Tag Archives: atmospheric black metal

Album Review – Noitasapatti / Sankarin matka (2024)

Posted on by
Reply

This ruthless Finnish Black Metal horde returns with a scorching yet cold and vile concept album where its dreamlike story slowly advances towards indescribable horrors.

Formed in the spring of 2017 in Pori, a city in Finland and the regional capital of Satakunta, the unrelenting Black Metal horde known as Noitasapatti, which is Finnish for “witch’s sabbath”, is set to darken the skies with the release of their sophomore album, titled Sankarin matka, or “a hero’s journey”, the follow-up to their 2022 debut Kuolemattomille maille. Displaying a broad range of sounds while also bringing a lot of fresh soundscape to their music, Sankarin matka is a concept album consisting of an intro and seven songs where its dreamlike story slowly advances towards indescribable horrors, which waver between dream and reality until the truth is exposed in all of its heinousness, while the music is clearly inspired by 90’s Black Metal, British Death and Doom Metal, and even Progressive Rock, showcasing all the talent and dexterity by Erakko on vocals, bass, mouth harp and horns, Liekkiö on the guitars, Kadonnut on keyboards, and Häviö on drums.

Tulikipuna, or “red fever”, is a beyond cinematic intro, a phantasmagorical start to the album that nicely flows into Tuhatkasvoinen, or “thousand faced”, where Erakko begins screaming like a maniac supported by the classic Black Metal riffs by Liekkiö. After that, we have the the title-track Sankarin matka, bringing to our avid ears more of their fusion of Black Metal with experimental sounds, with the intricate beats by Häviö and the wicked keys by Kadonnut sounding absolutely electrifying; and their fusion of raw Black Metal with atmospheric and melodic sounds works really well in Paluu liekkeihin (“back to the flames”), the most Atmospheric Black Metal song of the entire album.

Käskyläisen sanat (“orderly words”) continues with their piano-infused extreme music attack, sounding even more piercing and devilish to the caustic riffage by Liekkiö while Erakko barks the song’s Finnish lyrics like a creature of the underworld, whereas Henkien polulla (“on the path of spirits”) sounds haunting and captivating from the very first second, reminding me of some of the songs from the early days of Cradle of Filth. Moreover, Kadonnut has mastered the art of devilish keys, making the song feel truly experimental at times. Then creepy guitars and bass lines will penetrate deep inside your skin in Matka halki myrskyjen, or “a journey through storms”, despite lacking more energy and getting stale after a while, though. Finally, let’s embark on a 10-minute voyage through the realms of cryptic Black Metal with Noitasapatti in Tähtivaeltaja, or “star trek”, where the bitterly cold gnarls by Erakko match flawlessly with the phantasmagorical sounds crafted by his bandmates, with its piano outro exhaling melancholy for our total delight.

A hero’s journey can be dark, evil and very demanding, just like what Noitasapatti have to offer us all in their new beast Sankarin matka, and if you think you have what it takes to face that infernal path you can get in touch with the band via Facebook or Instagram, stream their wicked creations on Spotify, and purchase their venomous new opus on BandCamp or from the Inverse Records webstore. However, be warned you’re going to face unimaginable horrors as soon as you hit play, proving once and for all the devilish power of Black Metal hailing from the North, sounding scorching and caustic while at the same time bitterly cold and chilling.

Best moments of the album: Sankarin matka, Käskyläisen sanat and Tähtivaeltaja.

Worst moments of the album: Matka halki myrskyjen.

Released in 2024 Inverse Records

Track listing
1. Tulikipuna 1:33
2. Tuhatkasvoinen 4:09
3. Sankarin matka 5:10
4. Paluu liekkeihin 6:21
5. Käskyläisen sanat 6:42
6. Henkien polulla 4:18
7. Matka halki myrskyjen 5:48
8. Tähtivaeltaja 9:50

Band members
Erakko – vocals, bass, mouth harp, horns
Liekkiö – guitars
Kadonnut – keyboards
Häviö – drums

Album Review – Eldingar / Lysistrata (2024)

Posted on by
Reply

This indomitable Hellenic Black Metal horde will attack your senses with their sophomore album, exploring themes of the dissolution of the army and the rejection of the desire for power.

Hailing from the stunning Greek capital of Athens, Eldingar, the Black Metal band known for their fusion of Melodic Death and Thrash Metal with pagan and folk elements, has just unleashed upon humanity their sophomore opus, titled Lysistrata, an album that could easily soundtrack a vile and epic battle between the gods of Olympus. Recorded, produced, mixed and mastered by Steve Lado at SL Studios, and displaying a stunning artwork by Maximos Manolis, the new album by Andreas Simitzis on vocals, Stavros Lontos on the guitars, Giannis Dardas on bass and Defkalion Dimos on drums is the perfect follow-up to their 2021 debut Maenads, highly recommended for fans of Rotting Christ, UADA and Naglfar, exploring themes of the dissolution of the army and the rejection of the desire for power, juxtaposed with the emotional liberation from submission, inviting listeners to consider whether this revolutionary idea could be the key to achieving long-awaited peace, both in the world and within the soul.

An acoustic, melancholic start goes on for the entire duration of Dryope, working as an extended intro for the explosive title-track Lysistrata, where the deep roars by Andreas and the scorching riffs by Stravos will penetrate deep inside your rotten soul while all breaks, variations, atmospheric passages and guest vocals by Iliana Tsakiraki only make the whole song even more powerful and mesmerizing, making an instant connection with the also grim and captivating Ares, where Defkalion gives a lesson in drumming by sounding intricate and furious all at once, and it’s absolute beautiful how they manage to flow from classic Black Metal to Melodic and Atmospheric Black Metal seamlessly. They then keep delivering sheer obscurity in Therasia, again beginning with a cryptic narration in Greek and offering us all a well-balanced fusion of Black Metal and atmospheric sounds, while presenting a soothing break until the band’s final attack.

That savagery morphs into the piano-driven interlude Inside Cosmos, bringing some peace to our hearts before we’re treated to Cosmos, with Defkalion already blasting his drums in the name of Black Metal supported by the low-tuned bass by Giannis, while Andreas continues to vociferate in a devilish and mysterious way for our total delight, and with its calming, whimsical ending flowing into Ode, gradually evolving into a feast of Progressive and Melodic Black Metal led by the striking, piercing riffage by Stavros, or in other words, it’s a full-bodied aria of darkness exhaling melancholy and rage with all of its somber, grim moments sounding stunning. The second to last tune of such an amazing album, entitled Myrrine, brings more of their trademark gentle sounds, mainly the acoustic guitars by Stavros, albeit too long for an interlude; whereas Where To Stand is another blend of their more introspective, almost folk-inspired sounds with ambient dark music, with Andreas stealing the spotlight with his deep, passionate vocals.

Eldingar’s unique blend of intense musicality and philosophical depth promises to captivate and resonate with audiences worldwide, so prepare for an album that challenges the status quo and seeks to touch the hearts and minds of all who listen. Having said that, don’t forget to follow the band on Facebook and on Instagram, to stream their music on Spotify, and to purchase their excellent new album from Vinyl Store as a CD or as a vinyl, diving deep into their world of battles, a wide range of emotions, and man’s endless pursuit of power.

Best moments of the album: Lysistrata, Cosmos and Ode.

Worst moments of the album: Myrrine.

Released in 2024 Vinyl Store

Track listing
1. Dryope 4:27
2. Lysistrata 10:27
3. Ares 11:14
4. Therasia 10:20
5. Inside Cosmos 3:00
6. Cosmos 11:16
7. Ode 10:27
8. Myrrine 6:18
9. Where To Stand 7:05

Band members
Andreas Simitzis – vocals
Stavros Lontos – guitars
Giannis Dardas – bass
Defkalion Dimos – drums

Guest musician
Iliana Tsakiraki – female vocals

Concert Review – Beyond the Gates (Bergen, Norway, 07/31/2024-08/03/2024)

Posted on by
Reply

***Review and photos by Mathis Backe***

A metalhead can’t ask for a more fitting experience than four days of extreme metal in the city that is responsible for birthing one of the most notorious and exciting sub-genres, black metal. Bergen, Norway is home to some of the most relevant and awe-inspiring artists, bands and figures such as Enslaved, Gorogorth/Gaahl, Burzum/Varg Vikernes, Immortal/Abbath put this city on the map as it relates to their contributions. It makes perfect sense, then, that this same city is host to the Beyond The Gates Festival, which features many of the Nordic bands that have helped shape black metal, plus a whole selection of other artists and experiences. The 2024 edition proved to be one of the best yet.

DAY ONE

Mayhem @ Beyond the Gates 2024

The day started with Trondheim’s Whoredom Rife who are one of the most exciting bands to come out of Norway in quite some time. They hit the stage with the ferocity of a tsunami and destroyed with a raw, vicious black metal assault. Next up was Polish black metallers Manbryne. As a relatively new entry into the space (having formed in 2017) this five-piece delivered a set like a band with a few decades under their bullet-adorned belts. Next up was American black/death/thrash gods, Black Anvil. If you’ve ever been fortunate enough to catch these guys live, you’ll already know that they truly give it their all. A fantastic band that showcases both their many years of experience and utter exuberance when they hit that stage. The mighty Mayhem hit the larger of two stages at USF Verftet (the venue that hosted the first two days of the festival) with a set that celebrated the band’s 40th anniversary. There is no better place for this to happen, as Bergen is the same city that the band recorded their legendary debut album, De Mysteriis Dom Sathanas. The guys hit the stage and plowed through decades worth of material, which included a couple of tracks from their now-classic debut, Deathcrush (even inviting two former members to the stage to perform these tracks). Ending off the night was Bergen resident and legendary black metal figure, Gaahl, and his newly-revamped Trelldom. For this unfamiliar, Trelldom sprung to life in the 90s, prior to Gaahl joining Gorgorth, and released a few now-legendary albums. They were short-lived, but have recently reformed, releasing a brand new album of experimental music with some tinges of black metal. Their set tonight comprised mostly new material, but they also threw in a few goodies for longtime fans.

DAY TWO

Behemoth @ Beyond the Gates 2024

Waking to a beautiful day in Bergen, we were ready to hit the streets and make our way over to the venue to catch the first two bands of the day: Prague’s Cult Of Fire and Sweden’s Portrait. Both bands put on spectacular, albeit very different, sets. Cult Of Fire are the Buddhists of metal and, as such, their set and theatrics reflect this perfectly. Portrait’s brand of classic heavy metal was a nice change of pace from all the extremity we had witnessed thus far. Next up was the classic lineup of Venom (not to be confused with Venom Inc.) which features original member, Cronos. The larger venue, Hallen, was packed to the gills for this set which featured all the classics fans have grown to love over the last five decades. It was a highly-energized set which included many fan sing-alongs. Switzerland cosmic black metallers, Darkspace, then put on what can only be described as a trip into the outer reaches of the universe punctuated by their brand of hypnosis-inducing black metal. Incredible stuff from a band that does not often play live. Definitely a rare treat. Ending the night were Behemoth and Death SS. Having seen Nergal and crew many times, tonight was probably one of the best performances yet. The festival spared no expense with the pyro and stage props, which allowed the guys to truly capitalize on their already larger-than-life presence. The final act of the night, Death SS, are a band that have existed since the late 70s. Not being too familiar with their material, I was pleasantly surprised by their super high-energy set and the quality of songs that they delivered, which ranged from classic heavy metal all the way to stuff on the more extreme end of things. A very interesting and fun to catch on the live front, if you ever get the chance.

DAY THREE

Enslaved @ Beyond the Gates 2024

With the first two days in the history books, we move to the second of two venues, the famed Grieghallen, for the final two days. If you are familiar with Grieghallen, you would know that the venue was the very same place that many of the legendary Norwegian black metallers recorded their early work. The first band of the evening was Norwegian avant-garde black metal, Dødheimsgard. Frontman, Vicotnik, and his merry band of minstrels, carnivalized their way through an incredible set of vertigo-inducing tracks. Next up was Norway’s Djevel, the band that features one Bard Faust behind the drums (formerly of Emperor). These guys are the gatekeepers of True Norwegian Black Metal, and their set proved as much. There are no frills or gimmicks. It was just straight-up second wave-inspired black metal from start to finish. One of the best performances of the festival thus far. Hometown heroes, Enslaved, are one band that have played many of the previous editions of the festival. Each year, the band tackles one of their classic, early albums. This year, they played through the entirety of their ’95 album, Frost. As such, the stage was adorned with jutting icicles which further enhanced the overall performance. At this point, Enslaved can do no wrong. Let’s hope they are back again next year. The last band of the night, Satyricon, were the only band to play two sets. This first set, comprised material from their entire catalog, with focus on some of their more well-known songs. Satyr and crew did an excellent job of vetting songs that would appeal to fans of different eras of the band. Additionally, the festival hosted a retrospective exhibit of Satyricon’s entire career. Incredible stuff.

DAY FOUR

Blood Fire Death @ Beyond the Gates 2024

Heading into the final day, the sunshine of the previous three days gave way to more inclement, wet weather. Fittingly, the rain of the day perfectly suited the first two bands, Vemod and Vreid, respectively. Both bands delivered stunning sets of Norwegian black metal in the realm of the more atmospheric. Vreid, which features former members of the highly-regarded Windir, were definitely a fan favorite. They even invited the brother of former Windir frontman, Valfar (who tragically passed away a number of years ago), up on the stage as a guest vocalist to honor his brother with a Windir song. Satyricon then charged onto the stage for the second set of the festival with another collection of songs that spanned their entire catalog. This time, there was more focus on later era tracks, which, as a fan of this era, was a welcomed treat. Lastly, the performance that everyone was waiting for: Blood Fire Death, a tribute to Bathory. There can be no better festival to host something like this, as each and every band that performed over the last four days owes something to the legendary Bathory. Each song of the performance featured various members of bands that performed throughout the fest to give their own spin on these songs, with many of the songs featuring a different vocalist. The entire spectacle was overwhelming and will go down in history as one of the pivotal performances of Beyond The Gates.

This slideshow requires JavaScript.

Album Review – Notturno / Our (2024)

Posted on by
Reply

The newest chapter in the story of this Italy-based Atmospheric/Depressive Black Metal entity continues the exploration of the human psyche and our obsessive compulsions.

One year to the date of their last album, titled Inside, and two years after their debut opus Obsessions, the newest chapter in the story of Italy-based Atmospheric/Depressive Black Metal entity Notturno has just seen the light of day once again in the form of their new album Our, continuing the exploration of the human psyche and our obsessive compulsions. Recorded at BVNKER Studio, with vocals recorded at HK Studios and drums recorded by Stefano Nuccetelli at Music Up Studio, mixed and mastered by Stefan Traunmüller at Soundtempel Studio, and displaying a captivating atwork by Sky Studach, with photos by Riccardo Ziosi and featuring model Giulia Simonelli, the new album by vocalist Kjiel and multi-instrumentalist Vittorio Sabelli, alongside session drummer Aeternus (aka Sven Vinat), is rooted in Atmospheric and Depressive Black Metal with classical instruments incorporated into the compositions, only adding to the rich sonic tapestry, though perhaps never as seamlessly as on this latest album.

And it’s classic Notturno in the intro Adagio, with the dark, deep sounds of the clarinet by Vittorio generating a truly menacing ambience perfect for the band to crush our souls in Inside, where the delicate but piercing instrumental pieces are exactly what Kjiel needs to shine on vocals, overflowing melancholy and flowing majestically until the very last second, therefore connecting in a beautiful way with Anymore, which starts in a serene manner to the acoustic guitars by Vittorio, alternating between utterly introspective moments to the gentle vocals by Kjiel and sheer heaviness and obscurity with harsher riffs and roars, resulting in a multi-layered aria of Depressive Black Metal. Then all explodes into the heavy-as-hell, Black Metal-infused Paranoia, with Vittorio and Aeternus demolishing our damned souls with an infuriated eight-minute wall of sounds full of classic riffs, beats and fills, with its calm interlude bringing peace to our rotten souls before all hell breaks loose again to the devilish vociferations by Kjiel; and lastly, it’s time for Vittorio to reach deep inside our hearts with his piano in the closing tune Doors, with Kjiel darkly declaiming the song’s lyrics, before morphing into a stylish Depressive and Atmospheric Black Metal onrush and ending in a gentle, somber way.

Such an amazing Italian duo of darkness is waiting for you on Facebook and on Instagram with more of their music, news, tour dates and so on, and don’t forget to also stream their eerie creations on Spotify and, above all that, to purchase Our from the Hypnotic Dirge Records’ BandCamp or webstore, adding an extra touch of obscurity to your collection. Kjiel and Vittorio more than just complete each other in a “Beauty and the Beast” style, specially because Kjiel is also a beast; they actually represent one single entity which purpose is to bring darkness and melancholy to our hearts, with Our being the perfect follow-up to Obsessions and Inside, continuing to pave the duo’s beautiful path to a land where there’s no hope, nor light.

Best moments of the album: Anymore and Paranoia.

Worst moments of the album: None.

Released in 2024 Hypnotic Dirge Records

Track listing
1. Adagio 3:53
2. Inside 7:39
3. Anymore 10:14
4. Paranoia 8:08
5. Doors 8:15

Band members
Kjiel – vocals
Vittorio Sabelli – guitars, bass, clarinet, bass clarinet, piano, keys

Guest musician
Aeternus – drums

Album Review – Groza / Nadir (2024)

Posted on by
Reply

Driven by emotion, anger and sadness, this German Black Metal horde will strike you like a lightning storm to the sound of their thrilling new album.

Groza, or “Гроза” in Cyrillic, which means “lightning storm”, “horror” or “disgust” in a few Slavic languages, are an up-and-coming Black Metal band formed in 2016 in Mühldorf am Inn, Bavaria, Germany, crafting a sound driven by emotion, anger and sadness, combining searing melodies, raging blast beats and melancholy induced clean guitar passages into a melodic, dynamic blend, which is exactly what you’ll get in their new album Nadir. Recorded, edited, mixed and produced by the band’s own founder P.G., mastered by David Pilz, and with the guitars re-amped by Georg Traschwandtner, the new album by the aforementioned P.G. on lead vocals, bass, guitars, orchestration and samples, U.A. on lead guitars and backing vocals, and T.H.Z. on drums is perfect for fans of Harakiri For The Sky, Mgla, Uada, and Alcest, delivering dark and melodic music for our avid ears.

The atmospheric, haunting intro Soul : Inert sets the stage for the trio to darken our minds and souls with Asbest, a powerful Melodic Black Metal tune with progressive and experimental nuances where P.G. roars with tons of anger in his blackened heart supported by the thunderous beats by T.H.Z., not to mention how metallic their riffs sound and feel. Then we have Dysthymian Dreams, the first single of the album, offering our avid ears eight minutes of Black Metal magic led by the sharp, piercing guitars by P.G. and U.A., or in other words, it’s a brutal yet melodic and enfolding aria of darkness by Groza. Equal. Silent. Cold. keeps the atmosphere burning to the sound of P.G.’s infernal vociferations while the drums by T.H.Z. exhale old school Black Metal, resulting in one of the most ferocious and detailed songs of the album; and it’s time for a nine-minute musical journey through the most obscure corners of the mind in Deluge, reminding me of some of the most recent creations by Gaerea, with their riffs and blast beats mercilessly devouring our rotten souls. Lastly, featuring J.J. & M.S. of bands like Kard and Harakiri for the Sky, we have Daffodils, a beyond dense, multi-layered and pensive Black Metal aria with lots of elements from Post-Black Metal and Atmospheric Black Metal, where the drums by T.H.Z. sound sensational throughout the entire song and with all agony and despair flowing from the last part of the song being absolutely climatic and piercing.

The music by Groza is haunting, mesmerizing, evil and ethereal all at once, and Nadir is the perfect depiction of the band’s musical power, talent and focus. Hence, don’t forget to give such a distinct horde a shout on Facebook and on Instagram, to stream their music on Spotify, and of course to purchase a copy of the flammable Nadir from their own BandCamp page, from AOP Records, from Napalm Records, from Indiemerchstore, from MVD Entertainment, or click HERE for all digital platforms. Because Groza do not just play Black Metal – they take Black Metal to new and exciting heights.

Best moments of the album: Dysthymian Dreams and Equal. Silent. Cold.

Worst moments of the album: None.

Released in 2024 AOP Records

Track listing
1. Soul : Inert 1:21
2. Asbest 6:54
3. Dysthymian Dreams 8:10
4. Equal. Silent. Cold. 6:59
5. Deluge 9:18
6. Daffodils 9:53

Band members
P.G. – lead vocals, bass, guitars, orchestration, samples
U.A. – backing vocals, lead guitars
T.H.Z. – drums

Guest musicians
J.J. and M.S. – vocals on “Daffodils”
“Bandhouse” crew – choir on “Daffodils”

Album Review – Typhonian / The Gate of the Veiled Beyond (2024)

Posted on by
Reply

This unrelenting German entity will crush your damned soul with their newborn spawn, a phenomenal journey rooted in the old school Death Metal sound.

Where most bands are content reveling in the sound of the glory days of early 90’s Death Metal, Ulm, Baden-Württemberg, Germany-based band Typhonian has not only beautifully reimagined it with blackened elements laced with the classic Swedish and Finnish melodies, but they are also attempting to take that sound ahead in the most logical manner. Displaying a classic artwork by Juanjo Castellano Rosado, their new opus titled The Gate of the Veiled Beyond goes a step further compared to their 2021 EP The Cosmic Pendulum of Time and their debut album Beneath the Streams of Life, adding more progressive and atmospheric elements, a phenomenal music journey that’s evidently rooted in the old school Death Metal sound metamorphosing gradually and finally taking on a gleaming, breathtaking form and ascending, all carefully crafted by M. W. Styrum on vocals, Prometheus on the guitars, Typhon on the guitars and orchestrations, Charybdis on bass, and Thanatos on drums, being highly recommended for fans of Edge of Sanity, Unanimated, Necrophobic, Dismember, Desultory, Unleashed, and Evocation, among several others.

Just hit play and the atmospheric intro Celestial Salvation will transport us all to the dark world ruled by Typhonian before the band begins hammering our souls in Cosmic Throne, with the massive beats by Thanatos walking hand in hand with the powerful riffs by Prometheus and Typhon, not to mention how deep the guttural vocals by M. W. Styrum sound, flowing into the straightforward Death Metal attack titled Primal Deceptive Light, with the caustic riffage by the band’s guitar duo inviting us all to slam into the circle pit like true maniacs. Then bringing elements of Doom Metal to their sound, plus cryptic background orchestrations, the band fires the short and sweet Crimson Rivers, where once again M. W. Styrum sounds demonic on vocals; whereas another atmospheric, Stygian start gradually evolves into the heavy-as-hell, devilish aria The Gatekeeper, with Charybdis and Thanatos making the earth tremble with their respective bass and drums, also presenting elements from Atmospheric Black and Death Metal in their bold and dense sound.

Towards the Chamber of the Omnipresent Mind carries a beautiful name for a fast, acid and thunderous aria by Typhonian, with the guitars by Prometheus and Typhon exhaling heaviness and despair while M. W. Styrum keeps roaring and barking the song’s obscure words nonstop, and Typhonian brings forward a menacing fusion of Death Metal with Doom and Epic Metal entitled A Glimpse at the Starless Ocean, where Thanatos takes the lead with his crushing beats and fills, accompanied by the scorching riffs and solos by Prometheus and Typhon. Lastly, you better be prepared for a 20-minute ethereal, harsh and hypnotic musical voyage titled Cath’un – The Gate of the Veiled Beyond, flowing majestically to the demolishing drums by Thanatos before a sinister break permeates the air for quite some time, until all explodes into an imposing feast of Death Metal sounds, with M. W. Styrum’s vociferations adding an extra touch of insanity to their already wicked music, resulting in a stunning sonic beast by the quintet to conclude their infernal mass.

With the visionary The Gate of the Veiled Beyond release, Typhonian have more than just outdone themselves; they have surpassed expectations for the style as a whole. Hence, don’t forget to give them your best guttural shout on Facebook and on Instagram, to stream their music on Spotify, and of course, to purchase their imposing new album from their own BandCamp page, as well as from Transcending Obscurity Records (main store, BandCamp, EU store, and US store), or click HERE for all things Typhonian. Those talented German metallers are not your average Death Metal band, delivering a breathtaking amalgamation of styles that will leave you completely disoriented after all is said and done in The Gate of the Veiled Beyond, all in the name of first-class extreme music.

Best moments of the album: Primal Deceptive Light, Towards the Chamber of the Omnipresent Mind and Cath’un – The Gate of the Veiled Beyond.

Worst moments of the album: None.

Released in 2024 Transcending Obscurity Records

Track listing
1. Celestial Salvation 0:44
2. Cosmic Throne 4:06
3. Primal Deceptive Light 4:48
4. Crimson Rivers 3:35
5. The Gatekeeper 7:06
6. Towards the Chamber of the Omnipresent Mind 4:46
7. A Glimpse at the Starless Ocean 5:39
8. Cath’un – The Gate of the Veiled Beyond 19:21

Band members
M. W. Styrum – vocals
Prometheus – guitars
Typhon – guitars, orchestrations
Charybdis – bass
Thanatos – drums

Album Review – Sepulchre by the Sea / Seven Chambers (2024)

Posted on by
Reply

This brilliant Atmospheric Black Metal project from the UK returns with its sophomore full-length opus, inspired by Edgar Allen Poe’s famous tale The Masque of the Red Death.

After a three-year hiatus and relocating to Cornwall, one-man Atmospheric Black Metal project Sepulchre by the Sea is now set to return with its most ambitious project to date, it’s second full-length release, titled Seven Chambers, the follow-up to the 2020 album Conqueror Worm and the 2021 EP Ratiocination. Displaying a modern yet classic artwork by Emma Hill, the new album by vocalist and multi-instrumentalist Ashley Shannon was conceived, written and recorded as one continuous 45-minute song inspired by Edgar Allen Poe’s famous tale The Masque of the Red Death, later divided into seven unique movements, each coded to the mood and color of the chambers in the story, and where Ashely was able to explore sounds and genres outside of his usual Atmospheric Black Metal, such as Drone and Electronica, and draw on instrumentation never before seen in a Sepulchre by the Sea record.

Delicate piano notes and atmospheric sounds set the stage in I. Blue Hubris, an extensive and enfolding intro that will transport you to the world of Sepulchre by the Sea in II. Purple Pestilence, a harsh, dark and caustic creation by Ashley, where his strident riffs and classic blast beats add an extra touch of heaviness to the overall result, not to mention how anguished his gnarls sound in over nine minutes of visceral, piercing music; whereas III. Green Bath begins in a truly soothing manner, with the sound of the birds complementing Ashley’s minimalist guitars, offering us all four minutes of sheer serenity before he strikes again with his Atmospheric Black Metal wall of sounds in IV. Orange Opulence, where fast-paced drums and piercing riffs enhance the impact of his enraged roars, alternating between calmer passages and obscure moments like if it was two or three songs in one. V. White Death is another somber, ethereal interlude by Ashley and his Sepulchre by the Sea, flowing into VI. Violet Visions, presenting his more lugubrious side, almost like Funeral Doom at times, with his deep vociferations and background keys giving the whole song a phantasmagorical vibe, or in other words, it’s another detailed and bold musical journey tat will hypnotize you during its 12 minutes, morphing into the atmospheric ballad VII. Scarlet Dreams, where Ashley puts a beyond melancholic ending to the album.

Anyone who preorders the album will receive the bonus track Darkness Holds Dominion upon release, a 21-minute spoken word performance of The Masque of the Red Death set to an ambient drone piece, and in order to guarantee your bonus song you can go to Sepulchre by the Sea’s BandCamp page right now and preorder such an amazing album of atmospheric music. Also, don’t forget to follow Ashley and his Edgar Allan Poe-inspired beast on Facebook and on Instagram for news and other nice-to-know details about the project, to stream his previous albums (and soon the excellent Seven Chambers) on Spotify, or click HERE for all things Sepulchre by the Sea, and may Ashley keep experimenting with different types of music and stunning us all with his project by delivering several more albums as great as his newborn spawn. And now was acknowledged the presence of the Red Death and of Sepulchre by the Sea.

Best moments of the album: II. Purple Pestilence and IV. Orange Opulence.

Worst moments of the album: None.

Released in 2024 Independent

Track listing
1. I. Blue Hubris 3:15
2. II. Purple Pestilence 9:19
3. III. Green Bath 4:12
4. IV. Orange Opulence 9:28
5. V. White Death 3:20
6. VI. Violet Visions 12:08
7. VII. Scarlet Dreams 4:16

Band members
Ashley Shannon – vocals, all instruments

Album Review – Against the Seasons / If The Ocean Could Sing (2024)

Posted on by
Reply

Join this talented Polish musician and his excellent new album of Atmospheric Doom and Post-Metal on a journey through the dark waters of the inner self.

If the ocean could sing, what would it say? That’s the question asked by Polish guitarist Damian Kinowski in If The Ocean Could Sing, the new album by his Atmospheric Folk/Doom/Post-Metal project Against the Seasons. Mixed, mastered and recorded at Versus Records, displaying a beautiful artwork by Aghy Purakusuma, and featuring guests Michał Miluśki (Aether) on vocals and Łukasz Tomczak (Immalum) on bass and drums, the album is a journey through the dark waters of the inner self, portraying a mix of emotions and reflections that haunted Damian during a melancholic period, while also inspired by the music by Woods of Ypres, Forest Stream, Thrawsunblat, Alice in Chains, and many others.

A massive riff by Damian kicks off the album on a high note in Exile, accompanied by the pounding drums by Łukasz and with Michał bringing his share of melancholy and darkness to the music with his devilish roars. Then we’re treated to an amazing rendition by Damian and his henchmen of The Astral Dialogue, by Agalloch (check the original version HERE), presenting the heaviness of the original with the band’s own modern and vibrant twist, followed by Ode, a detailed song with a nice balance between Doom and Folk Metal by the trio, with the guitars by Damian setting the tone while Łukasz delivers sluggish yet fierce beats, all boosted of course by Michał’s anguished roars. Reflection On The Pond brings to our avid ears another round of their Atmospheric Black Metal overflowing pain, melancholy and obscurity, with the acoustic and electric guitars by Damian once again penetrating deep inside our souls; and it’s then time for the second cover of the album, The Sun Was In My Eyes: Part One by Woods of Ypres (also check the original version HERE), sounding even more imposing and epic. Finally, an acoustic intro by Damian kicks off the closing aria Elegy Of The Stars, offering over ten minutes of serene passages intertwined with atmospheric and somber blasts of Black Metal, with the vocal lines by Michał overflowing anger supported by the ominous drums by Łukasz.

If The Ocean Could Sing can be appreciated in full on YouTube and on Spotify, but of course in order to truly support the underground you can grab a copy of the album from the project’s BandCamp page, and don’t forget to also subscribe to their official YouTube channel. Damian and his Against the Seasons are definitely making the ocean sing in their enfolding and melancholic new album, offering a feast of Atmospheric Black and Doom Metal with Post-Metal nuances for admirers of the genre that will certainly fuel Damian to keep embellishing the airwaves with his dark and extremely melodic music for many years to come.

Best moments of the album: Exile and Elegy Of The Stars.

Worst moments of the album: None.

Released in 2024 Independent

Track listing
1. Exile 4:56
2. The Astral Dialogue (Agalloch Cover) 5:18
3. Ode 4:43
4. Reflection On The Pond 4:24
5. The Sun Was In My Eyes: Part One (Woods of Ypres Cover) 6:31
6. Elegy Of The Stars 10:18

Band members
Damian Kinowski – guitars

Guest musicians
Michał Miluśki – vocals
Łukasz Tomczak – bass, drums

Album Review – Limbes / Liernes (2024)

Posted on by
Reply

A languid, raw, sensitive, literate, true and sincere piece of Atmospheric Black Metal offered to us all by a multi-talented musician hailing from France.

Mastering by Jack Shirley at The Atomic Garden Recording Studios, and showcasing a stylish artworks by Dehn Sora, the obscure Liernes, by Paris, France-based Atmospheric Black Metal one-man project Limbes, is the logical continuation of the previous album Écluse, from 2021, a languid, raw, sensitive, literate, true and sincere piece of Black Metal. However, it differs from the latter by a more accessible approach than in the past. Thus, long and atmospheric tracks mingle with the usual torrents of hypersensitivity by the project’s mastermind, vocalist and multi-instrumentalist Guillaume Galaup, all embraced by the Stygian poetry by Marie “Ciguë” Husson, turning the album into a must-listen for fans of Wolves In The Throne Room, Ultha, and Paramnesia.

Pied de Pilori, or “pillory foot”, sounds absolutely atmospheric from the very first notes, with Guillaume building a dense and enfolding ambience that will puts us all in a trace, exploding halfway through it into sheer violence and obscurity, with his harsh vociferations and visceral guitars piercing our souls and minds. Les Côtes à l’Unisson, or “coasts in unison”, also begins in a serene and gentle manner, this time sounding even more atmospheric than the opening track with Guillaume focusing on more delicate sounds like the background synths without forgetting to add heaviness to the music through his beats and guitars; whereas featuring guest vocals by Russian artist Kariti, Buffet Frigide is a lecture in Atmospheric Black Metal made in France, with the sound of all instruments by Guillaume building the perfect stage for Kariti to shine with her hypnotizing vocals, alternating between pure ethereal moments and more vicious sounds where Guillaume darkly roars together with Kariti, instantly connecting with the pulverizing Aulnes & Poussières, or “alders and dust”, where once again our lone wolf hammers all his instruments in the name of dark and caustic metal music, always adding his share of insanity to it through his anguished gnarls, ending in sheer melancholy.

The music by Limbes is definitely not an easy listen for the average music fan, demanding time and focus to absorb all the elements crafted by Guillaume during each one of the lengthy songs from the album, but once it hits you, then you’ll have an amazing experience listening to the album in its entirety. Furthermore, you can get more details about Guillaume and his Limbes by visiting the project’s Facebook and Instagram, stream more of his music on Spotify, and buy the excellent Liernes from his own BandCamp page, from the Frozen Records website, or by clicking HERE. Guillaume was truly inspired when composing his new album under his Limbes project, and I highly recommend you listen to the album to the smallest detail to capture all the passion, agony, pain and darkness overflowing from each song, therefore helping place Limbes as one of the must-see names of the modern extreme music scene.

Best moments of the album: Pied de Pilori and Buffet Frigide.

Worst moments of the album: None.

Released in 2024 Frozen Records

Track listing
1. Pied de Pilori 11:36
2. Les Côtes à l’Unisson 6:54
3. Buffet Frigide 12:13
4. Aulnes & Poussières 10:49

Band members
Guillaume Galaup – vocals, all instruments

Guest musician
Kariti – vocals on “Buffet Frigide”

Album Review – Occulta Veritas / Irreducible Fear of the Sublime (2024)

Posted on by
Reply

A multi-talented Italian musician will attack your senses with his Atmospheric Black Metal debut effort, a dive into the beauty of darkness, sublimated in songs with intense melodies and riffing.

The multi-talented Daniele Vergine, the Turin, Piedmont, Italy-based guitarist for Noise Trail Immersion, is a musician who has in his strings not only the Post-Black Metal played by the band he is part of, but also the darkest and most Atmospheric Black Metal, as presented to us all in his solo project Occulta Veritas (or “the hidden truth” from Latin), debuting with the album Irreducible Fear Of The Sublime. Recorded, mixed and mastered by Daniele himself, and displaying a Stygian cover art by Vama Marga, the album is a dive into the beauty of darkness, sublimated in songs with intense melodies and riffing brought into being by Daniele on vocals, guitars and drums, alongside guest bassist Gabriele Ponziano, being highly recommended for fans of Krallice, Altar of Plagues, Yellow Eyes, and Thantifaxath, just to name a few.

Serene, grim sounds gradually evolve into a harsh, visceral Atmospheric Black Metal aria titled The Mirror Stage, where Daniele’s vocals and guitars sound truly haunting, or in other words, it’s an embracing start to the album that beautifully introduces us to Daniele’s cryptic realm, followed by The Sacred Horizons of Totality, where he keeps his ethereal, somber ambience strong, with his classic beats and fills, together with the low-tuned bass lines by Gabriele, enhancing the project’s darkness considerably. Daniele’s harsh gnarls and strident riffs will penetrate deep inside your psyche in Metonimia, exhaling modern-day Atmospheric Black Metal; whereas S(Ⱥ) is an instrumental tune that could have been shorter, but it’s still captivating and cold, with Daniele blasting minimalist sounds until the very last second. The second to last eerie creation by Daniele comes in the form of Bound to Incompleteness, with his demonic, visceral screams creating a very interesting paradox with the more melodic sounds from his guitar, whereas lastly we’re hit hard with the title-track Irreducible Fear of the Sublime, presenting elements of Post-Black Metal while still sounding obscure and vile, with Daniele once again roaring and growling nonstop, bursting his lungs with anger and despair.

Irreducible Fear Of The Sublime hides a poetic, philosophical soul, expressed both in the sumptuous cover painting and in a veiled melancholy that seems to envelop all the songs and that comes from having probed the depths of the unconscious, in the wake of the studies and theories of French psychoanalyst Jacques Lacan. Hence, if you want to feel all those emotions crafted by Daniele in his newborn beast, you can purchase a copy of the album from the I, Voidhanger Records’ BandCamp page or from Metal Odissey in Europe (CD or LP) and in the United States (CD or LP), and don’t forget to also give him a shout on Instagram. Partly instinctive drive, partly projection of desires, the music of Occulta Veritas is another torch lit in the darkness of the spirit, and I’m sure you’ll have an amazing time letting the music by Daniele penetrate deep inside your soul in this stylish album of dark music.

Best moments of the album: The Mirror Stage and Irreducible Fear of the Sublime.

Worst moments of the album: S(Ⱥ).

Released in 2024 I, Voidhanger Records

Track listing
1. The Mirror Stage 7:57
2. The Sacred Horizons of Totality 4:43
3. Metonimia 3:49
4. S(Ⱥ) 4:19
5. Bound to Incompleteness 5:31
6. Irreducible Fear of the Sublime 5:47

Band members
Daniele Vergine – vocals, guitars, drums

Guest musician
Gabriele Ponziano – bass