Tag Archives: atmospheric black metal

Album Review – Veilburner / Longing for Triumph, Reeking of Tragedy (2025)

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The eighth opus by this uncanny Death and Black Metal creature sees the duo continue to suffer like two dragons consuming one another in a serpentine-like fashion until one can no longer consume the other, frozen in the shape of infinity.

Only one year after the release of their critically acclaimed album The Duality of Decapitation and Wisdom, Pennsylvania, United States-based Avantgarde Death/Black Metal creature Veilburner returns with their eighth full-length album, poetically titled Longing for Triumph, Reeking of Tragedy. Displaying another Stygian artwork by Luciana Nedelea, the new opus by Chrisom Infernium on vocals, lyrics and design, and Mephisto Deleterio on all instruments and production sees the duo continue to suffer like two dragons consuming one another in a serpentine-like fashion until one can no longer consume the other, frozen in the shape of infinity (∞) and numerologically represented by the digit eight (8). Samael (the “poison of god” and the eighth sphere of the Qlippoth), as well as Choronzon (the dweller of the threshold) and the Ouroboros all correlate with this symbol of infinity and exist in Veilburner’s lore as the antagonistic and immutable eternity, which if confronted can lead to self-destruction and the finality of manifestation, permanently breaking the loop.

Like the beginning of a black mass, the duo ignites their festivities with Longing for Triumph…, with the marching drums by Mephisto suddenly evolving into pure Black Metal madness while Chrisom roars like a demented entity from the abyss; and Mephisto keeps slashing his scorching axe in Pestilent Niche, delivering fierce, metallic riffs for our total delight, as experimental as it is progressive, sounding like two or three songs in one. Then venturing through Atmospheric Black Metal lands with a pinch of Doom Metal we face Rigor & Wraith, with the cryptic vociferations by Chrisom sounding truly haunting, whereas back to a ferocious Black Metal sonority they offer us That Which Crypts Howls Grandeur, where all instruments by Mephisto sound absolutely demonic, adding an extra dosage of insanity and sulfur to the overall result. Da’ath Ye Shadow Portrait is another excellent display of Avantgarde Death and Black Metal by the duo, with Chrisom once again barking rabidly nonstop, followed by Ouroboreal Whorl, the least Black Metal of all songs, maybe a bit too experimental for my taste, never sounding truly heavy. They get back on track with Matter o’ the Most Awful of Martyrs, blasting their trademark blend of demented Black and Death Metal sounds, with Mephisto sounding ruthless armed with his riffs, solos and blast beats until the very last second; and lastly, we have …Reeking of Tragedy, the “conclusion” of the opening track, therefore forming the title of the album, which couldn’t have sounded more inhumane and sinister, with the duo firing their devilish roars and eerie riffs nonstop.

In the spirit of striking while the iron is hot, this eighth evolution of the Veilburner story capitalizes on momentum while simultaneously achieving new heights in their song-crafting and story-telling, leading their characters on a journey in which they cannot recognize triumph without tragedy, and sees them residing somewhere between the abyss and their devotion to mortal re-occurrence, that which seems to attract death, being therefore highly recommended for fans of Blut aus Nord, Imperial Triumphant, Deathspell Omega, Hexrot, Oranssi Pazuzu, Akhyls, and Akercocke. You can dive into the dark realms ruled by Veilburner by following them on Facebook and on Instagram, by streaming their unique creations on Spotify, and of course by purchasing their new album from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. In Longing for Triumph, Reeking of Tragedy, Chrisom Infernium and Mephisto Deleterio face not just any death, but the kind in which they are bound to an infinite loop of reincarnation, and destined to repeat the same traumas and failures as before.

Best moments of the album: Pestilent Niche, That Which Crypts Howls Grandeur and Matter o’ the Most Awful of Martyrs.

Worst moments of the album: Ouroboreal Whorl.

Released in 2025 Transcending Obscurity Records

Track listing
1. Longing for Triumph… 7:00
2. Pestilent Niche 6:19
3. Rigor & Wraith 5:26
4. That Which Crypts Howls Grandeur 6:19
5. Da’ath Ye Shadow Portrait 7:04
6. Ouroboreal Whorl 6:29
7. Matter o’ the Most Awful of Martyrs 6:00
8. …Reeking of Tragedy 7:14

Band members
Chrisom Infernium – vocals
Mephisto Deleterio – all instruments

Album Review – Olde Throne / Megalith (2025)

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Behold the new opus by this New Zealand-based Melodic and Atmospheric Black Metal entity, a primal journey into the depths of prehistory, delving into the primordial darkness of the Neolithic age.

A Melodic and Atmospheric Black Metal band born in a time when main composer and frontman Harrison McKenzie was living in Glencoe, Scotland, the amazing Christchurch, New Zealand-based project Old Throne returns with another bold and multi-layered opus, entitled Megalith, following up on their 2022 debut An Gorta Mór and their 2023 sophomore In the Land of Ghosts. Even after moving back to his native New Zealand, Harrison felt deeply inspired by his experience in the highlands, translating such inspiration into the music found in all of his albums. Mixed and mastered by Tim Yatras (Austere, Germ), and displaying a stunning artwork by German illustrator Misanthropic Art, the newborn spawn by Harrison on vocals, guitars and bass, alongside Zannibal on lead guitars and synthesizers and the aforementioned Tim Yatras as their session drummer, is a primal journey into the depths of prehistory, delving into the primordial darkness of the Neolithic age. Drawing inspiration from stories of Celtic mythology, the album’s narrative is rooted in tales dating back as far as 10,000 BC, with the use of flutes, throat singing and tribal drums forging an immersive brand of Neolithic Black Metal.

The soothing sounds of Mother Nature permeate the air in the intro Primordial Realm, inviting us all to join Old Throne in an distant era long forgotten in The Most Elder Days, a lecture in Atmospheric Black Metal spearheaded by Harrison’s striking riffs and devilish roars, with all background elements giving it an even more epic and visceral vibe just the way we like it in extreme music. It’s then pedal to the metal in the Black Metal attack entitled My Throne, offering more of the band’s killer riffage, boosted by the blast beats by Tim; whereas An Drochshúil, an Irish-Gaelic term meaning “the evil eye” which refers to a supernatural curse or affliction caused by a malevolent glare or look, believed to bring harm to a person or animal, perfectly depicts that type of evil, with Zannibal’s synths bringing an extra dosage of darkness to the song.

Ail Na Mireann, which means the “Stone of the Divisions” and refers to a significant ancient stone on the Hill of Uisneach in County Westmeath, Ireland, sees the band shift to an even more obscure, melancholic sonority, with Harrison’s strident riffs and rumbling bass matching perfectly with his desperate growls. Then we face a stunning Atmospheric Black Metal storm titled Temple of the Sky, where Tim shows no mercy for his drums while Harrison and Zannibal extract pure adrenaline from their axes, not to mention the song’s captivating, mysterious female vocal lines. The second to last song in Megalith, titled Sceach Geal, a sacred tree in Irish folklore strongly associated with fairies and mystical beings, slows things down a bit while maintaining the album’s epic vibe, losing a bit of its energy close to the end, though; and lastly, get ready for the darkest of all songs, the ruthless Tuan’s Bane, alternating between Doom Metal moments and the sheer aggression of Black Metal, also offering some enfolding passages until its climatic and furious finale.

Conceived as a single, unbroken auditory ritual, Megalith is a continuous concept piece, with each track flowing seamlessly into the next, demanding to be experienced in its entirety from beginning to end, therefore resulting in the perfect meeting spot for SAOR and Naglfar alike, just to name a couple. Harrison and his henchmen are waiting for you with their breathtaking Neolithic Black Metal experience on Facebook and on Instagram, and don’t forget to also stream their undisputed creations on Spotify, and to purchase a copy of the excellent Megalith from the project’s own BandCamp, as well as from the Avantgarde Music’s BandCamp or from Sound Cave (in both CD and LP formats), or simply click HERE for all things Old Throne. This is by far one of the most interesting and unique Melodic and Atmospheric Black Metal projects of the current scene worldwide, and I’m sure you’ll have an absolute blast going back ten thousand years together with Old Throne to the sound of their imposing new album.

Best moments of the album: The Most Elder Days, Temple of the Sky and Tuan’s Bane.

Worst moments of the album: Sceach Geal.

Released in 2025 Avantgarde Music

Track listing
1. Primordial Realm 1:15
2. The Most Elder Days 5:14
3. My Throne 3:17
4. An Drochshúil 5:18
5. Ail Na Mireann 6:39
6. Temple of the Sky 6:18
7. Sceach Geal 6:50
8. Tuan’s Bane 7:58

Band members
Harrison McKenzie – vocals, guitars, bass
Zannibal – lead guitars, synthesizers

Guest musician
Tim Yatras – drums (session)

Album Review – Ildaruni / Divinum Sanguinem (2025)

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This Armenian Black Metal beast is back with its sophomore opus, a conceptual work centered on Mithraism, guiding the listener through nine ominous rites meant to transform one into the storm of nomos and burning gnosis.

Blending Epic Black Metal and ancient folk melodies forgotten from times immemorial, Beyond Unseen Gateways, the 2021 debut by Yerevan, Armenia-based Pagan/Atmospheric Black Metal horde Ildaruni explored the Urartian domain’s height and the esoteric knowledge of pagan mysticism. Now on their sophomore opus, titled Divinum Sanguinem, or “divine blood” from Latin, the band enclasps Black Metal’s aggressive and arcane form, steeped in the immersive, murky atmosphere of a desolate, ancient shrine. Recorded by Avet Ghlijyan at Massive Studios (vocals), by Mark Erskine (guitars and bass), by Armen Shaverdian at Guitar Clinic Studio (drums), and by Maria Harutyunyan at Alpha Sound (acoustic instruments and choirs), mixed and mastered by Christoph Brandes at Iguana Studios, showcasing a grim artwork by Khaos Diktator Design, and featuring an array of very special guest musicians, the new album by Narek Avedyan on vocals, Robert Meliksetyan and Mark Erskine on the guitars, Artak Karapetyan on bass, and Arthur Poghosyan on drums and dap is a conceptual work centered on Mithraism, its occult initiations and lesser-known mysteries, guiding the listener through nine ominous rites meant to transform one into the storm of nomos and burning gnosis. A work of mystical upheaval and a sermon to the bestower of creed, it leads through ghastly pathways toward the ladders of Apothanaitismos.

The album begins with the cinematic, ethereal intro Mithras Alone Is My Wreath, featuring the cello by guest Andranik Aghajanyan, setting the stage for Ildaruni to consume our blackened hearts to the sound of The Ascension of Kosmokrator, a no shenanigans, ruthless Black Metal attack spearheaded by the venomous gnarls by Narek and the blast beats by Arthur. Then arising from the pits of the underworld we face Of Nomos and Flaming Flint Stone, featuring the Khazer Choir from Armenia to give it a truly haunting vibe, while Robert and Mark’s riffs transpiring pure darkness; and the bagpipes by Arthur Atayan and the narration by Artak Karapetyan bring sheer epicness to Forged With Glaive and Blood, while the band’s riffs and beats keep the atmosphere as caustic as it can be. And the clean vocals by guest Armen Shahbegian clash with the devilish vociferations by Narek in Zurvan Akrane, another explosion of Melodic Black Metal by Ildaruni.

The Khazer Choir returns in Arcane Sermon, also presenting a heavy-as-hell kitchen by Artak and Arthur, overflowing classic Black Metal while at the same time presenting the band’s epic approach; whereas it’s time for six minutes of Doom Metal-infused obscurity in Immersion Into Empyrean, with Narek roaring nonstop accompanied by the sluggish yet hammering drums by Arthur. The qanun by Mar Margaryan, alongside another phenomenal contribution by the Khazer Choir, make the band’s infernal sounds feel even more imposing in Scorching Pathways to Samachi, the most detailed song of the album, presenting multiple layers that in the end converge into absolute darkness, while closing the album we’re treated to the title-track Divinum Sanguinem, with guest Tamara Mkhitaryan making a “Beauty and the Beast” vocal duet with Narek, a lesson in Melodic Black Metal where the riffage by Robert and Mark will darken the skies for all eternity.

While the Armenian horde has left their earlier folk-driven melodies and riffs behind, grandiose and wickedly melodic passages still lurk amid the oppressive, grim elements found in Divinum Sanguinem, sporadically erupting with blazing fury. Real choir arrangements summon and channel the album’s lyrical mysteries, uniting its thematically entwined tracks into a single, esoteric rite, and you can explore and feel all those details and elements by purchasing a copy of the album from BandCamp or by clicking HERE. Don’t forget to also follow the band on Facebook and on Instagram, and to stream their harsh, embracing Black Metal creations on Spotify. In a nutshell, Divinum Sanguinem marks a new era in the career of Ildaruni, solidifying their name in the current Extreme Metal scene worldwide, and pointing to an even brighter future ahead of one of the best (if not the best) metal bands to ever arise from the beautiful Hayastan.

Best moments of the album: Forged With Glaive and Blood,Scorching Pathways to Samachi and Divinum Sanguinem.

Worst moments of the album: Immersion Into Empyrean.

Released in 2025 Black Lion Records

Track listing
1. Mithras Alone Is My Wreath 2:27
2. The Ascension of Kosmokrator 5:42
3. Of Nomos and Flaming Flint Stone 5:30
4. Forged With Glaive and Blood 5:46
5. Zurvan Akrane 6:33
6. Arcane Sermon 5:50
7. Immersion Into Empyrean 6:00
8. Scorching Pathways to Samachi 6:49
9. Divinum Sanguinem 8:04

Band members
Narek Avedyan – vocals
Robert Meliksetyan – guitars, acoustic guitars, ambience, samples
Mark Erskine – guitars
Artak Karapetyan – bass
Arthur Poghosyan – drums, dap

Guest musicians
Khazer Choir – choirs on “Of Nomos and Flaming Flint Stone”, “Arcane Sermon” and “Scorching Pathways to Samachi”
Arthur Atayan – bagpipes on “Forged with Glaive and Blood”
Mar Margaryan – qanun on “Scorching Pathways to Samachi”
Andranik Aghajanyan – cello on “Mithras Alone is My Wreath”
Tamara Mkhitaryan – female vocals on “Divinum Sanguinem”
Armen Shahbegian – clean vocals on “Arcane Sermon”, “Scorching Pathways to Samachi” and “Zurvan Akrane”
Artak Karapetyan – narrations on “Forged with Glaive and Blood”

Album Review – WitcheR / Öröklét (2025)

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Hungary’s own uncanny duo returns with their fourth opus, once again conjuring supernatural forces through their undisputed Atmospheric Black Metal based on classical music elements and strong synth harmonies.

Once again conjuring supernatural forces through their undisputed Atmospheric Black Metal based on classical music elements and strong synth harmonies, the uncanny Hungarian duo WitcheR returns with their fourth full-length opus titled Öröklét, or “eternity”, the follow-up to their 2022 opus Lélekharang and their 2024 instrumental EP of classical music covers Boszork​á​nyszimf​ó​ni​á​k. Recorded, mixed and mastered at Vrag’s Forest Studio, while again displaying a classy artwork by Grafit és Hamu, the new offering by Karola Gere on vocals and synths, and Roland Neubauer on vocals, guitars and drums showcases the band’s trademark sound with catchy melodies and elevated mood, while the lyrics continue to delve into the world of witchcraft, Hungarian folklore, adherence to old values, and the maximum opposition to the modern world.

The whimsical synths by Karola kick off the opening tune Örökség, or “heritage” in English, inviting us all to embark on an Atmospheric Black Metal journey where the sluggish beats by Roland add endless melancholy and heaviness to their sound. Then we have Szélhozó (which means “windbringer” or something like that), sounding like a devilish waltz where the duo fires the perfect fusion of their core Black Metal with classical music, all spiced up by the rich folklore of their homeland, with their harsh vociferations sounding darkly majestic; and more of their imposing sounds is offered to us all in Röghöz kötött (“bound to the moment”), where the listener is invited to explore its multiple layers behind the band’s trademark Atmospheric Black Metal curtain. After such a bold and dense musical voyage we face the fantastic title-track Öröklét, with Karola’s keys clashing in a beautiful way with Roland’s Black Metal riffage. In other words, the song is at the same time delicate yet powerful and gloomy, and I would love to see it played live. And lastly, we’re treated to their version of Franz Schubert’s Piano Trio No. 2 – Andante con moto, a Black Metal-fueled rendition of an undisputed classic from a time long forgotten.

The multi-talented Karola Gere and Roland Neubauer are waiting for you with news, tour dates and all other nice-to-know details about their unique and captivating WitcheR on Facebook, Instagram and VKontakte, as I’m sure they would love to hear what you have to say about their music. Don’t forget to also subscribe to their YouTube channel and stream their fantastic creations on Spotify, and above all that, to purchase the excellent Öröklét from their own BandCamp, from the Filosofem Records’ BandCamp, or from the Beverina Productions’ BandCamp. In the end, the music by WitcheR is the ultimate depiction of the thin line between Heavy Metal and classical music, and based on the first-class striking compositions in Öröklét, we can rest assured they’ll keep delivering such a high level of excellence for several decades to come.

Best moments of the album: Szélhozó and Öröklét.

Worst moments of the album: None.

Released in 2025 Filosofem Records/Beverina Productions

Track listing
1. Örökség 9:36
2. Szélhozó 8:08
3. Röghöz kötött 9:10
4. Öröklét 9:36
5. Piano Trio No. 2 – Andante con moto (Franz Schubert cover) 3:46

Band members
Karola Gere – vocals, synths
Roland Neubauer – vocals, guitars, drums

Album Review – An Abstract Illusion / The Sleeping City (2025)

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This incredible Swedish Progressive Death and Black Metal entity returns with their heaviest and most atmospheric work to date, exploring the depths of the human psyche and suffering.

Once again utilizing the band’s unique blend of Progressive Death and Black Metal with arpeggiating synths, wistful drones and vast soundscapes, harkening back to the era of 80’s sci-fi soundtracks, the magnificent The Sleeping City is the third full-length opus by Swedish Progressive/Atmospheric Death/Black Metal beast An Abstract Illusion, the follow-up to their critically acclaimed 2022 sophomore album Woe. Produced by Karl Westerlund alongside An Abstract Illusion themselves, recorded at Blackharbour Studios, with drums produced and recorded by Jakob Herrmann at Top Floor Studios and pre-production and additional recording by Emil P. Lundh at Urberg Studios, mixed and mastered by Robin Leijon, and displaying a classy artwork by Alex Eckman-Lawn, the new album by Christian Berglönn on lead vocals, Karl Westerlund on the guitars and bass, Robert Stenvall on keyboards and vocals, and Isak Nilsson on drums and backing vocals, not to mention an array of very special guest musicians, is undoubtedly their most atmospheric and heavy work to date, exploring the depths of the human psyche and suffering.

Featuring vocals by Lukas Backeström, Blackmurmur is absolutely atmospheric, enfolding, futuristic and luxurious from the very first second, uniting the complexity of Progressive Death Metal with the mystery of Melodic Black Metal, and with the guitars by Karl and the keys by Robert sounding absolutely fantastic. They keep delivering sheer awesomeness in No Dreams Beyond Empty Horizons, with the complex yet visceral drumming by Isak adding an extra touch of heaviness to their music, followed by Like a Geyser Ever Erupting, featuring the cello by Jonathan Miranda-Figueroa and the violin by Dawn Ye, carrying a stunning song title for a lecture in modern-day extreme music where once again Isak sounds inhumane behind his drums.

Frost Flower once again features vocals by Lukas Backeström, cello by Jonathan Miranda-Figueroa, and violin by Flavia Fontana, all clashing with the visceral riffs by Karl and the whimsical keys by Robert; whereas Emmett is another long, complex and extremely detailed song, starting in a serene, enfolding manner, almost melancholic, before we face an avalanche of Progressive Death Metal led by Christian’s enraged roars, also showcasing ethereal passages intertwined with absolute violence. Then we face Silverfields, with narration by Elsa Svensson, working almost like an atmospheric interlude, therefore soothing our souls for the monumental title-track The Sleeping City, bringing forward endless breaks and variations without forgetting their core heaviness, as if Dream Theater went Death Metal, with Karl once again doing a superb job with both his guitar and bass boosted by the cello by Jonathan Miranda-Figueroa and the violin by Dawn Ye, before all fades into a climatic, Stygian finale.

“When we compose an album we don’t want it to just be a collection of random songs, we want a holistic theme coursing through the album’s veins. When writing The Sleeping City we wanted to explore what the soundtrack to a dystopian sci-fi film, such as Blade Runner or Terminator, would sound like if it were written by a death metal band. For The Sleeping City, we took inspiration from acts such as Depeche Mode, My Bloody Valentine, Kite, Ólafur Arnalds and Boards of Canada, pushing us to expand and refine our sound palette. Going from the long-song format of Woe, it was a fun challenge to once again write self-contained songs with a clear beginning and end,” commented the band about their newborn masterpiece. You can find those extremely talented guys on Facebook and on Instagram, stream their breathtaking creations on Spotify, and of course purchase their new album from BandCamp or from the Willowtip Records webstore (as a CD or an LP), or simply click HERE for all things An Abstract Illusion. A decrepit yet monumental landmark, the sleeping city awaits ahead. Will you enter?

Best moments of the album: Blackmurmur, Like a Geyser Ever Erupting, Emmett and The Sleeping City.

Worst moments of the album: None.

Released in 2025 Willowtip Records

Track listing
1. Blackmurmur 11:00
2. No Dreams Beyond Empty Horizons 6:56
3. Like a Geyser Ever Erupting 7:58
4. Frost Flower 8:14
5. Emmett 11:19
6. Silverfields 3:46
7. The Sleeping City 10:07

Band members
Christian Berglönn – lead vocals
Karl Westerlund – guitars, bass
Robert Stenvall – keyboards, vocals
Isak Nilsson – drums, backing vocals

Guest musicians
Lukas Backeström – lead vocals on “Blackmurmur” and “Frost Flower”, choir vocals on “No Dreams Beyond Empty Horizons” and “Like a Geyser Ever Erupting”
Jonathan Miranda-Figueroa – cello on “Like a Geyser Ever Erupting”, “Frost Flower” and “The Sleeping City”
Dawn Ye – violin on “Like a Geyser Ever Erupting” and “The Sleeping City”
Flavia Fontana – violin on “Frost Flower”
Elsa Svensson – narration on “Silverfields”

Album Review – Unsouling / Outward Streams of Devotional Woe (2025)

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This Minneapolis, Minnesota-based one-man project returns with his excellent sophomore opus based on loss, grief, and a longing to bring back connection via spiritual or even metaphysical reach.

After the dissolution of Feral Light, Minneapolis, Minnesota-based frontman and songwriter A.S. (aka Andy Schoengrund) wasted no time in channeling his artistic flair into a new project, the Experimental Black/Death Metal creature known as Unsouling. The project’s 2024 debut, Vampiric Spiritual Drain, laid the foundation for a new stylistic approach that is now fully realized on Outward Streams of Devotional Woe, its sophomore release. Conceived and recorded by A.S. at The Crypt, mixed by Sanford Parker at Hypercube Studios, mastered by Adam Tucker at Signaturetone Recording, and displaying an eerie artwork by Luciana Nedelea (with layout by Francesco Gemelli, known as Unexpected Specter), Outward Streams Of Devotional Woe is based on loss, grief, and a longing to bring back connection via spiritual or even metaphysical reach, and how this can bring great comfort.

The album starts with the cryptic, obscure Immaterial Entrance, where A.S. delivers minimalist riffs, bass lines and beats before morphing into an Atmospheric Black Metal beast, with its second half turning into sheer chaos and violence. Then investing in a more Doom Metal-inspired sonority it’s time for Your Momentary Passing, showcasing his harsh, anguished roars and sluggish drums, as well as a wall of experimentations. And presenting nuances of the Melodic Death Metal played by bands like Insomnium we have To Come Unbound, sounding utterly chilling and obscure until the end; whereas Grief Reconfigured is a lecture in Black Metal where A.S. puts the pedal to the metal and delivers his heaviest and most demonic side while also bringing forward pensive and visceral Blackened Doom moments. His metallic bass sets the tone in Towering Black Wave, another hybrid of Doom Metal with atmospheric and melodic passages, and it’s then time for the two-minute introspective interlude Passages, where his stylish sounds permeate the air until all comes to an end with Dissolved in Spiritus, crushing our minds and souls to A.S.’s vile gnarls and Post-Black Metal riffs, with its countless layers and tempo changes giving the whole song a hypnotizing vibe.

“The album differs from its predecessor in that the meandering exploration of Vampiric Spiritual Drain has been replaced with a more sure-footed and focused journey,” explained A.S. “The anchor of black metal with its bleed into gothic, dark wave, and death metal influences is still very much present, but it is more reigned in and pointed.” In terms of the themes covered, Unsouling remain faithful to the poetics of its debut, but, if possible, accentuate its existentialist vein, being therefore highly recommended for admirers of Sacramentum, Grave, Morgion, and Feral Light, just to name a few. You can also connect with A.S. and his Unsouling via Instagram, stream his unique music on Spotify, and above all that, grab a copy of Outward Streams of Devotional Woe from the project’s own BandCamp, from the I, Voidhanger Records’ BandCamp, or from Metal Odissey (in the US or in the EU/UK), or simply click HERE for all thing Unsouling. In the end, loss and grief are always extremely difficult to process inside our minds and hearts, and the music blasted by Unsouling in Outward Streams of Devotional Woe perfectly depicts that excruciating challenge, always supported by the dark beauty of extreme music.

Best moments of the album: Immaterial Entrance and Dissolved in Spiritus.

Worst moments of the album: None.

Released in 2025 I, Voidhanger Records

Track listing
1. Immaterial Entrance 6:02
2. Your Momentary Passing 4:58
3. To Come Unbound 5:22
4. Grief Reconfigured 5:18
5. Towering Black Wave 6:23
6. Passages 2:04
7. Dissolved in Spiritus 5:35

Band members
A.S. – vocals, all instruments

Album Review – Nexion / Sundrung (2025)

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Behold this act of rebirth through the cycle of destruction by one of the must-see names of the current Icelandic Black Metal scene.

An Old Icelandic for “discord, disharmony and the sundering of the social and cosmic fabric,” Sundrung, the sophomore effort by Reykjavík, Iceland’s own Black Metal horde Nexion, is an act of rebirth through the cycle of destruction. Mixed and mastered at Studio Emissary, and enriched by a cryptic illustration by José Gabriel Alegría Saboga, the follow-up to their 2020 debut Seven Oracles sounds vastly more dynamic and far-reaching, showcasing a stunning evolution in the music by vocalist Joshua Hróðgeir Rood, guitarists Jóhannes Smári Smárason and Óskar Rúnarsson, bassist Atli Jarl Martin, and drummer Kristján Guðmundsson.

It’s total annihilation to the sound of Uþarpaspa, where the fulminating drums by Kristján bring sheer Black Metal magic to their music, wherras Gandr sounds even more infuriated, devilish and somber, led by the scorching guitars by Jóhannes  and Óskar, all spiced up by the demonic gnarls by Joshua. Not only that, the entire song is also a curse, ritually breaking an ancient runic ward against destroyer spirits by inverting it to call them forth against mankind’s perpetrators of discord. Norðr ok niðr sounds more epic and imposing than all previous songs, even presenting hints of Symphonic Black Metal, with Kristján stealing the show with his crushing beats supported by the rumbling bass by Atli; and the beautifully titled When Raven Steals the Sun offers an overdose of first-class, in-your-face grim sounds, with Joshua taking the lead with his desperate gnarls from the underworld.

After such a demented Black Metal attack we have the cryptic interlude :Þþþ:, sounding like the soundtrack to a horror movie before we face the ruthless Hymn of the Valkyrjur, a beyond infernal creation by this talented Icelandic horde showcasing everything we love in contemporary Black Metal, in special the intricate yet primeval beats and fills by Kristján. Rending the Black Earth brings forward another six minutes of dark and melodic passages embraced by the scathing riffage by Jóhannes and Óskar, and the album couldn’t have ended in a more Stygian way than with Visions of the Seventh Fire, blending the harshness of Black Metal with the finesse and haunting melodies of Atmospheric Black Metal.

In summary, Sundrung is riven with an apocalyptic fervour that’s ramped up to the most galvanizing, consciousness-searing of degrees as it becomes an incendiary act of deliverance, and you can join Nexion in their blackened quest by following the band on Facebook and on Instagram, by streaming their unique creations on Spotify, and above all that, by purchasing Sundrung from the Avantgarde Music’s BandCamp page or from Sound Cave. Because as only in death we can find our way back to life, we shall follow such a tormenting and harsh path of rebirth to the sound of the caustic Black Metal by Nexion.

Best moments of the album: Gandr, When Raven Steals the Sun and Hymn of the Valkyrjur.

Worst moments of the album: None.

Released in 2025 Avantgarde Music

Track listing
1. Uþarpaspa 4:56
2. Gandr 6:36
3. Norðr ok niðr 5:35
4. When Raven Steals the Sun 7:46
5. :Þþþ: 2:22
6. Hymn of the Valkyrjur 6:41
7. Rending the Black Earth 6:37
8. Visions of the Seventh Fire 8:06

Band members
Joshua Hróðgeir Rood – vocals
Jóhannes Smári Smárason – guitar
Óskar Rúnarsson – guitar
Atli Jarl Martin – bass
Kristján Guðmundsson – drums

Album Review – Kamra / Unending Confluence (2025)

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This uncanny Slovenian Black Metal beast will attack your senses with a complete madness of riffs, intricate drumming, flowing bass and multifaceted vocals, allowing you to dream of death.

Touching the borders where Black Metal has experimented in the 90’s but daring to go further with combining that with fleshy parts of Death Metal within a truly dark atmosphere, Unending Confluence, the new offering by Slovenian Atmospheric/Experimental Black Metal entity Karma, is unrelenting, brutal, beautiful and mentally unstable. Recorded at MH Dungeon, mixed by Anže Čanžek, mastered by Gabriele Gramaglia at Crepuscular Sound Studio, and displaying a stunning artwork painting by Jeff Christensen, with layout and design by Nik Košar and Tryfar, the follow-up to their 2022 debut Cerebral Alchemy showcases an overdose of darkness and madness by N.K. on vocals and keyboards, M.D. on the guitars and keyboards, J.B. on the guitar, L.B. on bass, and D.K. on drums, a true celebration of life and death through six unrelenting songs.

When an album starts with a song that surpasses the eight-minute mark like Unlightment you know you’re in for a treat, and such an insane Slovenian cult makes sure they slowly build up the atmosphere before starting their obscure mass, with D.K. demolishing his drums in the name of Black Metal. Then the raspy, demonic vociferations by N.K. and the Stygian riffage by M.D. and J.B. will darken your minds and thoughts in Cavernal Rebirth of Ends, another multi-layered aria of total fuckin’ darkness. After two intense tunes it’s time for the serene Owlgrowth, with parts of it being recorded in May 2020 in forests of Bled, creating a dark embrace to capture our souls forever before they crush our damned bodies once again with Weaver’s Bane, where the cryptic, gnarling vocals by N.K. sound even more demented. Of Pillars, Walls and Mutilation is one of the most insane and experimental creations of the current Black Metal scene worldwide, with the bass and drums by L.B. and D.K., respectively, oozing of obscurity and sulfur, and the album ends with the disruptive, dissonant Dreams of Veiled Veins, where the band’s fusion of Black and Death Metal with avantgarde elements works majestically.

A complete madness of riffs, intricate drumming, flowing bass and a multifaceted vocals, Unending Confluence allows you to dream of death. Hence, you can get to know more about such an uncanny five-headed creature on Facebook and on Instagram, stream their idiosyncratic creations on Spotify, and of course add their new black mass to your private collection by purchasing it from their BandCamp, as well as from the Avantgarde Music’s BandCamp or from Sound Cave. Unending Confluence is dark, heavy, atmospheric, mysterious and diverse, while at the same time keeping a raw and primeval vibe exactly like we enjoy in such a distinguished genre, and after two incredible albums we can rest assured the voices of Kamra will keep echoing to all four corners of the earth for many years to come.

Best moments of the album: Unlightment, Cavernal Rebirth of Ends and Of Pillars, Walls and Mutilation.

Worst moments of the album: None.

Released in 2020 Avantgarde Music

Track listing
1. Unlightment 8:58
2. Cavernal Rebirth of Ends 8:40
3. Owlgrowth 3:07
4. Weaver’s Bane 6:54
5. Of Pillars, Walls and Mutilation 7:04
6. Dreams of Veiled Veins 6:02

Band members
N.K. – vocals, keyboards
M.D. – guitar, keyboards
J.B. – guitar
L.B. – bass
D.K. – drums

Guest musicians
David Kocmur – additional keyboards

Album Review – Lorna Shore / I Feel the Everblack Festering Within Me (2025)

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Call them heroes or hell-bringers, the torchbearers of modern-day Deathcore are inviting us all to be part of their own movie to the sound of their the declarative and breathtaking fifth album.

Call them heroes or hell-bringers, it doesn’t matter to the  men of New Jersey, United States-based Symphonic Deathcore beast Lorna Shore. Produced and engineered by Josh Schroeder, and displaying a sinister artwork by Zac Shiffer, I Feel The Everblack Festering Within Me, the declarative fifth album in their career, and the follow-up to their 2022 masterpiece Pain Remains, sees the band currently formed of Will Ramos on vocals, Adam De Micco and Andrew O’Connor on the guitars, Michael Yager on bass, and Austin Archey on drums putting all of metal’s subgenres on notice. Because after one listen, you’ll wonder what motivates them and what took metal so long to evolve. You also might wonder whose truck may have hit you while you were listening to the album.

Like the soundtrack to a horror movie, the opening track Prison of Flesh grows in intensity until all hell breaks loose to the visceral beats and fills by Austin in a demented display of brutal and vile Deathcore, while Oblivion follows a similar pattern, with Will’s deep, inhumane growls and screeches sounding like a creature form the abyss, being therefore perfect for some insane action inside the circle pit to the wicked riffs by Adam and Andrew. In the infuriated In Darkness, the background orchestrations and choir elevate the song’s epicness to a whole new level, with once again Will growling manically while the sound of their guitars exhales harmony and electricity; and they continue to fill every single space in the air with their striking fusion of Deathcore and symphonic elements in Unbreakable, leaning towards the sound from Pain Remains. Then a serene start ignites Glenwood, another epic and atmospheric creation by the band overflowing melancholy and darkness, albeit a bit generic in the end.

Will keeps roaring like a true lion in Lionheart, where Austin makes sure his beats and fills are not only heavy-as-hell, but also complex enough to keep the music as vibrant and fresh as possible, followed by Death Can Take Me, another pulverizing display of Symphonic Deathcore where the crushing drums by Austin walk hand in hand with Will’s desperate screams. Then presenting elements from traditional metal styles like Heavy and Thrash Metal we have War Machine, with its background keys elevating its punch, not to mention the excellent job done by Adam and Andrew armed with their axes. Their second to last metallic attack is offered in the form of A Nameless Hymn, with Michael and Austin sounding ruthless with their heavy-as-hell kitchen; and last but definitely not least, Lorna Shore bring forth a masterpiece of darkness entitled Forevermore, starting in an almost Atmospheric Black Metal manner before morphing into a grandiose feast of symphonic elements intertwined with the sheer heaviness of Deathcore, or in other words, it’s definitely a beautiful conclusion to such an epic album.

Lorna Shore are neither dire misery goats, nor flower-picking pollyannas and definitely not lapdogs currying favor from those who would exalt the ordinary, inviting us all to embrace I Feel The Everblack Festering Inside Of Me and, therefore, become part of the band’s own movie. “I think a lot of bands – especially in deathcore – they write stuff that they think is cool, but they’re not necessarily writing stuff that’s true to them,” commented Will Ramos. “I think between everything that we’ve been through over the last couple years, those things have helped push the band to think bigger. We’re putting our heart and soul into it. I think it’s those little experiences that we’ve been through that help shape that. It doesn’t necessarily work for everybody, but it works for us.” Furthermore, you can get in touch with one of the torchbearers of modern-day Deathcore via Facebook and Instagram, stream their vicious, down-tempo creations on Spotify, and of course grab your copy of the poetically titled I Feel the Everblack Festering Within Me by clicking HERE or HERE. When heroes are hard to find, try looking inside yourself first. and when good heavy music is hard to find, simply enjoy the phenomenal new album by Lorna Shore.

Best moments of the album: Prison of Flesh, Unbreakable, Lionheart and Forevermore.

Worst moments of the album: Glenwood.

Released in 2025 Century Media Records

Track listing
1. Prison of Flesh 7:00
2. Oblivion 8:19
3. In Darkness 6:43
4. Unbreakable 4:49
5. Glenwood 6:43
6. Lionheart 5:44
7. Death Can Take Me 7:16
8. War Machine 4:53
9. A Nameless Hymn 5:14
10. Forevermore 9:47

Band members
Will Ramos – vocals
Adam De Micco – guitar
Andrew O’Connor – guitar
Michael Yager – bass
Austin Archey – drums

Album Review – Esoctrilihum / Ghostigmatah – Spiritual Rites of the Psychopomp Abxulöm (2025)

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One of the most innovative names of the Avantgarde Black Metal scene worldwide returns with his tenth opus, a concept album telling the ritual stages in the long journey of dead souls towards the jaws of the eight-eyed psychopomp Abxulöm.

Often accused of having no sense of measure, French artist Asthâghul churns out a new double album that is grandiose, symphonic, psychedelic, liturgical, and delirious under his Avantgarde Black Metal alter-ego Esoctrilihum. Beautifully titled Ghostigmatah – Spiritual Rites of the Psychopomp Abxulöm, his tenth studio album is a prism that reflects every single nuance of the project’s sound, from bombastic Black and Death Metal, to Death and Doom Metal deviations, up to his recent Psych-Folk Metal explorations. Conceptually divided into four chapters, each of which telling a ritual stage in the long journey of dead souls towards the jaws of the eight-eyed psychopomp Abxulöm, who will finally deliver them to eternal nothingness, the new album by Asthâghul on vocals, guitar, bass, drums, synth, organ, theremin, harp, kantele, hammered dulcimer, and nyckelharpa, with “ultra-dimensional high vocals” by guest Esthurïelh, is a must-listen for fans of Leviathan, The Ruins Of Beverast, Inquisition, Xasthur, all adorned by a wicked artwork named “Youth Of The Beast” by Alan Brown (aka Medusawolf), with photography by Aylowenn Aëla, and visual design by Francesco Gemelli.

In the opening track Hark! The Bewitched Trumpet of the Red Harbinger Is Calling the Dead to Gather, there’s no intro nor any build up. It goes straight to your jugular with Asthâghul’s demented beats and creepy keyboards sounding fantastic from start to finish; and his fusion of Avantgarde Black Metal with the church-like sounds from his organ result in an imposing wall of sounds in Kneeling Before the Keeper of the Golden Key to the Absolute Void, followed by At the Mercy of the Flaming Spear of the Bestial Hierophant, also presenting Asthâghul’s demented vision in the form of his own blend of Black Metal. His sonic onrush continues in full force in Flesh Pierced by the Blades of Thritônh, Eyes Devoured by Vulth Suidarl, The Giant Fly, leaning towards Atmospheric Black Metal at times thanks to the dark and dense vibe boosted by his deep, desperate roars, and the way he blends the sounds of all instruments in such a cohesive manner in Hypnotic Danse Macabre of the Blind Noctivagants is outstanding, resulting in a ritualistic Black Metal celebration.

Orgiastic Sacrificial Mass to Conjur Abxulöm, Psychopomp Supreme presents even elements from Industrial Black Metal, giving the whole song an even harsher vibe, with his demonic vocals and blast beats living up to the legacy of the genre. Then it’s absolute chaos, madness and despair in Saturnal Towers of the Mighty Scarlet Moon Upon the Black Universe, bringing forward another blast of scorching riffs and phantasmagorical keys by our multi-talented Asthâghul, who then goes full Experimental Death Metal in The Cosmic Deathbringer Comes, Riding a Bloody Horse of Goshenite, with his deep guttural and screeching riffage hitting us hard in the head. In Mauled, Swallowed and Dissolved into Nothingness by the 8-Eyed Psychopomp we see our lone wolf pounding his drums with tons of anger while his vocals lines sound absolutely ritualistic. It’s a weird song, though, maybe a bit too much, but still enjoyable, flowing into the atmospheric and creepy outro Supplication of the Veiled Saint from the Secret Book of the Ghostigmatah Rites where we face one final Black Metal attack to conclude the album on a visceral mode.

A post-mortem ritual that is told in the secret grimoire of the Ghostigmatah, a sort of modern Necronomicon that constitutes another piece in Esoctrilihum’s phantasmagorical visionary world, Ghostigmatah – Spiritual Rites of the Psychopomp Abxulöm is a nightmarish, mystical dimension of death beyond time and space, inhabited by an artist who, through his music, fearlessly lets its dark light filter into our reality. And even if nothing of this massive explanation makes any sense to you, you should definitely go check all albums by the multi-talented and unstoppable Asthâghul and his Esoctrilihum on Spotify, and grab a copy of his new nightmare-fueled album from the I, Voidhanger Records’ BandCamp or from Metal Odissey as a CD (EU or US) or as an LP (EU or US). Ghostigmatah – Spiritual Rites of the Psychopomp Abxulöm might not be an album recommended for the average listener or for the lighthearted, but once you dive deep into the experimental realm ruled by Asthâghul like what he has to offer in his new album, you’ll realize you’re in front of one of the leading beasts of the Avantgarde Black Metal movement worldwide.

Best moments of the album: Hark! The Bewitched Trumpet of the Red Harbinger Is Calling the Dead to Gather, Orgiastic Sacrificial Mass to Conjur Abxulöm, Psychopomp Supreme and Saturnal Towers of the Mighty Scarlet Moon Upon the Black Universe.

Worst moments of the album: Mauled, Swallowed and Dissolved into Nothingness by the 8-Eyed Psychopomp.

Released in 2025 I, Voidhanger Records

Track listing
1. Hark! The Bewitched Trumpet of the Red Harbinger Is Calling the Dead to Gather 9:47
2. Kneeling Before the Keeper of the Golden Key to the Absolute Void 9:06
3. At the Mercy of the Flaming Spear of the Bestial Hierophant 7:46
4. Flesh Pierced by the Blades of Thritônh, Eyes Devoured by Vulth Suidarl, The Giant Fly 8:39
5. Hypnotic Danse Macabre of the Blind Noctivagants 7:28
6. Orgiastic Sacrificial Mass to Conjur Abxulöm, Psychopomp Supreme 8:34
7. Saturnal Towers of the Mighty Scarlet Moon Upon the Black Universe 9:36
8. The Cosmic Deathbringer Comes, Riding a Bloody Horse of Goshenite 8:36
9. Mauled, Swallowed and Dissolved into Nothingness by the 8-Eyed Psychopomp 9:16
10. Supplication of the Veiled Saint from the Secret Book of the Ghostigmatah Rites 5:04

Band members
Asthâghul – vocals, guitar, bass, drums, synth, organ, theremin, harp, kantele, hammered dulcimer, nyckelharpa

Guest musician
Esthurïelh – additional vocals