Tag Archives: atmospheric black metal

Album Review – Hulder / Godslastering: Hymns of a Forlorn Peasantry (2021)

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The past is alive because the present is dead. With the glorious birth of Godslastering: Hymns of a Forlorn Peasantry, long live Hulder!

One of the best-kept secrets hailing from the underground Black Metal scene, Portland, Oregon-based one-woman entity Hulder was formed back in 2018 as the sole work of the selfsame Hulder, whose real name is Marz Riesterer, a native of Mechelen, Belgium but currently residing in the United States. She quickly went to work on Hulder’s first demo released in 2018, titled Ascending the Raven Stone, ancient and regressive but with no shortage of technicality. Hulder then began crystalizing her aesthetic in her subsequent albums both in sheer sonics as well as visuals, culminating now in 2021 with her debut opus Godslastering: Hymns of a Forlorn Peasantry. Recorded at De Pestkerk Studio and mixed at The Underworld Studio, this demonic opus is structured like a true album, with side one kicking in an utterly feral manner and cresting along to vicious wanderlust while side two furthers the synth mysticism and maintains a more triumphant aspect, with each of its eight tracks being deeply rooted in 90’s classicism, from the paganisms of earliest Enslaved  and Kampfar to the hypnotizing grit of classic Judas Iscariot. Supported by session drummer Necreon (Cauterized, Funebrarum, Trepanation), Hulder is on absolute fire throughout the entire album, offering our ears old school, raw Black Metal that’s utterly dynamic, engaging, nuanced and transportive, but undeniably physical in its pulsing vistas of darkness and mystery.

The opening track Upon Frigid Winds is pulverizing from the very first second, with Hulder beautifully growling the song’s Stygian words (“Almighty force of the damned / Awakened by eons of pain / Born of destruction and carnage / Brought to light once again / Upon frigid winds we ride / Blaze the path of retribution / Clashing of mere mortal weaponry / Force of evil remains eternal”). In other words, it’s classic, grim Black Metal, period. And our dauntless black metaller keeps darkening the skies in Creature of Demonic Majesty, blasting her guitars and bass mercilessly, therefore crafting a beyond menacing ambience while Necreon keeps smashing his drums nonstop; then inspired by the early days of renowned acts the likes of Immortal, Marduk and Mayhem, Hulder explodes our senses with the sulfurous Sown in Barren Soil, presenting an amazing job done with her piercing riffage, and always supported by the precise Necreon, of course. And it’s time to soothe our souls to the sound of the folk-infused, atmospheric tune titled De Dijle, where Hulder meticulously blends the sounds of nature with phantasmagorical keys and her trademark she-demon gnarls.

After such mesmerizing tune, Hulder offers our avid ears the mid-tempo Atmospheric Black Metal aria Purgations of Bodily Corruptions, once again boosting the song’s malignancy with her devilish keys and riffs, whereas Lowland Famine brings forward old school Black Metal in its purest form from start to finish, with the venomous she-wolf roars by Hulder being beautifully complemented by her Cradle of Filth-inspired keys. Put differently, the song effectively epitomizes Hulder’s talent and passion for extreme music; and switching gears to an atmospheric, almost shoegazing sonority Hulder captivates us all with her delicate vocals in A Forlorn Peasant’s Hymn, exploding into visceral Black Metal while displaying poetic lyrics barked by our one-woman army (“A trail of fallen kin lie before me / As far as my tired eyes can see / A bloodred horizon to illuminate my path / I hear their cries as they share in my agony”). Finally, let’s crack our necks headbanging to the menacing From Whence an Ancient Evil Once Reigned, where Hulder’s slashing riffage and low-tuned bass generate a massive wall of sounds enhanced by Necreon’s bestial drumming, putting a sensational conclusion to such inspiring and medieval album.

I guess I don’t need to say we have right in front of us one of the most detailed, organic and infernal albums of 2021, and we don’t need to listen to anything that will still be released this year to make such statement. Godslastering: Hymns of a Forlorn Peasantry is a true gem of extreme music, making me wonder what’s next in the career of this talented Belgian-American metaller. Hence, don’t forget to give Hulder a shout on Facebook, to stream more of her awesome music on Spotify, and to purchase Godslastering: Hymns of a Forlorn Peasantry in less than two weeks from several distinct locations including her own BandCamp page, the Iron Bonehead’s BandCamp page or webstore, Record Shop X and Apple Music. The past is alive because the present is dead. With the glorious birth of Godslastering: Hymns of a Forlorn Peasantry, long live Hulder!

Best moments of the album: Upon Frigid Winds, Sown in Barren Soil, Lowland Famine and A Forlorn Peasant’s Hymn.

Worst moments of the album: None.

Released in 2021 Iron Bonehead

Track listing
1. Upon Frigid Winds 3:22
2. Creature of Demonic Majesty 3:33
3. Sown in Barren Soil 4:43
4. De Dijle 6:33
5. Purgations of Bodily Corruptions 4:23
6. Lowland Famine 5:26
7. A Forlorn Peasant’s Hymn 6:03
8. From Whence an Ancient Evil Once Reigned 5:07

Band members
Hulder – vocals, all instruments

Guest musician
Necreon – drums (session)

The Year In Review – Top 10 Hard Rock/Heavy Metal Albums of 2020

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“Rock stars come and go. Musicians play until they die.” – Eddie Van Halen

What can I say about the year of 2020? No words can describe all the pain, fear, anxiety, losses and struggles we all had to endure during what’s going to be sadly remembered as the worst year of our modern times. We saw the rise of coronavirus, which had a huge negative impact on pretty much everything and everyone we know, with millions of hardworking people unfortunately losing their jobs, concerts being cancelled, restaurants and other businesses being shut down, people getting stuck in their homes and having to deal with psychological issues like depression, and more important than that, with countless lives, and in some cases people really close to us, people we love, losing their battle against such horrible disease. We also witnessed a gut-wrenching surge in racism against black people all over the world, and the importance of the Black Lives Matter movement in the never-ending fight for freedom and justice, trying to make our world a better place for everyone. And last but not least, we lost so many iconic figures it’s hard to list everyone without crying a little. We lost sports titans such as Kobe Bryant, Diego Maradona and Paolo Rossi, amazing, talented actors and actresses including our beloved “Black Panther” Chadwick Boseman, the original “Darth Vader” David Prowse and the unstoppable Mad Max’s villain “Immortal Joe” Hugh Keays-Byrne, and music geniuses like Rush’s unparalleled Neil Peart and one of the best and most revolutionary guitarists of all time, the one and only Eddie Van Halen. May their souls rest in peace.

However, although we might be living such difficult and stressful times, there’s a light at the end of the tunnel with the development of effective vaccines that will certainly put our society back on track sooner than later, giving us all some hope and pointing to a much better future for all of us. In the meantime, I guess one thing that we metalheads have been doing (and will always do) throughout such shitty year is using the music we love to face all of our problems and fears with our heads and horns high in the sky, never giving up nor giving in. Having said that, I’ll leave you with The Headbanging Moose’s Top 10 Hard Rock/Heavy Metal Albums of 2020, excluding EP’s, best of’s and live albums, showing to us all that it doesn’t matter what happens with the world, heavy music will always stand strong. From the most primeval form of Black Metal to fast and electrifying Power Metal, from a beyond amazing soaring numbers of women kicking ass in an array of styles such as Doom, Symphonic and Death Metal to the most underground Atmospheric Black Metal entities you can think of, from our good old Rock N’ Roll to modern-day Alternative Metal, music prevailed above darkness, pain and hate, and that’s how it will be forever and ever. Enjoy our list of top metal albums for this (terrible) year that’s coming to an end, and let’s keep raising our horns and banging our heads together in 2021!

1. Primal Fear – Metal Commando (REVIEW)
Join Primal Fear’s undisputed rock brigade and become a true metal commando to the sound of their breathtaking new album.
Best song of the album: Infinity

2. Trivium – What The Dead Men Say (REVIEW)
It’s time to listen to what these four (un)dead men from Orlando, Florida have to say in their thrilling new opus.
Best song of the album: Amongst the Shadows & the Stones

3. Testament – Titans Of Creation (REVIEW)
The titans of Thrash Metal are back in action with another technical, melodic and absolutely pulverizing album of extreme music.
Best song of the album: Night of the Witch

4. Lamb of God – Lamb of God (REVIEW)
Re-energized and unrelenting, Lamb of God are finally back after five years with their pulverizing eighth studio album.
Best song of the album: Gears

5. Sepultura – Quadra (REVIEW)
A sensational concept album based on Quadrivium embraced by a fusion of Thrash, Groove and Progressive Metal.
Best song of the album: Guardians of Earth

6. Onslaught – Generation Antichrist (REVIEW)
These UK veterans are ready to set the world on fire once again with one of the most ferocious Thrash Metal albums of the year.
Best song of the album: Religiousuicide

7. Ecclesia – De Ecclesiæ Universalis (REVIEW)
This army of French inquisitors stands strong on their crusade against every doom heretic with their incendiary debut album.
Best song of the album: Antichristus

8. Eleine – Dancing In Hell (REVIEW)
Time for us all to dance in the fires of hell to the sound of the striking new opus by this unstoppable Swedish Symphonic Metal group.
Best song of the album: Where Your Rotting Corpse Lie (W.Y.R.C.L.)

9. Grave Digger – Fields of Blood (REVIEW)
Grave Digger celebrate 40 years of their undisputed Heavy Metal on a journey back to the vastness of the Scottish Highlands.
Best song of the album: Freedom

10. Konvent – Puritan Masochism (REVIEW)
A dark, primeval and stunning fusion of Death and Doom Metal masterfully crafted by four unrelenting women hailing from Denmark.
Best song of the album: Puritan Masochism

And here we have the runner-ups, completing the top 20 for the year:

11. Genus Ordinis Dei – Glare of Deliverance (REVIEW)
12. Paradise Lost – Obsidian (REVIEW)
13. Axel Rudi Pell – Sign of the Times (REVIEW)
14. Raventale – Planetarium II (REVIEW)
15. Hellsmoke – 2020 (REVIEW)
16. My Dying Bride – The Ghost Of Orion (REVIEW)
17. Burning Witches – Dance with the Devil (REVIEW)
18. Naglfar – Cerecloth (REVIEW)
19. Scarlet Aura – Stormbreaker (REVIEW)
20. Thundermother – Heat Wave (REVIEW)

And how about we also pay a tribute to the bands that released short and sweet albums that condensed pretty much the same amount of electricity, rage and intricacy than any of the full-length albums from the list above? That’s why we’re also going to provide you as usual our Top 10 EP’s of 2020 for you to see that size doesn’t really matter.

1. Front – Antichrist Militia (REVIEW)
2. Malfested – Shallow Graves (REVIEW)
3. Tøronto – Under Siege (REVIEW)
4. Soul Dissolution – Winter Contemplations (REVIEW)
5. Lutharö – Wings of Agony (REVIEW)
6. Póstuma – Moralis (REVIEW)
7. Black Sun – Silent Enemy (REVIEW)
8. MĀRA – Self​-​Destruct. Survive. Thrive! (REVIEW)
9. Serocs – Vore (REVIEW)
10. Invocation – Attunement to Death (REVIEW)

Do you agree with our list? What are your top 10 albums of 2020? Also, don’t forget to tune in every Tuesday at 10pm BRT on Rádio Coringão to enjoy the best of classic and underground metal with Jorge Diaz and his Timão Metal, and every Thursday at 8pm UTC+2 on Midnight Madness Metal e-Radio for the best of underground metal with The Headbanging Moose Show! And if you lost some or most of our special editions of The Headbanging Moose Show, including our Top 20 Underground Albums of 2020 – Parts I and II, go to our Mixcloud page and there you have hours and hours of the best of the independent scene, sounds good?

Metal Xmas and a Headbanging New Year! See you in 2021!

And before we go, let’s bang our heads one last time in 2020 with a classic Christmas song by an amazing Romanian band that loves Heavy Metal from the bottom of their hearts, pointing to much better times ahead for all of us! Enjoy!

Album Review – Goatchrist / Apotheosis (2020)

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One of UK’s most innovative underground acts returns with a multi-layered and very experimental concept album representing a hugely-modified musical retelling of the Books of Enoch.

One year after the release of the excellent Pythagoras and after unleashing upon humanity a series of non-metal albums in 2020, those being Revelations of the Gnostic Christ, The Philosopher’s Hand and more recently Goatchrist, Leeds, UK’s own vocalist and multi-instrumentalist Jacob Guilherme (or J. Guilherme if you prefer) and his Experimental Black Metal alter-ego Goatchrist are back with another imposing opus entitled Apotheosis, a concept album representing a hugely-modified musical retelling of the Books of Enoch, apocryphal magical texts from antiquity. Following the story of Edris, who leaves his hometown due to his perception of its absolute wickedness in order to find a city of divinely-acting inhabitants, Apotheosis showcases once again the undeniable talent of J. Guilherme, this time accompanied by D. Tann and guests A. Billingham and R. Shipley providing several different voices to give life to all characters involved in the story, inviting the listener to join Goatchrist in another detailed and very entertaining musical voyage.

Stygian guitars permeate the air in the cryptic intro Prologue – From a People Lost… while Jacob begins declaiming its cryptic words, warming us up for the absolutely experimental and progressive Chapter 1 – …unto the Wilderness, Seeking the City of Divine Beings (מַלְכוּת), where its lyrics couldn’t have been darker and more poetic than what they already are (“I am born from great evil, / My mind has dwelt in sin. / I have not mind or heart, / As awakened cantors deep within.”), blending Progressive Metal with heavier sounds and non-metal styles and, therefore, turning it into a beyond amazing ride for fans of all types of rock and metal music. And continuing his path of experimentations and metaphysical philosophies, Jacob and his Goatchrist offer another epic composition titled Chapter 2 – Hark! Appeareth (מֶטָטְרוֹן), where all guitars, drums, keys and orchestrations generate a bold ambience for his demonic gnarls, resulting in a progressive and sharp hybrid of Cradle of Filth and Opeth. Then a very theatrical start kicks off the 11-minute aria Chapter 3 – Five Archangels, bringing to our ears classic piano and keys, deep guttural vociferations and sluggish, Doom Metal-inspired beats, also presenting Jazz-y moments, endless breaks and variations and an enfolding atmosphere from start to finish, not to mention the amazing job done by guest R. Shipley as the voices of Gabriel and Michael.

Chapter 4 – I Am That Which Is Called ‘I Am’ (אֶהְיֶה אֲשֶׁר אֶהְיֶה) brings forward another round of Goatchrist’s wicked words (“[0] “No-thing” is that which exists, / And at the start, is that which is. / But from “thing-ness” it is disjoint, / And thus contracts to a single point.”) while the music is once again an explosion of countless rock, metal and other distinguished styles, with Jacob firing classic bass lines, soulful guitar solos and his trademark growling. Put differently, it can’t get any more experimental, multi-layered and dynamic than this. Or maybe it can, as Chapter 5 – Reborn unto Paradise (כֶּתֶר in Microcosm) blends elements from Ambient, Shoegazing and Atmospheric Black Metal to Goatchrist’s core Experimental Metal, resulting in a musical voyage where all voices by Jacob, D. Tann and A. Billingham make the whole experience even more enthralling and detailed. Furthermore, it’s interesting how Jacob meticulously added tons of idiosyncratic sounds in the background while at the same time keeping the whole song very cohesive and smooth, growing in intensity until its visceral and beast-like grand finale.

Needless to say, Jacob and his always electrifying Goatchrist managed to surprise us one more time with the high quality of the music and the exceptional concept found in his new album Apotheosis, and after so many top-notch releases in a row and in such a short period of time one can never know where the project will go from now on, which lands and storylines Jacob will explore, nor what types of music styles will be incorporated into his unique compositions. Hence, don’t forget to follow Goatchrist on Facebook, to listen to more of the project’s music on Spotify, and to purchase a copy of Apotheosis from Goatchrist’s own BandCamp page or from Amazon, keeping in mind the BandCamp download will also include two publications, one called “The Magical Key to Understanding the Album ‘Apotheosis’”, and another one titled “Third Book of Enoch”, just to give you an idea of how focused and detailed-oriented Jacob is whenever his mind begins paving the next step in the career of Goatchrist. Are you curious to know what happens to Edris in Apotheosis? Well, why don’t you let Jacob tell you that through the very distinguished music by Goatchrist? I’m sure you’ll get addicted to all of his sonic experimentations, just like what he has to offer in Apotheosis.

Best moments of the album: Chapter 1 – …unto the Wilderness, Seeking the City of Divine Beings (מַלְכוּת) and Chapter 5 – Reborn unto Paradise (כֶּתֶר in Microcosm).

Worst moments of the album: None.

Released in 2020 Independent

Track listing
1. Prologue – From a People Lost… 2:12
2. Chapter 1 – …unto the Wilderness, Seeking the City of Divine Beings 9:53
3. Chapter 2 – Hark! Appeareth 7:13
4. Chapter 3 – Five Archangels 11:23
5. Chapter 4 – I Am That Which Is Called ‘I Am’ 9:41
6. Chapter 5 – Reborn unto Paradise (כֶּתֶר in Microcosm) 17:11

Band members
J. Guilherme – all instruments, narration, voices of יהוה, Uriel, Raphael and Lucifer
D. Tann – voices of Edris, מֶטָטְרוֹן and Lucifer

Guest musicians
A. Billingham – voices of Sophia and Lucifer
R. Shipley – voices of Michael and Gabriel

Album Review – Beltez / A Grey Chill and a Whisper (2020)

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It’s time to embark on a 65-minute journey into the abyss in the form of contemporary Black Metal by an unrelenting Cologne, Germany-based horde.

Recorded, mixed and mastered by Mario Dahmen at Liquid Aether Studios in Schladern, Germany, the breathtaking opus A Grey Chill and a Whisper is an expanded vision of contemporary Black Metal by an unrelenting German horde formed in 2002 in the city of Cologne that goes by the name of Beltez, based on the original short story “Black Banners” written exclusively for the band by German writer Ulrike Serowy (known for her novella Skogtatt). Following up on their highly acclaimed 2017 record Exiled, Punished…Rejected and dealing not only with despair and hopelessness, but also with courage and strength, A Grey Chill and a Whisper is a 65-minute journey into the abyss (plus an incredible audiobook with the full “Black Banners” story backed up by Beltez’s original music), a monolithic entity that frightens as much as it allures thoroughly crafted by vocalist Marc, guitarists Dominic and Jens, bassist Christian and drummer Sebastian, showing again what artistic freedom could mean in Black Metal, yet without denying the roots of the genre.

Featuring guest Alex Newton of Dzö-nga on keyboards, the cinematic intro In Apathy And In Slumber sets up the stage for Beltez to crush in the atmospheric The City Lies In Utter Silence, where Marc roars the lyrics with tons of anger and hatred (“Silence / Absent are any signs of life / A nameless city under a cloud-laden Sky / Dwelling aimless in vain existence / Half-awake, half-alive, half deceased”) while his bandmates smash our senses with their fulminating riffs, bass lines and beats. Put differently, it’s Black, Doom and Post-Metal all at once, and above all, it’s pitch black darkness in the form of music. Then the band comes ripping like a beast from the underworld in the doomed Black Banners, where the scorching, razor-edged riffs by Dominic and Jens walk hand in hand with Sebastian’s menacing beats, exploding into vicious Black Metal for our vulgar delectation, followed by A Taste Of Complete Extinction, another top-of-the-line, bestial Atmospheric Black Metal spawn by Beltez where Sebastian sounds utterly infernal with his blast beats and fills while Marc keeps growling rabidly, supported by the phantasmagorical keys by Jens.

Christian takes the lead with his low-tuned, vile bass in The Unwedded Widow, again morphing into a reverberating fusion of Atmospheric Black Metal and classic Black Metal with Marc taking his enraged growling to a whole new level of despair; then a purely atmospheric and instrumental interluded titled From Sorrow Into Darkness brings some peace and serenity to our hearts before the title-track A Grey Chill And A Whisper arrives like a thunderstorm from hell, with Sebastian and his demolishing drums crafting a solid base for the headbanging riffage by Dominic and Jens and the inhumane gnarls by Marc in a lecture in contemporary Black Metal. The 14-minute full-bodied aria I May Be Dammed But At Least I’ve Found You begins in the most atmospheric way possible and gradually evolves into Beltez’s piercing music, with the band’s guitar duo breathing fire through their riffs building a menacing ambience for Marc to viciously scream the song’s words (“Dreadful fortress hovering high / Final destination after a fateful decision / Walking the road of the dead”), and curiously enough the band decided to end such grandiose album of Black Metal with a more visceral creation titled We Remember To Remember, where Christian slams his bass in great fashion together with obscure vocalizations and a sense of hopelessness, clearly drinking from the fountain of Blackened Doom.

As aforementioned, one of the versions of the album comes with a beyond special bonus called “Black Banners Audiobook”, a beautiful story that served as the inspiration for Beltez to compose the entire A Grey Chill and a Whisper, and the fact the band added background music to it plus the amazing work done by Dan Capp of Winterfylleth on narration, Corinne Henderson on female voices, Evan Hunt of MetalTower on the introduction, the artwork by Benjamin Harff and the booklet illustrations by Jana Kourgierakis gave it an even more vivid and thrilling vibe. It’s like a hybrid of storytelling and poetry that will please all metalheads who also enjoy a good reading (or listening, in this case), plus an acoustic and vile rendition of “We Remember To Remember”. You can enjoy A Grey Chill and a Whisper in full (except of course for the audiobook) on YouTube, follow those German metallers on Facebook and on Instagram, and purchase your favorite copy of the album from their own BandCamp page, from the Avantgard Music BandCamp page, from Sound Cave (in CD or LP format), from Season of Mist, from Amazon or from Walmart. Raising their black banners high, Beltez will drag you to the pits of the underworld in A Grey Chill and a Whisper, and I dare you to not get addicted to their splendid fusion of Black Metal and a captivating background story after that.

Best moments of the album: The City Lies In Utter Silence, A Taste Of Complete Extinction and A Grey Chill And A Whisper.

Worst moments of the album: None.

Released in 2020 Avantgarde Music

Track listing
1. In Apathy And In Slumber 1:45
2. The City Lies In Utter Silence 10:48
3. Black Banners 6:04
4. A Taste Of Complete Extinction 9:50
5. The Unwedded Widow 6:39
6. From Sorrow Into Darkness 1:30
7. A Grey Chill And A Whisper 8:37
8. I May Be Dammed But At Least I’ve Found You 14:13
9. We Remember To Remember 5:37

Black Banners Audiobook (A Short Story By Ulrike Serowy)
10. Black Banners 49:49
11. We Remember To Remember 5:30

Band members
Marc – vocals
Dominic – guitars, vocals, additional programming
Jens – guitars, vocals, keyboards, synthesizer, programming, keyboards and programming on Black Banners Audiobook
Christian – bass
Sebastian – drums

Guest musicians
Alex Newton – keyboards on “In Apathy And In Slumber”
Dan Capp – narration on Black Banners Audiobook
Corinne Henderson – female voices on Black Banners Audiobook
Evan Hunt – introduction on Black Banners Audiobook

Album Review – Liminal Shroud / Through the False Narrows (2020)

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Behold the debut opus by a Canadian Black Metal horde that takes inspiration from the surging oceans and mist-strewn coast as they explore themes of futility, passage, and individual and metaphysical transformation.

Take these ashes – take these dreams of worlds to come
Only self remains – only what is true

As the skies turn grey and dense fogs hang above the shoreline, Canadian Black Metal unity Liminal Shroud will expel a swirl of melancholia and torment over its moss-strewn forests and perilous waves in their debut full-length album, titled Through the False Narrows. Formed in late 2017 in Victoria, British Columbia, the three-piece band comprised of Aidan Crossley on vocals and guitar, Rich Taylor on bass and vocals, and Drew Davidson on drums takes inspiration from the surging oceans and mist-strewn coast as they explore themes of futility, passage, and individual and metaphysical transformation in their new opus, being highly recommended for fans of the music by Ash Borer, Drudkh and Fen. Recorded by Jordan Koop at The Noise Floor Recording Studio, mixed by the band’s own Aidan Crossley, mastered by Rolando Rolas at Cavern of Echoes Studios, and featuring a striking artwork by Canadian artist Alayna Coral Gretton, Through the False Narrows offers the listener a unique form of Black Metal surging with atmosphere and anguish, melancholy and rage, showcasing Liminal Shroud’s own sound and style without sounding repetitive or tiresome at all.

A demented growl from the pits of the underworld ignite the sluggish, dark and infernal Blackened Doom-infused aria A Hollow Visage, with Aidan barking and roaring like an anguished beast supported by the intricate drumming by Drew, and with the music changing its shape and form throughout its imposing 11 minutes while presenting the band’s Black Metal core from start to finish. Then more of their fusion of progressiveness and obscurity comes in the form of Tainted Soil, with Aidan and Rich crafting a Stygian ambience with their respective riffs and bass lines while Drew and Rich are in absolute sync, darkening our minds and thoughts to the sound of their evil kitchen; followed by To Forget, presenting cryptic, acid lyrics vociferated by Aidan (“A life not lead lies obscured / Beyond broken branches / Amidst the shallow, desperate forest floor / What secrets have you buried?”) while the music remains bold and epic in a hybrid of classic Black Metal with Atmospheric Black Metal. Needless to say, this amazing tune will please all fans of the genre without a shadow of a doubt.

Liminal Shroud Through the False Narrows Bundle

Investing in a more melodic, melancholic and grim sonority, the trio offers our avid ears a majestic wall of sounds in The Grotto, where the strident riffage by Aidan matches perfectly with his own austere gnarls, ending in a truly enfolding manner before we’re treated to four minutes of old school Black Metal infused with Atmospheric and Epic Black Metal nuances in Erupting Light, where Drew is unstoppable behind his drums showcasing all his dexterity and passion for extreme music. Never tired of blasting their disturbing but extremely sharp and harmonious Black Metal, those Canadian metallers bring forward the multi-layered Sentinel, where Aidan keeps roaring deeply and demonically while Drew and Rich alternate between sheer obscurity and demolishing sounds, and before all is said and done get ready for an 11-minute feast of Atmospheric Black Metal in Lucidity, presenting their darkly pensive lyrics (“Dragged down by weighty night / Hollow, weary eyes – fixated / The world moves faster / Time is a wheel / Every second / Every hour”) and with Aidan being on fire with his strident riffs, accompanied by the smashing beats by Drew and the Marduk-inspired bass jabs by Rich, therefore putting a beyond splendid and venomous conclusion to Through the False Narrows.

Do you think you have what it takes to enter the realm of atmospheric and tormented Black Metal ruled by Liminal Shroud in their brand new album Through the False Narrows? If your answer is a hellish “yes” with an evil grim on your face, you can enjoy the album in its entirety on YouTube and on Spotify, but of course if I were you I would definitely purchase such distinguished opus of extreme music from the band’s own BandCamp page, from the Hypnotic Dirge Records’ BandCamp page or webstore (where by the way you can find this amazing bundle including a CD, a shirt, a woven patch, a magnet, a metallic button and a sticker), from Season of Mist or from Amazon. In addition, don’t forget to follow the band on Facebook and on Instagram for news, tour dates and other nice-to-know details about such talented horde, keeping the fires of their tormenting extreme music burning bright for centuries to come in their homeland and anywhere else in the world where Black Metal is truly appreciated.

Best moments of the album: To Forget and Lucidity.

Worst moments of the album: None.

Released in 2020 Hypnotic Dirge Records

Track listing
1. A Hollow Visage 11:16
2. Tainted Soil 6:33
3. To Forget 8:10
4. The Grotto 6:19
5. Erupting Light 4:08
6. Sentinel 6:56
7. Lucidity 11:05

Band members
Aidan Crossley – guitar, vocals
Rich Taylor – bass, vocals
Drew Davidson – drums

Album Review – Bròn / Pred Dverima Noći (2020)

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Embark on an atmospheric voyage to the mysterious and untamed nature of Serbia’s wilderness adorned with enthralling, majestic soundscapes and endless streams of melodies and harmonies.

Through the cosmic mists it descends upon us, Pred Dverima Noći, the new (and fifth) full-length album by Atmospheric Black Metal/Ambient act Bròn. Formed in Edinburgh, Scotland in 2014 as a sonic chronicle of the wanderings of New Zealander KG (from Barshasketh), but currently based in Belgrade, Serbia, Bròn (which by the way means “sorrow” in Gaelic Scottish) has already released a handful of ambient, down-tempo albums exploring life within a sprawling urban expanse since the project’s inception, but now with the addition of drummer GH (from A Forest Of Stars), Bròn has permanently left urbanity behind and has returned to the mysterious and untamed nature of Serbia’s wilderness in Pred Dverima Noći. Recorded, mixed and mastered at Sonorous Studio, and featuring a grim artwork by Khaos Diktator Design, Pred Dverima Noći is adorned with enthralling, majestic soundscapes and endless streams of melodies and harmonies, propelling the listener into the vast expanses beyond the conscious mind throughout its three sprawling tracks, all clocking in at over 15 minutes, being therefore recommended for lovers of the music by Limbonic Art, Evilfeast and Darkspace, among others.

The atmospheric keys by KG grow in intensity in the opening track Dverima Noći, darkening the skies and preparing our senses for an onrush of Stygian and captivating Black Metal spearheaded by KG’s devilish gnarls and the fulminating drums by GH in a 16-minute journey through the bitterly cold lands of extreme music, changing its shape and form as the music progresses while showcasing stunning keys intertwined with venomous riffs. If that wasn’t complex enough for you, Bròn offers us all Usnulu Zlobu Razbudi, which already begins in full force like an infernal tempest, filling our ears with scorching riffs, vicious blast beats and endless obscurity while once again presenting elements from classic Black Metal, Atmospheric Black Metal and even Symphonic Black Metal for our vulgar delectation. Moreover, KG sounds like a true beast with his hellish roars and riffage, supported by the talented GH and his unstoppable drums in this full-bodied, dense and very detailed aria. And the third song from such grandiose album, entitled Zastore Skrai, brings forward more of Bròn’s thrilling and epic fusion of heavy and austere sounds with the finesse of atmospheric music, also presenting elements from Blackened Doom and Depressive Black Metal to make things even more somber. In addition, GH pounds his drums slowly and steadily while KG keeps gnarling with tons of anguish and pain, flowing darkly and embracing our souls majestically until the very last second.

In the end, after the three songs (which offer an impressive combined running time of over 52 minutes of music) from Pred Dverima Noći are over, you’ll definitely feel trapped in the vastness of the Serbian uncharted lands forever and ever, going back to the start to savor every second of such imposing album of Atmospheric Black Metal again and again. Hence, don’t forget to follow KG and his cryptic Bròn on Facebook and to purchase your copy of Pred Dverima Noći from his own BandCamp page (or you can also click HERE or HERE and select your favorite version of the album), inspiring the wanderer KG to keep exploring the most desolate, uninhabited and serene regions of the world armed with his idiosyncratic music, bringing a paradox of peace and violence to our souls just like a feral creature trying to survive in the cold and dark nights out in the wilderness.

Best moments of the album: Usnulu Zlobu Razbudi.

Worst moments of the album: None.

Released in 2020 Nordvis Produktion

Track listing
1. Dverima Noći 15:57
2. Usnulu Zlobu Razbudi 19:31
3. Zastore Skrai 16:56

Band members
KG – vocals, guitar, bass, keys
GH – drums

Album Review – Soul Dissolution / Winter Contemplations EP (2020)

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Belgium’s most auspicious Atmospheric Black Metal unity returns with another introspective and brooding work, telling stories of snowy landscapes, raging blizzards, regret and purgatory.

Two years after the release of the breathtaking EP Nowhere, Brussels, Belgium-based Atmospheric Black Metal/Post-Black Metal entity Soul Dissolution is back in action with another fantastic EP titled Winter Contemplations, again an introspective and brooding work, telling stories of snowy landscapes, raging blizzards, regret and purgatory. Recorded, mixed and mastered between July and September 2020 at Blastbeat Productions by Oliver Carell (Heretoir, King Apathy), Winter Contemplations offers us listeners a healthy dose of the band’s signature melodies draped in a thick, ice-cold atmosphere, courtesy of the band’s founder, lyricist, guitarist and bassist Jabawock together with his henchmen Acharan on lead vocals and Threnos on drums.

Just hit play and a slow and atmospheric intro will evolve into a scathing, grim tune entitled La Dernière Tempête, or “the last storm” from French, where Acharan presents all his skills as the talented growler he is while Jabawock brings tons of harmony, melancholy and anguish to the musicality with his razor-edged riffs. Put differently, this is a magnificent voyage through the obscure realms of Black, Doom and Post-Metal, sounding and feeling multi-layered, inspiring and epic until the very last second. Then featuring stunning orchestrations by guest 鬼 (also known as William Melsness) from Unreqvited, Where The Clouds Stand Still… also begins in a Stygian and pensive manner, feeling like it was taken from a movie score, with Jabawock extracting minimalist sounds form his guitar before being accompanied by Threnos’ slow and steady Doom Metal-beats. Furthermore, Acharan once again does a superb job with his harsh, acid vocal lines, resulting in the epitome of Atmospheric Black Metal while changing its shape and form majestically during its captivating 13 minutes, therefore showcasing all the undeniable talent of the guys behind Soul Dissolution.

It’s absolutely impressive how Jabawock and his loyal bandmates are capable of sounding so cohesive, diverse and captivating in all of their creations, it doesn’t matter if their songs have one or twenty minutes in duration, and Winter Contemplations (which is by the way available for a full listen on YouTube) is the perfect representation of their hard work and their evolution in the atmospheric and extreme music genre. Needless to say, you should definitely show your support to those amazing metallers from Belgium by purchasing their new EP from their own BandCamp page, from the Viridian Flame Records’ webstore or from Apple Music, and also by following them on Facebook and on Instagram, by subscribing to their YouTube channel and by streaming more of their breathtaking creations on Spotify. As Atmospheric Black Metal has always been a very entertaining and somewhat unexplored style, why not wandering through the somber lands brought forth by Soul Dissolution in their new EP? I’m beyond certain you’ll get lost in your own thoughts and never wish to return to the real world after such unique experience.

Best moments of the album: Where The Clouds Stand Still….

Worst moments of the album: None.

Released in 2020 Viridian Flame Records

Track listing
1. La Dernière Tempête 10:54
2. Where The Clouds Stand Still… 13:10

Band members
Acharan – lead vocals
Jabawock – guitars, bass, additional vocals
Threnos – drums

Guest musician
鬼 (William Melsness) – orchestrations on “Where The Clouds Stand Still…”

Album Review – Sepulchre by the Sea / Conqueror Worm (2020)

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Showcasing an equal passion for all things Post-Black Metal and American author Edgar Allen Poe, this UK-based one-man army is ready to stun you with his debut full-length album.

“Lo! ’t is a gala night
Within the lonesome latter years!
An angel throng, bewinged, bedight
In veils, and drowned in tears,
Sit in a theatre, to see
A play of hopes and fears,
While the orchestra breathes fitfully
The music of the spheres.” – Edgar Allan Poe – The Conqueror Worm (1843)

Formed in early 2019 by vocalist and multi-instrumentalist Ashley “Ash” Shannon with an equal passion for all things Post-Black Metal and American author Edgar Allen Poe, Bristol, UK-based Atmospheric Black Metal one-man army Sepulchre by the Sea has quickly grown from a single idea into a fully-fledged studio project, incorporating many different sounds from atmospheric soundscapes and traditional Black Metal riffing to more eclectic areas such as shoegaze and folk-based pieces. As a matter of fact, the project’s name was inspired by Annabel Lee, the last complete poem composed by Edgar Allan Poe, while another poem, The Conqueror Worm, which by the way is about human mortality and the inevitability of death, was the inspiration for Sepulchre by the Sea’s debut full-length, six-track opus Conqueror Worm, the follow-up to the 2019 demo …And So It Crumbles, creating something larger and more ambitious in scale, spanning nearly an hour and crossing multiple sub genres along the way.

And the project’s Edgar Allan Poe-inspired feast of melancholy and darkness begins in a truly atmospheric way in the opening track I Loved Alone, venturing through the realms of contemporary Post-Metal before Ash begins firing dirty, scorching riffs from his stringed axe and anguished gnarls in paradox with the song’s serene background piano notes. Then Ash hammers his guitar, bass and drums mercilessly in the furious title-track Conqueror Worm, blending the mystery of Atmospheric Black Metal with the violence and heaviness of Black Metal and even Punk Rock, not to mention his growls get even more demonic than before as the music progresses; and you better get ready for 12 minutes of fulminating blast beats, vicious riffs and an endless sense of despair and obscurity in And So It Crumbles, where Ash does an excellent job mixing classic Black Metal with Atmospheric Black Metal and Doom Metal nuances, also presenting Stygian, austere passages that perfectly represent his passion for the work by Edgar Allan Poe turned into extreme music.

Slices of Death is a pensive and enfolding composition by Ash where he focuses on the melody and all small details of the song instead of the usual harshness of extreme music; furthermore, it’s quite easy to sense how personal this harmonious ballad is to him, whereas our talented lone wolf and his Sepulchre by the Sea put the pedal to the metal in the visceral and austere Behind the Walls, enhancing his aggressiveness and rage through his hellish roars and fulminating Black Metal riffage, and ending in the most melancholic way imaginable. And last but (definitely) not least, you better be prepared as Ash will crush your senses for over 17 minutes with the closing tune Plutonian Shores, the icing on the cake in this multi-layered album of Atmospheric Metal where after four minutes of ritualistic sounds Ash comes ripping with his scorching riffage, also showcasing so many breaks, variations, changes in tempo and obscure passages it’s hard to describe the complexity of such grandiose tune in just a few words.

As I like to say, it’s always a pleasure to review the work by one-man bands like Sepulchre by the Sea, mainly because you can easily feel and enjoy all the hard work, all the passion for the music he plays, the musical evolution from song to song and, above all, all his respect and admiration for one of the greatest poets of all time (and the most beloved one by the metal community hands down). Hence, in order to show your support to Edgar Allan Poe’s right-hand man in extreme music, go check what Ash is up to on Facebook, and purchase your copy of Conqueror Worm from his own BandCamp page, from the Anthrazit Records’ BandCamp page, or from Amazon, and don’t forget you can also stream this fantastic display of Atmospheric Black Metal in full on Spotify anytime you want, savoring every single second of it like you would enjoy each word from Poe’s vast collection of amazing tales and poems.

Best moments of the album: Conqueror Worm and Plutonian Shores.

Worst moments of the album: None.

Released in 2020 Anthrazit Records

Track listing
1. I Loved Alone 6:40
2. Conqueror Worm 6:40
3. And So It Crumbles 12:07
4. Slices of Death 7:34
5. Behind the Walls 7:49
6. Plutonian Shores 17:14

Band members
Ashley Shannon – vocals, all instruments

Album Review – Raventale / Planetarium II (2020)

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A deep and profound journey through the black wastelands of extraneous cosmos offered by a Ukrainian one-man army in the form of first-class atmospheric and extreme music.

Playing what he likes to call “Atmospheric Blackened Metal” since the project’s inception in 2005 in Kyiv, Ukraine, the talented vocalist and mutli-instrumentalist Astaroth Merc, from bands like Balfor, Chapter V:F10 and P’hevda Phenomenon, returns in 2020 with his Atmospheric Black Metal alter ego Raventale armed with his eleventh (and grandiose) full-length album titled Planetarium II, the conceptual follow-up to his 2017 album Planetarium. Recorded at Miasma Studio between 2017 and 2020, featuring a celestial artwork by Belarusian artist Olga Kann and guest female vocals by Ukrainian singer Alina Belova (Helengard, Kauan), as well as a linguistic adaptation by Nataliia GrimMe, Planetarium II extends the analysis of extrapolation of cosmic mysteries, clandestine dimensions and extramundane weirdness, or in other words, it’s a deep and profound journey through the black wastelands of extraneous cosmos offered by Astaroth in the form of first-class atmospheric and extreme music.

Sheen Of Urania works as some sort of  wicked intro led by the crushing, razor-edged guitar lines by Astaroth, dragging us all to the doomed and atmospheric world of Raventale in Extra Terrestrial Arcana, where the imposing sounds blasted by Astaroth generate a menacing and epic ambience perfect for his demonic roars, resulting in a beautiful Atmospheric Black Metal creation bringing to our ears crisp solos, whimsical keys and endless epicness while also overflowing rage and insanity. Not only Drinking Sulfur, Devouring The Sun carries a beautiful name for a song just like what Cradle of Filth would offer us, but musically speaking it’s beyond sensational, with Astaroth and his Raventale continuing to blend classic Black Metal with the Symphonic Black Metal played by Dimmu Borgir and nuances of Doom Metal and Blackened Doom for our total delight; whereas a damned rhythm intertwined with stylish background keys and a futuristic vibe are the main ingredients in the breathtaking Route To Andromeda, with our lone wolf growling in the darkest way possible in perfect sync with his scorching, venomous riffs.

The Moon In The Seventh House, perhaps the most Stygian of all songs, is a lecture in atmospheric and grim music, with guest Alina Belova adding a touch of finesse to the overall result while Astaroth’s vicious riffage walks hand in hand with his blast beats and phantasmagorical keys; and as atmospheric as it can be from the very first second, Let The Fire Burn! is another imposing composition that paves Raventale’s cosmic path to the bold and multi-layered Earth (Alpha & Omega), sounding at the same time very fresh and modern while living up to the legacy of classic Symphonic Black Metal. Furthermore, Astaroth’s infernal growling makes a fantastic paradox with his classy keyboards, while the drums keep the song’s pace vibrant and heavy-as-hell. And finally, the Doom Metal-infused aria A Temple Of My Choice puts a melancholic and climatic ending to the album, showcasing Astaroth’s anguished gnarls, sluggish beats and a feeling that all hope is lost, with the music marching on stunningly while our one-man army simply kicks ass with all instruments from start to finish.

You can show your support to such skillful and hardworking black metaller by following Raventale on Facebook and on VKontakte, and by purchasing your copy of Planetarium II in just a few days from his own BandCamp page, as well as from Ashen Dominion’s BandCamp page or webstore. In the end, we must all admit Astaroth has definitely outdone himself with his newborn spawn, elevating his music to the same level as some of the biggest names of the genre including Cradle of Filth, Dimmu Borgir, Emperor and Septicflesh, to name a few, showing all his hard work through the years is truly paying off, positioning Raventale as one of the most prominent names of the Ukrainian scene and, above all that, offering us fans of atmospheric music the perfect soundtrack for exploring the vastness and obscurity of the cosmos.

Best moments of the album: Drinking Sulfur, Devouring The Sun, The Moon In The Seventh House and Earth (Alpha & Omega).

Worst moments of the album: None.

Released in 2020 Ashen Dominion

Track listing
1. Sheen Of Urania 1:53
2. Extra Terrestrial Arcana 6:38
3. Drinking Sulfur, Devouring The Sun 6:24
4. Route To Andromeda 5:48
5. The Moon In The Seventh House 7:06
6. Let The Fire Burn! 3:27
7. Earth (Alpha & Omega) 6:03
8. A Temple Of My Choice 5:30

Band members
Astaroth Merc – vocals, all instruments

Guest musicians
Alina Belova – female vocals

Album Review – Dynfari / Myrkurs er Þörf (2020)

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The brand new album by an amazing Icelandic Atmospheric Black Metal unity sounds as beautiful and inspiring as it is quietly somber and menacing, and as illuminating as it is sorrowful.

Since the band’s formation as a duo in 2010 in the city of Reykjavík, Iceland, the Atmospheric Black Metal unity known as Dynfari has been making a name for themselves not only in Icelandic lands, but anywhere else in the world where Black Metal influenced, heavily atmospheric music is appreciated. Currently comprised of Jóhann Örn on vocals, bass, accordion, synths and guitars, Jón Emil on percussion and guitars, and Martin Tsenov and Bragi Knutsson also on the guitars, Dynfari deal with the philosophy of life, death, the universe, loss, hope and sorrow, having explored more progressive soundscapes in their blend of Post-Rock and Black Metal in the most recent works, while returning to a more atmospheric and direct attitude now in 2020 with their fifth full-length opus, titled Myrkurs er Þörf, or something like “darkness in needed” in English. Featuring a cryptic artwork by Metaztasis (Watain, Behemoth), the album is a chameleonic, labyrinthine mix of subgenres of rock and metal, sounding thickly atmospheric, as beautiful and inspiring as it is quietly somber and menacing, and as illuminating as it is sorrowful, flowing towards a darker, heavier side of the musical spectrum, expressing a violent refusal of merely becoming a means to an end.

The opening track Dauðans Dimmu Dagar (“the dark days of death”) starts in an ominous and ethereal way to minimalist guitar notes, being gradually accompanied by the percussion and beast by Jón until a dense wall of instrumental Atmospheric Black Metal fills out every single space in the air, morphing into the enfolding Langar Nætur (Í Botnlausum Spíralstiga), or “long nights (in bottomless spiral staircase)”, a flawless depiction of modern-day Icelandic Black Metal with Jóhann delivering anguished vocal lines while Martin and Bragi slash their seven-stringed weapons majestically. And the title-track Myrkurs Er Þörf keeps embracing our souls and taking us to chilling and despondent Icelandic lands showcasing another amazing guitar job done by the quartet, while Jóhann’s vocals sound like they’re coming from a place far, far away, whereas Ég Fálma Gegnum Tómið, or “I fade through the void”, exhales melancholy and hopelessness, with the Doom Metal-inspired beats by Jón walking hand in hand with the strident riffs by Martin and Bragi, keeping the album as dark and grim as possible.

The serene instrumental interlude titled Svefnlag (“sleeping layer”) brings some peace to our blackened hearts, setting the tone for the ode to despair and obscurity named Ég Tortímdi Sjálfum Mér (“I destroyed myself”), where Jóhann blasts his most introspective roars of the entire album while the song’s imposing background keys support the piercing riffage delivered by the quartet. Then what at first seems to be another calm and bitterly cold creation by Dynfari turns into a 10-minute majestic feast of heavy-as-hell, hypnotizing sounds titled Peripheral Dreams, a lecture in contemporary Black Metal led by the crushing beats by Jón intertwined with grandiose keyboards and doomed passages, also presenting elements from Folk Metal and Blackened Doom, running wild and free until its climatic grand finale. Lastly, the wicked bass lines by Jóhann ignite the closing tune Of Suicide and Redemption, an Atmospheric Black Metal aria that lives up to the legacy of the genre, bringing forward their trademark blast beats and symphonic keys and, therefore, ending the album on a truly inspiring note.

After all is said and done, I’m more than certain you’ll be mesmerized by the atmospheric and absolutely stunning music by Dynfari, and in order to show the band your support and appreciation don’t forget to follow them on Facebook, and of course to purchase a copy of Myrkurs er Þörf from their own BandCamp page, from the Aural Music webstore in CD, silver LP, or splatter LP format, and from other locations such as Amazon and mvdshop.com. An introspection on thoughts of suicide and self-destruction, Myrkurs er Þörf is another beautiful product form the always prolific and dynamic Icelandic metal scene, showing us all that not only Icelandic Black Metal continues to be on a healthy and inspiring rise, but also that we can count on the talented guys from Dynfari to keep embellishing the airwaves with their creations until darkness finally consumes us all.

Best moments of the album: Langar Nætur (Í Botnlausum Spíralstiga), Myrkurs Er Þörf and Peripheral Dreams.

Worst moments of the album: None.

Released in 2020 Code666

Track listing
1. Dauðans Dimmu Dagar 5:23
2. Langar Nætur (Í Botnlausum Spíralstiga) 6:37
3. Myrkurs Er Þörf 4:52
4. Ég Fálma Gegnum Tómið 4:39
5. Svefnlag 2:57
6. Ég Tortímdi Sjálfum Mér 5:10
7. Peripheral Dreams 10:35
8. Of Suicide and Redemption 6:37

Band members
Jóhann Örn – vocals, bass, accordion, synths, guitars
Jón Emil – percussion, guitars
Martin Tsenov – guitars
Bragi Knutsson – guitars