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Poland continues their knack of producing quality black metal albums then. I mean Mgla, Furia, Blaze of Perdition and Kriegsmaschine all have managed to make a niche for themselves, and now Kraków residents Medico Peste (which means Doctor Plague/Doctor Pestilence) offer up more than just blastbeats and tremolos on their third record. Landing somewhere between the production values of their fellow countrymen, Mgla and the skittish musings of Deathspell Omega, there is most certainly lots to explore on Aesthetic of Hunger. Full of twists and turns to keep the listener on their toes, it possesses a level of musicianship that few other acts can boast. The combination of the dissonance in the riffs performed within progressive structures give some of the tracks a real sense of expansion. Meanwhile the vocals carry a cruelty that seems to infect the very lyrics as they are spat into the air around them.

One must take note also of drummer Adrian Stempak’s performance. It is his assured and skilful playing that holds the fabric of the album sound together. Just as at home with blastbeats as he is with slower-paced or progressive patterns, he really manages to stand out for all the right reasons here. His good work starts immediately on the album opener, ‘St. Anthony’s Fire’ a track that shows the real gamut of his abilities. As well as having a strong line up to begin with, Medico Peste invited a range of guests onto the recording of the album. Instrumental number ‘Antrakt’ has a different drummer (Janusz Gałyga – who also covers electronics over the record), and a Bartłomiej Bardon adds some guitar work on ‘Ecclessiogenic Psychosis’. Most obvious in terms of their contribution though is female vocalist Hekte Zaren who contributes some dark alchemy to three tracks on the record.

Mostly, I find admiration for the bravery in the song writing on Aesthetic of Hunger. Tracks such as ‘The Black Lotus’ use melody in an almost non-linear way, maintaining an ominous presence as it guides the track along. These thrusts of melodic dissonance carve ever-growing arteries and veins into the harsher elements of the record. They feed the Medico Peste monster with a seemingly unending supply of pestilential blood for its rotten appetite. Balancing, the urgency of the tremolo alongside these more expansive elements is a task that is handled well. ‘Ecclessiogenic Psychosis’ clearly shows how well they manage this, being able to have the progressive structures teetering on the brink of destruction from the swarming guitars. Descending into an almost jazzy section around halfway through the track, the progressive elements really take over with the bass getting a lot of space in the mix. Hekte’s dark operatic vocals add yet further opulence to this lusciously nefarious little number. This is probably my album highlight in all honesty as the track ends up very much in a different place to where it starts.

The palate cleansing instrumental is unfortunately where things come a little unstuck for me. Although it is well placed in terms of still carrying some of the experimental structure from the previous track, ‘Antrakt’ is a slowing down of pace that I doubt the need for in all honesty. As interesting as it is, it just feels like it is obstructive when considering the album track listing. The more experimental elements do bring Furia to mind and ‘Folie de Dieu’ has a great riff structure to it that continues this theme. With some of the most scathing use of tremolos on the album to this point, this is a real welcome return to form after the instrumental let down. Yet, the album does still feel like it has lost some of the earlier form in terms of structure, over the second half at least. There is not any filler present on the album, but ‘Viaticum’ seems to meander a tad, dragging its heels a bit with a slower pace that if nothing else, does further emphasises the menace the album carries. As the very Mgla-esque closer ‘Act of Faith’ plays out the album, it is hard to ignore the earlier quality that covered the first four tracks in such glory. Whilst the album does go off the boil from the midway point onwards, Medico Peste are clearly still swinging punches the whole way through even if not all of them land correctly.

I have been trying to do this write up for a while, frustrated by the fact that whilst I freely admit that this is a good album, after it has finished, I get little in the way of memorability. Mossblood seethes with all the urgent intensity you would expect from a black metal record. Yet at the same time it possesses intricacy in how tracks are put together. Whilst the tremolo is very “trilly” in the main and plays a big part in their sound, Lichen are not afraid to use chords either. Add to this a morose sounding melody and an ability to change pace and tempos, and you can hear how things quickly become interesting.

The audible bass sound most certainly helps Mossblood carry a complete and full sound. It is not a heavy or particularly “twangy” bass presence by any means, however it does retain its shadowy subtlety as it drives tracks like ‘Chthonian Mysteries’. Equally, a solid, if not perhaps a little muffled sounding performance on the drums is also a consistent part of the instrumentation on the album. The production job is lo-fi enough in terms of values yet there is also some polish to the sound that helps with the clarity in the mix. This balance should keep the kvlt hordes happy as well as bringing a sense of the dynamic to the sound of the record.

Album highlight, ‘From Life to Loam’ bristles with a sharp melodicism that could give Spectral Wound a run for their money. There’s a section about halfway through where the bass picks up some real resonance and the tremolo slugs it out with some open chords. It is moments like these that help Lichen standout from most of the releases I have heard in black metal so far this year. When you consider that there are no synths/keys on the record, the amount of tension that Lichen can build is impressive. The tremolo has a foreboding about it and the hopelessness in some of the melodies helps in building this thick atmosphere. Silly “fungal” black metal tag aside, Mossblood offers as strong a representation of the second wave you are likely to hear in 2025.

Moonsorrow was a band I had extremely high hopes for after hearing their “Tämä Ikuinen Talvi” demo. The word “demo” does a terrible disservice to this release because not only is it long enough to be a full length album, it’s also so well written, played, and composed that it could be a band at the top of their career. The production isn’t bad either!

By their sophomore album, Moonsorrow had improved in many areas. The production, of course, was at a polished, professional level, and the mix sounds perfect here. The dense yet restrained orchestration is fantastic, the layering of numerous folk elements adds intrigue and aesthetic. The playing is of course more precise. The progression of songs also feels very strong, often featuring well-earned rests and crescendos.

The issue is, in my opinion, they regressed in terms of capturing mood. Or perhaps, it’s better to say, they moved away from the kind of mood I personally prefer. While their demo had a darker, more somber feel (as a band called Moonsorrow should) they had since gone towards the direction of more epic, uplifting, and unfortunately jovial sounding tracks. At the worst of times, the instruments and melodies can sound silly even.

I mean, the 3rd track “Kylän Päässä” prominently features boing boing noises, sounding like a goofy cartoon medieval villain’s theme song.

“Hiidenpelto” is where they get back into the territory I like. That is, dark! Sorrowful! Yet still retaining that incredibly epic, folky feel of grand medieval adventure. This is what I had hoped they would evolve into. The song has a fantastic mix of slower, doomy sections and aggressive energy, and features an instrumental outro with a build up and crescendo that is just sublime. Probably the best song the band has ever wrote.

And then the next song opens up with more boing boing noises. Despite how well written and layered this music is, there’s the simple fact that I just cannot take some of this stuff seriously. Aside from the egregious “instrument” choices, there are melodies here and there that just sound too… playful. Not what I want from a band called “Moonsorrow.”

That’s not to say the album isn’t great, because it is. There are only so many points you can lose when music is this perfectly executed. The sheer force of these tracks is awe-inspiring, the way they totally encompass you in their atmosphere and take you to another time and place. Undeniably amazing album. I just wish they kept their darker sound… in which case, this could have been a masterpiece.

I started listening to this album right when the Oblivion remaster dropped, and let me tell you, there could not be a better match. On this album, Summoning combine the cheesy, medieval Dungeon Synth reminiscent of games like Runescape with their signature Atmoblack guitar compositions. Vocals shift between classic Black shrieks and epic sounding samples.

Listening to this wonderfully evocative album as I return to the familiar world of Cyrodill was a seamless union. The martial drums beating as I slaughtered adversaries in the arena, the lush and affectionately dated synths adding to the intrigue of discovering ruins, the overall majesty of fantasy of both pieces of media melding into a perfect combination.

The layering of this album is the real treat. Most of the instruments – both synthed and real – are playing simple and repetitive chords or melodies. Nothing too impressive on their own. But weaved in between the synthed horns, guitars, and drums, are a plethora of other synthed instruments, resembling anything from old medieval instruments to more modern electronic sounds. There’s a lot going on and it justifies the simplicity.

What I will say though, is that it makes a better soundtrack than it does a focused listen. One big weakness is that while the album succeeds immensely at evoking a medieval, fantastic atmosphere, it doesn’t evoke any emotion at all. It’s not sad, it’s not happy, it’s not angry or evil. And thus it works well as background music, but loses a bit as a unique piece of work due to its lack of mood. Throwing in an angry or melancholic track here and there would make it flow more like a movie rather than a static backdrop to a castle. It’s also exceedingly repetitive and low-tempo most of the time, which can get a bit tiring. The previous album did a better job of incorporating a bit more… Metal.

Still though, wow. It succeeds at doing exactly what it wants to do. All fantasy all the time. Definitely worth a listen for anyone remotely interested in the aesthetic, and my personal recommendation as a makeshift soundtrack to any fantasy game.

Songs of Hiraeth is a compilation of (majority) unreleased tracks spanning two years from 2009 – 2011. Inspired by Lunn’s first time in Northern Europe, as well as his more frequent trips to the remote north of the USA, there is a real sense of freedom in the seven songs here. The record feels like a collection of songs, and for once this is not a problem. The capture of these moments in time, the artist’s memories, carries a clearly personal nature, one which permits the listener some insight into the artists world. You can picture vast landscapes when listening to this record or envisage perhaps the frustration at having to leave such views to return to the humdrum of the daily grind.

The songs here are of the quality we have all come to expect from Austin Lunn. The more atmospheric pieces possess that familiar ethereal appeal to them. Embedding aggression around these tracks with a level of mastery that somehow still retains the atmospheric tropes that are usually so well established, whilst still suggesting varying degrees of emotion being expressed, takes talent, simple as that. The build of ‘The White Mountain View’ shows this perfectly over a near eleven-minute track. Yet the track that follows immediately after it, ‘Haunted America II’ has a much more direct approach with its scathing riffage and myriads of percussions attacking the listener from the off. Indeed, it is testimony to the talent on display here that a compilation record of tracks over fifteen years old could easily make a dent in any end of year list.

There are a couple of occasions where the production sounds a little muddled to my ears (‘A Letter’ in particular) and whilst it does not necessarily ruin the listening experience, it does diminish the momentum somewhat. I sense that some elements are just placed off in the mix and the black metal squall comes with an underlying reverb that is just, well, unhelpful. I must note however what an outstanding drummer Lunn is. On previous releases, I had somehow missed this, but on this one his skin bashing really shines through. As I say, for a compilation release, it is hard not to be impressed with Songs of Hiraeth. It is another great addition to the Panopticon discography and one that carries a real sense of connection with it. If you were disappointed (as I was) to think that the folk laden Laurentian Blue was going to be Lunn’s only release of 2025, then Songs of Hiraeth will be a more than welcome addition.

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.

In my most recent attempt to rekindle a bond with extreme metal, I have been met with enough suggestions than I know what to do with! Unfortunately, what I appreciate in the music is very different than what most of my colleagues enjoy. One name that has always returned to me has been Blackbraid, a solo melodic/atmospheric black metal project from the state of NY. While I have only truly listened to Blackbraid in passing, songs such as "The Spirit Returns" and "Sadness and the Passage of Time and Memory" have stuck with me, so I figure that now is as good a time as any to dig in with a new album just released this month!

It does need to be said right out of the gate that Blackbraid III is a great album. I believe that the drummer, Neil Schneider, is the albums producer and mixer and the sound of the album is nothing short of spellbinding. For an artist that is as fiercely independent as Blackbraid claims to be, Blackbraid III has better mixing than many of the modern day "mainstream" black metal artists. I'm sure that there are record labels who specialize in black metal that would be salivating to have Blackbraid join their catalogue one day. The album has tremendous blending between the guitar, bass, percussion and vocals. The guitar in particular has a crucial role on this endeavour; carrying some of the albums most infectious moments. The riffing is varied and unique, and play great chemistry with the vocals.

The record has plenty of Native American and traditional Americana flavour added to keep things interesting. I would not be surprised if Sgah’gahsowáh came out and listed Austin Lunn as a source of influence for their music, because the mimicking of Panopticon's sound is undeniable. Whether that be in songs like "God of Black Blood", the opening of the record "Wardrums at Dawn on the Day of my Death" or any of the acoustic interludes interspersed with nature sounds of campfire cackling, rivers flowing or wolves howling, however cliche that might sound.

That influence from Panopticon is also felt in the lyrics. The lyrics are painted with a level of continuity between the tracks as themes of "fading light" the "forlorn of the dark" and "sacred offerings" are referenced frequently throughout Blackbraid III. "The Dying Breath of a Sacred Stag" is one of the more heart-twisting tunes on the album as the title stag, the "great keeper of twilight", grows old and passes away from the mortal world into the moss covered ground and nightfall engulfs the sky. The Lord Belial cover of "Fleshbound" that ends the album tells of the protagonist tearing their flesh from the body so that the pained soul can be free. It is an album of dark meaning, but delivered in such a way to make it sound just as wonderful to the listener as it would to a devote believer. (I personally do not know which Indigenous nation Sgah’gahsowáh is associated with, so that last statement is purely speculation).

The biggest issue with Blackbraid III is probably its interludes. The record has three (four if you count "Dusk (Eulogy)") interludes, but Blackbraid could have easily gotten away with just two. The interlude "The Earth Is Weeping" does not really do that much for me at this point in the track list. "Traversing the Forest of Eternal Dusk" is great with the inclusion of a electric guitar solo, while "Like Wind Through the Reeds Making Waves Like Water" serves as a nice change of pace in between the albums two longest tracks.  As well, even though I already mentioned how good the main melodic songwriting is, this album does have a tendency to shift styles a little too frequently. One of my least favourite examples is the quasi thrash riff that consumes most of the middle section of "And He Became the Burning Stars..." but the doom riff that ends "Tears of the Dawn" is wonderful.

Blackbraid III is a nice little project that shows signs of progress. I think as a collective, this album has the worse production than Blackbraid II, but the benefit of better songwriting. This record is more precise with shorter songs and a slightly more brisk runtime, as well as more impactful themes.

Best Songs: Wardrums at Dawn on the Day of my Death, The Dying Breath of a Sacred Stag, Traversing the Forest of Eternal Dusk, Tears of the Dawn

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.

Turns out I am a sucker for the rawer end of black metal. As much as I can dig (earlier) Enslaved or atmospheric wonders from the likes of Drudkh and even blackened dm from the Akhlys of this world, give me a meat ‘n potatoes black metal record like Thorn Bringer and I am as happy as a pig in the proverbial. With the blazing intensity of Gorgoroth slicing through all in its path, the third album from Norway’s Khaos Aura is not here to show any mercy. In a year that has seen Altar of Woe charge straight to the top of my EOY black metal list, Khaos Aura were always going to be a strong entry on that list.

I would concede that there is at least some melody and alteration of pace present on Thorn Bringer though. As frenzied as it can be, there is also a sense of how well placed some of the blows are. Equally at home in nicking the skin of the listener as they are in slicing through flesh, Khaos Aura are a calculating pair. Building as true a picture of Norwegian black metal as you could hope to see, Thorn Bringer possesses a real venom to it. But instead of just relying on its bite to placate its victims, it is just as at ease coiling and slithering around limbs and into orifices to maximise the potential of its threat.

With lo-fi but not too primitive production values, the album sounds ugly without being alienating. The borderline ambient closing to ‘Sort Vintertrolldom’ contrasts perfectly well with the jangling guitar attack of the track that follows it, ‘An Empire of Unlight’. So, all in all, Thorn Bringer is right up my alley really. It brings the rawness but shows character with it, just as it shows real heart for the good old days of Norwegian black metal. Worth noting that Torkus who handles drums and synths for Khaos Aura also has his own project, Tornekrans which is a little more roughshod than this and is also worth a listen.

It feels like Blackbraid has been around forever, when in fact it is just a mere three years of existence for the indigenous black metal solo artist from the Adirondack Mountains. Despite my confusion over how long Blackbraid has been around, this is the first time that I have gotten around to listening to one of his albums. I was interested in the beginning but then (bizarrely) I got pissed off with the constant flood of marketing emails I was getting from him and so I senselessly punished him and myself by not listening to his albums. What a twat I am sometimes.

Nowadays, Vinny comes with some degree of in-built maturity about him and so can understand that for a fearsomely independent artist such as Blackbraid, who must have a queue of labels after him by now, promotion is key to his success. The other element that is central to being successful of course is the quality of your music and album number three certainly delivers on that front. Unafraid to fire some leads into the equation, Sgah'gahsowáh can work beyond just tremolos and blastbeats. His racing and urgently paced tracks carry some real attack behind them. Channelling as much Uada as he does Immortal on tracks such as ‘The Dying Breath of a Sacred Stag’, there’s a fair old bit of power behind those punches that he throws.

As we would expect from a largely atmospheric-black metal act, there are fleeting acoustic passages and flurries of natural sounds akin to Panopticon, alongside the more direct and aggressive black metal sounds. From looking at the eye-catching artwork on the cover (a combination of border work by Adrian Baxter and imagery form Adam Burke) it is hard not to expect some of the more spiritual aspects we get here. There’s no surprises on the album. From a brand perspective, the listener should find exactly what was advertised is delivered.

My first impression of Blackbraid is that this is an incredibly well-written and skilfully performed record. Drummer Neil Schneider puts in a shift behind the skins that supports the rest of the sounds well enough. The guitar in the main is the element that shines however, alongside those harsh vocals they make quite a combo with the melodic leads and harsh riffs to boot. I guess I could criticise the three instrumentals as starting to get a little old by the time we get to track eight. However, they do all serve a purpose and aren’t directionless sounds of motion like whatever it is that is going on with the opening of the latest Drudkh album. There is a much richer melodic bm vein to the record than I was expecting based on previous reviews I have heard of his work. Whilst I won’t go over the top with praise for Blackbraid III, it is a good album. Its use of interludes aside, it is structurally sound and although I will probably not rush out to buy a physical copy I will try to make up for some lost time with Blackbraid by enjoying this record many more times in the coming weeks, months and years.

Fer de Lance present a problem for me in that they play a with very traditional heavy metal sound when approaching their music. Of course, I publicly left that sound behind a long time ago when exiting The Guardians clan. There are times when listening to Fires on the Mountainside when I begin to doubt its doom metal credentials altogether if I am honest. Yet at the same time, there is such quality to this record that I cannot help but put aside my dissatisfaction and be drawn into the joys of the record. I have seen their sound described as folk-prog in some reviews as well as mention of blackened tinges in others. I can see both most definitely, based on this record at least. Influences aside, it is easy for me to appreciate the epic metal authenticity of Fer de Lance’s sound as it is a stalwart of the tracks collected here on this record. Wherever the album does tread over the seven songs presented, the listener can be left in little doubt as to where the heart of the band truly lies.

It is good to hear the Viking metal elements of Bathory protruding through in places, and with some spurts of Candlemass alongside the more modern similarities of Atlantean Kodex we are soon finding ourselves transported around the world of metal with Fires on the Mountainside. The keyboards really drive tracks like ‘Ravens Fly (Dreams of Daidalos)’ whilst soaring leads and epic yodelling vocals continue to embellish the grandeur of the sound. Vocally, I am most reminded of King Diamond. Which, given he is one of the most overrated vocalists in my metal in my book, could be considered a slur somewhat. I find the sound of the higher pitched vocals on this record to be far more endearing though and the songs to be better structured than most Mercyful Fate/King Diamond tunes I have tolerated over the years. I sense there is more than one singer on this record though (or just one with amazing range and heavy use of overlays). ‘Death Thrives (Where Walls Divide)’ is probably the best example of this great vocal display.

As tracks like ‘The Feast of Echoes’ prove, simple structures can still make epic metal. Here is a big Bathory, stomping track if ever there was one. Straight and to the point, this is one of the most memorable tracks on display here and has great longevity as a result. Should there ever be cause for me to consider revisiting some trad heavy metal then there is a good chance that this record could be the trigger for it. Yet doubt does still creep in. There is a very well-established format to Fires on the Mountainside and to some degree it does become repetitive at times. Maybe isolated to my own battles I accept, but I am kind of “epic exhausted” by the time we are getting to the final couple of tracks on the record. There’s nothing wrong with them at all, but perhaps they are a stretch too far for me still at this point of my listening habits. However, Fires on the Mountainside has still surprised me and has been kicking around my rotation list for a good few weeks as a result.

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

There is no logical reason why I have not listened to Aeternus before this month’s feature release. Indeed, there is so much I enjoy on ...and So the Night Became by way of death metal influences as well as black metal as well, that it is almost criminal that I have never made effort to connect with them before this month. It has taken me the best of four decades of listening to metal to get around to Aeternus, but as they say, “better late than never”. What the sophomore album from Aeternus possesses is a density to the songwriting which evolves into the sound. I could see a danger of the album easily straying into overtly introspective passages. Opening track ‘There's No Wine like the Blood's Crimson’ is over thirteen minutes long and has such an epic and orchestral intro that you do start to wonder if this is going to be a little too grandiose for the palate. Thankfully, just as this fear hits the fringes of becoming palpable, the driving black metal kicks in.

This is pretty much the story of the album for me. This is a well-balanced album that uses pace well, introduces tracks appropriately and balances all these ideas nicely. It promises the epic, but for me never really stretches quite that far into proceedings with that ethos. Instead, it treads a thoughtful path that seems to have been given much consideration. As such, even the longer tracks hold value for their duration. ‘Warrior of the Crescent Moon’ carries every bit of poise that the tile suggests but is never over the top in its delivery. It charges consistently forwards, keeping check of the pace and allowing the track to level in the mind of the listener, so that when those soothing keys come in around the final minute or so of the track they feel absolutely at home, like they are simply guiding the track to its logical conclusion. That’s clever songwriting.

The Immortal style opening (and indeed continuation) on ‘When the Crows Shadow Falls’ is a joy to behold. This track for the most part is a raging beast in terms of the pace of the attack, but there remains that sense of restraint and control that somehow lets the glory of the music take precedent but never lets it runaway with itself. This is a wonderfully crafted track and probably my album highlight. With acoustic flourishes and rich melodic elements, this album is possibly one of my greatest hidden gem discoveries in recent years. Exuding Dissection levels of melody as it goes along, lavishing with layers of some Satyricon, Nemesis Divina displays of grandeur alongside the promise of progressive overtures from the likes of Borknagar to boot, there is a lot for me to like here.

Residing in a cold and yet familiar place somewhere between the ambient trappings of Burzum and the more medieval grandeur of Satyricon, Skuggor wears many influences on his sleeve throughout his third album, which is my first experience of the Australian who now resides in Sweden. Those deep, chiming notes that punctuate opening track ‘Writhe’ immediately resonate through the dark emptiness of the atmosphere of the record. Those ghastly vocals maraud and worry the listener with a menacing sense of triumph.

Things take an immediately more melodic turn on the appropriately named ‘Meditations Upon the Roots of Infinity’. A more laid back, slower tempo is embraced on this one giving a contemplative nature to the sound. The drums threaten disruption, but never quite get there. Appearing as almost ritualistic behind the thrusting notes of the guitar and the light synths that accompany them. After just two tracks it is clear why Where Sun Resigns caught my attention so quickly. There is depth and variety here, with a record that still sticks to the core black metal aesthetic. There is a balance to things, a level of control applied that shows maturity.

The man behind Skuggor (Matthew Bell) is active in a lot of other projects it seems. Ranging from dungeon synth to post-metal/post-rock, from atmo-black to thrash metal as well as funeral doom, folk metal, avant garde and symphonic melo-death metal, it is safe to say that Mr Bell has quite the repertoire to play with. The danger would be for the fusion of all those elements across the wide selection of bands, projects and collaborations he is involved in to permeate into one horrible mish mash of styles. However, as I note above, there is a firm hand on the tiller in Skuggor and having set his stall out early on, he sticks to the classic sounds referenced earlier on in the review.

There’s an overall sense of calm that I get from this record. Even in the more urgent moments it never quite sets the pulse racing. This is well executed black metal that knows the content it wants to project and focuses on delivering that to a high standard. ‘For Every Wound A Hymn of Growth’ is the longest track on here, but it stands out for its clever arrangement as opposed to just its actual length being the only thing of note. The nastiness still comes through though, mostly as a by-product of the vocals as I said. But the evil in the album is framed in this dark ambience so well that it somehow emphasises it almost organically.

Argentine black metal has got to be one of my more niche geographical listening habits. But with the likes of Brazil and Chile now regularly appearing in my listening explorations, it seems natural that other parts of South America start to cross my radar. Dark Blasphemer seem to be a long-standing outfit having formed way back in 2011 and here releasing album number three some seven years after their last album, Suicidal Catharsis.

All three albums to date have been released independently, but based on Winter of Darkness, they could easily find themselves a record label if they so wished. This is grim black metal of a suitably depressive nature but has a lot more to it than just a tape machine on record and some instruments being murdered in the same room. There might only be three of them in the band with one of them doing both guitar and drums for this record, but the sound overall is strong. All the instruments standout in the mix nicely enough, with even the bass twanging in now and again from behind the scathing riffs.

Although most definitely rooted in black metal, Winter of Darkness possesses some death metal elements for variation here and there. Those galloping dm riffs on ‘Lord of Misery’, show the band stretching their legs early in the record. Whilst the picked tremolos of ‘Legal Fiction’ is pure Burzum worship, complete with the chants for good measure. Overall, there is nothing here to note that this is not a record released by a band from Norway and the authenticity to the sound of the album is testimony to the band members experience to date. I sense there’s a lot of years in the band and that maturity comes across well in the music.

It would be remiss of me to indicate this would place high in my year end list in five months’ time. However, I must acknowledge the genuine black metal article when I hear it, and Winter of Darkness ticks all the boxes for being a veritable feast of the dark arts. Not too showy but also devoid of shabbiness at the same time, there is hopefully a lot more to come from Dark Blasphemer. For now, I can be satiated well enough by this though.

Devouring Radiant Light is the album that shows the diversity of Skeletonwitch as a band, in addition to the bands first (and so far only) progressive pivot. The 2000s were very kind to the blackened thrash group, but in 2018, Skeletonwitch put their thrash roots on the backburner for some progressive sounding black metal. 

And the result was a mixed bag. For starters, going from very short, fat free thrash metal the bands is known for, and replacing it with extended song structures as well as open chordal progressions in the guitar seems like a recipe for disaster. Songs like "Fen of Shadows" and "The Vault" have some decent passages that sound good on their own, but when paired with other, more clunky riffs, they begin to lose grandeur. The album does have some callbacks to the bands thrash roots, but their usage is not only minimized in importance, but also far more mellow; that is to say the overall tempo of the album feels much slower than ever before. Guitar solos are present with longer runtimes to help nurse the genre transition a little bit, and the percussion has not lost a beat and is just as ruthless as it was on previous records.

So why don't I like Devouring Radiant Light as much as previous albums? Well to explain, we have to look at it from a technical point-of-view. Here is a band who self produce all of their albums and have all but mastered the art of production of thrash with a blackened flare. Now here's that same bands reversing the order of genre hierarchy. The end result produces two glaring flaws. The first is in the production; because the riffs are more connected and flowing instead of choppy thrash riffs, the guitars can become overbearing and, on a number of occasions, block out the vocals of Adam Clemens entirely. Some of those climax points on "Carnarium Eternal" and "The Luminous Sky" sound crunchy as the mixing peaks and starts to explode in my ears.

The second great flaw comes in the compositions themselves. Now, as I mentioned before, some sections on these longer tracks sound great and prove to me that Skeletonwitch can write good songs even when they are pushed outside of their comfort zone. But without an outside voice who is more familiar with the traditional black metal sound or even the "new traditional" sound, Devouring Radiant Light loses some points just because it is not as well composed. If they could have employed someone familiar with bands like Wolves in the Throne Room, Deafheaven or Panopticon, it could have helped Skeletonwitch to write more concise tunes in this style. Instead, the composition of Devouring Radiant Light feels like a thrash metal band trying to make black metal.

This record is a band attempting to experiment, but going too far past their limits. I feel very similar to this record as I did when I reviewed Critical Defiance's The Search Won't Fall last year. Both are bands that have written very punchy thrash metal in the past, but are now going closer to the critic meta of blackened thrash. The short, quippy songwriting was a main feature of these bands earliest records, and that compositional style has been sidelined for more progressive songwriting. I know that this probably sounds hypocritical coming from me, since I always criticize groups for not pushing their sound forward, but perhaps some bands do not need that constant chase of progress. If Skeletonwitch ever come back to make music again, I hope they consider that.

Best Songs: When Paradise Fades, The Luminous Sky, Carnarium Eternal, Sacred Soil

My first impressions of Tavastland were not very good and as the album progressed, my impressions only proceeded to get worse. The album started off with an odd sound and I couldn't figure out why. I thought for sure it was the mixing; I thought that maybe it was the bass and that Havukruunu completely forgot to plug the amp in. But then "Yonsynty" began and it quickly occurred to me that the bass was there...it's just impossible to hear it! I have not heard an album in a very long time that sounded this thin from top to bottom. Guitar is tinny, bass is...whatever this is and percussion sounds flimsy. The only decent piece of the record is the vocals which are tolerable and the folk/Viking style chant are the most impactful. The mixing on Tavastland is unbalanced; their will be points where the guitars will play chugging and they come out of nowhere with grit and bass, while the vocals have this really awful sounding stereo effect where the left ear sounds out of sync with the right and it becomes overly distracting every time it happened. This is a record that has aspirations of something really cool, but fails in remarkable fashion by trying to be too traditional in its black metal roots.

Best Song: Tavastland

German black metal duo, The Great Sea are relative newcomers to the scene (at least in this guise). They play a turgid style of black metal that lurches its way along, its feet getting the occasional application of atmosphere and ‘post’ section as their only balm on this at times laborious journey. The vocals deploy a pagan style that works well against the musical backdrop, and as a complete package, this debut album does display an obvious degree of maturity in the performances

Where the album does fall short though is in the memorability stakes. I must be on my tenth listen through of the record now, and whilst certain elements are bedding in, they only seem to become familiar in the immediate moment they occur. I feel this maybe because the album creates too much space for itself, certainly more than it can fill on a consistent and interesting basis. A pattern quickly forms of atmospheric and ‘post’ sections being bridged by more aggressive passages, which is a logical order to be ran. However, over the duration of the whole album, the knock-on effect of this is a sense that the message the duo intends to deliver simply takes too long to arrive.

It would be unkind to refer to Noble Art of Desolation as meandering yet structurally speaking tracks do appear to outstay their welcome. Whilst I could not call out any bad tracks, equally there is a shortage of overall direction to most of the tracks here. We should keep in mind that this is debut release of course, and maybe that level of maturity I called out earlier on in the review has me expecting more compositional aptitude than I get. Still though, I cannot fight the fact that the record falls more than a little short of where it could be.

As full-frontal attacks go, Dimsvall is head and shoulders above most releases so far this year. For a band of just four members Ondfødt manage to make the din of a prison riot at times. If it is a no-nonsense approach to black metal that you are looking for then you will not go far wrong with this, the Finns fifth studio album. Yet, at the same time, you should not enter into the record just believing that this is smash and grab, blastbeat black metal. There are depths to Dimsvall that deserve exploration. Melodies to enjoy, individual instrument performances to appreciate and some very well-built structures to admire also. The acoustic intro is an early sign of this, giving a medieval mystery to the start of the record.

The fleeting acoustic sections that pop up on the record do nothing to mute the offensive textures of the album though. If anything, they glorify the aggression inherent in Ondfødt’s sound. Listen to the horns on ‘Svartsyn’ and tell me you don’t want to go march with an undead army. I tend to think of these sections as being along the same lines as the medieval, celebratory tales that told stories of battles fought and wars won in times of yore. Of course, they do also show the depth of the talent involved. With Owe and Tommi already responsible for another record that is in my top ten this year (Void of Hope ‘Proof of Existence’), I personally am not surprised by the quality of the nine tracks on offer here. The production job does the instruments justice, even if the drums do suffer a little from an effect of them being shrouded somewhat at times. The vicious rasp of the vocals really shines though, and the guitars manage to pick out their own spot in the mix too. The leads are especially good throughout, which is refreshing to hear during the more furious-paced tracks.

There are death metal tinges to the blackened proceedings that you can catch glimpses of in good measure. Ondfødt manage to hit that sweet spot of adding some depth to the fury of their black metal by beefing up the riffs, which makes for a blistering and bruising experience in equal parts. Yet they by no means repeat the same model or methodology from song to song and can create just as much menace on less heavier tracks such as ‘Futuria’ which builds a sense of growing threat to an almost overwhelming crescendo. Meanwhile, black metal bangers like ‘Grymhejtins ansikt’ and 'Bakom blekna skuggor' more than get the message across in the most direct means possible.

Whilst I cannot quite put my finger on it, there is a charm to this record that is only obvious when I return to it. I can remember bits of it when I am post-listen, but there is nothing specifically memorable about it overall. When I am sat in front of it, I like most of what I am hearing. It is vibrant with a pagan undercurrent at times, whilst staying as grim as you like for the most part still. Whilst not flawless, it is hard to criticise at the same time. It most certainly is not a record to push any boundaries, and I like that safety aspect to it, I guess.

Even though I believe in God, I've made a point of forgiving people for sins that don't really affect me. Now matter how much I bitch and whine, there will be people who disagree with me on philosophy, so might as well accept it as a part of the natural world while acknowledging the difference in philosophy. So I've heard all the Slayer albums, a good deal of Bathory, and am of the opinion that the best death metal band is Septicflesh.  But Behemoth really made their point of hatred towards religion a million times over, so do we really need it again?

Considering how familiar this album is, I'm going to have to say "not this time." Behemoth's "The Shit ov God" is obviously built specifically to get anti-religious people to buy the album, as if they're relying on edge factor. Newsflash: that's how people LOSE interest. Hell, Wes Craven used to think being edgy was what mattered most, and his early career was pretty downhill once he hated and disowned his own porn flick, and switched right to THEMES, which made his movies much better overtime. But Behemoth took the opposite route.

Now the two good things that can be said about this album are that the production is absolutely perfect. The crystal clarity is some of the finest in metal, but that's to be expected from veterans. As well, half the riffs are quite catchy, which really does help. I found myself really enjoying the bits that got quite proggy, like the midtro of O Venvs, Come. So there's a strong metal energy here that can help everything be at least fairly enjoyable to some, but this is also an extremely typical album for them. I said half the riffs were catchy, but the other half are so standard that you can pull them off of any obscure crap lost in the RYM charts. So only half the time does the production justify these performances. As well, taking a look at the lyrics, they feel thrown together and basic. The overabundance of old-timey / medieval phrasing seems to distract from that aggressive, angry nature that they're trying to promote so brutally, so the ancient vibes and the religious anger kind of contradict each other like matter and antimatter.

So this most recent entry in the Behemoth catalogue was an attempt at bringing back the vibes of their most beloved work, The Satanist, but the quality steers a bit closer to their middling debut, Sventevith. Fun moments and boring moments are heald together with a strong metallic presence and pure diamond production, so while it's perfectly listenable, it has its problems.

Now then, here’s an unexpected find in 2025. An album that reminds me of Enslaved, circa the noughties. Still with some of that Viking earthiness about them, but with an obvious smarter edge to their sound, Helheim’s latest offering takes me back to probably the last time I enjoyed an Enslaved record. With the pagan traits of Kampfar added into this mix that also has a rich melodic vein to it also (Windir, springs to mind) and the near clunky transitions of Borknagar, HrabnaR / Ad vesa soon starts to offer a lot in the way of charm to the experienced metal fan. Helheim themselves have been around as long as Enslaved (well, barring a year) and longer than Kampfar or Borknagar, so are hardly new to these sounds of course.

Album number twelve is described by the band as a “groundbreaking release” in the sense that the album was written in two equal halves. One half by V'gandr and the other half by H'grimnir, giving a “bold evolution” to the bands established sound. I will have to take their word for it as I have never listened to any other album by the band, so I can only comment on what I find on here. Whichever half of the record it is that I listen to, Helheim are unafraid to experiment with their established sound. With Hammond organ and grand piano both listed as instruments used on the record, we should not expect endless blastbeats and howls of icy fury throughout.

In this regard, there is an air of predictability to the experimental elements of the sound. Knowing they are traveling an expansive path does not necessarily result in the view being all that unfamiliar in the long run. That’s because they can stay true to their own roots whilst treading in the footsteps of the other mentioned bands already listed in this review. I do not say this as a criticism of the band or indeed the album, as I enjoy the record very much still. It feels accomplished without being cocksure, yet at the same time to call it a “groundbreaking” album seems a stretch in my opinion.

It is well played and produced to a high standard also, doing justice to the various ingredients of the music in terms of letting them all have their moment in the limelight. At forty-four minutes it does not feel too long and still manages to leave the impression of being a well-though out set of compositions that aren’t hurried along at any point. Whilst I cannot pretend to get lost in it, and I do struggle to retain a lot of what I hear (maybe it is a little too much like Enslaved on the backend of the album in particular to stimulate my brain cells much), it is a record that has seen me come back to it out of pure entertainment value. Whilst I may not remember it all, I do still recall it is a good record at least.

So, here is yet another example of the fact that I have no idea what I am talking about, or even what I like half the time. My only other exposure to Krallice was their 2015 album, Ygg Hur, to which I awarded a measly 2.5 stars. I remember said album as being a bit technical and a bit dissonant in the way that I didn't especially enjoy around that time. As such, I wasn't particularly enthused going in to this, but it is actually pretty good and I enjoyed it a helluva lot. It is made up of fairly lengthy and repetitive tracks of muscular black metal that seem to have a beefiness derived from employing death metal production techniques. With the repetitious nature of the riffs and lengthy runtimes you would be forgiven for filing this away as atmospheric black metal but it isn't really as I don't think the repetition is deployed in a way as to create atmospheric layers, but rather to bludgeon the listener and make them feel like they have taken a metaphorical punch on the nose. There is some dissonance involved, but nothing too egregious and certainly not enough to put even my sensitivity to it on alert, just enough to add a bit of bite and edge to the tracks to prevent them becoming too warm and fuzzy.

I don't want to give the impression that this is a boring slog of repetition, though, because the songwriting and composition of a track like "Telluric Rings" is much more accomplished and nuanced than that and is a fine of example of a band who want to make interesting black metal whilst still delivering on the darker side of the genre. The band employ two vocalists, the main one, I think, is guitarist Mick Barr whose vocals are a harsh bark in a more death metal style than the more familiarly thin shrieks of second vocalist, bassist Nicholas McMaster. Speaking of which, I must also make mention of McMaster's bass playing which is busily at work doing some serious heavy lifting for a fair bit of the runtime, not content to just follow the riffing, the bass weaves some quite complex patterns, adding some nice flavour to the musical mix.

I have got to say, I am quite impressed by Diotima and feel that maybe I have been unjustified in giving Krallice short shrift in the past. Every track is strong, but the aforementioned "Telluric Rings" sounds like something special to me and is possibly heading towards becoming a firm black metal favourite of mine.

Somehow flying under my radar to date, Finland’s Havukruunu have been causing waves in metal for a few years. It has taken me about ten listens to Tavastland before I could order my thoughts into some semblance of coherence, such was my surprise at just how much I enjoyed their unique brand of imperious blackened heavy metal. I mean, I have heard pagan black metal before, Moonsorrow and Kampfar immediately spring to mind, but nothing quite feels as invested as Tavastland does and certainly nothing sounds as passionate as it does. Telling the story of the Tavastian people’s rebellion against the Catholic church in 1237, the album carries the angst and unrest of the story well on its broad shoulders. The storytelling as a result carries an authenticity a sincerity even, to it. Far from relying on furious blastbeats and raging tremolos, Havukruunu construct the narrative with well-thought through structures. Unafraid to lean on melody and catchy, chant-driven chorus lines to captivate the listener, the Finns show a versatile and pleasing array of variety across the eight songs here.

I am captivated by the time the chants start on opening track ‘Kuolematon laulunhenki’, only to be further hauled into the baying mob by the mining riffs of ‘Havukruunu ja talvenvarjo’. The choral elements of the latter track disperse into the song unexpectedly, without dispelling the more aggressive and driving rhythm that constitutes the main part of the track. I think this is one of the key areas of success for Tavastland. Despite showing a clear penchant for the more extreme parts of metal, the band always keep that apron string back to that very traditional metal sound that their art is built on, very much in reach still. The pagan influence does not get lost either, the title track being heavy with that content across both instrumentation and vocal context also.

There is a cello, and numerous sections of keys deployed on Tavastland, meaning the interest levels are easy to maintain throughout for me. I cannot pretend to be pagan metals biggest fan but when an album is put together this well, it is hard not to be onboard. The lead work is sublime. Richly melodic and still completely unintrusive, in fact it is most welcome when it does make an appearance on tracks. The notes all sound crisp and clear against the more urgent backdrops of the music they are so often layered over. With such a heady sounding review thus far, it is perhaps unsurprising that I have not hinted at any negatives. The truth is, I don’t have any criticisms, no duff tracks and no moments where I reach for the skip button. This may be down to it being an excellent album that moves at such a relentless pace that you cannot help but be taken along by it. Is the last track a stretch too far at nearly eleven minutes? Well, maybe for some. However, to me it sounds like a final glorification of the great content that precedes it and so I love it just as much as I do the rest of the record.

This year’s exploration of new releases has seen me approaching the early signs of burnout as we reach the halfway point of 2025. With some two hundred and fifty albums already listened to, many of which soon got dismissed before ever being considered worthy of a second listen, it was starting to get a little tiresome. I am grateful though of the releases that still transcend this creeping sense of tedium. The ones that manage to still leave more than a mere dent in the plethora of releases in the year so far. These albums and EPs have something about them, an essence of some strength beyond their grim content and corpse-painted faces. Whilst they don’t always have to be soaked in progressive tendencies, albums such as Incendiary Sanctum are what have kept me largely going this year.

These Canadians come from a strong pedigree of black metal bands, with the country already being responsible for giving me Spectral Wound, Nordicwinter and Panzerfaust, to mention but a few. They are different to pretty much most of what I have heard come out of Canada to date though, deploying a strong death metal element as well as having a post-metal vein running through their sound. It is easy to look at an album with track lengths that extend to nearly nineteen minutes and be discouraged. Indeed, I would go as far as to say parts of Incendiary Sanctum look daunting. However, my experience of these lengthy tracks has thankfully not been one of progressive wankery or grandiose showmanship. Even without that imposing nature to performances it is clear beyond any doubt that everything is remarkably well played here. Equally the album is arranged very intelligently, and yet even with this order to proceedings, especially with that post-metal element being so strong, the dynamics of the sound do not suffer. Arguably the most obtuse thing about the band for me is their ridiculous name.  A Flock Named Murder?  Really?

The four tracks that run over the hour and three-minute duration are all delivered with a maturity and a sense of patience being applied to the song development. This is not just four tracks of post-metal that grow into raging black metal crescendos at the halfway point, to be then taken into some death metal section before fading away into more minimalist pastures to end. The structures here are varied and are kept interesting throughout the longer than usual runtimes. Think the clever songwriting of Cult of Luna coupled with the innovation of Enslaved and then throw some Agalloch in there to temper everything and you are absolutely on the right track. I would argue that this is more entertaining than anyone of those bands in isolation (notwithstanding that I am not Agalloch’s biggest fan by any means) and being able to take the better elements from just three such well established artists show a talent in itself of course.

Incendiary Sanctum is one of the better-balanced releases that I have heard in 2025. Where it does lean into prog it does so without managing to lose me. The death metal element is strong throughout and whilst there is little room for black metal, what is here is still of excellent quality. It does start to lose some traction with me if I listen in one sitting and I do find that splitting the album in two does tend to reap the better rewards for me. I cannot think of anything else I have heard this year to compare this with and as such it stands out from the pack well in what has already been a very busy year.

Featuring a cover, every bit as horrific as the content held within, Veneraxiom’s debut full-length is a somewhat aphotic affair in the sense that there is zero sign of light, hope or positivity throughout its nine hellish soundscapes. This is an album made for people who accept that there is no unspoken rule to the universe around fairness. Life is cruel and so is Veneraxiom’s music, so fuck you all. Leaning towards death metal more than being simply conventional black metal, Apocryphilia is ironically far from being questionable or inauthentic. The band achieve exactly what they set out to from where I am sat listening. Torturing the listener with crude black ‘n roll elements and then terrifying us the next with screams of unfathomable human suffering the next, this is an album that has no hidden depths and is stronger for it.

The trio hail from LA and have released a couple of EPs and a compilation to date (along with a split with Grand Bewitchment in 2023) before committing to a full album release some six years into their existence. Tracks lurch around, shrouded in morose melodies and mining riffs. Spoken word excerpts from films make appearances here and there to emphasise the direction of the music a little more clearly. There is a mocking undertone to this album, the sense that Veneraxiom are laughing at the order of society, its cultural norms and the comforts of modernity. Apocryphalia is not as uncomfortable a listen and it is supposed to be though. It has a punky catchiness to it in places, which although smothered by relentless blastbeats at times, is most definitely always around the mix of things.

The album’s Achilles heel is its longevity factor for me. By the time I get to track five, I get it, after which point I am zoning out more than a little bit. Whilst I do understand why a bit of variety here and there would kill the aesthetic they are trying to create; the spoken word sections don’t inject enough extra for me to focus on. Whilst ‘Et Demonio Ad Aternum’ does try to dial up the intensity immediately after the midway point, throwing some chaotic lead work into the music to jolt the concentration back on point, it is only a momentary reprise. For the final three tracks of the album, there is a sense that the band are just coasting to the end. In their stronger moments, I am reminded of Grave Miasma which is no mean comparison to be able to make, right? If we could stray into that brand of ordered chaos, then I feel I could stretch the rating on Apocryphilia somewhat. As it stands though, I will simply make note of them ready for if they get to a sophomore release.

I purchased The Triumph of Malignant Narcissism after just one full listen through being completed. This happens rarely with me, but with my renewed use of Bandcamp, the ease of purchase was just too hard to resist when faced with this fantastic slab of frantic black metal. Simply put, the record ticks all my bm boxes, tingles all my necro nerve endings and scratches those riff craving itches nicely. All the work of Илья Львов (or Elias as he is known), this one-man project has one other record to his name, which I am yet to experience but it most certainly be going on the to do list soon enough based on my experience of this record at least.

When I go looking for a black metal record, as in a real black metal record, The Triumph… is the exact type of record I want to find. Full of vicious riffing and strained keys, with ghastly vocals too boot. The percussion is just awash with that shimmering hue of hi-hats over the rest of the music, but they never invade the other elements. The rampant riffs of ‘Necromancer’s Night’ shows this perfectly, the riffs get front and centre at a couple of points and it is glorious in underlining the beastly nature of the track. Despite the raw approach here, I sense some calculation in the arrangement of tracks as the album does only appear to grow in stature as it blazes its way along to completion.

Those dungeon synth elements are well executed also. Unafraid at times to let them take centre stage, they create a distorted and near dizzying atmosphere. They play almost sub-consciously across the record to my ears, plaguing the rest of the instrumentation in the background like nefariously evil children causing mischief in the corner of the studio with a synthesiser that is not plugged into the mains and is low on battery power, but they play the shit out of it all the same. Lovers of the second wave can park their cars along the roadside if the car park is full as you most certainly would not want to miss out on this record.

Variety is here still; it is just kept to a minimum. Occasional strings (‘The Darkest Path’, ‘The Ballad of the Scorn’s Guardian’) add further atmospheres alongside the much-discussed synths, but the record is still at its best when in full flow. ‘Sadistic Grin of Evil’ is the standout track for me. This is straight up, no fucks left to give black metal, delivered in a riotous and offense manner. I can almost see the sadistic grin in question, stretched across the face of Elias as he sneers his way through the track. You could easily find more necro/lo-fi sounding bm I am sure, but production values on the record are suitably low enough, intimating that ‘recorded in my bedroom’ vibe perfectly.

Altar of Woe just challenged my current top bm release of the year (even though Gràb is very much a different style of bm) and it is a strong contender to remain there ahead of the likes of Drape even. All hail!

The enjoyment I found in Nattestid ser porten vid... from Taake, released all the way back in 1999, has never been topped by anything that I have heard by them since.  Considering my praise for it (a generous 4.5 stars, no less) with its excellent songwriting, I could have been forgiven for wondering how good things would get on subsequent releases.  Admittedly my coverage of the rest of the discography is patchy at best, but even on the more casual listens to the likes of ...Bjoergvin... or ...Doedskvad those albums have not lived up to being anywhere near the debut release's standard.  My main criticism of Stridens hus was that the rock elements had gotten just too brazen and there was a regurgitation of ideas that had already had more than enough airtime over the years.

Noregs vaapen appears to be an earlier version of the same issue.  Whilst I can acknowledge that it sounds nowhere near as sterile and dull as Stridens hus, it most certainly has the same underlying issues.  Gone are the clever arrangements of the debut, replaced instead by ad-hoc instrumentation and random sections.  It seems unrealistic to say that such a shadowy and controversial figure puts out music for clickbait purposes, yet Noregs vaapen just does not sit well with me in terms of being a black metal album with kvlt credentials galore.  That probaby sounds more elitist than it is supposed to, and as someone who listens to a variety of music, I can honestly say that incorporating your influences into your sound is an absolute given.  That is not to say it always works though, and there are always some boundaries I am uncomfortable with being pushed too far.

What is here is well played, and this is by no means a terrible record.  The longevity factor is stunted for me though and the appeal wears of far too quickly.  There is not any shock value to it, yet bizarrely there is no sense of familiarity from it either, as a black metal record it feels quite alien to me.

My enjoyment of Hexvessel’s last offering, Polar Veil was based on the clever combinations that weaved through each song. This tapestry of mysterious atmospheres, doomy aesthetics and blackened leanings has not only been retained on Nocturne, but the intensity of these elements has been increased. Hexvessel pick up on album number six right from where they left off last time. It is a stronger sounding record from the off, exhibiting a boldness about the brevity of the songwriting as we immediately roll into two eight-minute plus length tracks following a succinct intro track. It is also obvious from the beginning of the record that the blackened edges are more present than I recall them being on Polar Veil. This creeping iciness tempers the more brazen elements of the record. Where we get a little too folk-laden (‘A Dark & Graceful Wilderness’) or dreamy even (‘Phoebus’), the are some black metal droplets that drop into the stillness of the water and immediately disperse with a subtle yet audible disruption.

The band achieve atmospheric black metal heights during ‘A Dark & Graceful Wilderness’, those chiming keys overlayed atop the grim riffs hit with maximum effect. Their ability to combine seemingly opposing elements is borne out by the plethora of instruments utilised that are arranged to work so well together. The piano that opens Nocturne has no place once the raging tide of ‘Sapphire Zephyrs’ kicks in. Yet the slow of pace the track takes for the chorus sees the scathing riffage no less offensive in delivery, just well-tempered by the delicate vocals and background piano keys. Acoustically serene strings give us a further chapter to this song. Creating such a triumphant track so early in the record whets the appetite for what comes next on the record.

Bristling with spiritual transcendence and possessing a soothing and calming capacity to act as a balm to the more aggressive sections, Nocturne is a real exploratory record that all feels well anchored to the central theme that runs through the record of a connection to nature and our surroundings in general. Lavished with choral elements like on ‘Inward Landscapes’ there is a sense of a near-constant evolving to the record as these new parameters are set, and ethereal elements are introduced. The songwriting seems to suggest that although it is a nebulous concept, the world around us, our immediate earthly surroundings, offer opportunity to connect to a more mystical and basic form of existence.

Hexvessel sound committed to this record and the themes it explores. There is obvious passion behind the music which is well played throughout. Without being able to describe the guitars as luscious exactly, there is a moreish quality to them still. I never want the beauty of ‘Spirit Masked Wolf’ to end as it rises to seemingly unfathomable heights of serenity. The doomier elements of the album are delivered thoughtfully, applying a cloak of subtle atmosphere and more sluggish pacing when deployed. I am struggling to find fault overall with Nocturne and my reticence to give it a full five star rating is more due to the feeling to need to spend more time with it, as opposed to any individual fault I can place my finger on.

Kadath is a prime example of how perception can change over time. Having never heard of Ultar before this, my only expectation was that they were a blackgaze group from the Krasnoyarsk region. Initial thoughts were mixed, but I cannot say that I didn't enjoy parts of how Kadath sounded. The biggest issues I had with the album had to do with production sounding very treble heavy and not emphasizing its low end enough to make these songs really pop off.

Repeated listens is when the issues hit. Blackgaze is, by definition, not a very innovative genre. And with very few exceptions (i.e. Svalbard, White Ward, etc.), growth in the genre has become remarkably stale since Deafheaven's Sunbather. If I were to listen to Kadath when it came out nearly ten years ago, I probably would have enjoyed it more; I like Sunbather and Kadath just seems to be more of that. But now, having been oversaturated with blackgaze and a fair bit of it stemming from the Russian Federation, Kadath doesn't do anything for me personally. More so, the albums faults are further emphasized. Lacking a prominent bass to propel these tracks forward is a grave misfire in the worst of times, and here is no exception. Including two such interlude tracks ("Shore of the Sleeping Seas" and "The Ancient Ones") are comfortable breaks, but I'm not sure that "Xasthur" and "Azathoth" really needed them. The closing track "Kadath" does sound really nice and has this excellent sounding crescendo leading towards a conclusion, but not only does this crescendo feel excessive, but it also leaves the listener on a cliffhanger; it's literally the Dragonball meme where Goku charges his finishing move for an entire half-an-hour episode, only to miss in the last thirty seconds.

Best Songs: Xasthur, Azathoth

Consisting of three members, Kveldstimer contains Alex Poole (Krieg amongst a million others) on guitar, bass and synths, Rory Flay (former Ash Borer) doing vocals, guitar and synths and Seguigo just doing drums and keeping it simple. The first two list a multitude of other bands as active projects currently and clearly bring a wealth of experience to the set-up, as The Cursed Oak nods firmly back to the early days of Norwegian black metal. With Ildjarn and Sort Vokter influences clearly on display, the nine tracks on offer here possess a chilling vibrancy and an ambient allure for fans of atmospheric black metal. But fear not, ye blastbeat loving masses, for The Cursed Oak has a hefty old share of higher tempo stuff to please all of you.

What is immediately obvious upon starting to listen to the album is that the music is written by well established and highly skilled musicians. The instrumentation all fits together seamlessly for the main part. Tremolos are well picked and those insanely screech guitar melodies sit just the correct side of not grating territory. This component reminds me of Akhlys on opening track ‘Withering Storm’. Beyond mesmerising at this early point in the record, the guitars possess a real potency to them. The whole album seems to command an offensive position without ditching the ethereal and haunting atmospherics in the process. The drums are solid and consistent, unafraid to blast yet also I hear a couple of runs and fills here and there that fit the aesthetic of tracks well. Rory’s vocals are a vicious rasp for the most part, with there being one occasion on ‘Broken Limbs in the Frost’ where they take on a bellicose, folk element which if I am honest is an uncomfortable moment for me, even after hearing it multiple times.

The synths are deployed effectively on all the tracks here and the album would be at a loss without them for me. Providing a real supporting role as opposed to dominating proceedings, they swell tracks with a richness, and within the swirling chaos that they help develop, I sense them growing, filling all available space behind those prominent guitars. The soundtrack to my late summer evening listening playlist will have instrumental track ‘Solitude’s Garden’ in the mix. The cold resonance of the synths creates a cooling ambience in the harshest of temperatures for me. The track also provides a well-placed palate cleanser, positioned towards the middle of the record.

As with all atmospheric black metal releases, there are comparisons with BAN almost inevitably made and The Cursed Oak does not escape this either. There seems a little more of an acute intensity to Kveldstimer’s sound (just a touch mind). If you pay close enough attention though you will hear the great build that tracks possess. The early third of ‘Their Eyes I the Shadow of the Moon’ being a fine example of this, as the guitar makes a sound like a war horse about to charge into battle before unleashing the tremolo upon the track. Again, that Akhlys sound is on full display during the melodic riffing of this track, something which please me no end. It may have taken me a few listens to get there, but I have discovered a real gem in this one. Addiction levels are high currently.

Waidelotte... That's a name I haven't heard before, but then again, aren't there many other bands with unusual names? Apparently, this band is named after a Prussian priestess with duties of prayers, blessings and fortune. Anyone with historical knowledge would know that Prussia was a German state with a Baltic tribe until it was abolished as a result of World War II. It is not to be confused with Russia, the country currently at war with Ukraine.

Waidelotte was formed in Ukraine in 2023, when the war was (and still is) raging. Members of the band have come from more notable bands, with vocalist Andrii Pechatkin from White Ward and bassist Oleksii "Zlatoyar" Kobel from Soen. The only other member is guitarist Mykhailo Bogaichuk, so I'm guessing the drums are programmed. Conceptually, Celestial Shrine takes you through death and despair in inner struggles to battle. This album is described as melodic/pagan black metal, though I can also witness the melodeath/progressive metal of Obscura, maybe even Ne Obliviscaris. The vocals and bass give that away in the extreme instrumentation blended with folklore.

"Descending" is a soft folk-ish intro not too far off from Opeth's interludes. As for the first actual song, "The Era of Stagnant Gods", it's not often you hear flute after extreme fury, but it works out well. The slow ending sounds so atmospheric. Hurdy-gurdy comes up in "Todestrieb", which itself is a melodic pounder. The usage of folk instruments and occasional female singing give it a bit of an Eluveitie vibe.

"Opulent Mirage" is a more progressive highlight, mixing the mid-2000s eras of Enslaved, Leprous, and Opeth. "The Mortality Archway" basically takes the extreme side of Kayo Dot and adds in the thrashy complexity of Believer and some Eastern European instrumentation. "Ascending" is one more folk interlude with Neurosis-like ambience.

Things get more fun in "Lightkeeper". Then the title track tones down the fun for some melancholic sorrow. It makes great use of their native instruments like the bandura, performed by Vlad Vakolyuk. That aspect is in superb balance with heavy riffing. This should've been the end of this offering, but the band felt like adding a little something to make a full album... "Dissolving" is an 8-minute dark ambient track featuring Solar Kollapse. It's so odd and boring, and the album would've been perfect without it.

The half-hour of power that makes up the rest of Celestial Shrine is an effective album of Slavic-infused progressive melodic black/death. It's a unique combo that really hits it right. The horrors of this ongoing war didn't stop this Ukranian band from unleashing their creative talents. They should really be commended for their perseverance....

Favorites: "The Era of Stagnant Gods", "Opulent Mirage", "The Mortality Archway", "Celestial Shrine"

Not content with just seven active projects, USBM misanthrope Drape (or E.X. to had slightly less mystery to him) first ventured into our ear space with three demos, a split, a single and an EP in what turned out to be a busy 2024 for him. This year sees the full length arrive, promising “six hymns filled with torment and regret”, and that we have “TRUE FUNERAL BLACK METAL” (the capitals are as the words are typed on their Bandcamp page). I am unsure if this is the announcement of a new sub-genre or not, but Beautiful Glorious Death Throes has a slower pace than most black metal releases for sure. It is suitably morose as well, with rasping vocals striking out from behind the din of guitars that swarm in front of them.

This duo (E.X. on guitars and vocals, Drugoth on drums) cast the grimmest of shadows over what is in fact just twenty-five minutes of low-fi black metal chaos. Whilst never straying into the frantic blastbeats of say Gorogorth, Drape still vary the pace from their funereal core nicely whilst never quite losing that lurching backdrop to the overall aesthetic. Clearly equipped with an understanding of the second wave, this is a pairing that soon convinced me of their kvlt credentials. That almost monotone, edge to the drumming made me think there was a drum machine deployed at first. With minimal bass presence, the sterile nature of the sound echoes in the vast cavern that it seems the album was recorded in.

Tracks such as ‘Lifeless and Corpsed’ are tormenting little numbers to contend with. The drums labour just enough to make you wonder if they are going to bother or not at times, whilst the guitar just continues to grind out that tremolo riff, occasionally allowing it to soar a shade higher to truly herald the growth of the track. But in the main, Beautiful Glorious Death Throes is a success largely because of its steadfastness. The album does exactly what it says on the tin. You can predict how the record is going to sound, just by looking at the necro cover, and if you love bm then you will not be disappointed in the no frills approach. This is a true celebration of darkness that is as consistent as the other EP and split that came out this year from these guys also.

My symphonic deathcore expedition has led me to what might just be the earliest band of that sound besides Winds of Plague, The Breathing Process. This American band from Connecticut has practically invented the idea of a symphonic deathcore/melodeath blend while also throwing in some Scandivanian-style melodic black metal. It's a mix of epic and extreme that barely any other band had attempted before...

Having just come across their debut In Waking Divinity, I have to admit, it's not as glorious as the later more popular bands of the league. However, it's slightly better than other humble beginning attempts at a niche subgenre. I also admit that the band name is a little goofy, but not bad enough to qualify for the "sh*ttiest band name" thread.

The album's intro "The Hunter" is an ambient yet heavy start with some samples. A bit pointless, yet I approve. The title track impresses me with heavy guitars, skilled drums, and killer vocals. While the symphonics are more oddly placed compared to the later bands of the league, I enjoy the more metallic headbanging sections. Great start, though keep that in mind before the remaining full songs of the album follow the same formula. "Lament Configuration" is a melancholic piano lament. "Blessed, Be Thine Martyr" basically continues the melodic deathcore sound of Bring Me the Horizon's debut Count Your Blessings and blends it with the symphonic black metal of Abigail Williams around that time. "Pandora's Rebirth" has more unique identity. I love the chorus in which the vocals appear over background synths, reminding me of Bleeding Through.

Not much happens in the 24 seconds that make up "Oceans". However, "The Harvesting" attacks like a symphonic Despised Icon. Melodic and technical riffing are more balanced in "Prey" which isn't amazing but I approve of this stylistic blend.

"Legion's Prayer" is one more piano interlude. The winning highlight has to be "Dear Antigone" with lots of vicious headbanging moments. "Somnium" has more interesting progressiveness. It starts doomy with spoken vocals, slowly building up before a final climax. A bonus track in some editions, "Inferno" is an earlier track from the I Am Legion demo, and I love the clean chorus here. If they had more of that in the actual album, I would rate it higher.

I think the title track and those 3 full songs at the end are what you need if you're checking out this band and album for the first time. While a couple tracks in the middle and the interludes are average, In Waking Divinity is still a good start to the then-unpopular symphonic deathcore trend. Not to be missed out, but it's fine if it is....

Favorites: "In Waking Divinity", "Pandora's Rebirth", "The Harvesting", "Dear Antigone", "Somnium", "Inferno"

Norrhem’s fourth full length release has been bobbing around near the surface of my fathomless pool of new releases this year for months now. As soon as I get into it again, something else distracts me and then I go back see it marked as a “contender” on my list of new releases I am working through, and I remember to give it some more plays before I fallback into the whirlpool of new music that I cycle in nowadays. Nominating it for feature release in The North clan this month had a hidden purpose of giving its review an added dependency.

Now, I am not overly familiar with pagan black metal, however I do know a hint of Moonsorrow when I hear one and after multiple listens, I think that the reference is the nearest I can make to how I can define the sound here. The tracks for the most part have solid, driving rhythms, offset with acoustic, atmospheric passages that give time for reflection. Clearly Norrhem have a deep sense of pride in their Finnish heritage and this nationalism is strong in the sound of the music. Embracing the melodic aspects as they do on Aurinko ja teräs alongside the more choral/chanting effects makes for a good mix of foot stomping black metal that carries an almost hidden catchiness (in the sense that it takes a few listens to pick up on it – well at least I did). Unexpectedly, I find some of the tracks quite warming, despite the colder atmospheres associated in general with the music.

I did baulk at the symphonic comparisons I saw with other bands but, again, upon repeated listens I did start to increasingly notice this in the sound. Even when the band drifts a bit too far on the eerie ballad ‘Mullan marttyyrit’, they still manage to make it work well in the grander scheme of things as a (albeit slightly grandiose) intro to the title track. Despite this symphonic and pagan meleé the band can add a great selection of riffs into play also, ranging from the squally efforts on ‘Hävitetty maa’ through to the relentless chop of ‘Teräsmyrskyssä’ which is my album highlight here. Some of the keys remind me of 80’s pop whilst on other occasions they sound like chimes straight from a Burzum record.

Aurinko ja teräs has worked its way onto my rotation with an almost dogged determination. It is not my usual bag really but is hardly celebrating sub-genres that I go out of my way to avoid either. My overarching sense from multiple connections with it is that the record grows stronger as it goes on without quite reaching the imperious levels of pagan black metal that Havukruunu have achieved in recent years. It is unlikely to walk away with any massive accolades this year but it certainly deserves recognition.

Belgium is at it again. That often-forgotten corner of the global black metal community that likes to give it large with the synths to really add some atmosphere whilst still retaining the requisite amounts of rawness to remind us that production values still don’t mean diddly-squat. Forbidden Temple has seven years of marauding, atmospheric bm under their bullet belts. Espousing witchcraft and good old-fashioned paganism as some of their key topics of lyrical discussion, this trio (don’t really know how fulltime the keyboard guy is) now have two albums to their name. You will have to scour YouTube to find them, as they are released on suitably obscure and shadowy labels only (no Spotify or Apple Music quick search items here thank you very much).

In the Rotting Grave certainly sounds like it has been recorded south of ground level. It is full of dank riffs and lumbering synths. Creating doom-like atmospheres seems to be an organic output to what Forbidden Temple do. The opening to ‘Mephistopheles Nightmare’ with its choral accompaniment sounds perfect before it gives way to some solid riffs and haunting keys, the drums all the while are bashing away like some dementor with two bits of wood and a stool and some pedals. The Norwegian influence is still very clear throughout the record, with early Darkthrone being a clear similarity from the off. However, there’s some Mortuary Drape and Samael kicking around on here too. FT are all about the late 80’s and early 90’s bm scene baby.

Not much is known about the members of the band, yet it is clear where their hearts lie in terms of influence. Whilst the aesthetic is very DIY in terms of production the performances themselves have layers and textures. The result of this is that whilst In the Rotting Grave retains a distinctly murky and cold charm to it, utterly devoid of any grandiosity, at the same time it has a deep-rooted warmth to it that reminds me of Varathron also. This dynamic tends to hide in plain sight, adds to the constant sense of mystery and necrotic wonder of the album for me. I feel like I know exactly where I am going each time I listen to it, yet I hear something new each time I listen. Not that repeated listens uncovers new instrumentation or extrovert direction, more that subtle melody lurks in corners not fully explored the last time around.

So where does it sit in the year list? Well, it breaks into the top 20 without managing to challenge the higher scores, relying as it does on purely old school qualities to separate it from the pack to any degree. There is a lot to enjoy here however and I would suggest it will continue to be revisited for some months to come.

Eiger is in reference to a specific mountain found in the Bernese Alps. Aara are using this mountain as the basis for their album since it is one of the most treacherous inclines on the planet. At least 64 climbers have attempted to climb to its peak, and have been unable to return to tell the tale; the perfect backdrop for a Nordic atmospheric black metal project!

Aara have been producing records on an annual basis since 2019 (which is very impressive) and Eiger is kind of a change of pace for them. Aara's previous releases have told recollections of gothic literature, so this move towards real life events might be strange. And that can be heard in the vocal presentation. I do know a little German from my second language course in University, however I haven't used that language in quite some time, so the finer details in the words were a little hard to dissect. But in general, the vocals of this album are pretty barebones. Not that I expect a life changing storytelling experience out of a black metal album, but they do feel rather dry.

But when the vocals are so inconsequential to the performance, it allows for those gorgeous instrumentals to take center stage. When those blast beats and thundering guitars enter the mix you can feel the weight of two avalanches suppressing you. While the guitar leads lead you on an almost ethereal journey. The key to making Eiger so good is the songwriting. When the album is ferocious, it's as pulverizing as any modern black metal record. But when then album brings in those acoustic guitars for outros, intros and bridges, they bring another layer to this already cold tale. Something about their unaccompanied texture is just so isolating and awesome and give the listener a moment of respite before the inevitable return of the black metal textures of before. They almost remind me a little bit of Saor's Forgotten Paths from 2019 and that's high praise.

Unfortunately for Aara, they don't really seem to be doing much else with the atmospheric black metal sound on Eiger. Yeah it's a fantastic albums filled with highs and lows, some of the prettiest sounding melodies in black metal since Sunbather, and a solid backdrop for a concept album. But they don't reinvent the wheel. Perhaps Aara does not need to reinvent the wheel, since they are too busy releasing a new album on an annual basis. And when you release an album that is as top quality as this, why would they need to? 

Best Songs: Die das wilde Wetter fängt, Senkrechte Welten, Todesbiwak, Zurück zur roten Fluh, Alptraum

Fimbulwinter were a very short-lived early norwegian black metal band who split-up after releasing this, their sole official release. They were a trio that included bassist Skoll and drummer/guitarist Shagrath who went on to become long-term members of Arcturus and Dimmu Borgir respectively. This is some pretty raw early norwegian shit, with demo-level, lo-fi production values and some pretty basic songwriting. Yet, as is often the case with early black metal, it is also exhilharating and exciting as hell with a completely necro feel that just serves to increase the iciness of the material. Vocalist Necronos has a great line in demented screams and screeches that make it strange that he never showed up anywhere else when Fimbulwinter split. If you have a love for lo-fi early second wave black metal then this is a must hear.

For an album released in 2004 this has some serious early second wave credibility, which is not so surprising when you discover that despite only releasing their debut album Light of a Dead Star in 2002, they had originally formed in '92 (although they had split in '95 after releasing a demo which would later become that debut, ultimately reforming in 2000). There's a Lovecraftian aesthetic theme running through the album with it's songs of unknown threats and elder gods and in keeping with the creeping terrors of HPL's work, this isn't a monotonous blastathon, but rather, the band isn't afraid to slow it down and allow the music to reflect that crawling feeling of dread. For proof check out the superb The Elder Gods Awakening, the claustrophobic feeling of being stalked by an unnamed terror is excellently realised as you feel the darkness closing in. Don't misunderstand however, when it blasts it really kicks ass too, believe me. The first half of In the Mists of Orion's Sword is as taut as a piano wire and may well tear your fuckin' head off (fans of Darkthrone's classic trilogy prepare to salivate!)

Although black metal is viewed as foremost a Scandinavian phenomenon, the French have certainly carved out an impressive niche for themselves within it's boundaries and Requiem Tenebrae is a great example of Gallic BM. This is the very definition of an underground classic and I'm gonna give it an unapologetic 5/5.

With the arrival of a new Sargeist record in any given year, you can usually bank on this being a sign that the scene just stepped up a notch at that point in the year. In short, it is something I always consider to be a treat. It has been seven years since Unbound mauled our eardrums and if I am honest, I completely missed the following year’s EP, Death Veneration, so I do have some catching up to do. Flame Within Flame arrives in a year of strong releases so far and so quite how it fits into the year will be interesting to watch unfold in the coming months. There have been some lineup changes since the last record also, with Shatraug taking over vocal duties on a studio album for the first time since 2003 (‘frowning, Existing’ from Satanic Black Devotion). With Marko Hirvonen no longer on bass, it is up to Spellgoth (Horna) to fill this role, and the sticks are now in the hands of Decapitated Christ drummer, Alewar. Therefore, only VJS (Nightbringer) joins Shatraug from the previous album.

Has this shake up changed how Sargeist sound? Well not fundamentally no. this is still easily identifiable as the rich tremolo wielding, melodic black metal that we have all come to expect from Sargeist over the years. At the same time though, I do sense some loss of intensity in some moments. Shatraug’s disinterested sounding vocals take some getting used to in the main, but I still feel overall that proceedings are dialled down when compared with previous releases. This tame element could be down to a refreshed (rebuilt?) lineup of course but on the plus side there are many genuinely glorious moments to digest as well.

Tracks such as ‘Incandescence of the Funeral’ open with such a strong driving, melodic bm beginning that sees the band at their urgent and racing best. With a pace akin to racing horses, Sargeist do still have gas in the tank, that much is clear. It is increasingly questionable as the album goes on as to whether Shatraug has the vocal style to be able to compete with the rest of the group though. Whilst I cannot say that they make for a terrible listening experience, they certainly do go some way in acting as a distraction from some of the better executed elements of the record.

Still, listeners should take time to revel in the chiming majesty of the guitar on ‘To the Mistress of Blackened Magic’ as it dances like the darkest of incantations imaginable. Likewise, ‘Juravit Sanguine’ is another fine example of the rich melodic vein that runs through the band’s sound. This track is almost catchy; such is the level of accessibility here. So, all in all, a mixed affair if I am honest. Not their best, but then again instability is a cruel mistress it seems.

The chaos of Deathspell Omega lies at the very heart of what Portuguese black metallers, Serpentes ply as their trade. Whilst a lot less extreme in terms of the Avant Garde aspects of the sound, Desert Psalms still blusters with that dissonant majesty and imperious arrogance that seethes from the vocals. Reminiscent of Aosoth also about the vocals, there is a deep French connection running through what this (largely) one-man outfit does. Utilising Misþyrming’s drummer on the album is a definite boost to the professionalism on display, Magnús Skúlason puts in quite the shift here, even if you do have to listen intently to pick out his patterns in the frantic noise that smothers you from the off. All that having been said, I find Desert Psalms to be a very memorable experience and can easily recite sections of songs in my head. That’s the sign of a good album.

Fact is, this record has been kicking around my rotation list for a good few weeks now and there is a healthy number of listens under my belt on this one, given it has enjoyed at least one spin per week over the last two months. It is certainly an album that has benefited from repeat visits, with each trip into its darkest depths leaving me curious to come back for more each time. It is a record that I would say I hear more of each time I listen to it. At the same time, it now possesses a strong degree of familiarity also. Those mocking vocals are sublime to my ears each time they spit their derisory lyrics my way. The layers of riffs that dash at me like flicked knives bring welcome wounds as they breach my skin. All the while, the constant threat of something really unhinged getting ready to be unleashed keeps my nerves just on the edge of turmoil every time.

This promised menace never really surfaces, and that is okay, because it is part of the allure that I absolutely crave. If this album swung off into any aspect of total Armageddon inducing audible warfare, then it would lose all its mystery. Thankfully, Ainvar Ara plays his cards close to his chest for the main part, drawing out the tension with the piano key picked opening to the final track, teasing the listener until the very end. Overall, Desert Psalms does feel like a collection of sacred songs. A selection of anthems for followers of the darkest of art forms. A series of canticles for all that is unholy in the glorious world of black metal in which fans of the music inhabit.

One of the appeals of black metal music (beyond some of the rawer aesthetic stuff at least) is the sense of discovering some depth to the sound of a band, beyond mere tremolo riffs and blastbeats. This sense of the revealing of the arcane is what drives me in a lot of my listening nowadays. I should caveat that is not always a successful venture, for example this year alone I have been privy to a salsa infused black metal band (yes, really) which was absolutely every bit as awful as the description sounds, as well as another group who used a 10 string lyre as a centre-piece of their sound – equally as terrible as the other record, for the benefit of doubt. There is a point clearly then, where the understanding of something being better left to a select few is absolutely the best idea. The problem lies in releases where there are no jarring abnormalities to the sound, no obscure instrumentation or extreme Avant Garde tendencies. The ones that have a clear sound and direction, yet, despite the obvious quality of the musicians involved, still leave you with a sense of some barrier between you as the listener and the band as a message bearer.

Silver Knife’s self-titled album, their sophomore release, is one such release. Hailing from Belgium, France and the Netherlands, this supergroup of black metal ‘stars’ (Olmo Lipani of Déhà, Nicky from Laster, Hans Cools from Hypothermia are amongst the artists involved) play an atmospheric/post-black metal combination that constantly seems to be creating space as they play. Songs soon become soundscapes here, with the vocals of whichever one of the secretive five members overall is performing them giving the truer aspect of the black metal sound alongside the resonating tremolo riffs. Occupying an almost squally, alternative sounding edge at times, the guitars do an excellent job at driving the sound of Silver Knife along. The drumming is urgent, if not somewhat lost at times in the squall of the mix in general. As I am listening through to the album for the third time today, I think I have happened upon what holds me back from feeling like I have truly connected with the offering. I think the production job permits the guitar a little too much space at the expense of the drums and other parts of the sound in general.

There is almost a protective cover most of the instrumentation on this record that stops the real value of what I am hearing from quite landing. The vocal style reminds me of Fluisteraars, with that distance from them and the rest of everything else being very reminiscent of the style I experienced on many of the excellent releases from the Belgians. However, here the vocals do not quite attain the same sense of connection as a result, whereas with the former band the audible link feels much more solid. In fact, there’s a slight muffled edge to the sound here and that is a real shame because I absolutely can hear that Silver Knife have something important to say, it is just denied from being given its full voice.

Encyclopaedia Metallum lists the themes for French black metallers, Abyssal Vacuum as being ‘Occultism’ (promising) and ‘Caves’ (oh, right). With a slew of EP releases that are all titled with Roman numerals, their debut album has taken eight years to arrive – or VIII years to be exact. The opening track ‘Echo 43N-40E’ is a distinct enough start to the record. Male choral vocals haunt the mid-paced black metal which is punctuated by shouts and death/doom vocals to boot. This song naming convention holds a degree of mystery. All are coordinates ‘pinpointing a particular locale doubtlessly portending considerable occult energy…’ Or perhaps just a cave or two of course.

The guttural aspects of the vocals reverberate in your eardrums and those choral sections and shouts have a primitive edge about them, with the latter invoking some sense of occultists gathered in caves (of course). In all seriousness, aspects of the record do genuinely have a sense of deep underground or certainly hidden spaces where dark things are practised. The tremolos echo back from what sound like vast, almost fathomless spaces; sheer cliffs almost whose walls allow the sound to build constantly.

There’s an abundance of melodic yet mining leads alongside the riffs that cascade over solid percussive performances. These spurts of melody give a sense of light in an otherwise densely murky sounding album. Within all this atmosphere, there is still a well-structured drumming element that holds a welcome focus in the mix throughout the album. Abyssal Vacuum are a band playing music with atmosphere added as an additional layer, as opposed to a group of individuals starting with atmospheres as the dominant force in their sound and then playing some music as an afterthought. The album has an intense focus on form and composition, a fixation on sensible arrangement even. It is a mature and very enriching experience to listen to. The lavish layers that are present manage to compliment rather than smother the darker aspects of the sound. Clearly accomplished musicians over an extended format as well as over Eps, I hope the confidence of Abyssal Vacuum grows from this outing onwards.

I really loved Cryptosis debut, Bionic Swarm, it being one of my top albums of 2021. Since then, however, they seem to have dropped off my radar and I am behind on both 2023's The Silent Call EP and this, their full-length follow-up to Bionic Swarm. First impressions are that this is a much less fevered and more progressive album. The debut, despite the science fiction premise, turned in some pretty brutal riffs and blistering tempos for the most part, where this feels to be a more sophisticated affair in the main. Don't get me wrong, this still delivers some great riffing and has some breakneck pacing too, which is obvious as early as the first track proper, "Faceless Matter", but the increasing emphasis on atmospherics such as synths and jangling tremolo embellishments lends it a more expansive aura, rather than the tight, jet-fuelled blowtorch attack of the debut. With vocalist Laurens Houvast favouring a more black metal style of delivery this time around, alongside the atmospherics, it leads me to ponder whether the band were aiming for a kind of thrash metal Emperor sound, a question worthy of consideration I think.

Subsequent listens, when the atmospherics had had time to sit with me and so not stand out so much, it was more than evident that the tightly focussed core of the band's sound is still present and correct, delivering supercharged riffs and blistering drumming that drives the tracks forward at a hyperkinetic tempo. This time round, though, Cryptosis are unafraid to slow down and allow the listener time to catch up, take stock and appreciate exactly what is going on around them. Static Horizon, for example, kicks off at a fair old lick, with absolutely loads going on: a melodic and memorable main riff, a prominent bassline doing all sorts of interesting things and jangling leads, keyboards and choral effects providing a thick atmosphere. Then for the last minute the pacing slows and the keys provide a serene calm eye in which the listener can process the previous four minutes.

Assuredly this is still a technical / progressive thrash metal release, but the vocals and jangling tremolo leads give it a decidedly frosty atmosphere that more than dips its toes into black metal waters. I am undecided at the moment whether this difference in atmospherics makes this a better album than Bionic Swarm or not. Or it could be that they are equally great, just... different. Everything I loved about the debut is still here, but it has been refined by an increase in atmospherics and a slight shift in songwriting aspirations. I haven't yet decided if that has blunted its effect or enhanced it, so for now I must sit on the fence with this one, although it is still pretty good, no matter what - I'm just not sure how good.

Where does black metal stop? I mean just how much more black metal needs to be reproduced in the old school means and sound before the world eventually loses interest and we of the black kvlt retire to our holes and listen to A Blaze in the Northern Sky, In the Nightside Eclipse or De Mysteriis Dom Sathanas for the rest of our days? I jest of course. I have no desire to see the culmination of one of the most important metal movements of my lifetime at any point soon. However, even the most devoted corpse paint wearer must concede that there is a lot of black metal out there, and that a lot of it sounds the same. What is refreshing, even if only now and again is when we get to hear some slight deviance into a new angle, or a new direction. A combination of styles that does not sully the conventional grimoire of black metal yet does offer some enticement or enrichment of the style beyond tremolo riffs and ghastly vocals.

Enter Warmoon Lord. Now do not get me wrong, you can instantly draw any number of influences on Warmoon Lord’s sound with just a few listens to Sacrosanct Demonopathy. Whether it is the symphonia of Emperor, the scathing attack of Behexen or the melodic trappings of Sargeist, it is all pretty much worn on the sleeves of Janne and Juuso. But what is also obvious, even from the opening instrumental ‘Warpoems & Tragedies’, is that there are nods to the wider heavy metal world. That opening track for example reminds me a lot of Iron Maiden. Seemingly adept in equal amounts with both riffs and keys, the album chimes and chops at the listener. Those galloping riffs again recall the NWOBHM/trad metal plod of years gone by whilst the keys add the own lavishing of majesty and grandeur, breeding a sense of arrogance across the very confident pacing of the tracks.

The ghastly rasps of Juuso firmly keeps the mindset in the black metal camp though. The vocals have a delirious tone to them, bordering on howls at times which work well in contrast with the slower, more atmospheric moments also. Tracks such as ‘A Hungering Yoke’ explore the full gamut of Warmoon Lord’s armory, deploying atmospheric keys, frantic riffing, rhythmic riffing and icy cold vocals across its mere five-minute run time. Taken as a whole experience, Sacrosanct Demonopathy is quite a positive sounding black metal record. Not blue skies and rolling green fields by any means. No, I look at the artwork for the previous release from the duo (Battlespells) and I get the sense of the smug pleasure that army of evil knights as they march away from the burning buildings, past a river turned red with blood. In short Sacrosanct Demonopathy feels good in the sense that you have just fucked shit up in an epic way, defeated an enemy or conquered a long-standing civilisation. As a record, it carries a crude sense of achievement.

I normally do not like too much symphonic elements to my metal, but the balance struck here between the instrumentation (except for the drums which do get a bit lost at times) makes for a rewarding experience. Tracks such ‘Uncreation’s Dragon’ are simply too well put together to argue with, the keyboards only grow the epic nature of the music from my standpoint. This is going to be high on my year end list I sense. The drums are the only let down for me in what is an otherwise great listening experience.

The derision that meets most Behemoth releases always amuses me. I grant you that The Satanist was the pinnacle of the bands output and that all albums since have been a pale reflection of what the band are truly capable of achieving. The “celebrity” status of Nergal seems to be a bone of contention in the main though. How much of this is him genuinely seeking the attention or just the knee-jerk reactions of a pious set of groups picking easy targets are not subjects I am well enough read up on to be able to comment on (I also don’t care that much in all honesty). The thing that annoys me the most about Behemoth is their one-dimensional, steadfast refusal to write songs about anything other than their hatred of God, or rather their inability to do so with any degree of maturity. Calling their latest record “The Shit Ov God” pissed me off before I heard even one note of it. I am sure that I can safely speak for much of the metal loving community when I say that we fucking get it now. You don’t go to church on Sundays and the chances of you making positive use of any bibles in your hotel rooms when on tour is absolutely zero.

The title track is every bit as grating as I thought it would be. It is like listening to Deicide repeatedly in the 90’s but you can understand all the lyrics, (Deicide were great in the 90’s but death metal’s incoherent vocals made them even more tolerable to me). Where Behemoth fails to register with me is in their insistence that this is their one true path, and that we all want to hear it. They can still write monstrous, blackened death metal as it happens and there are some moments on here that do remind me of why I became so enamored with The Satanist. However, it is all so juvenile in terms of the vocals and lyrical content that I cannot enjoy most of the album.

I guess fans of the band will be thrilled that they have released an album that is not a live album, let alone be excited by the blatant blasphemous provocation that again takes hold of the record from the start. But here’s a thought Behemoth, focus less on the blasphemous rhetoric and overly theatrical performances and concentrate more on delivering the music for a change. There are still good ideas here, but they are too hard to find if one of my ears is already threatening industrial action and the other is in a corridor conversation with the union rep. Sporadic moments of quality are not enough to save a thirty-seven-minute record that is just spewing little more than immaturity in gallons.

Within the plethora of albums I missed in 2024, across all sub-genres, sits Le Bannissement, the third album by Canadian black metal outfit, Cantique Lépreux. I found them via Eisenwald’s Spotify playlist, and from what little I have heard from that label, these guys seem a traditional fit for the kind of black metal one would expect to hear. Here we have shrill tremolos and urgent rhythms and racing percussion. The tremolos set aside a more ethereal hue to the sound which tempers well with those more forward driving sections of the instrumentation. When combined, the component parts create a sense of power that sits behind the desolation inherent in the overall sound. At times it does sound like there is some random passage being played in the background, which can be distracting to a degree. However, Le Bannissement is no passive listening experience for me and that additional focus on all the elements; taking the time to understand the relevance of the placement of these parts is key to unlocking all the joys that the album beholds.

Featuring a couple of members from fellow Canadian black metal stalwarts, Forteresse, (guitarist Matrak and live-only drummer Cadavre), it is easy to spot the similarities in sound as well as the accomplishment in the playing. There are many other band members who have other bands in the Canadian bm scene, but my limited knowledge of that scene soon shows when I look at the band names mentioned. As a standalone outfit, Cantique Lépreux creates a mature and impactful sound of their own. This delicate balance of the sublime tremolo penetrating the dense atmosphere is done very well. Nothing is ever allowed to overshadow another part of the instrumentation. The vocals are kept gruff and yet subtle in the mix. The percussion is present but not overpowering. The use of keyboards is done more as a backdrop than opposed to anything that happens at the front end of the mix. Le Bannissement simply lets the guitars take center stage, leaving the other elements to support their work tremendously.

The times where you must almost home in on two seemingly different passages playing simultaneously are as infrequent as they are disorienting (certainly upon first listen). What at first appears to be slightly confusing, soon remedies to be heard as being key in the overall entertainment value of the tracks concerned. It did take some getting used to, but it only seemed to get easier with repeated listening. I can now add Cantique Lépreux to my list of regularly played Canadian bm bands, sitting alongside Spectral Wound, Nordicwinter and Panzerfaust. They feel a different prospect to the likes of the harsh melodicism of SP or the dense depressive nature of Gris or Nordicwinter even, and so this makes them all the more interesting.

Having spent most of my year so far keeping up with bm releases from 2025, I took it upon myself this afternoon to have a dig around for some Norwegian bands from the 90’s that I had never heard of. Soon enough, I landed with the debut album from Forgotten Woods, a Burzum inspired affair that certainly promised lots, even if the delivery was not always there. Reading up on the band, they underwent a distinct change of direction shortly after the band splintered into Joyless. This new group soon left behind the metal elements of Forgotten Woods and eventually some of the members who played here on As the Wolves Gather now play exclusively post-punk (“with various influences”) in Joyless. I guess that the debut album heralds the most interesting point of the band for me, as it certainly holds true to that 2nd wave vibe for most of its fifty-minutes plus run time. There are hints of a more melodic and less grim aesthetic that poke through here on a couple of the instrumental tracks which are neat little passages that break up the album well.

Without expecting them to be masters of their instruments (this is black metal after all) there were clearly some holes in the ability of the group at the time and the album itself is produced with suitably low values for the sub-genre. Some of the lead work does sound a bit amateurish in places and drawn out to the point of pain in one instance. Late guitarist Olev Berland was only eighteen years old at the time of recording this and I would suggest he makes all the mistakes of someone that age in the 90’s. There’s no need for the flurry of lead work in the album closer, ‘Through Dark and Forgotten Valleys’, it is a strong enough track to keep to the solid structure it presents with. No flourish needed folks. That having been said there is a consistent yet unintrusive bass presence that seemingly lurks in the background alongside the relatively tame-sounding drums.

The star of the show for me though is vocalist Thomas Torkelsen. He is the perfect style of vocalist for the band; his demented and depressive howls really do bring the album up a notch or two all by themselves. They appear to be center stage for most of the tracks, however, again, they are not done to the point of being intrusive and all the tracks come off as well balanced in the main. For an undiscovered bm record from the 90’s hub of the 2nd wave, this is not half bad. It is far from outstanding in terms of challenging any of the more well-known classics of the time, yet it is still good enough to have made more of a dent than it had to date with me.

Dutch project Shylmagoghnar (a made-up word with a secret meaning) has their own atmospheric black/melodic death metal sound with some progressive elements, like a more extreme In Vain. Ambient guitar melodies echo through the heavy winds. The sound is so emotional and beautiful, making a big impact from a distant underground for metalheads to hear and appreciate!

What makes this album stand out in melodic black/death realms is how clear the production, unlike those muddy older albums of the genre. I probably would've considered this perfect, if not for a couple songs being a little too draggy.

Interestingly, the opening 9-minute instrumental "I am the Abyss" is not one of those songs. Everything shines in beautiful melancholy! And while the rest of the album isn't progressive enough for The Infinite, that highlight alone certainly is. Flipping into the extreme side is the title track with glorious atmosphere from the guitar riffing. The unique creativity of then-vocalist Skirge covers "Edin in Ashes" (are you sure they spelled the first word with an "I" instead of the second "E"?).

The album lessens the speed a bit for the slower "This World Shall Fall". Same thing with "Squandered Paradise" which is about nature being broken down by "the glorious mankind". I enjoy the vocals that give the song its Dark Tranquillity/In Vain vibe. "Eternal Forest" is pretty cool, but feels kinda hollow without any vocals.

"The Cosmic Tide" is another long instrumental that takes on the epic melodeath sound later used by bands like Allegaeon and Shadow of Intent. "A New Dawn" has some of the best vocal-work by Skirge. His emotion in his growls and screams help out the song's modern epicness. A true atmospheric black/melodeath highlight! I don't have much to say about "The Sun No Longer" which is just an ambient synth outro.

Folk-ish atmospheric black metal can go so well with prog-ish melodeath, as Emergence has proven. It takes a full listen without breaks to give it total appreciation. It's quite a beautiful and brutal dream!

Favorites: "I am the Abyss", "Emergence", "Squandered Paradise", "The Cosmic Tide", "A New Dawn"

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.

Another mysterious black metal outfit of whom nothing is known about the band members, Blood Abscission have landed their sophomore release (the aptly named II) via my favourite label, Debemur Morti Productions. Fact is, I am not always that interested in the people behind the music, in fact sometimes that information is very much best left unsought. What you can tell from II is that whoever is involved, they know who to write excellent atmospheric black metal. More than this though, there is a clever blend of old school metal melodic leads mixed in alongside some near gazey-like passages. As such, Blood Abscission seem to make a very contemporary take on black metal, yet at the same time manage to keep lots of nods to past glories as well.

I am very much reminded of 777-era Blut Aus Nord when listening to II. That blend of the coherent and luscious instrumentation, coupled with unintelligible vocals (and spoken word at times) is delivered perfectly here, putting all the attention on the music. The more modern take I get from the record though is Mare Cognitum inspired melodic urgency and scurrying tempos. The tremolos get quite shrill in places, suggesting some stringed folk instrumentation alongside the electric elements here and there too. If ever there was a band befitting of residing on DMP’s roster, Blood Abscission are it. The focus is absolutely bang on here, capturing all the right elements I want to hear in my atmo-black. At times when I listen through to the record, I am reminded of Grima’s triumphant record from this year also.

I read criticism that II was too lengthy for one reviewer and I normally am one of the first to call out if a record outstays its welcome. However, Blood Abscission, as well as having great content, have track lengths nailed down also for me. I do not feel the album works as a casual listening experience though by any means. If you are just looking for background music, then this album fundamentally does not apply. The final three tracks all grow into each other, passing on the baton to each other as they flow superbly together (for this reason, the album is superb bedtime listening on headphones I have found – to truly appreciate this great piece of compositional aptitude). Even the twelve-minute plus opening track does not ever become a chore and sets the tone perfectly for the rest of the album. Who fucking cares who the band are? With music this studiously put together, you have more than enough to concentrate on already.