos, just more in terms of the content of the album overall.

I cannot say it is a fault, or a criticism as such even, yet there is a sense of layering being applied that sort of catches me off-guard. ‘The Devil, The Sinner and His Journey’ is a bit of a weird track for inclusion in my book and I would argue that the album is at its strongest in terms of consistency through the middle section of the record onwards. There is also a tendency for a crooning, folk-tinged vocal effect to creep into tracks at times, which sounds a bit amateur in all honesty. Still, it is distinctly a Gorgoroth record at the end of the day so there is still plenty to enjoy overall, despite my little niggles with it.

3.5/5

I've been warming up to this album with each time I hear it.  It gets more and more interesting each time, and now it's at the point to.where I enjoy it more than Nightside.  What a sin to say.

Yes please, going to slowly start contributing to all 3 of my playlists by next month. 

No problem, my friend. 

With 4 regular contributors to the North now I want to set a time allocation limit of 25 minutes per contributor per month. This gives me 20 minutes spare that I will use to cover sub-genres not suggested by the four of us with our personal suggestions. If you stray a minute or two over then it is no big deal, as long as I have got 15-20 minutes to play with.

I went through the Trha phase back in 2021 and 2022 starting with Endlhëtonëg, which I still highly recommend, but it became way too much to keep up with for me after 2022. The output started to become a bit insurmountable even back then because their style remained generally the same, like you mentioned, even if each album was high quality and had its own ideas. I sadly couldn't be bothered anymore, which is a bit of a shame because I still see the albums pop up everywhere as highlights for others. It's genuinely impressive, but unless things have changed, you're right that Trha can get pretty repetitive just due to it following the Atmo Black style. Just have to try and get engrossed in it and see if it does anything for you. 

I'd be interested to see if you find anything cool in the newer releases, since I doubt I'll have to motivation to wade through them anytime soon.

Cabinet - Deracinated Into Soiled Reliquaries (Sarcophagus Odyssey) (2026)

Genres: Bestial Black Metal, Black Death Metal

Lots of black metal bands like to kickstart their albums with some slow build up.  And then you have Cabinet, who's like, "Nope.  I'ma shove a dump truck full of dirt on top of your head.  Here's music that sounds like a corpse is digging back to the surface and growling while the earth keeps getting stuck in its mouth.  Then halfway through the first track, we get guitars that sound like the music that plays when flies are buzzing around you in the cartoons, expect the flies are gonna kill you.  But because of the heavier focus on the noise factor, there's less melody and more chugging than usual, at least there is when the war metal takes the stage.  When you have the doomy stuff with the creppy chanting in "Precipitating Pneumonoconiosis In The Cremation Cellar," (I totally copy/pasted that) there's more "songwriting" involved.  And out guy's going a little crazier with the sound effects this time.  He ends one track with the bubbling sounds of having your head forced underwater, one track ends with collecting wheezings and coughs, and there is one disturbing narration that I won't ruin for you.  But overall, this album may be more of the same at its core, but its war metal is dirtier and its clearer edges are smoother.  Definitely has a lot of replay value.

90

That's the earliest Moonsorrow release that I actually like to be honest. Their previous material was simply too cheesy for my taste but I can get into all of their post-2005 records.

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

1. Pillorian - "By the Light of a Black Sun" (from "Obsidian Arc", 2017) [submitted by Vinny]

2. Rotting Christ - "The Forest of N'Gai" (from "Passage to Arcturo", 1991) [submitted by Karl]

3. Satanic Warmaster - "Black Circle of Death" (from "Exultation of Cruelty", 2024) [submitted by Sonny]

4. Ulg - "Dark Woods" (from "Windark", 2017)

5. Dimmu Borgir - "Ulvgjeld & blodsodel" (from "Grand Serpent Rising", 2026) [submitted by Vinny]

6. Sammath - "Ferocious Mortar Fire" (from "Across the Rhine Is Only Death", 2019) [submitted by Karl]

7. Shining - "Claws of Perdition" (from "IV: The Eerie Cold", 2005) [submitted by Sonny]

8. Ancient Rites - "(Ode to Ancient) Europa" (from "Dim Carcosa", 2001)

9. Agastus - "Black Moon's Blood" (from "Dawn of Martyrdom", 1996) [submitted by Vinny]

10. Venusberg Cardinal - "Mundus Loss" (from "Atlas of Dungeons", 2023) [submitted by Sonny]

11. Serpent Lord - "Constrictor" (from "The Once Forgotten Ways of Old", 2026) [submitted by Vinny]

12. Violet Cold - "Mamihlapinatapai" (from "kOsmik", 2019)

13. Psicosfera - "Copulent (XII)" (from "Beta", 2018) [submitted by Sonny]

14. Firtan - "Innenschatten" (from "Innenwelt", 2016) [submitted by Vinny]

15. Octinomos - "Nuclear Blitz" (from "Welcome to My Planet", 1999) [submitted by Karl]

16. Heltekvad - "Ærbødig er den som sejrer" (from "Morgenrødens Helvedesherre", 2022) [submitted by Vinny]

17. Malefic Levitation - "Black Forest Worship" (from "The Ancient Plague EP", 2017) [submitted by Sonny]

18. Equilibrium - "Unter der Eiche" (from "Turis Fratyr", 2005)

19. Skogen - "I döden" (from "I döden", 2014) [submitted by Sonny]

20. Hirilorn - "Last Ride on the Winds of Eternity" (from "Legends of Evil and Eternal Death", 1998) [submitted by Karl]

Aron Shute may just be my new favourite black metal vocalist. His performances at times on The Transformation Room are deranged and demented which just so happens to be how I like my black metal orations to be decanted. He is also bassist and one of three vocalists in Koma, a sludge/doom band who are on my to do list also now. I stumbled across Crystal Coffin whilst researching inclusions for my The North clan playlist suggestions and I soon went all in on listening to the whole album. Whilst the conventional black metal tropes are more than evident, what appeals to me about CC’s sound is that there are also prog, ambient and electronic musings going on throughout the album. The band manage to incorporate these different elements without afflicting the listener with a sense of alienation from these perhaps unexpected inclusions.

Taking up the unusual or unexpected is not just limited to the music though, The Transformation Room takes the Holodomor that occurred in the Ukraine in the 1930’s (a man-made famine around the Soviet Union at the time that it is debated whether it was intentional or not, and was responsible for millions of deaths) as its theme, whilst exploring the relevance to personal suffering, pain and higher plains of existence. Despite its macabre subject matter, the album sounds like a thorough examination of this entire concept. It flows the earthiness and grounded nature of a reality of hell on earth into the transcendental possibilities of what lies beyond through those more eclectic musical choices well.

I am not a fan usually of instrumentals or passages in the middle of records but ‘The Inverted Burial of Taras’ is one of those ambient moments that provides some real respite before the band charges headlong into album highlight ‘I Emerge’ where Aron’s vocals really get to show their nefarious side. This an almost doom metal track. Where it not for the rasping vocals in fact, there would be little to stop you thinking this was a guest track. Lenkyn Ostapovich’s guitar and keyboards both get to really shine on this track and with drummer Rob Poirier also being in Koma, it should not perhaps be such a surprise of the doomier direction of this track. This horrendous event from 20th century eastern Europe is effectively portrayed in this melodic, harrowing and compelling concept album. If you like your black metal with a bit of variety, then this is most certainly worth a go.

4/5

Unfortunately, my old Darkthrone "Transilvanian Hunger" long-sleeve now has enormous holes in the elbows & I've finally laid it to rest so that I receive the sheer joy of replacing it with another awesome band shirt.

A new month, a new North playlist. It isn't exactly black metal weather here in Ol' Blighty at the minute, but if you do happen to check the playlist out, let me know what you think.

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

1. Zeicrydeus - "Ten Thousand Spears Atop the Bleeding Mountains" (from "La Grande Hérésie", 2025) [submitted by Karl]

2. Khold - "Dødens grøde" (from "Phantom", 2002)

3. Krahnholm - "Scorching Storm" (from "Granting Death", 2018) [submitted by Sonny]

4. Primordial - "Empire Falls" (from "To the Nameless Dead", 2007) [submitted by Vinny]

5. Antaeus - "Devotee" (from "Cut Your Flesh and Worship Satan", 2000) [submitted by Karl]

6. Gorrch - "Vorago" (from "Stillamentum", 2026) [submitted by Vinny]

7. Helheim - "Jormundgand" (from "Jormundgand", 1995) [submitted by Karl]

8. Mist of Misery - "Epitaph of Penitence" (from "Absence", 2016)

9. No Point in Living - "Impatience" (from "The Cold Night", 2017) [submitted by Sonny]

10. Svartkonst - "Death Magic" (from "Black Waves", 2020) [submitted by Vinny]

11. Diabolical Masquerade - "Blackheim's Quest to Bring Back the Stolen Autumn" (from "Ravendusk in My Heart", 1996) [submitted by Karl]

12. Sig:Ar:Tyr - "Helluland" (from "Northern", 2016)

13. Misþyrming - "Ég byggði dyr í eyðimörkinni" (from "Söngvar elds og óreiðu", 2015) [submitted by Sonny]

14. Fire Magic - "Siege of Eternity" (from "Memories of Fire", 2026) [submitted by Vinny]

15. Majestic Mass - "Clandestine Supremacy" (from "Savage Empire of Death", 2018)

16. Graufar - "Buried in Flames" (from "Via Necropolis", 2026) [submitted by Vinny]

17. Xasthur - "Cursed Revelations" (from "Telepathic With the Deceased", 2002)

18. Thyrfing - "The Voyager" (from "Vansinnesvisor", 2002)

19. Crom Dubh - "The Invulnerable Tide" (from "Heimweh", 2015) [submitted by Sonny]

Who the heck are Agatus? According to the internet, they have been at it for nearly thirty-five-years, yet I have never heard of them. Albeit they inhabit a geography of black metal that I rarely visit, in the Hellenic scene. They certainly sound like they are from that scene but do sound a tad colder in their style when compared to the still similar sounds of Rotting Christ and Varathron. Like those fellow Greeks, the simplicity of Agatus’ sound is endearing, somehow taking the clumsiness of Bathory and the attack of Absu and making pleasing output from them. Those melodies are the key to the overall success of Dawn of Martyrdom though. That is where the memorability gets an upgrade from those basic structures and stabs of keys.

It is hard to describe the record as being amateur. Despite it not really stretching its legs all that much, Dawn of Martyrdom still is welcome to stay the full length of its near fifty-one-minute runtime. Once it is playing, I find it hard to turn off, even though it is doing nothing remarkable. This style of black metal is important to remind us all that black metal grew around this bare aesthetic over many decades, but I missed the inception of this genre and so most of the time when I find a record that I have missed from the 90’s, I roll my eyes a little and think “oh, this sound again”. However, Agatus just have a real authenticity to their sound making their debut difficult to resist.

It is no hidden gem or missed classic for my money as these ideas have all been done already and done much better in fact. That’s not to say that I fail to enjoy the album though. Agatus can more than string together a tune, even if the variety factor suffers here (albeit it’s a black metal album so I must base part of my rating on how well it maintains those conventional tropes of repetition and mundane grimness). I would say the standout factor is the attack of the album, which is dogged in its determination to say the least. It may have melody galore and picked string passages drifting around the place but ultimately the album is on the front foot for a lot of the time. If you like the Hellenic scene then you cannot go wrong with Dawn of Martyrdom.

3.5/5

This was my #1 black metal album at one point and I still my favorite Blut work.  It really cemented the experimental side without feeling overdone the ay Aladdin Sane did for Bowie.

Made the most of the bank holiday and listened through this playlist today.  I can safely say that I never want to listen to Skyforest again as long as I live and I was a little put off by Fermenting Innards also.  But on the whole I enjoyed this one.  I have started to limit myself to four takeaways a month and my four this time are: Thus Defiled, Beltez, Crurifragium and Fides Inversa.  Agatus would have been ahead of Beltez probably but since "Dawn of Martyrdom" is on feature this month for The North, I will still get to it anyways.

Bethlehem - "Dictius te necare" (1996)

I first encountered Germany's Bethlehem through the mid-90's tape trading scene through their 1993 demo tape & 1994 debut album "Dark Metal" (both of which I quite liked) which led me to track down their sophomore record "Dictius te necare" through the same channels once it hit the shelves. It saw Bethlehem adjusting their sound somewhat, mainly off the back of a lineup change that saw vocalist/keyboardist Andreas Classen (Darkened Nocturn Slaughtercult/Shining) being replaced by new front man Rainer Landfermann (Pavor) whose psychotic howls are the main talking point with this release. The blackened doom metal instrumentation isn't all that different to what we heard on "Dark Metal" but it's the over-the-top theatrics of Landfermann that the clear focal point & will ultimately decide on your reaction to "Dictius te necare" as I think it's fair to say that he's more than a little divisive. He is also the main catalyst for the album's DSBM credentials as he sounds like he's in all sorts of agonizing pain on these seven tracks. Personally, I think the album needs him too as the riffs & single-guitar lineup aren't all that exciting but I do really enjoy the deep, stripped-back atmospheric material that pops up from time to time on most tracks. The doomier material is also where I think Bethlehem are at their best with lengthy closer "Dorn meiner Allmacht" being the clear album highlight in my opinion. I can't subscribe to the general consensus that "Dictius te necare" is some sort of classic release but it's certainly worth a listen for those with a penchant for the doomier & more depressive side of black metal.

For fans of Silencer, Shining & Forgotten Tomb.

3.5/5

Gorrch - "Stillamentum" (2026)

Gorrch are over fifteen years into their existence and are only just getting around to their sophomore album. The duo of Chimsicrin (drums, vocals and keyboards) and Droich (guitars and bass) make for a quite a melodic take on the sound stylised by DSO. They lack the foreboding edge of the DSO sound, forming a more urgent and dashing movement to the music with a frankly excessive use of the tremolo. Nonetheless, the comparison is unavoidable.

Over only six tracks, the repetition of the guitar does get a little tiresome, however. That sounds like a dumb thing to say for a black metal record, given that repetition is a key factor of black metal in general. However, I do feel that the tremolo is simply overused, certainly across the first half of the album at least. For the latter three tracks there does appear to be a little more variation, and the album improves for it.

The drums are perhaps the best part of the whole album for me. Well produced and unobtrusive, yet at the same time they are as varied as they are prominent. I do not get the sense that they are particularly complex in their patterns, yet the skill of the musician is still obvious. The other standout from the second half of Stillamentum is the use of dark choral vocals. Their inclusion gives tracks a ritualistic theme that grabs the attention well.

Eleven years between records is a long time, and I have not heard their debut record to know how marked a difference, or not, there is to what goes on throughout Stillamentum. Both members have roles in other bands I can see which may explain the huge gap in output. I cannot say that Stillamentum suffers in any regard, more that it labours somewhat. If the guitars could match the drums in both variety and positioning in the overall sound, then I would enjoy the album more. However, this is not a bad record by any means, and I will be keeping an ear out for album number three if it ever arrives.

3.5/5

Thanks Daniel. I will give it a spin.

Edit: I must have been punch-drunk or some other synonym for fucking stupid yesterday because I thought you were suggesting an album titled "Orphaned Land" from a band called Israel. Luckily I mustn't be as dumb today because I just got out of bed and it popped into my head that you were actually recommending the israeli band Orphaned Land. In the words of a much smarter man than I - Doh!!

I can't remember having listened to them before, but I wil certainly check them out.

A good few pick ups from this month's list.  currenty spinning that Argentum album and have Solar Temple and Cabinet lined up for later also.  Good to see Drautran on the list, another band who put out one good record and then went on indefinite hiatus. Even more awesome is the Cirith Gorgor track from one of bm's more underrated albums.  That Misotheist album arrived on vinyl last week and is my bm record of the year so far.

You can't go wrong with Leviathan, ever.  I listened to that Woe track and remembered how great it was and then recalled how I went off the album really quickly (after about three listens), but still can't figure out why.

Not digging Caladan Brood or that Kostnatění track (was a bit too obscure for me and there was a saxophone on one of the tracks which also got an instant skip response.

Well, this one's a lot rougher, twistier and oldschool than I originally assumed.  Certainly maintains both the raw power and even messiness of earlier black metal.  Best effort they've had in ages.

When I check out the RYM charts, it's generally pretty clear that older releases receive much higher ratings than modern ones. The reasons why that occurs is a discussion for another time, but it might help explain why I get pretty excited when I see a recently released album moving right up the charts. Vothana's Action Now, Assured Future was sitting at number 50 on the all time black metal release chart when I stumbled across it, holding a position just below Wolves in the Throne Room's Two Hunters and just above Darkspace's Dark Space III. Anything sitting amongst that sort of company must be pretty special....right?

Having listened to this release a bunch of times over the past couple of weeks, I can only express my utter bewilderment. I'll give the album credit for sounding unlike anything I've heard before, but I think there's a good reason for that. If a controversy-seeking history teacher convinced the high school band to perform an 80 minute National Socialist black metal opus in Vietnamese, I can only imagine that it might sound something like this. The vocals are loud yet repetitively indistinct, the drums switch between typical black metal battery and a completely un-black metal marching band oompa skip, and while a decent black metal riff occasionally pops up, the vast majority appear to replicate the sort of rousing, pompous propaganda music you might hear at a old school pro-war march. If that somehow sounds interesting to you, then go for you life, but I have much better ways to spend 80 minutes of my time.

All this said, I'll leave you with a couple quotes lifted from RYM reviews, so you can at least get a balanced view...

"Vothana, honest to god, makes some of the BEST black metal I have ever heard, raw, fucking powerful, incredibly emotive, whilst always being heavy but catchy as shit, doesn't matter that the songs are basically 10+ minutes these songs are AWESOME!!!"

"This imo is easily the best album ever made, i urge everyone listen to it along with the rest of vothanas material its seriously lifechanging."

Canada continues to be a consistent source of quality black metal for my listening requirements. I keep going back, looking for more discoveries, believing on each visit that the well is surely close to running dry by now. However, upon each dip of my toes into the icy cold depths of the unfathomable lake of black metal that the country seems to have, I come away with a new discovery. This time around, Givre are the gift I have been given, and the present comes in the form of their 2024 album, Le Cloître. A forty-one-minute plus exploration of the atoning side of pain in Christian history, the tracks are the titles of six female saints, with the lyrical content being created from their hagiographies (which are all in French). Clearly a band who put a lot of research into their music, Givre are an instant source of intrigue for me. In taking such a niche subject matter for their album theme and embodying it in such an impassioned display of raging black metal, with elements of dissonant death metal as well as resonating post-metal, Le Cloître soon made the short journey from my Bandcamp wishlist and into my collection.

This is an album that somehow suggests an intimacy with the pain it explores. It is after all a record that is telling stories and thus it should carry some stimulus from the lives of these women that resonates with anyone who has experienced suffering. It is not just an album of choral chants and atmospheric keys by any means (although they do both make an appearance of course), instead there is a robustness to the messaging of this album, and as a result it comes across as a very modern sounding take of its historical content. Givre do not just relay the stories and written content, they put real emotion behind the performance. Most obvious in this is the harrowing and at times demented vocals of all three members of the band who contribute across the album. The shriller cries are the same individual I suspect, whilst the more death metal orientated vocal signatures belong to another member altogether, I would guess. David Caron-Proulx seems to be undertaking the bulk of the heavy lifting on the record with him credited with songwriting, claviers (any stringed keyboard instrument – harpsicord, clavichord etc), guitars and vocals. The research duties seem to sit with drummer and vocalist Jean-Lou David whilst bass and vocals reside with Mathieu Garon.

This contained unit digs into the depths of black metal and beyond, to the point where you can almost hear all the effort they have gone to research, record and release this record. Le Cloître feels like a very complete experience, dare I say a journey by the time you reach the end of it? It sounds mature without being boring or too arty even. It exudes an authenticity in its subject matter exploration, one that only adds to my enjoyment. Perhaps only guilty of not having any real standout moments over the record it is hard to find any other real fault with this record.

4/5

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

1. Lamentari - "Dies Irae" (from "Missa pro defunctis", 2020)

2. Sorhin - "Misantropi och död" (from "Apokalypsens ängel", 2000) [submitted by Karl]

3. Immortal - "Wrath From Above" (from "Damned in Black", 2000) [submitted by Vinny]

4. Craft - "Kill Everything" (from "Total Soul Rape", 2000) [submitted by Vinny]

5. Morrigan Wargoddess - "Morrigan, Warrior Queen" (from "The Legacy of a Warrior Queen", 2021) [submitted by Sonny]

6. Graveland - "Raise the Swords" (from "Following the Voice of Blood", 1997) [submitted by Karl]

7. Givre - "Louise du Néant (1639-1694)" ( from "Le Cloître", 2024) [submitted by Vinny]

8. Black Witchery - "Ascension of the Obscure Moon" (from "Inferno of Sacred Destruction", 2010) [submitted by Sonny]

9. Left Alone... - "Coldly as Embers Rise" (from "Empty Moment", 2016) [submitted by Sonny]

10. Ancestral Shadows - "Stronghold of the Black Abyss" (from "Wolven Mysteries of Ancient Lore", 2019) [submitted by Karl]

11. Judas Iscariot - "Benevolent Whore, Dethroned for Eternity" (from "Dethroned, Conquered and Forgotten", 2000) [submitted by Vinny]

12. Kriegsmaschine - "None Shall See Redemption" (from "Enemy of Man", 2014) [submitted by Sonny]

13. Ragnarok - "My Hate Is His Spirit" (from "Arising Realm", 1997) [submitted by Karl]

14. Tsjuder - "Daemon's Journey" (from "Kill for Satan", 2000) [submitted by Vinny]

15. Mithotyn - "King of the Distant Forest" (from "King of the Distant Forest", 1998)

16. Blaze of Sorrow - "Ascensione" (from "Eterno Tramonto", 2011) [submitted by Vinny]

17. Lifvsleda - "Fjättrad" (from "Det besegrade lifvet", 2020) [submitted by Karl]

18. Bestial Warlust - "Within the Storm" (from "Blood & Valour", 1995) [submitted by Sonny]

19. Évval - "Alone in November" (from "A Train in Desolation", 2016)

Parnassus - "In doloriam gloria" (1995)

Ben picked this debut album up on CD back at around the time of release & seemed to like it quite a bit from memory. I traditionally used to struggle with it though so I haven't returned to it since but I thought I'd give it another chance to impress me this week. Parnassus was a one-man solo project from a Swedish gentleman going by the name of Fredrik Söderlund who you may also know as one half of martial industrial act Puissance. "In doloriam gloria" sees him presenting us with a clear musical direction that's built around some fairly unintimidating & positive sounding keyboards that have been consciously brought right to the front of the mix with the lightning-fast, tremolo-picked guitars & continuous bombardment of high-velocity (not to mention quite repetitive) drum-machine blast-beats being left at the back & sounding pretty thin for the most part. The atmosphere is undeniably centred around fantasy with that Lord of the Rings style feel being pretty easy to buy into. Personally, I find most of this to be far too high on lightweight melodies for my taste so I only really find myself enjoying a couple of the eight tracks on offer, namely the half-decent "Void of All Desires" & the hypnotic instrumental interlude "Cum trist issimo dolore". The rest of the tracklisting is more or less none of my business but I'd be overstating things to call it low quality. It's just designed for a fairly niche audience that I'm not associated with so, on this occasion, I'm gonna have to leave Ben to galivant around his bedroom in his Parnassus undies all on his lonesome (not that I'd ever consider joining him in that undertaking anyway because... let's face it... I don't have a plastic Viking sword & helmet worthy of the exercise). After my initial experiences with this debut, I steered well clear of Söderlund's 1997 sophomore album "Let the Stars Fall & the Kingdom Come" so I have no idea how it compares with "In doloriam gloria".

For fans of Dies Irae, Eldrig & Tartaros.

3/5

Sweden, home to Bathory, Morbid, Nifelheim, Marduk, Dissection, Svartsyn, Vinterland and Sorhin. The latter band on that list is the one I am perhaps least familiar with, and so the feature release for The North is truly expanding my horizons. I did get them confused with Dawn at first before I got into Apokalypsens ängel proper, although the similarities are more than obvious. Sorhin, on what has to date been the last full-length release from the band, treat the listener to “101” blueprint of how black metal should be done. Grim, ghastly vocals? Check. Scathing guitar riffage? Check. Blistering drums? Check. For an album released at the turn of the century, it could easily be from the height of the second wave

Holding a largely stable lineup for the duration of their career, with vocalist, Nattfursth and guitarist/bassist (and latterly drummer also) Eparygon having been constants since the band’s inception in 1993, Sorhin sound cohesive. Yes, there is a strong element of a celebration of chaos in their music; obvious throughout Apokalypsens ängel in fact, but this is not a band who are all over the place with their timings and tempos. Sorhin have mastered the art of ordered chaos, taking the charge of Marduk but pairing it back with lashings of melody to keep those hooves from running too rampant. Therefore, Apokalypsens ängel manages to stand out from the dirge of other black metal albums in the traditional style.

Coupling maturity with stinging attack, measure and balance with intensity and burning passion for their artform is the key to Sorhin’s success here. I did have to take a few listens to the album for it to click, but at the third or fourth attempt, it all fell into place nicely enough. The drumming of Zathanel is also worthy of a mention (he is no longer listed as being in the band nowadays), as he gives an assured performance in the background, the mix perhaps not always doing him justice as it does favour the guitar and vocals more. However, he does manage to peak through on occasion, if only to let us know he is still there.

I do have a couple of criticisms of the album however, that peg it’s rating back somewhat. Firstly, it is too long with the version on Spotify having an extra track at the end that takes the whole experience to over fifty-four-minutes. This adds a further problem in that on this version the two longest tracks are at the end, and as such the impact of album closer (proper) ‘Utmarsch - den nya Messias’ is somewhat lost. The arrangement therefore seems to have this sense of slipping over the last two tracks on the record. With most other tracks under five-minutes the concise consistency of the album does tend to come to an abrupt end unexpectedly and the ending experience is disappointing as a result.

3.5/5

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

1. Burzum - "Feeble Screams from Forests Unknown" (from "Burzum", 1992) [submitted by Karl]

2. Immortal - "The Call of the Wintermoon" (from "Diabolical Fullmoon Mysticism", 1992) [submitted by Sonny]

3. Aara - "Zurück zur roten Fluh" (from "Eiger", 2024) [submitted by Vinny]

4. 1349 - "Sculptor of Flesh" (from "Hellfire", 2005) [submitted by Sonny]

5. Thornium - "Emperor of the Carpathians" (from "Dominions of the Eclipse", 1995) [submitted by Karl]

6. No Hand Path - "Βάπτισμα (Baptism)" (from "Μυστικισμός Της Ενηλικίωσης", 2025) [submitted by Vinny]

7. No Point in Living - "Impatience" (from "The Cold Night", 2017}

8. Les Chants de Nihil - "Danse des mort-nés" (from "Le tyran et l'esthète", 2021)

9. Gehenna - "Angelwings and Ravenclaws" (from "First Spell EP", 1994) [submitted by Sonny]

10. Blut Aus Nord - "The Fall Opens the Sky" (from "Ethereal Horizons", 2025) [submitted by Vinny]

11. Malacath - "Eternal Roar of the Thunder and Rain" (from "Eternal Roar of the Thunder and Rain", 2025) [submitted by Karl]

12. Endalok - "Holdgerving andskotans" (from "Úr draumheimi viðurstyggðar", 2017) [submitted by Sonny]

13. Craven Idol - "Iron Age Devastation" (from "Forked Tongues", 2021)

14. Al- Namrood - "Xenophobia" (from "Enkar", 2017}

15. Volahn - "Reencarnación triunfante" (from "Popol Vuh", 2025) [submitted by Vinny]

16. Ildjarn-Nidhogg - "I anmarsj gjennom grangrunn" (from "Svartfråd", 1996) [submitted by Karl]

17. Fuath - "Possessed by Starlight" (from "III", 2026) [submitted by Sonny]

18. Alcest- "Percées de lumière" (from "Écailles de lune", 2020)

Initially, I dismissed this album when pulling together my list of bm releases for last year. In hindsight, I think I was having a bad black metal day and was far too dismissive of this album, basing my distaste solely on the clean vocals that are at best occasional across the track listing. Having spent much more time with Existenialismus over the past week, there have been times when I have considered whether I missed a hidden gem in my haste to expunge the album from my listing. That is not to say that I don’t still have challenges with the cleaner elements that can appear quite amateurish (‘Truth is as Sharp a Sword as Vengeance’ being the main bug bear I have), however whilst they do peg the rating back somewhat, it is more than a little dramatic of me to dismiss the album outright on the basis of their existence alone.

The fact remains that Abduction are a fantastic modern sounding black metal band. The record strays well into territory already occupied by the likes of Mgla, Gaerea and even the chaotic black/death of Grave Miasma. With all these acts being brought to mind whilst listening to Existentialismus. The Derby outfit (appears to be one main member and some guest/session musicians on this album) put in an accomplished performance, sounding like a band who have been at it for a decade or so who have used that time to hone the listeners experience of them. I could not go as far as to call Existentialismus perfect, but it is still a treat of black metal extremity.

Able to apply melody and at times subtle groove (‘Blau ist di Farbe der Ewigkeit’) to the riffs on the album alongside wonderfully squally tremolos shows versatility in the kit bag. Whilst the cleaner sounding aspects do still alienate me, their appeal to fans of the lighter sounds of the genre is not lost on me either. With tracks like ‘Razors of Occam’ leaning into BAN territory, Abduction keep stretching their legs right until the album’s final, and best track, ‘Vomiting at Baalbek’. If more of the tracks sounded like this one the rating here would be even higher.

4/5

Thanks Vinny, I really appreciate the feedback. I feel obliged (as with all the playlists that I compile) to include some sub-genres that I am not the biggest fan of. With the North this is often the symphonic, black 'n' roll and folk metal entries, although I have found stuff to enjoy in each of those too. I also think it adds some variety and acts as a nice illustration of the breadth of material within the North. 

I will also try to supply more commentary on each playlist going forward.

An experimental progressive black metal beast lurking in the shadows:

The only filler track you'll find in this otherwise solid folk-metalcore album:

Another feature whose subject is an act I have no previous knowledge of is this latest album from Icelandic black metallers Nexion. This is only their second full-length despite their decade of existence so, hopefully, they are a band who favour quality over quantity. Now I am a big fan of Icelandic black metal bands who deliver sweeping epics that conjure up images of the mountains, hot springs and ice-fields of their native land, such as Auðn and Árstíðir lífsins, but the initial impression I got from "Sundrung" was of a less epic and more violent record that incorporates significant influence from death metal, especially production-wise. This isn't necessarily the case though, as I think the band still deliver an album of epic black metal, although it is delivered in a different way to the aforementioned acts.

The death metal influence is evident and does beef up the bands sound significantly, yet the twin guitar tremolo riffing and frequent use of harmonised, viking metal-like backing vocals does imbue it with a sense of the epic. This saga-like feeling to the tracks is futher accentuated by the use of a significant layer of atmospheric dissonance, similar in tone to that utilised by the superb Ulcerate, which makes the album feel like an Árstíðir lífsins album recorded by Deathspell Omega (this is a good thing, by the way). So, despite the violence on display, in no small part due to the savagery deployed by vocalist Jósúa Rood, there is still a sense of a striking and epic scope to the instrumentation.

For me at least, this was an album that didn't instantly grab my attention and whose inherent viciousness just sort of washed over me at first, but it is a multi-layered beast and ultimately rewards the listener the more they are willing to invest in it as it is a fairly complex entity hiding in the skin of a visceral and savage beast. While I am a metal fan of fairly simple tastes, it is great to sometimes be presented with an album that challenges initial perceptions and which makes me want to keep returning to it to dig deeper into its labyrinthine depths and "Sundrung" is definitely one such album. The only real downside for me was the drums which felt quite one-dimensional and dulled in delivery, but that is a minor issue in the scheme of things here.

An excellent feature pick, Vinny, and a 4.5/5 from me.

My top 10 out of the RYM top 40

1: Moonsorrow: Verisakeet (100)

2: Emperor: Anthems to the Welkin at Dusk (98)

3: Leviathan - Lurker of Chalice (98)

4: Dissection - Storm of the Light's Bane (98)

5: Immortal - At the Heart of Winter (97)

6: Ulver - Bergtatt (96)

7: Murmuüre - Murmuüre (96)

8: Agallock - Ashes Against the Grain (96)

9: Bathory - Blood Fire Death (96)

10: Mayhem - De mysteriis dom Sathanas (96)

My top 10 in general

1. Emperor - Prometheus (100 / Symphonic Black, Traditional Black)

2. Blut aus Nord - The Work Which Transforms God (100 / Atmo-Black, Dissonant Black)

3. Alcest - Souvenirs d'un autre monde (100 / Blackgaze, Shoegaze, Post-Metal)

4. Emperor - Emperial Live Ceremony (100 / Symphonic Black, Traditional Black)

5. Enslaved - Mardraum (100 / Prog Black)

6. Moonsorrow - Verisakeet (100 / Folk Metal, Pagan Black)

7. Cabinet - Claustrophobic Dysentery (100 / Bestial Black, Black Death)

8. The Ruins of Beverast - Foulest Semen of a Darkened Shrine (Black Doom, Atmo-Black, Death Doom)

9. Sear Bliss - The Arcane Odyssey (Melo-Black)

10. Stormkeep - Galdrum (Melo-Black)

As you can see, having both Prometheus and Mardraum as their artists' top slot on my chart shows off my love of the more experimental stuff and my occasionally controversial hot takes.  Even by saying that specific live album is Emperor's best, when some would claim it's their worst, I prove that point.

God, Ben is really on point.  The next Sear Bliss album I'm checking out, Heavenly Down, I've NEVER heard this kind of music.  It's... aquatic black metal, right out of Avalon and composed by the Lady of the Lake.  Enya black metal, and that is NOT an insult. Halfway through The Winding Path right now.  Perty freaking brilliant.  The blackest song so far, The Upper World, was a bit of a typical song, but the rest is quite inventive.

Yeah, they definitely have their own sound, and it's one that I return to over and over again. I'm thrilled that I've assisted another metal fan in discovering them.

And the best part about that sound is that it works so well no matter what sound they go with.  I mean, the debut is so serene and heavenly, then the next is rough and doomy, and their recent one, I reiterate, is aquatic, and they even have a sparse, groovy avant-garde one.  This is what I think a band should be.

Now all I have left are Thorns and Satyricon, but the latter will take longer since I need to listen to the previous releases.  I know absolute jack about them.  So if all goes well, I lock in my fourth clan today.  That on top of getting my two books physically published makes for an eventful weekend.

Here are some tracks I can think of that can be good for your North playlist:

Samael - "After the Sepulture" from Blood Ritual

Shade Empire - "Disembodiment" from Omega Arcane

Stormlord - "Under the Samnites' Spears" from At the Gates of Utopia

Mental Cruelty - "Nordlys" from Zwielicht

Shylmagoghnar - "A New Dawn" from Emergence

I didn't mind the Warmoon Lord's previous couple of albums so I might add this one to the to-do list.

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

1. Mayhem - "Buried by Time and Dust" (from "De mysteriis dom sathanas", 1994) [submitted by Sonny]

2. Sargeist - "Ordained and Adorned" (from "Flame within Flame", 2025) [submitted by Karl]

3. Destruction Ritual - "Washed Away Sins" (from "Providence", 2025) [submitted by Vinny]

4. Kadotettu - "Kuolema ylivuotinen" (from "Ihmisyyden viimeiset askeleet", 2016)

5. Der Weg Einer Freiheit - "Eos" (from "Innern", 2025) [submitted by Vinny]

6. Throne of Ahaz - "An Arctic Star of Blackness" from "Nifelheim", 1995 [submitted by Karl]

7. Abduction - "Vomiting at Baalbek" (from "Existentialismus", 2025) [submitted by Sonny]

8. Arkona - "Only True Belief" from "An Eternal Curse of the Pagan Godz", 1994 [submitted by Karl]

9. Profane Order - "Black Vomit Desecration" (from "Slave Morality", 2019)

10. Medieval Demon - "Raging Lord of the Deeps" (from "All Powers of Darkness", 2025) [submitted by Vinny]

11. Finsterforst - "Zerfall" (from "Zerfall", 2019)

12. Polemicist - "The Infidel" (from "Medieval Rites", 2025) [submitted by Karl]

13. Bekhira - "Gas the Christ" (from "Demo '96", 1996) [submitted by Karl]

14. Autrest - "Ruins of the Lost" (from "Burning Embers, Forgotten Wolves", 2025) [submitted by Vinny]

15. Together to the Stars - "Gravity Eater" (from "The Fragile Silence", 2024) [submitted by Sonny]

16. Bethlehem - "Verheißung - Du Krone des Todeskultes" (from "Dictius te necare", 1996)

15. Spiter - "Transylvanian Night" (from "Bathe the Babe in Bats' Blood", 2022)

16. Swordmaster - "Wraths of Time" (from "Wraths of Time", 1995)

17. Helheim - "Dualitet og ulver" (from "Heiðindómr ok mótgang", 2011)

18. Panopticon - "The Echoes of a Disharmonic Evensong" (from "Roads to the North", 2014)

I have been spinning this a few times this week and I am yet to make it through a full sitting in one go as I keep putting it on when I climb into bed and then fall asleep (more of a reflection on how quickly I drift off when I hit the hay as opposed to any scourge on the entertainment value of the record).  What I do like about it is how it captures the violence of black metal and yet still is able to shroud it in that atmospheric hue that we have all come to know and expect of Wintherr (which differs from how Sonny hears it - which is what makes the reviews here so interesting for me, how different people perceive records and hear different things is fascinating to me).

As I indicated in my forum post summarising the feature release this month, if I look at Sinmara’s discography, they have never quite topped their debut album. For me the capture of dissonance and atmosphere is rarely exemplified as well as it is across Aphotic Womb. What really stands out is that in creating such a vibrant sound, the band never once let much in the way of light into their songs. As the album title suggests, this is a creation grown in the darkest of wombs, utterly devoid of light. Taking all the best parts of Deathspell Omega, Carpe Noctem and Svartidauði the band make a real European mix of black metal sounds, incorporating elements that also remind me of Irish bm crew Slidhr and even Mgla in the album’s mellower transitions. For an album with so many moving parts it could easily sound like instruments are falling over one another as the layers overlap, yet there’s none of that cumbersome nature present on the album, in fact it is one of the most deftly played dissonant bm records of the 2010’s.

The band clearly take great pride in their attack on Aphotic Womb and there is a real sense of them owning the songs in the fullest sense of the term. Without creating any sense of restraint, they manage each of the tracks so diligently that it is hard not to see their pride in the delivery of their art. Album highlight for me is ‘Shattered Pillars’ with its riffs jittering across the track in glorious shimmering dissonance. In fact, some of the lyrics on here sum up the experience of the album perfectly:

“A cluster of storms

Breathing through wormhole mazes

Feeding gaping jaws the bitter waters of nausea

To harvest the foul seed and rape the crops of life

The demented ancestry of nebulae afar”

The album feels like that cluster of storms, with each track creating that maze as they are performed. There is something foul underlying in the music of Sinmara here, something wicked that barely makes the effort to stay hidden. That strong Ulcerate sound to the guitars on ‘Shattered Pillars’ is one of the reasons why I love this track. The New Zealand dissonant death metallers had only just released the might Vermis the year before Sinmara dropped their debut. Whilst percussively speaking there is a clear difference, the similarity in the guitar sound is undeniable.

Two instrumental tracks on your debut are a bold move, especially with one opening the record, yet Sinmara pull it off for me on both occasions. Working well on the two-disc vinyl version (I am guessing as I only have a digital version of the release) these tracks herald the arrival of each disc to the turntable with a sense of drama that never quite strays into the realm of epic. The harshness of Iceland’s landscape certainly comes through on Aphotic Womb, that unrelenting, heaving nature to the guitars sounds particularly symbolic in comparison. The album sounds like a vast and desolate landscape; possibly invoking images of a mass larger than its country of origin itself at times.

4.5/5

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.

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

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

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

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.

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: