Tag Archives: atmospheric black metal

Metal Chick of the Month – Vanessa Funke

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I’m always on my own… Even in my dreams I die alone… Loneliness is a garment… Made of shadows hanging above…

There’s nothing better than kicking off the short but always freezing cold month of February than with an ultra talented vocalist and multi-instrumentalist who personifies the underground like our metal lady of this month, setting fire to the atmosphere with her undisputed blend of Extreme Metal. Known for her involvement with some amazing underground bands the likes of Zion Code and Cordiscord Elysium, and more recently for her undisputed solo career, releasing an array of first-class albums, she brings the noise directly from Germany to The Headbanging Moose, taking no prisoners in her quest for heavy music. Her name is Vanessa Funke, and after knowing more about her life and her career, I’m sure you’ll get addicted to her fusion of Melodic Death and Gothic Metal with an overdose of raw emotions and, therefore, feel beyond eager to get caught in a mosh while she kicks some serious ass both in the studio and onstage.

Hailing from Finnentrop, a municipality in Olpe district in North Rhine-Westphalia, Germany, Vanessa said in one of her interviews that music has been all around her basically her entire life, mentioning she remembers hearing the intro to Thin Lizzy‘s version of Whiskey In The Jar as a child and imagining that she would play it herself. “It took a while for me to pick up an instrument though, which was about 2009. I was absolutely fascinated with Mike Oldfield around that time, especially that he can play all those different instruments and basically creates albums almost on his own. That really was the impulse that led me to playing guitar and later keyboards. When I got into metal about two years later, I started to play it myself too.”

She believes the first ever metal song she learned on the guitar was Weather The Storm, by Finnish melodeath masters Insomnium, becoming the rhythm guitarist shortly after for a band named Storm Unleashed, which was basically her first step into the music business, naturally evolving more and more even after she decided to pursue her solo career. Clearly a huge fan of the Melodic Death Metal from the 90’s and 2000’s, she also started incorporating elements from Gothic Metal into her music, giving it even more depth, which consequently allowed her to explore darker emotions in her compositions.

Speaking of her solo career, it all began in 2017 when she started recording a few demos, which only came to light in 2022 as a compilation encompassing those demos from 2017 until 2021. After that, she kept firing her own blend of Melodic Death and Gothic Metal through the 2022 EPs Sorted Out and Broken, followed by the split Ode to Hopelessness (alongside French Depressive Black Metal act Angel of Suicide), her first full-length album Solitude, plus the splits Nothing Left… (with UK-based Black Metal outfit Black Apathy) and Anthems of Gomorrah / Vanessa Funke (with Pinellas County, Florida-based Black/Death Metal horde Anthems of Gomorrah), all also in 2022.

Then in 2023 she released the EP Reflections, the splits Lonely Suicide (with American Atmospheric Black Metal creature Nymphrenia), In the Shadow of the Lights (with a band named Luroga), A Road to Nowhere (with Panama’s own Black Metal entity The Last Weapon), and Barely Living on the Edge…​ (with the bands Nymphrenia, Black Apathy, Shallow Existence, and Have a Nice Life…), and her sophomore full-length opus entitled Dawn. In 2024, the EP Lament and the full-length Void saw the light of day, while in 2025 she brought into being the split Locomotion of Escape (with a band called Tachanka), and her fourth full-length installment, titled Requiem. All of those releases can be found on BandCamp and on Spotify, and on her official YouTube channel you can also find her official videos for songs such as Worthless, Broken Ground, Infelicity, and I Need You Tonight, among several others. Not only that, her music is also featured in a few interesting compilations, including the songs Solitude on the  LDP Smörgåsbord Series #2 (released by Liminal Dread Productions in December 2023), Sorrow on Mind Over Metal 4: Volume 1 (released by Cave Dweller Music in May 2024), Buried on Black Metal Against Blackout (released in January 2024), and Dead Souls on Heavy for the Hollers (released by Liminal Dread Productions in November 2024).

One very interesting fact about her solo albums is that all of them have just one word in the title (Solitude, Dawn, Void, and Requiem), not to mention she keeps an impressive streak of one album per year. “I actually try to keep up the pace with one full length release every year. I’ve written so many songs that I have enough material for at least another album right now and several rough sketches and demos. When I get into this certain creative flow, I try to let it all out. Later I come back to these ideas and refine them. Having just one word as the title wasn’t something I planned. I released an EP called Broken in 2022, after that my first album Solitude followed and I basically just stayed with those one word titles since then. Fun fact: the album title never appears as a song title on the same album, but I do tend to use it later. For example, Solitude is the title of my first album, but also the title of the first song on Requiem,” explained our unstoppable metal diva.

Furthermore, she also explained the reason why the song titles in her latest album Requiem also have just one word, like Useless, Worthless, Sorrow, Death, and Buried, but that doesn’t mean her music should be labeled as Depressive Black Metal. “On this album I came up with the song names before I had the music. I wanted to be inspired by those simple words, like what do I feel when thinking about them and translate that feeling to music. Of course reading those titles can definitely imply something depressive, which is partially true because of the story behind it. But the music isn’t depressive black metal in my opinion, more a mixture between atmospheric black metal and funeral doom. The melodic death and gothic influence isn’t that strong here.”

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Apart form her undisputed solo career, Vanessa is (or was) also part of an interesting music project assembled to celebrate the 36th birthday of Alicia Cordisco (of Arizona’s own Thrash Metal beast Transgressive), with its collaborators spanning countries across three continents, including Canada, Germany, the Netherlands, Singapore, the United Kingdom, and the United States. The name of such a unique project is Cordiscord Elysium, a Melodic Death and Power Metal outfit with several guest musicians from different underground bands, and that released their debut EP titled Alicia Cordisco’s Amazing Birthday, in 2025, followed by the EP Alicia Cordiscord Autumnal Ball, and the single All Carols are Bangers, both also from 2025, and all available on BandCamp. From all songs recorded so far by the project, the most interesting one is hands down their cover version for Eagle Fly Free, by Helloween.

Prior to flying solo, Vanessa was a member of a Zanesville, Ohio-based Progressive Melodic Death Metal/Metalcore band named Zion Code, taking care of their vocal duties from 2022 to 2024, plus playing guitars, bass and keyboards for the band between 2023 and 2024. Formed in 2021 by vocalist and multi-instrumentalist Brandon Mitchell, the band has already released seven full-length albums and two EPs, with Vanessa being part of the 2023 albums Zion Code and Festung, and the 2024 albums Apocrypha and New Dawn Rising. Curiously enough, nothing is available on BandCamp nor on Spotify anymore for reasons beyond our knowledge. Anyway, apart from recording vocals, guitars, bass, keyboards and drums in those albums, Vanessa was also responsible for the production, mixing and mastering, and even the artwork for the 2023 album Festung. I’m curious to listen to Zion Code as I haven’t had a chance yet, but apparently there’s nothing available anywhere, not even unofficial videos uploaded on YouTube by random users.

She can also be found as a guest musician for some very interesting bands and projects. For instance, she recorded vocals for the 2025 album The Burden of I, by Tucson, Arizona’s own Melodic Black/Death Metal musician Alicia Cordisco; vocals for the 2023 single We Can Win, by California-based Avantgarde Black/Power Metal act Black Stag Rising; the dialogue on the song Lebenssinn, from the 2023 EP Die Welt schl​ä​ft ein, by French Black Metal entity Myrkyttää; additional vocals on the song Remember Me, from the 2025 album Down the Drain, by American Depressive/Atmospheric Black Metal act Nymphrenia; and additional vocals on the song Writhing in Agony I: Reopening Wounds I Have Once Forgotten, from the 2023 EP Writhing in Agony, by UK’s Depressive Black Metal act Shallow Existence. Not only that, Vanessa was also responsible for the artwork for the 2023 album Broken Cleansing and the 2023 EP Afuckt Up Mess, both by American Metalcore/Technical Death Metal act A Karmic Gray, and for the artwork for the 2023 EP Chaos Undivided, by Ohio’s own Death Metal brigade Bloodthirster.

When asked about how she feels having the drum arrangements (as well as the mixing and mastering) done by Michael Easley for her latest album Requiem, she said that it was an exception under her one-woman band project. “I usually do everything myself. This one album is actually the exception. I used a pretty old drum plugin initially, which lacked some human feel. As Michael is a drummer, he offered me to change it a bit and put a bit more life into it, which I gladly accepted. But nothing was done without my approval of course. Also a lot of the music was recorded at a time where my mixing skills weren’t that good. So Michael basically polished it to make it sound similar to my previous albums. For the next album I already have a higher standard I set for myself, so I’m pretty sure right now that if I get it right the way I imagine it, there’s no need for changes afterwards.” Furthermore, she also shared a few words about her writing and composing style. “When I start to write a song, I only have one chords progression or a melody from which I build up the whole song. So most things actually just happen during the recording process. There’s not much planning ahead usually.”

One very interesting thing about her album Requiem is that it is based on her own experiences as a teenager. “If you look at the album in two different sides (songs 1-5 and songs 6-8), there are two different things I wrote about: the first side deals with the feeling of spiraling deeper into depression, while the second side deals with intrusive thoughts. I couldn’t be completely neutral, but I still tried to keep things vague enough so others can find their own story in this. For me personally this story is deeply tied to dysphoria, something that was really strong when I was younger, the fear of coming out and not being able to live as myself. Even if I’ve come a long way since then and it isn’t that bad anymore, I still felt the need to have an outlet for all these emotions.”

Last but not least, Vanessa is not the type of person that’s very active in social media. “I do use Instagram and Bluesky apart from Bandcamp, but generally I’m not that good in this social media game, so my accounts there are definitely not as professional as bands often have them. But I generally don’t feel the need to change that, as it feels more comfortable for me like this,” she commented, and we must all agree she’s doing the right thing. Focusing on her music, on the quality of her final product, is way more important to us listeners than having an active Facebook or Instagram account. And don’t worry, Vanessa, because your music is so good we can take care of the social media posting on your behalf, spreading your emotional music to the four corners of the earth. Because, in the end, that’s what good music is all about.

Vanessa Funke’s Official Instagram
Vanessa Funke’s Official YouTube channel
Vanessa Funke’s BandCamp
Vanessa Funke’s Spotify

Album Review – Tjaktjadálvve / Encompassing Nothingness (2026)

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This Sweden-based Australian lone wolf returns with his unique blend of the sorrow of depression-tinged Black Metal with the coldness, thrill and melancholy of its atmospheric kind in his third album.

Brought forth by the Västmanland County, Sweden-based vocalist and multi-instrumentalist M., aka Matthew Bell (originally from Australia), of bands like Aeon Moon, Arboreal Trance, Autumn’s Dawn, Austere, and many others, the bitterly cold Atmospheric/Depressive Black Metal entity Tjaktjadálvve (a Sámi season representing the time when the sun sets and reindeer move to winter pastures, signifying the deep cold and preparation for polar night, translating to something like “Autumn Winter” or “Dark Winter” in concept) returns with its unique blend of the sorrow of depression-tinged Black Metal with the coldness, thrill and melancholy of its atmospheric kind in its third album, titled Encompassing Nothingness, guiding the listener through his low-paced and synth-driven scenarios. Mixed and mastered at Nekkomix, with cover photo by Francesco Del Vecchio and other images and layout by Tryfar, the follow-up to the project’s 2023 sophomore Echoes on a Windswept Plain encloses a musical journey which can’t reward the listener more than so, with its neat production and dreadful vocals elevating the overall coldness and desolation in great fashion.

In The Solitude of Abject Darkness, the name of the song says it all. Prepare for a whimsical journey through cold and dark lands, with M. roaring like a demonic entity, bursting with anguish and pain while the instrumental pieces are simply majestic. Norrsken (pronounced “norr-shen”) is the Swedish word for the Northern Lights (or “Aurora Borealis”), literally meaning “north” (norr) and “light” or “shine” (sken), and that’s exactly what M. offers with his minimalist yet harsh riffs, sluggish beats and all background elements in a true Depressive Black Metal aria; and M.’s deep vociferations will penetrate deep inside your soul in the also bitterly cold Longing, again delivering a classy Atmospheric Black Metal sound with tons of depressive and grim elements. Lastly, let’s embark on a 10-minute voyage through the harshness of the Swedish winter in the title-track Encompassing Nothingness, with M. once again crushing his drums while also delivering ethereal key notes, all boosted by his trademark roars.

In a nutshell, fans of phenomenal atmospheric bands the likes of Woods of Desolation, Austere, Panopticon, and Mesarthim, among others, will have an absolute blast listening to Encompassing Nothingness, and of course if you want to join M. and his Tjaktjadálvve in bitterly cold darkness, you can find his music on Spotify, on Apple Music, and on BandCamp (and no, there’s no social media for Tjaktjadálvve), and purchase his excellent new album from the Flowing Downward’s BandCamp or webstore. Why would anyone move from the warmth and stunning beaches of Australia to face the freezing temperatures of the Swedish winter, one might ask? Well, if M.’s endgame is to craft the enfolding, grim music by Tjaktjadálvve, let’s say Sweden is doing wonders to his creative process, and I’m sure we’ll hear a lot more from this Australian lone wolf and his cold adventures in Svea Rike in the near future.

Best moments of the album: The Solitude of Abject Darkness and Encompassing Nothingness.

Worst moments of the album: None.

Released in 2026 Flowing Downward

Track listing
1. The Solitude of Abject Darkness 7:17
2. Norrsken 9:07
3. Longing 6:09
4. Encompassing Nothingness 9:49

Band members
M. – vocals, all instruments

Album Review – Ellende / Zerfall (2026)

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Austria’s own one-man Atmospheric/Post-Black Metal project is back with its sixth opus, portraying the state of being shattered into fragments and the slow, painful process of rebuilding oneself.

Originally conceived as an introverted, misanthropic, and anonymous project by vocalist and multi-instrumentalist L.G. (aka Lukas Gosch) in Graz, Austria back in 2011, the unrelenting Atmospheric/Post-Black Metal entity Ellende, a Middle High German adjective which means “miserable” or “exiled” (as well as “misery” in Dutch), is unleashing upon humanity its sixth full-length offering, titled Zerfall, which translates as “disintegration” or “decay,” portraying the state of being shattered into fragments and the slow, painful process of rebuilding oneself, a confrontation with the void and ultimately a triumph over it. Recorded, mixed and mastered by L.G. and Markus “Schwadorf“ Stock at Klangschmiede Studio E, featuring session drummer P.F., with oil painting by L.G. himself (under the moniker Farbbringer), and shaped also by a tragic event in the life of its mastermind, the follow-up to the project’s critically acclaimed 2024 album Todbringerin continues to fuse raw intensity with profound emotional depth, turning it into a must-listen for fans of Harakiri For The Sky, Wolves In The Throne Room, Alcest, Drudkh, Blut aus Nord, Negura Bunget, Paysage d’Hiver, and Woods of Desolation.

Stygian, introspective sounds set the tone in the intro Nur (or “only” from German), growing in intensity until we face Wahrheit Teil I (“truth part I”), starting with the caustic riffs by L.G. in the most visceral Black Metal style, offering seven minutes of first-class extreme music with L.G.’s venomous gnarls bringing even more anguish to the music, flowing into Wahrheit Teil II (“truth part II”), a darker tune exhaling Depressive Black and Doom Metal, with P.F.’s pounding drums hammering our souls mercilessly. Then the title-track Zerfall starts in a serene, melancholic manner before exploding into majestic Atmospheric Black Metal led by our lone wolf’s devilish riffs and vociferations, alternating between absolute darkness and whimsical, enfolding passages; followed by Übertritt (“transition”), another song that reeks of contemporary Melodic and Atmospheric Black Metal where the strident sound of L.G.’s guitar will pierce our blackened minds in great fashion.

Ode ans Licht (“ode to the light”) brings forward an imposing start to L.G.’s scathing riffage, sounding very melodic albeit not as exciting as the rest of the album while still presenting the project’s trademark melancholy. Zeitenwende Teil I (“turning point part I”), featuring Klara Bachmair from German Black Metal horde Firtan on the violin, is a lecture in extreme music, taking the listener on a one-way journey to absolute darkness together with L.G., with his riffs transpiring epicness; whereas in Zeitenwende Teil II (“turning point part II”), the second piece of such a thrilling Black Metal aria, L.G. keeps gnarling in the most obscure way imaginable supported by the classic beats by P.F., ending with a killer guest guitar solo by Peter Mairhofer from Austrian Melodic Death/Thrash Metal band Norikum. And lastly, we’re treated to the atmospheric, gloomy Reise (“journey”), where its acoustic moments bring peace to our gloomy hearts while its climatic ending sounds as captivating as it is devilish and grim.

Ellende has grown into an internationally recognized live act with session musicians firmly rooted in the Atmospheric Black Metal genre, while also incorporating classical instrumentation such as strings and grand piano, often pushing beyond the boundaries of what is considered traditional within the style, and that’s exactly what makes an album like Zerfall so interesting, detailed and hypnotizing. Hence, you can get in touch with L.G. and his Ellende via Facebook and Instagram, stream his vast and innovative discography on Spotify or any other streaming service, and grab a copy of Zerfall from BandCamp, from AOP Records, from Nuclear Blast or from Napalm Records allowing the music by Ellende to penetrate deep inside your blackened heart and, therefore, letting your deepest emotions arise. Because that’s what high quality Atmospheric Black Metal is all about, and we should always thank L.G. and his Ellende for providing us with such an amazing form of extreme music.

Best moments of the album: Zerfall, Zeitenwende Teil I and Zeitenwende Teil II.

Worst moments of the album: Ode ans Licht.

Released in 2026 AOP Records

Track listing
1. Nur 2:35
2. Wahrheit Teil I 7:03
3. Wahrheit Teil II 5:50
4. Zerfall 7:19
5. Übertritt 6:03
6. Ode ans Licht 4:23
7. Zeitenwende Teil I 6:36
8. Zeitenwende Teil II 5:01
9. Reise 7:14

Double LP bonus tracks
10. Secunda (Jeremy Soule cover) 2:03
11. Verborgenes inneres Leiden 2:28

Band members
L.G. – vocals, choirs, whispers, electric & acoustic guitars, bass, piano, synths, samples, ambience

Guest musicians
P.F. – drums (session)
Klara Bachmair – violin on “Zeitenwende Teil I”
Peter Mairhofer – guitar solo on “Zeitenwende Teil II”
S.R. – guitars (live)
G.T. – guitars (live)
S.L. – bass (live)
T.H.Z. – drums (live)

The Year In Review – Top 10 Hard Rock/Heavy Metal Albums of 2025

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“Who the fuck is Justin Bieber?” – Ozzy Osbourne

There’s not much to celebrate in rock and metal music in the same year when we lost the one and only John Michael “Ozzy” Osbourne. Nothing will ever be the same without the Prince of Darkness, the Madman, The Wizard of Ozz. There isn’t a single artist or band reviewed in the history of The Headbanging Moose that wasn’t influenced in several ways by Ozzy and, of course, by Black Sabbath. It is a very sad year indeed. However, Ozzy was always in a great mood, always happy, and I’m sure that, wherever he is now, he wants to see us all smiling and laughing, because that’s what life is all about. He also wants us to keep attending rock and metal concerts to have a good time with our loved ones, with our closest friends, just like Keith Ibbitson of Metal Paparazzi and I did so many times this year, covering incredible bands the likes of Blackbraid, Ne Obliviscaris, Cattle Decapitation, Blind Guardian, and so on. I’ve also had the utmost pleasure of seeing the mighty Judas Priest in Dalhalla, Sweden, a dream come true for this fanboy here, and I can’t wait to “run for my life” in 2026. Having said all that, let’s honor the life of Ozzy with The Headbanging Moose’s Top 10 Hard Rock/Heavy Metal Albums of 2025, excluding EP’s, best of’s and live albums, and keep on rockin’ like the Madman until our very last breath!

1. Blackbraid – Blackbraid III (REVIEW)
Behold the stunning next chapter in the musical and spiritual journey of the witch hawk of Black Metal hailing from the Adirondack Mountains.
Best song of the album: Wardrums At Dawn On The Day Of My Death

2. Werewolves – The Ugliest of All (REVIEW)
The torchbearers of “Caveman Death Metal” continuing to annihilate intellects with an unlistenable barrage of truly hideous music.
Best song of the album: The Ugliest of All

3. Testament – Para Bellum (REVIEW)
Let’s prepare for war to the sound of the breathtaking fourteenth studio album by California’s own masters of old school Thrash Metal.
Best song of the album: Para Bellum

4. Helloween – Giants & Monsters (REVIEW)
These German giants of Heavy Metal and monsters of Rock N’ Roll are back with their ass-kicking seventeenth studio album.
Best song of the album: Majestic

5. An Abstract Illusion – The Sleeping City (REVIEW)
This incredible Swedish Progressive Death and Black Metal entity returns with their heaviest and most atmospheric work to date.
Best song of the album: Like a Geyser Ever Erupting

6. Allegaeon – The Ossuary Lens (REVIEW)
World domination awaits to the sound of the striking new beast by one of the must-see bands of the current tech death scene worldwide.
Best song of the album: The Swarm

7. 1914 – Viribus Unitis (REVIEW)
Trench warfare meets blackened death and doom in 1914’s fourth onslaught of war-torn fury.
Best song of the album: 1918 Pt 3: ADE (A Duty to Escape)

8. Cryptopsy – An Insatiable Violence (REVIEW)
Canada’s own Death Metal machine returns with their ruthless ninth studio album.
Best song of the album: Until There’s Nothing Left

9. Baest – Colossal (REVIEW)
Back from the fires of Denmark, this unstoppable creature will crush you with their fourth studio album.
Best song of the album: Colossus

10. Diabolizer – Murderous Revelations (REVIEW)
The torchbearers of diabolical abomination unite once again to drag us down into the fiery abysses of Turkish Death Metal without warning.
Best song of the album: Deathmarch of the Murderous Tyrant

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

11. Lorna Shore – I Feel The Everblack Festering Within Me (REVIEW)
12. Impureza – Alcázares (REVIEW)
13. Crimson Shadows – Whispers of War (REVIEW)
14. Primal Fear – Domination (REVIEW)
15. Serenity In Murder – Timeless Reverie (REVIEW)
16. Khôra – Ananke (REVIEW)
17. Panzerchrist – Maleficium – Part 2 (REVIEW)
18. Ominous Ruin – Requiem (REVIEW)
19. Wrath of Belial – Embers of Dead Empires (REVIEW)
20. Grima – Nightside (REVIEW)

Not only that, here’s once again our Top 10 EP’s of 2025, proving once and for all that the duration of an album is not that important in the end. As long as the music is great, the whole thing can be only one second long, like the classic “You Suffer” by Napalm Death!

1. When Plagues Collide – Kingmaker (REVIEW)
2. De Profundis – The Gospel Of Rot (REVIEW)
3. Fimbul Winter – What Once Was (REVIEW)
4. NecroticGoreBeast – Brute (REVIEW)
5. Serpent Corpse – Retaliate (REVIEW)
6. Akouphenom – Connections To The Erebus (REVIEW)
7. Necht – The Inevitable Suffering (REVIEW)
8. Discovery Through Torment – Telesynthetic Rebirth (REVIEW)
9. Der Rote Milan – Verlust (REVIEW)
10. Eleine – We Stand United (REVIEW)

Do you agree with our list? What are your top 10 albums of 2025? 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!

Metal Xmas and a Headbanging New Year! See you in 2026!

And of course, as we really don’t like those boring Christmas songs here on The Headbanging Moose, we’ll leave you with what’s perhaps the most emotional and strongest metal hymn of the year, the charity version of “War Pigs”, by Black Sabbath, recorded by Judas Priest and with Ozzy himself sharing the vocal duties with the Metal God Rob Halford! This is the epitome of rock and metal music!

Generals gathered in their masses
Just like witches at black masses…

Album Review – Weft / The Splintered Oar (2025)

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Behold the striking debut album by this new Atmospheric Black Metal entity from Texas, a vessel of exploration set adrift in a vibrant storm of metal intensities.

A new musical project by Charlie Anderson, who is a violinist and composer from the United States known for his work with the band Panopticon, Huston, Texas-based Atmospheric Black Metal entity Weft is ready to unleash upon us its debut opus, entitled The Splintered Oar. Recorded and mixed by Charlie himself (with contributions by Austin Lunn, Andrea Morgan and Jordan Day, who are also guest musicians in the album), mastered by Spenser Morris, and displaying a stylish artwork by Austin Lunn, The Splintered Oar is a vessel of exploration set adrift in a vibrant storm of metal intensities, a very adventurous and exciting album that perfectly represents Charlie Anderson’s vision and passion right from its very first notes until its climatic ending.

Leaves sounds absolutely melancholic and delicate from the very first second, with the crying violin by Andrea walking hand in hand with Charlie’s minimalist acoustic guitar, flowing into False Kingdoms, which also begins in a cinematic manner, evolving into a feast of contemporary Atmospheric Black Metal led by Charlie’s anguished gnarls and his flammable, piercing stringed weapons. The striking violin by Andrea returns in full force in The Hull, clashing with the Black Metal blast beats by Austin and, therefore, resulting in a superb aria of darkness where Charlie keeps vociferating like a demonic entity for our total delight. Then Charlie and his crew continue to embellish the airwaves with their blend of Atmospheric Black Metal madness in Red Dawn, with his guitars and synths adding an extra touch of insanity to the overall result; whereas lastly we’re treated to the longest of all songs, entitled Dream of Oaks, an acoustic display of Black and Folk Metal that morphs into some sort of Blackened Doom insanity during its second half, presenting different layers carefully crafted by our multi-talented Charlie and his crew.

They say that it takes a band or musician their entire life to create their first album, and on the weathered, atmospheric, and truly adventurous The Splintered Oar, it sounds like every note has indeed a lifetime of exploration, joy, loss, and growth behind it. Hence, you can put your hands on such a unique, multi-layered album of extreme music via the project’s own BandCamp, as well as from the Bindrune Recordings’ BandCamp or webstore as a CD or an LP, and I’m sure we’ll soon see Charlie and his Weft take other virtual realms by storm such as Facebook, Instagram and Spotify. In the end, Charlie Anderson is Weft, and Weft is Charlie Anderson, with The Splintered Oar beautifully representing the fusion of body, soul and extreme music by such an amazing new entity of the current American scene.

Best moments of the album: False Kingdoms and The Hull.

Worst moments of the album: None.

Released in 2025 Bindrune Recordings

Track listing
1. Leaves 5:04
2. False Kingdoms 9:12
3. The Hull 10:25
4. Red Dawn 6:36
5. Dream of Oaks 12:11

Band members
Charlie Anderson – vocals, guitars, bass, strings, electric violin, synth, piano, additional percussion

Guest musicians
Austin Lunn – drums
Andrea Morgan – violin and vocals on “Leaves”, “The Hull” and “Dream of Oaks”
Jordan Day – vocals on “Dream of Oaks”

Album Review – Morbonoct / No One Knows We’re Dying (2025)

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Let the ambience take you over in the fifth studio album by this up-and-coming Cosmic Black Metal entity from outer space.

Having started back in 2021 as a studio project by vocalist and multi-instrumentalist Aleksandr Medvediev in his hometown of Kherson, Ukraine, but currently located in Szczecin, Poland, the otherworldly Symphonic Black Metal entity known as Morbonoct evolved into a more serious and powerful beast in 2023 when vocalist and lyricist David Welnicki joined the band. Now in 2025, after the releases of Anmet (2021), Chorna bezodnya (2022), Galactic Gloom (2023), and The Highest Purpose (2024), the duo returns in full force with their fifth opus, entitled No One Knows We’re Dying. Recorded, mixed and mastered by Aleksandr himself, who also took care of the album’s cryptic artwork, the album offers more of the project’s blend of Cosmic Black Metal, continuing with their exploration of the captivating space theme while presenting dense atmospheric canvases in the background.

It doesn’t take too long for Aleksandr to go full Black Metal in The Creation, offering us all 11 minutes of visceral passages, breaks and variations, with his beats and fills sounding truly insane while Dawid barks and growls nonstop. Lost also surpasses the ten minute mark, warning the listener the album is not for the lighthearted, blending Atmospheric Black Metal moments with the undisputed, raw aggression of Black Metal; followed by Cold Wind, one of the heaviest songs of the album, if not the heaviest, showcasing an amazing job done by Aleksandr on both the guitars and drums, providing Dawid with exactly what he needs to vociferate sheer Black Metal fury. Drifting Away is more contemporary and melodic, also starting in an ethereal way led by the whimsical keys by Aleksandr, offering elements of Doom Metal to spice things up a bit while Dawid’s vocals exhale anguish, and lastly, an extraterrestrial intro slowly morphs into the Atmospheric Black Metal title-track No One Knows, We’re Dying, with Aleksandr crushing his drums majestically in a lecture in progressiveness, heaviness, intricacy and darkness.

“No One Knows We’re Dying traces the inevitable cycles of life – from the beauty of creation to the weight of existence, and finally, to a cold, inevitable silence. The project embraces raw authenticity, with the mix and master intentionally restrained to preserve the natural texture of the vocals. Minimal post-processing allows every imperfection to speak truthfully, amplifying the emotional resonance of the performance. The instrumental foundation forms a cohesive narrative that evokes deep melancholy and a quiet sense of hopelessness, guiding the listener through a hauntingly introspective experience,” commented Aleksandr, and you can be part of Morbonoct’s cosmic journey by following the project on Instagram, by streaming their unique albums on Spotify, and of course by purchasing No One Knows We’re Dying from BandCamp. Or in other words, relax, take a deep breath, and simply let the ambience take you over in the excellent new album by this up-and-coming Cosmic Black Metal entity from outer space.

Best moments of the album: Cold Wind and No One Knows, We’re Dying.

Worst moments of the album: None.

Released in 2025 Independent

Track listing
1. The Creation 10:55
2. Lost 10:43
3. Cold Wind 11:45
4. Drifting Away 11:16
5. No One Knows, We’re Dying 12:07

Band members
Dawid Wełnicki – vocals
Aleksandr Medvediev – guitars, bass, keyboards, drums

Album Review – Der Rote Milan / Verlust EP (2025)

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Enveloped in shadow, this six-headed German Black Metal beast returns with a new EP encouraging us to sit with the discomfort, with the pain and acknowledge that change is certain, but it is not hopeless.

Enveloped in shadow, Trier, Germany-based sextet Der Rote Milan returns to action with more of their intense, melodic, riff-driven Black Metal in their newborn EP Verlust, the German word for “loss.” Produced by the band itself, recorded, mixed and mastered by Markus Stock  at Klangschmiede Studio E, and displaying a suffocating artwork by Matt Prison, the follow-up to their 2019 full-length album Moritat and their the 2023 EP Schlund sees the band formed of III on vocals, I and V on the guitars, VII on bass, II on synths, and VI on drums  develop further their Atmospheric Black Metal sound and lyrical depth, all steeped in a deep sense of humanity, of indulging in the human condition, even those parts many may wish to avoid, encouraging us to sit with the discomfort, with the pain and acknowledge that change is certain, but it is not hopeless.

The EP kicks off in great fashion to the strident, piercing riffs by I and V in Aus der Finsternis, or “out of the darkness” from German, evolving into a bestial fusion of old school Black Metal with Post-Black Metal nuances, sounding utterly hypnotizing and vile from start to finish. Où allez-vous, or “where are you going?”, brings forward more of their trademark sonority, with VI sounding ruthless as usual on drums while III vociferates the song’s devilish words majestically; and there’s no time to breathe as such a demonic horde invades our senses with Skepsis der Existenz, or “skepticism of existence” (referring to a philosophical doubt about the nature and reality of existence itself), perhaps the most Black Metal of all songs, with III once again stealing the show with his raspy growling. Verlust, the song that carries the name of the EP, brings forward an overdose of soul crushing riffs by I and V supported by the classy drumming by VI; and they close the EP on a vile and frantic mode with Der letzte Rubin, or “the last ruby.” inspired by a poem by Johann Wolfgang von Goethe. Furthermore, I can imagine the speed and size of the circle pits that can be formed during it, all boosted by another rumbling background crafted by VII, II and VI.

Exploring a strange sense of beauty that emerges from despair through the multi-faceted nature in which loss is experienced, the music by Der Rote Milan draws not only from nature, but also from the darker side of humanity’s acts, notably historical wars in Central Europe, anti-religion and, on an individual level, inner conflict. The combination of those elements with the harshness of  Black Metal sounds once again fantastic in the band’s newborn EP, and if you want to put your damned hands on it simply go to BandCamp or to Unholy Conspiracy Deathwork, and don’t forget to also follow the band on Facebook and on Instagram, and stream their austere creations on any platform like Spotify. Because loss exists and purveys through our lives in many forms, one of them being the undisputed Black Metal offered by Der Rote Milan in albums like Verlust, a must-listen for admirers of the darkest side of music and life in general.

Best moments of the album: Où allez-vous and Skepsis der Existenz.

Worst moments of the album: None.

Released in 2025 Unholy Conspiracy Deathwork

Track listing
1. Aus der Finsternis 4:46
2. Où allez-vous 4:40
3. Skepsis der Existenz 4:06
4. Verlust 4:12
5. Der letzte Rubin 5:04

Band members
III – vocals
I – guitar
V – guitar
VII – bass
II – synths
VI – drums

Album Review – Unviâr / Disglaç (2025)

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

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

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

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

Best moments of the album: Nevere and Disglaç.

Worst moments of the album: None.

Released in 2025 ATMF

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

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

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

Album Review – 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)