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Album Review – Feralia / Ultima Requies (2026)

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Delving deeper into their singular vision of Black Metal, this Stygian entity returns with their third offering, inviting us all for our final rest.

Delving deeper into their singular vision of Black Metal, forging a work that resists easy categorization, the uncanny Italian and Swedish entity known as Feralia (named after public religious ceremonies of ancient Rome held in honor of the dead upon the last day of the Parentalia) attacks again with their third studio offering, titled Ultima Requies, a Latin phrase that translates to “the last rest,” following up on their 2022 opus Under Stige / Over Dianam. Showcasing a grim artwork depicting a reinterpretation of the necromantic ritual of Erichto, the Thessalian witch described in “De Bello Civili” by Lucan, while the band’s sound remains anchored in a sense of the sacred, drawing from arcane and occult dimensions tied to the archaic Roman world, the album is neither rooted in old school orthodoxy nor aligned with the polished tendencies of contemporary production. Instead, it stands as a raw and evocative offering, where abrasive textures and ritualistic atmospheres converge into something austere, immersive and profoundly spiritual, all masterfully crafted by Erymanthon Seth on vocals, guitars and synths, Raijinous on the guitars and synths, Krhura on bass, and Summum Algor on drums.

The visceral riffs by Erymanthon Seth and Raijinous transpire classic Black Metal right from the start in Ballata Avernale, while the same Erymanthon Seth vociferates rabidly like a creature form the underworld; whereas Ver Sacrum also starts on a harsh and violent mode, exploding into a modern version of Black Metal not recommended for the lighthearted. Then in the nine-minute aria Pharsalia, we face an ethereal intro that gradually evolves into another bestial sound led by Summum Algor’s demolishing beats and fills, supported by the menacing bass by Krhura, followed by Empireo, with again their background keys embellishing the airwaves in an instrumental tune that sounds like it was taken from an Italian horror movie, warming us up for the scorching Marpiter, where Erymanthon Seth roars and gnarls in anguish and hatred while Summum Algor keeps hammering his drums manically. After that we face Defigere, one of the most detailed, dynamic and diverse songs of the album, with its hints of Doom Metal and Dungeon Synth adding an extra touch of insanity ot their core Black Metal madness, all boosted by the razor-edged guitars by Erymanthon Seth and Raijinous; and lastly, we have a more direct Black Metal extravaganza titled Miasma, where all instruments are breathing fire until all fades into oblivion.

Following the path opened by their previous albums Helios Manifesto and Under Stige / Over Dianam, the band further refined their language in Ultima Requies, balancing raw intensity with a deeply contemplative undercurrent. The result is an album that feels both immediate and timeless, grounded in the physicality of Black Metal yet reaching toward something intangible and eternal, and if you want to know more about such an obscure band you can find them on Facebook and on Instagram, stream their music on Spotify, and of course purchase their scorching new album from their own BandCamp, as well as from ATMF’s BandCamp or from Metal Odissey. This is Black Metal at its most evocative, atmospheric and Stygian form, inviting you for your final rest to the sound of its venomous lullabies.

Best moments of the album: Ballata Avernale and Defigere.

Worst moments of the album: None.

Released in 2026 ATMF

Track listing
1. Ballata Avernale 8:01
2. Ver Sacrum 8:50
3. Pharsalia 9:22
4. Empireo 5:20
5. Marpiter 6:57
6. Defigere 8:47
7. Miasma 6:27

Band members
Erymanthon Seth – vocals, guitars, synths
Raijinous – guitars, dynths, backing vocals
Krhura – bass
Summum Algor – drums

Album Review – Unviâr / Disglaç (2025)

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This unique Atmospheric Black Metal band from the beautiful region of Friûl will hypnotize you with their first full-length album, revolving around the complex yet unavoidable relationship between man and nature.

An Atmospheric Black Metal project hailing from a small land in Mitteleurope called Friûl, where the Celtic, Germanic, Slavic, Latin worlds coalesce in a unique mosaic of nature, people, magic, culture, languages and traditions, Unviâr, which means “winter” in Friulian, is an ode to the band’s homeland and to its people that pits the constant research and reworking of territorial identity against rampant hyperglobalization. Recorded, mixed and mastered by Davide Zago, and showcasing a stunning artwork by Paolo Girardi, Disglaç, or “defrost” in English, is the band’s follow-up to their 2023 debut EP Faliscjis, revolves around the complex yet unavoidable relationship between man and nature, a work that will delight fans of early Ulver, Drudkh, and Agalloch carefully brought into being by Daniele Tollon on vocals and guitars, Manuel Scapinello also on the guitars, Luca Franzin on bass, and Giulia Zuliani on drums.

The cello by guest Massimo Silverio already adds endless darkness to the band’s core sound in Nevere, or “never” in English, exploding into pure, unfiltered Atmospheric Black Metal led by Guilia’s venomous blast beats, not to mention the ferocity flowing from Daniele’s roars. Corints (“currents”) is another dark and visceral tune blending Black Metal with Post-Metal nuances, with the guitars by Daniele and Manuel exhaling fire; and Guilia takes the lead once again and kicks off the headbanging title-track Disglaç, supported by the massive bass lines by Luca, venturing through more melodic and even acoustic lands while also showcasing the band’s trademark heaviness as if it was three or four songs in one. Ritîr, which means “withdrawal” or “retire,” is a more straightforward Atmospheric Black Metal extravaganza, again presenting the striking riffage by Manuel; whereas last but not least, Massimo Silverio returns with his cello in Sul Ôr, which should translate as something like “on the gold,” closing the album on a pensive, grim mode, with even Daniele’s vocals getting deeper and more introspective.

Featuring dark music and a heavy epicness born from a dark naturalistic romanticism, a music that, with penetrating force, will firmly root itself in the listener’s heart, Disglaç brings forward the ancient voice of the land, the innate call of natural theophany, emerging as an intimate and reserved work, but precisely for this reason pure and uncontaminated. You can get to know more details about such an amazing band, including their live performances, on Facebook and on Instagram, stream their undisputed music on any platform like Spotify, and of course purchase their new album from their own BandCamp, from ATMF’s BandCamp, or from Metal Odissey as a CD or as an LP. Unviâr have simply  mastered the art of Black Metal with their debut album, crafting music that’s rooted in the early days of the genre while also looking forward, never sounding dull or repetitive. They’re one of the must-see names of the current scene worldwide, and I bet you’ll have an absolute blast once you dive deep into the irresistible world of Disglaç.

Best moments of the album: Nevere and Disglaç.

Worst moments of the album: None.

Released in 2025 ATMF

Track listing
1. Nevere 11:31
2. Corints 7:52
3. Disglaç 9:44
4. Ritîr 7:30
5. Sul Ôr 8:19

Band members
Daniele Tollon – vocals, guitars
Manuel Scapinello – guitars
Luca Franzin – bass
Giulia Zuliani – drums

Guest musician
Massimo Silverio – cello on “Nevere” and “Sul Ôr”

Album Review – Eldur / Rituals of Death and Necromancy (2025)

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This Icelandic Black Metal entity will take you on a journey that goes beyond simple listening in his debut album, a visceral and dense universe where chaos and harmony merge to create something truly unique.

After having sparked interest with a split CD and an EP, Reykjavík, Iceland-based Black Metal entity Eldur (aka Einar Thorberg Guðmundsson), who has been active since 1994 with bands such as Thule, Potentiam, Curse, Fortíð, and Katla, is finally ready to make his official debut with Rituals of Death and Necromancy, the first part of a series called Proscribed Chronicles of Niðavellir. A sonic wall of epicness and pure Black Metal, with Eldur’s usual heavy dose of 90’s influence and even Post-Black Metal nuances, Rituals of Death and Necromancy will take you on a journey that goes beyond simple listening, a visceral and dense universe where chaos and harmony merge to create something truly unique.

The opening track Exiled flirts with Symphonic Black Metal so imposing and epic it sounds, a lecture in darkness by Eldur with his vile roars and strident riffs sounding simply amazing from start to finish. Then an ominous intro to the sound of the howling wind sets the tone in Flight of Níðhöggr (a Germanic dragon in Norse mythology who is said to gnaw at the roots of the World Tree, Yggdrasil) before morphing into another Black Metal attack by our lone wolf who crushes his drums in the name of the dark arts; and every single time a song is called Shapeshifter we can rest assured it’s going to be heavy, violent and obscure, and Eldur brings to our ears exactly that Stygian vibe, whereas Murder and a Curse keeps the flames of Black Metal burning to Eldur’s evil vociferations and scathing riffs, albeit not as exciting as the rest of the album.

Svartálfaheimr (“world of black-elves”) is one of the Nine Realms in Norse mythology, and musically speaking Eldur kicks our asses mercilessly in a lecture in Black Metal infused with Nordic sounds, where his sometimes ruthless, sometimes sluggish beats bring extra flavors to the overall result. Eldur then speeds things up in the infuriated Black Metal chant Second Life, Second Death, offering a galloping, demonic sonority perfect for worshiping absolute darkness. The last couple of songs of the album surpass the six minute mark, starting with The Dark Mountains, as sinister and imposing as it can be, exploding into total insanity to his vile roars supported by the song’s phantasmagorical background keys, and closing the album we have the stunning Undead where Eldur’s visceral gnarls, riffs and blast beats live up to the legacy of the style, resulting in what’s perhaps the strongest song of the album and a good indication as to what’s next in his dark path.

An album brought into being not only for metal fans, but also for those who seek something deeper and more introspective in a musical landscape that, while rich in offerings, often feels repetitive, Rituals of Death and Necromancy can be purchased from BandCamp or from Metal Odissey’s webstore in the US or in the EU/UK, adding tons of depth, heaviness and power to your private collection. In the end, Eldur brings fresh energy to a scene that needs new impulses armed with the excellent Rituals of Death and Necromancy, challenging the listener to dive into their intricate sonic web and lose themselves in it.

Best moments of the album: Exiled, Svartálfaheimr and Undead.

Worst moments of the album: Murder and a Curse.

Released in 2025 ATMF

Track listing
1. Exiled 4:28
2. Flight of Níðhöggr 5:22
3. Shapeshifter 4:53
4. Murder and a Curse 6:23
5. Svartálfaheimr 5:24
6. Second Life, Second Death 4:50
7. The Dark Mountains 6:37
8. Undead 6:22

Band members
Eldur – vocals, all instruments