Tag Archives: atmospheric black metal

Album Review – Notturno / Obsessions (2022)

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A melancholic trip into the obsessive compulsions that take shape within our lives in the form of first-class Atmospheric and Depressive Black Metal made in Italy.

Developing its atmosphere through lengthy songs with strong dynamics and pacing, keeping the listener lost in a reverie and crafting an immersive experience at once melancholic and infectious, the newborn Italian Atmospheric/Depressive Black Metal project Notturno will take you on a melancholic trip into the obsessive compulsions that take shape within our lives, the psychological torment, and the scourge of madness that takes hold inside the ancient walls of the human psyche with their debut full-length opus entitled Obsessions, peering around the dark corners within all of us. The brainchild of multi-instrumentalist Vittorio Sabelli (Dawn of a Dark Age, Suici.De.Pression), Notturno floats between Atmospheric and Depressive Black Metal, Doom Metal and chamber music, sounding intimate and possessing a strong character highlighted by the unique and singular expressiveness of female vocalist Kjiel (Eyelessight) and organically driven drum work of Sven. Mixed and mastered by Stefan Traunmuller, and displaying a stylish artwork by Dario Ursino (featuring model Michela Suffritti), Obsessions offer the listener 36 minutes of an absolutely stunning Black Metal sound, pointing to a bright future ahead of such promising project.

The sluggish, somber beats by Sven kick off the first of the three tracks of the album, simply titled Fear, being gradually accompanied by the melancholic guitars and low-tuned bass by Vittorio while building a depressive and obscure atmosphere that will darken your heart and soul, all of course embraced by Kjiel’s smooth but anguished vocals. Furthermore, the guitar work by Vittorio is a thing of beauty, elevating the song’s intensity to a whole new level. Then more of the band’s Depressive Black Metal will invade our senses in Darkness, with Vittorio and Sven being in absolute sync with their respective riffage and slow and steady beats while Kjiel sounds even more perturbed and evil on vocals, adding an extra touch of malignancy to the overall result. And the last song of their triumvirate of darkness and depression, entitled Falling, brings forward Kjiel’s most anguished vocalizations accompanied by the minimalist and reverberating guitars by Vittorio in a lesson in Atmospheric Black Metal, with their despair, hatred and obscurity rising as the music progresses while also presenting elements from Progressive, Experimental and Doom Metal before ending in a beyond Stygian way.

If you want to know more about Vittorio Sabelli and his Notturno, you can find the project on Facebook for news and other details, and of course if you’re a true admirer of Atmospheric and Depressive Black Metal with a beyond sinister aura you can purchase your copy of Obsessions as a very special bundle containing a digipack CD, a shirt printed on Gildan softstyle, a logo patch, a signed postcard, a magnet and a logo sticker, as well as a CD or in digital format. Italy has always been an amazing source of first-class Atmospheric Black Metal thanks to bands like Notturno, and may that darkness go on forevermore to the sound of classy and multi-layered albums like Obsessions. In other words, if this is just the first step in the career of Notturno, I can’t imagine what’s next for this newborn entity brought into being by the multi-talented Vittorio Sabelli.

Best moments of the album: Fear and Falling.

Worst moments of the album: None.

Released in 2022 Hypnotic Dirge Records

Track listing
1. Fear 12:49
2. Darkness 9:06
3. Falling 14:55

Band members
Kjiel – vocals
Vittorio Sabelli – guitars, bass

Guest musician
Sven – drums

Album Review – Dusk / The Relic (2022)

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Known for incorporating Atmospheric Black Metal into Hard Bass Industrial, this uncanny Costa Rican entity will darken your mind with their sophomore opus.

Known for incorporating Atmospheric Black Metal into Hard Bass Industrial, full of unrelenting, uncaring and pounding blast beats and inhuman growling vocals mixed with modern rhythms such as Darkstep and other electronic influences, Dusk are an Industrial Black Metal project formed as an official band in 2016 in San Jose, Costa Rica, highly influenced by the music by Borgne, Perturbator and Blut Aus Nord, just to name a few. Now in 2022 this uncanny entity is back with a new opus, entitled The Relic, their sophomore full-length album following up on their 2021 release The Hermit, as well as on their EP’s Eko (2016), Epoka (2018) and Threnody (2019), showcasing all the talent and insanity of Shaman on vocals, Implacable on the guitar, Pàlak on bass, and Dusk on all programming, synthesizers and effects.

Eerie background noises ignite the opening track Relic I, bringing to our ears infernal bursts of dementia through the riffage by Implacable and all effects blasted by Dusk, while Shaman fires sinister, demonic roars that will haunt your souls in the name of Industrial Metal. Relic II is even more epic and imposing thanks to its dense atmosphere while Implacable keeps slashing his stringed axe accompanied by the low-tuned bass by Pàlak, offering Shaman exactly what he needs to sound like a beast incarnate on vocals. In other words, it’s first-class Industrial Black Metal made in Costa Rica, whereas like the soundtrack to a devilish, underground horror movie it’s time for the quartet to captivate our senses and drag us into darkness with Relic III, where Dusk showcases all his talent as the awesome Industrial Metal musician he is in the most experimental of all songs, evolving into the sonic beast Relic IV, spearheaded by the venomous gnarling by Shaman while Dusk keeps blackening the ambience with his wicked synths and effects in a display of primeval Industrial Metal with an Atmospheric Black Metal vibe. The last of the “relics”, obviously titled Relic V, will darken your thoughts to the sound of the crushing riffs, bass lines and synths by the band, resulting in a beyond Stygian creation that lives up to the legacy of Industrial Black Metal.

The unique and somber music brought into being by Dusk might not be an easy listen at first for the regular rock and metal fan, but after diving deep into their chaotic world of industrial and blackened sounds I’m sure you’ll get addicted to all of their demented creations, just like what they have to offer us all in The Relic. Hence, don’t forget to give the band a shout on Facebook and on Instagram, to subscribe to their YouTube channel for more of their sick compositions, and to purchase their brand new opus soon from their own BandCamp page. Dusk are undoubtedly one of the biggest names of the underground scene in their homeland Costa Rica, sounding more infernal and sinister with each one of their releases and, therefore, leaving us eager for more of their perturbing Industrial Black Metal in the coming years.

Best moments of the album: Relic II and Relic IV.

Worst moments of the album: None.

Released in 2022 Independent

Track listing
1. Relic I 7:42
2. Relic II 6:43
3. Relic III 5:39
4. Relic IV 8:09
5. Relic V 8:47

Band members
Shaman – vocals
Implacable – guitar
Pàlak – bass
Dusk – programming, synthesizers, effects

Album Review – Benthik Zone / εἴδωλον (2022)

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A celebration of the beauty of metamorphosis and hybridism in the form of first-class Atmospheric Black Metal made in Portugal.

Hailing from Porto, a coastal city in northwest Portugal, the Atmospheric Black Metal duo Benthik Zone is back with more of their fusion of experimental, atmospheric and progressive sounds with their third full-length opus, entitled εἴδωλον, which is Greek for “eidolon”. Establishing a parallel between classical antiquity and contemporaneity by creating a poetic dialogue with various myths, stories speaking about fabulous creatures, humans and gods, the album celebrates the beauty of metamorphosis and hybridism, which goes from the human being to the vegetal and animal life but carries the weight of that transition process and its consequences in the bodies of the “εἴδωλον” characters. “Beyond this interesting convergence between the term εἴδωλον and the culmination of the myth (Actaeon) from which we were inspired, it was perceived that in general terms the meaning of particular interest to us, in the context of this album, was that of a spectre, ghost, that has been vexing us at every stage of our work,” commented the duo formed of vocalist A. Leão and multi-instrumentalist F. Braga, who together with guest G. Correia are offering us all an even more elaborate, twisted and expansive concept album of Atmospheric Black Metal that keeps their sound evolving in myriad mysterious and compelling ways.

The disruptive, atmospheric intro Atravesso o Portal Mítico (“I go through the mythical portal”) will drag you to the unique world of Benthik Zone, setting the stage for E Embriagado pelo Reflexo (“and intoxicated by the reflection”), an Extra-Terrestrial Atmospheric Black Metal journey spearheaded by the strident riffage by F. Braga while A. Leão fires hellish gnarls from start to finish, presenting the most primeval elements of old school Black Metal until everything fades into an acoustic, naturalistic passage halfway through it, again exploding into a sea of obscurity and experimentations for our vulgar delectation. After such demolishing start to the album we’re treated to Sonho-a Desnuda (“I dream of her naked”), another eerie, ethereal creation by the duo that starts in an mesmerizing manner, and that Stygian ambience goes on for over three minutes until crushing beats and disruptive sounds invade our ears in a lesson in Experimental Black Metal.

A. Correia and F. Braga generate a beyond captivating ambience with their instruments in Na Iluminação do Presente (“in the lighting of the present”), all spiced up by the cryptic vocalizations by A. Leão in an insane and pulverizing display of Atmospheric Black Metal, flowing into the cinematic interlude Qual Espectro (“which spectrum”), which will pierce our minds before we face Da Zona Perdida no Tempo (“from the zone lost in time”), an explosion of the duo’s blackened sounds exhaling creativity and darkness while exploring new sounds. Furthermore, G. Correia adds his share of lunacy to the music with his wicked instruments, resulting in a sonic attack without a single second of peace. Lastly, closing the album it’s time for 11 minutes of primeval and obscure sounds in Imenso Abismo do Reino Submerso (“immense abyss of the sunken kingdom”), where tribal, esoteric beats are intertwined with eccentric instruments such as the didgeridoo, generating a hypnotizing, idiosyncratic Atmospheric Black Metal experience not recommended for the lighthearted while also ending in an absolute Stygian fashion.

If you have what it takes to face the 47 minutes of experimentations, progressiveness and obscurity brought into being by Benthik Zone in the form of εἴδωλον, you can enjoy the album in its entirety on YouTube and on Spotify, and also start following the band on Facebook and on Instagram for news and tour dates. However, above all that, in order to show your true support and admiration for those Portuguese metallers you should definitely purchase a copy of their newborn beast from their own BandCamp page, as well as from the Onism Productions’ BandCamp page or webstore, from Apple Music, or from Amazon. As already mentioned, the album celebrates the beauty of metamorphosis and hybridism, and there’s nothing more appropriate than the Atmospheric Black Metal by Benthik Zone to properly showcase all that beauty in darkness and chaos.

Best moments of the album: E Embriagado pelo Reflexo and Imenso Abismo do Reino Submerso.

Worst moments of the album: None.

Released in 2022 Onism Productions

Track listing
1. Atravesso o Portal Mítico 2:01
2. E Embriagado pelo Reflexo 8:28
3. Sonho-a Desnuda 8:10
4. Na Iluminação do Presente 7:59
5. Qual Espectro 1:53
6. Da Zona Perdida no Tempo 7:28
7. Imenso Abismo do Reino Submerso 11:27

Band members
A. Leão – vocals, didgeridoo
F. Braga – guitars, bass, drum programming, backing vocals

Guest Musician
G. Correia – transverse flute, berimbau, hangpan, flute

Album Review – Tome Of The Unreplenished / Earthbound (2022)

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This Atmospheric Black Metal horde offers in their new opus a transcendental journey of a cold, earthy aesthetic twisted with punishing riffing brilliance.

A representation of conceptual philosophy, progression, and elevation through sound, the uncompromising Cypriot Atmospheric Black Metal project Tome Of The Unreplenished is finally releasing their most anticipated album to date, their sophomore full-length opus entitled Earthbound, a transcendental journey of a cold, earthy aesthetic twisted with punishing riffing brilliance. Formed as a solitary act in the city of Nicosia in 2012 by vocalist and multi-instrumentalist Hermes, the project has solidified its lineup with vocalist, guitarist and flutist Alexandros (Macabre Omen), bassist Aort (Code), and drummer Tom Vallely (Omega Centauri, Macabre Omen), who together with Hermes worked to craft the sounds of Earth and Space found in Earthbound, pushing the boundaries of musical progression while experimenting with radical, brutal and unforgiving sounds.

The opening track Tellurian is atmospheric and visceral from the very first second, with Tom sounding merciless behind his drums offering Hermes exactly what he needs to not only vociferate the song’s Stygian words (“I hear a whisper / A form beholding the universe / And I am bound on Earth (or am I?) / Ablaze a prayer beyond the known / My gift to you / Reclaim thy wings”) but also to fire razor-edged riffs from his guitar, flowing into the even more menacing and somber Unbound, where Hermes showcases all his talent and passion for extreme music, growling rabidly accompanied by the low-tuned, sinister kitchen by Aort and Tom. Put differently, it’s infernal Atmospheric Black Metal at its finest for our total delight. Then the beautifully titled Tryst at the Gales of Cyprus will bring to your avid ears the band’s trademark sonority infused with Doom Metal nuances, transporting you to their obscure realm while Hermes gnarls with tons of anguish and hatred supported by the clean vocals by Alexandros.

The band continues to darken the skies with their classy and undisputed Atmospheric Black Metal in Toward the Self, led by the melodic blast beats by Tom while Hermes extracts primeval sounds form his guitar, all enhanced by the song’s background vocalizations; and get ready for over 11 minutes of atmospheric passages, blackened riffs and drums, eerie vocal lines and endless obscurity in the form of Astraios Ayr, a full-bodied, imposing aria by Tome Of The Unreplenished where all band members are on absolute fire from start to finish. Furthermore, the combination of Hermes’ riffs and the rumbling bass by Aort is a thing of beauty, ending in a beyond epic and imposing manner while morphing into the instrumental piece Portcullis to Dodekatheon, a pure ambient voyage that puts a climatic conclusion to the album, exhaling melancholy and darkness to the sound of the reverberating, metallic bass by Aort while Tom masterfully pounds his drums in a pure tribal way.

In order to join the quartet on their journey through the realms of atmospheric and uncanny Black Metal, don’t forget to follow them on Facebook and, even more important than that, to purchase a copy of their new album from their own BandCamp page, as well as from the Avantgarde Music’s BandCamp page, from the Xenoglossy Productions’ webstore, or from Sound Cave in CD or LP format. In summary, Hermes and his henchmen from Tome Of The Unreplenished simply nailed it with Earthbound, bringing forth everything the band stands for and, consequently, providing us fans of extreme music with the perfect soundtrack for a true otherworldly voyage.

Best moments of the album: Unbound and Astraios Ayr.

Worst moments of the album: None.

Released in 2022 Avantgarde Music/Xenoglossy Productions

Track listing
1. Tellurian 6:09
2. Unbound 8:35
3. Tryst at the Gales of Cyprus 5:29
4. Toward the Self 5:55
5. Astraios Ayr 11:14
6. Portcullis to Dodekatheon 9:12

Band members
Hermes – vocals, guitars, keyboards, tambourine
Alexandros – clean and backing vocals, classical guitars, flute
Aort – bass
Tom Vallely – drums, percussion

Album Review – Nechochwen / Kanawha Black (2022)

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This Apalači Folk Metal entity returns from the underworld after seven years of silence with a new album that will further cement their rich and powerful legacy.

Born out of the desire to explore the heritage of the Eastern Woodland Indians of North America through stunning classical guitar instrumentation and lush atmosphere, West Virginia, United States-based Black/Folk Metal entity Nechochwen (a Lenape word that basically means “walks alone”) returns from the underworld seven years after the release of the full-length album Heart of Akamon with a new opus, entitled Kanawha Black, the fourth studio effort in their already solid career. Playing what they like to call “Apalači Folk Metal”, the duo comprised of vocalist and multi-instrumentalist Nechochwen and bassist and drummer Pohonasin offers in their new album fierce melodies, heartfelt compositions and riff stylings that will further cement the rich and powerful legacy that they’ve nurtured since their inception in 2005, being highly recommended for admirers of the music by Panopticon, Agalloch and Falls of Rauros, among others.

The incendiary riffs by Nechochwen are powerfully complemented by the blast beats by Pohonasin in the opening tune Kanawha Black, a fulminating Black and Folk Metal onrush where Nechochwen roars like a demonic entity while also providing top-notch clean vocals. Then we’re treated to The Murky Deep, where a tribalistic, folk start evolves into a Melodic Black Metal feast spearheaded by the massive drums by Pohonasin and the gentle acoustic guitars by Nechochwen. Furthermore, it’s truly impressive how they blend the most primeval folk elements with their more extreme core sound, which is also the case in I Can Die But Once, bringing forward over six minutes of ethereal, atmospheric passages intertwined with bursts of anger and obscurity, resulting in a multi-layered adventure through the realms of Neofolk for admirers of the genre.

And those mesmerizing sounds flow into the rumbling Folk Metal extravaganza titled A Cure for the Winter Plagues, where Nechochwen sounds like a beast with his deep roars and piercing guitars while Pohonasin will make your head tremble armed with his bass. Then investing in a more direct Atmospheric Black Metal sonority it’s time for the duo to crush our souls in Visions, Dreams, and Signs, bringing to our ears seven minutes of blackened riffs, infernal drums and the always hellish gnarls by Nechochwen, whereas their second to last breath of Black and Folk Metal comes in the form of Generations of War, presenting pulverizing growls and hammering drums that will smash you mercilessly while folk elements add a touch of finesse in the background. Lastly, the duo once again captivates our senses with their acoustic sounds in Across the Divide, another solid display of the band’s dexterity and passion for heavy music, with their Heavy Metal-infused guitars sounding utterly awesome.

After all is said and done, it’s a true pleasure to witness the triumphant return to action by Nechochwen with the excellent Kanawha Black after such a long period of silence, and if you want to put your hands on the album you can already preporder it directly from the band’s own BandCamp page or from the Bindrune Recordings’ BandCamp page. Moreover, don’t forget to also follow the duo on Facebook for news, tour dates and other nice-to-know details, and to stream all of their atmospheric creations on Spotify, getting more familiarized with their music and, consequently, being able to explore the North American Indian heritage together with Nechochwen and Pohonasin in the name of the band’s trademark Apalači Folk Metal.

Best moments of the album: Kanawha Black and Visions, Dreams, and Signs.

Worst moments of the album: None.

Released in 2022 Bindrune Recordings

Track listing
1. Kanawha Black 6:23
2. The Murky Deep 4:03
3. I Can Die But Once 6:16
4. A Cure for the Winter Plagues 3:32
5. Visions, Dreams, and Signs 7:27
6. Generations of War 6:16
7. Across the Divide 7:50

Band members
Nechochwen – vocals, guitars, e-bow, keyboards, hand drum, floor tom, rattle, cedar flute, lalawas
Pohonasin – bass, drums, backing vocals

Album Review – E-L-R / Vexier (2022)

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This Swiss Post-Metal/Doomgaze outfit is inviting us all on an adventurous journey through their multi-dimensional musical cosmos to the sound of their sophomore album.

Formed in Bern, Switzerland in 2016 by bassist I.R. and guitarist S.M., and joined by drummer M.K. soon after, Post-Metal/Doomgaze outfit E-L-R lures and seduces the listener with glimpses of deeper meaning and the constant discovery of new layers that reveal further ones once peeled away, which is exactly what will happen to you after listening to their new opus entitled Vexier. Produced by E-L-R and Remo Häberli, recorded, mixed and mastered by Remo Häberli at Hidden Stash Tonstudio, and featuring a charming cover photography by Laura Petresc and portraits by Ramon Lehmann (with layout and design by the band’s own S.M.), Vexier, which title derives from the Latin word “vexare” meaning “to plague” or “to irritate” and in German a “vexierbild” means a flip-flop image while in some dialects a “vexier” is a puzzle game, presents massive, sweeping doomscapes that swallow you whole with epic riffs, allowing the band to take another decisive step forward and invite the listener on an adventurous journey through their fascinating and multi-dimensional musical cosmos.

If you enjoy melancholic, atmospheric passages you’re in for a treat to the opening track Opiate the Sun, growing in intensity to the sluggish, doomed beats by M.K. until the guitars and bass by S.M. and I.R., respectively, add an extra touch of insanity to the overall result (not to mention how mesmerizing the vocalizations by S.M. and I.R. sound and feel), with its soothing ending exploding into the venomous Three Winds, showcasing a fusion of Post-Metal with Atmospheric Black Metal where M.K. shows no mercy for his drums while S.M. slashes her axe in great fashion. Put differently, it’s the perfect alternative for metalheads who want to experiment what “doomgazing” is for the first time. Then we have Seeds, where the vocals by S.M. and I.R. walk hand in hand with their own stringed weapons, therefore resulting in a headbanging, obscure wall of sounds with the trio jamming like there’s no tomorrow until the song’s sharp ending; and their strident riffage keeps permeating the air in the visceral Fleurs of Decay, a stunning Post-Metal feast tailored for admirers of the genre where E-L-R will drag you to their atmospheric lair with their slow, dense and captivating sounds. Lastly, tribal beats ignite the closing tune entitled Forêt, where the trio once again carefully and slowly builds a somber ambience before the sound of the guitars and bass offer guest vocalist BAZE all he needs to shine on vocals, putting a beyond hypnotizing, epic and gentle ending to the album.

As aforementioned, E-L-R want to lure and seduce you to their darkened lair to the sound of their new album Vexier, which is not only the ideal follow-up to their 2019 debut album Mænad, but a lecture in Doomgaze that will certainly open the ears and minds of the unbelievers. Hence, in order to show the girls and guy from E-L-R all your support and admiration, you can start following them on Facebook and on Instagram, stream all of their creations on Spotify, and above all that, purchase a copy of Vexier by clicking HERE. The world of Post-Metal, Doomgaze and other sinister, underground subgenres of heavy music has just been graced with one of the finest albums of the year thanks to the talent, creativity and hard work by S.M., I.R. and M.K., placing them among the most interesting bands of the current scene and, consequently, bringing to us all the undisputed soundtrack to gaze at the stars on a pitch black night.

Best moments of the album: Three Winds and Fleurs of Decay.

Worst moments of the album: None.

Released in 2022 Prophecy Productions

Track listing
1. Opiate the Sun 12:07
2. Three Winds 8:08
3. Seeds 6:37
4. Fleurs of Decay 7:15
5. Forêt 12:11

Band members
S.M. – guitar, vocals
I.R. – bass, vocals
M.K. – drums

Guest musicians
Remo Häberli – additional guitars
BAZE – vocals on “Forêt”

Album Review – Minneriket / Gjennom Meg Går Ingen Til Hvile (2022)

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A lecture in Romantic Black Metal by one of the driving forces of the current Norwegian scene, dedicated in loving memory to those we have lost.

Four years after the excellent Anima Sola, Norwegian Romantic Black Metal band Minneriket, the brainchild of vocalist and multi-instrumentalist Stein Akslen, returns with another blast of awesomeness in the form of Gjennom Meg Går Ingen Til Hvile, or ““through me no one goes to rest” from Norwegian. Produced and mixed by Stein himself at Hagall Studios, recorded on various location throughout the world (with all field-recordings done by Stein on location in Norway out in nature to supplement the compositions on the album), mastered by Niklas Kveldulfsson, and displaying a classic logo by Christophe Szpajdel of Lord of the Logos and front cover photography by Eivind Nilsen of Clean Shot Photography beautifully portraying model Lise Marie Sommerstad, the album features a pretty big roster of session musicians, some being amateurs, some being more known people. “In total I have been working on this album for about 6 years now. There’s a lot of memories tied up on it, and it will be dedicated in loving memory to those we have lost. Some of the lyrics on the album actually dates back about 17 years, so I’ve used this album to really go full circle,” commented Stein, who also had some interesting words to say about the field-recordings. “That had me sleeping outside in the forests for a few nights to record an owl, and all other sounds – including wolves – are real. There are no samples at all on the album.”

Birds chirping and the gentle sound of the piano ignite the opening tune Så Kald En Jord (“so call a land”), evolving into a fusion of atmospheric music and primeval Black Metal to the hellish gnarls by Stein in paradox with the song’s smooth female vocals, offering us all over eight minutes of cryptic passages, sharp guitars and rhythmic beats. Then the instrumental piece Hjemlengsel (“homesickness”) will bring peace and sorrow to our blackened hearts thanks to the stunning cello by guest Norlene Olmedo, followed by Begravelsens Hjerteslag (“the heartbeat of the funeral”), another bold and multi-layered creation by Stein where the finesse of its operatic vocals walks hand in hand with the heavy-as-hell sounds crafted by our Norwegian multi-instrumentalist in a thrilling fusion of Melodic and Atmospheric Black Metal. Regnbuer I Gråtoner (“rainbows in shades of gray”) is another beautiful metal voyage by Stein and his guests, and it’s impressive how he manages to make each and every song so unique with his bass and drums generating a rumbling ambience perfect for his devilish growls; whereas in Sorg Og Savn (“grief and loss”) we face doomed words darkly declaimed by Stein and guest Ingrid.mariea (“Dear friends, dear family / I will leave you behind / I am the lifeless rain of autumn / Without you I will shine / My wounds are yours to reap and harvest”) while the music pierces our minds mercilessly.

The serene and atmospheric interlude Solnedgang (“sunset”) will soothe our damned souls before Stein comes ripping once again in Hvil I Fred (“rest in peace”), starting in a delicate manner to the sound of the waves crashing on the rocks before exploding into more of his trademark Black Metal. Moreover, once again the heaviness of the guitars and drums beautifully clashes with enfolding keys and piano notes, not to mention how stunning the female vocalizations sound and feel. After that, delicate piano notes permeate the air in Forglemmegei (“forget-me-not”), a well-engendered (albeit a bit too long) intermission that sets the tone for Nåde (“grace”), bringing forward over 13 minutes of what feels like the soundtrack to a dark and sinister movie, with Stein blending three or four songs into one massive beast while alternating between obscure passages and sheer dementia in the form of Black Metal, ending in an epic and enfolding manner before the outro 11379 brings to our ears a stylish exhibit of folk and classic elements, with the sounds of the piano and flute adding an extra touch of delicacy to the album.

A must-listen for fans of Myrkur, Jinjer, Cradle of Filth, Dimmu Borgir, Arch Enemy and Evanescence, among several others, Gjennom Meg Går Ingen Til Hvile undoubtedly represents a huge step forward in the career of the multi-talented Stein, and if you want to put your hands on such distinguished album of extreme music you can purchase it from Minneriket’s own BandCamp page. In addition, don’t forget to also follow Stein and his Black Metal alter-ego on Facebook and on Instagram, to subscribe to his YouTube channel, and to stream more of his stylish compositions on Spotify. As mentioned by Stein, Gjennom Meg Går Ingen Til Hvile is much more than just another metal album, but a music representation of his own memories intertwined with the sounds of nature, deserving our full admiration and respect and, therefore, positioning Minneriket as one of the driving forces of the current underground Black Metal scene.

Best moments of the album: Regnbuer I Gråtoner, Hvil I Fred and Nåde.

Worst moments of the album: Forglemmegei.

Released in 2022 Independent

Track listing
1. Så Kald En Jord 8:42
2. Hjemlengsel 2:04
3. Begravelsens Hjerteslag 7:31
4. Regnbuer I Gråtoner 6:44
5. Sorg Og Savn 5:32
6. Solnedgang 1:42
7. Hvil I Fred 5:31
8. Forglemmegei 3:44
9. Nåde 13:17
10. 11379 3:17

Band members
Stein Akslen – lead vocals, guitars, field-recordings, synths, additional instruments

Guest musicians
Misstiq – keys
Māra Lisenko – vocals
Christina Rotondo – vocals
Niklas Kveldulfsson – drums
Ingrid.mariea – vocals
Maria Kosma – bass
Margarita Chernova – strings
Norlene Olmedo – cello
Kyba – vocals
Elvann – harp
Kim Fleuchaus – flute
Thomas Englmann – saxophone
Jenny Modeman – additional vocals
C80 – additional keys
Li – gong
Temu – additional vocals
Elsewhere Choir – choir

The Year In Review – Top 10 Hard Rock/Heavy Metal Albums of 2021

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“I wanted to play drums because I fell in love with the glitter and the lights, but it wasn’t about adulation. It was being up there playing.” – Charlie Watts

And there goes another year without a single metal concert in Canada. Another year full of uncertainties, fears, polarization, restrictions, and everything else we “love” so much. I honestly don’t know what to say about 2021 apart form the fact it was undoubtedly much better than 2020, but that means nothing considering the total nightmare that 2020 was. We lost a lot of huge names in the rock and metal scene such as Joey Jordison, Dusty Hill, Mike Howe, Johnny Solinger, Marsha Zazula, Alexi Laiho, John Hinch, John Lawton, Charlie Watts and Hank Von Hell, among many others. Tons of festivals including Download, Wacken Open Air, Hellfest, Bloodstock Open Air, Sweden Rock Festival and Dynamo MetalFest were scheduled to return this year after the 2020 editions of those festivals were cancelled due to the COVID-19 pandemic, but unfortunately Sweden Rock, Hellfest, Download and Wacken Open Air were once again cancelled. With that said, why do we metalheads still believe in a better future? Is it because, despite all adversities, our favorite bands released some of their best albums from the past few years?

Hence, as new lockdowns are being imposed upon us in a never-ending pandemic loop, there’s not much we can do but enjoy The Headbanging Moose’s Top 10 Hard Rock/Heavy Metal Albums of 2021, excluding EP’s, best of’s and live albums, keeping us sane until this madness is finally over. Or maybe I should say if it will be over one day, of course. There’s a bit of everything for all types of fans, from classic Heavy Metal to the brutality of Death Metal, from the modern nuances of Melodic Death Metal to old school Thrash Metal, and so on, and in my humble opinions one of the most interesting facts about several albums launched in 2021 is their duration, with many of those surpassing the one hour barrier such as Senjutsu, Helloween, Persona Non Grata, Existence Is Futile and Blood on Blood, not to mention the over four hours of music from the Lordiversity boxset, which for me proves how much the bands responsible for those albums love their fans by offering them a lot of new music to enjoy during such difficult times. I would say that even if there are ZERO metal albums launched in 2022, we’ll still have a lot of great music to enjoy throughout the year thanks to all the amazing records released in 2021, don’t you agree?

1. Iron Maiden – Senjutsu (REVIEW)
Behold another masterpiece by the one and only Iron Maiden with its 82 minutes of tactics, strategy, war, resilience and determination.
Best song of the album: Hell on Earth

2. Helloween – Helloween (REVIEW)
A dream come true for all generations of “Happy, Happy Helloween” fans from all over the world.
Best song of the album: Skyfall

3. Trivium – In the Court of the Dragon (REVIEW)
It’s time to join Trivium in the court of the dragon to the sound of their magnificent new opus.
Best song of the album: Like a Sword Over Damocles

4. Exodus – Persona Non Grata (REVIEW)
Don’t be a “persona non grata” in the world of heavy music and get into the circle pit to the sound of this newborn thrashing beast.
Best song of the album: Lunatic-Liar-Lord

5. Cannibal Corpse – Violence Unimagined (REVIEW)
State of the art Death Metal played with passion and breathless precision by the most violent and unrelenting band of all time.
Best song of the album: Surround, Kill, Devour

6. 1914 – Where Fear and Weapons Meet (REVIEW)
Ukraine’s own doom infantry is back into the battlefield with another masterpiece, telling the gruesome tales of World War I.
Best song of the album: Pillars of Fire (The Battle of Messines)

7. Motorjesus – Hellbreaker (REVIEW)
Let’s drive through the fires of hell together with one of the best bands from the German rock and metal scene.
Best song of the album: Hellbreaker

8. Nervosa – Perpetual Chaos (REVIEW)
A deadly and thrashing lesson in perpetual chaos by four metalheads hailing from Brazil, Italy, Spain and Greece
Best song of the album: Time to Fight

9. Gojira – Fortitude (REVIEW)
Let’s all face up the world to the sound of the new masterpiece by one of the most dynamic bands of the current metal scene.
Best song of the album: Amazonia

10. Blaze Bayley – War Within Me (REVIEW)
The man who will live for a thousand years is back, inspiring us all to fight the war within us and to take our future in our own hands.
Best song of the album: Pull Yourself Up

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

11. Running Wild – Blood on Blood (REVIEW)
12. Lordi – Lordiversity (REVIEW)
13. Cradle of Filth – Existence Is Futile (REVIEW)
14. Diabolizer – Khalkedonian Death (REVIEW)
15. Angelus Apatrida – Angelus Apatrida (REVIEW)
16. Moonspell – Hermitage (REVIEW)
17. Lutharo – Hiraeth (REVIEW)
18. Unflesh – Inhumation (REVIEW)
19. Scarlet Aura – Genesis of Time (REVIEW)
20. Coiled Around Thy Spine – From The Ashes (REVIEW)

In addition to all that, let’s bang our heads with our Top 10 EP’s of 2021 to prove once and for all that not all great albums of the year have to be so long. The EP’s from this list are simply awesome, showcasing the band’s talent and their ability to sound epic even if the music lasts for only a few minutes.

1. Eonian – The Nomad (REVIEW)
2. Lady Beast – Omens (REVIEW)
3. The Agonist – Days Before the World Wept (REVIEW)
4. Tantivy – Eyes in the Night (REVIEW)
5. Grale – AGITACIÓN (REVIEW)
6. Bouquet of Dead Crows – Hemispheres Part 2: Cerebral (REVIEW)
7. Kadavereich – Radiance Of Doom (REVIEW)
8. Wolvencrown – A Shadow Of What Once Was (REVIEW)
9. Juliet Ruin – Dark Water (REVIEW)
10. Black Hole Deity – Lair Of Xenolich (REVIEW)

Do you agree with our list? What are your top 10 albums of 2021? Also, don’t forget to tune in every Tuesday at 10pm BRT on Rádio Coringão to enjoy the best of classic and underground metal with Jorge Diaz and his Timão Metal, and every Thursday at 8pm UTC+2 on Midnight Madness Metal e-Radio for the best of underground metal with The Headbanging Moose Show! And if you lost some or most of our special editions of The Headbanging Moose Show, including our Top 20 Underground Albums of 2021 – Parts I and II, go to our Mixcloud page and there you have hours and hours of the best of the independent scene, sounds good?

Metal Xmas and a Headbanging New Year! See you in 2022!

And before I go, I’ll leave you with some touching words by Mr. Lordi and his crew of monsters…

Something something blah blah to you
All the sincere wishes come true
I put vengeance on my wish list
And that’s what Santa brought
So have a merry something and a happy blah blah blah

Album Review – Inherits The Void / Monolith Of Light (2021)

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A one-man Atmospheric Black Metal entity from France arises from the underworld with his first full-length album, offering us all rage and melody entwined in seven hymns to the transience of man.

Brought into being in 2020 in Clermont-Ferrand, a city and commune of France, in the Auvergne-Rhône-Alpes region, the Atmospheric/Melodic Black Metal entity known as Inherits The Void is the musical endeavor of French vocalist and multi-instrumentalist Antoine Scholtès, who’s releasing this year his debut full-length opus Monolith Of Light. The follow-up to the 2020 EP Mémoires, Monolith Of Light was born from Antoine’s desire for “a meeting between influences from the 90’s Swedish Black Metal scene and a more current orientation of the genre,” offering us all rage and melody entwined in seven hymns to the transience of man, bringing to mind the great masterworks of Dissection, Dawn and Vinterland, as well as the more contemporary sounds of France. “The main idea behind that album was to compose songs that would be both melodic and atmospheric, embraced by the desire to propose a range of various emotions,” commented Antoine, also saying that Monolith Of Light “deals with the will to face human beings with the fact that they are ephemeral on the scale of cosmos and to confront them, also, with their faults and the absurdity of many of their acts.”

And Stygian, mesmerizing sounds arise from the underworld before Antoine comes ripping with his infernal roars in Pillars of the Aether, a brutal Black Metal tune with an ethereal background where his blast beats and hellish riffs are simply amazing; whereas As the Winds Moan the Threnody is even more breathtaking and detailed than the opening track, showcasing an Antoine on fire with his riff and drum attack while at the same time he crafts a sinister and incendiary ambience perfect for his enraged growls, resulting in a beautiful display of Melodic and Atmospheric Black Metal. Then the title-track Monolith of Light continues to pave Inherits The Void’s obscure path, setting an interesting and demonic flow to the album and displaying the aggressiveness of classic Black Metal intertwined with melodic passages, all embraced by a strong sense of hopelessness.

Another hurricane of darkened sounds is offered to us all in the form of Unfathomable Echoes, where Antoine hammers his guitar, bass and drums mercilessly in a lecture in Atmospheric Black Metal that will please all fans of the genre, followed by Starless Path, which starts in a more melodic and serene manner and gradually evolves into Antoine’s trademark sonic strike, or in other words, it’s a stylish instrumental interlude that flows smoothly into the epic Through the Eyes of Cosmos, where once again our talented multi-instrumentalist extracts darkness and light at the same time from his riffage while his growls sound more demented than before, not to mention how the music drags you into the void to never let you out. And closing the album on a beyond high note we have Aorasia, another multi-layered, massive creation by Antoine showcasing his demonic gnarls enfolded by a very melodic and fierce sonority, with his guitar lines sounding utterly sharp until the very last second.

The somber and uncanny world of Inherits The Void can be explored in detail by following Antoine and his musical beast on Facebook and on Instagram, and of course if you want to show your utmost support to the underground you should purchase a copy of Monolith Of Light from the Avantgarde Music’s BandCamp page, or from Sound Cave as a digipack CD, as a black vinyl, or as a stunning silver and black galaxy vinyl. After all is said and done, we’ll all realize Monolith Of Light is indeed an album built on contrasts, which is both classic and modern, bridging the gap between decades afar and, therefore, proving Antoine is on the right path with his atmospheric and extreme alter-ego.

Best moments of the album: As the Winds Moan the Threnody and Unfathomable Echoes.

Worst moments of the album: Starless Path.

Released in 2021 Avantgarde Music

Track listing
1. Pillars of the Aether 6:16
2. As the Winds Moan the Threnody 5:04
3. Monolith of Light 5:20
4. Unfathomable Echoes 4:45
5. Starless Path 2:04
6. Through the Eyes of Cosmos 5:41
7. Aorasia 7:53

Band members
Antoine Scholtès – vocals, all instruments

Album Review – Häxkapell / Eldhymner (2021)

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Let your soul burn to the debut album by this Swedish Black Metal beast, examining, contemplating and utilizing the concept of fire as a source of power, a destroyer and a bringer of life.

“The longest journey is the journey inwards…”

Founded in 2015 by vocalist and multi-instrumentalist Oraklet in the city of Haparanda, a locality and the seat of Haparanda Municipality in Norrbotten County, Sweden, a caustic Black Metal entity that goes by the name of Häxkapell (which means “witch chapel” or “chapel of witchery” from Swedish) is set to release its first full-length opus, titled Eldhymner (or “fire hymns”), an album which examines, contemplates and utilizes the concept of fire as a source of power, a destroyer and a bringer of life. Mastered by T. Stjerna at NBS Studio, and featuring session musicians JM on drums and IPU on the violin, Eldhymner conveys sheer, unadulterated veneration for classic Swedish Black Metal of all kinds, being recommended for admirers of the extreme music blasted by bands the likes of Covenant, Naglfar, Marduk, Emperor and Dissection, among several others.

Ominous sounds permeate the air in the epic intro Kallet (“the call”), inviting us to the Stygian realm ruled by Häxkapell before they take our minds by storm with Tomhetens Lågor (“the flames of emptiness”), with JM dictating the song’s imposing pace while Oraklet roars with tons of anger in his damned heart, resulting in an old school Black Metal composition with some very welcome elements from Atmospheric Black Metal added to its core essence. And this venomous Swedish entity blasts another fulminating Black Metal tune titled Eldskapt (“created by fire”), living up to the legacy of bands like Marduk and Immortal, while Oraklet is utterly infernal with his growls and riffs accompanied by the demonic beats by JM, all spiced up by the crying violin by IPU; flowing into the phantasmagorical Askans Drottning (“the queen of ashes”), where they continue to haunt our souls with their infernal sounds. Moreover, JM is once again bestial behind his drum set, providing Oraklet all he needs to shine with his demonic screams.

Ur Malströmmens Famn (“from the embrace of the maelstrom”) is absolutely demolishing from the very first second, a lecture in Black Metal by Oraklet and his henchmen that will penetrate deep inside your skin and burn your veins and muscles mercilessly. Not only that, Oraklet’s riffage couldn’t have sounded more Black Metal than this, not to mention the song’s cryptic background voices. Then investing into a more cadenced sonority it’s time for a Melodic Black Metal tune titled Solraviner (“sun ravines”), full of breaks and variations supported by the cinematic keys by Oraklet, followed by Häxkapellet (“the witch chapel”), where once again Oraklet vociferates rabidly accompanied by the headbanging drums by JM in a lesson in contemporary Black Metal, evolving into a beyond heavy and crushing extravaganza. In other words, it’s over eight minutes of dark and caustic sounds for our total delight, until the band embraces us all with the ethereal outro Sanningen (“the truth”), where the violin by IPU will finally bring peace to our blackened hearts.

An eternal furnace of chaos breeding that which lies beyond, forever tempting the embers of life with the flames of everlasting silence, fire will always be a pivotal element in our society, representing at the same time life and death, darkness and light, and in Eldhymner the talented Oraklet was capable of transforming that scorching nature of fire into first-class Black Metal, helping to pave the band’s path to stardom in the underground community. Hence, don’t forget to show your support to Häxkapell by following the project on Facebook, and more important than that, by purchasing a copy of Eldhymner from the band’s own BandCamp page, from the Nordvis Produktion’s webstore in CD or LP format, or click HERE for all locations where you can buy or stream the album. And let the fires of Swedish Black Metal burn bright for centuries to come to the sound of amazing bands like Häxkapell.

Best moments of the album: Eldskapt, Ur Malströmmens Famn and Häxkapellet.

Worst moments of the album: Solraviner.

Released in 2021 Nordvis Produktion

Track listing
1. Kallet 2:20
2. Tomhetens Lågor 5:51
3. Eldskapt 6:50
4. Askans Drottning 4:46
5. Ur Malströmmens Famn 4:05
6. Solraviner 5:40
7. Häxkapellet 8:31
8. Sanningen 2:18

Band members
Oraklet – vocals, guitar, keyboards

Guest musicians
JM – drums (session)
IPU – violin (session)