This collaborative Atmospheric Death and Funeral Doom Metal project is ready to embrace you with their debut opus until you see your last glimpse of daylight.
A collaborative Atmospheric Death and Funeral Doom Metal project formed in Cardiff, Wales in 2022 by guitarist John Courage, featuring musicians from the UK and Sweden, God Unknown are finally unleashing upon humanity their debut offering, beautifully titled Last Glimpse of Daylight. Produced by the band itself, engineered by John Courage and Daniel Tjernberg, mastered by Dan Swanö at Unisound, and showcasing a darkly serene artwork by Manino Linic, the debut album by Daniel Tjernberg on vocals (with additional vocals by Camilla Tjernberg on the song “Stay with Me”), John Courage on the guitars, Adam West on bass and additional guitars, Michael Lang also on bass, Kostas Panagiotou on keyboards, and Tats McGee on drums will embrace you in absolute grief and melancholy, darkening the skies with the sheer power of funereal and grim Doom Metal.
The thunderous, low-tuned bass lines by Adam set the tone in the Stygian intro MMMMDXIV, before all hell breaks loose in Embraced by the Moonlight, with the deep, devilish vocals by Daniel walking hand in hand with the sluggish Doom Metal riffs by John and Adam. Then we face the massive, embracing title-track Last Glimpse of Daylight, as slow and hammering as its predecessor, where Tats pounds his drums with tons of hatred and darkness in his heart; and it’s Kostas who takes the lead with his church-like keys in the phantasmagorical interlude Passage, darkening the skies for the band to attack us with Fallow Land, led by another crushing performance by Tats on drums, offering Daniel exactly what he needs to vociferate like a demonic entity. It’s then time for Camilla to embellish the airwaves with her melodic vocals in Stay with Me, a lecture in passionate and somber Funeral Doom Metal by God Unknown, flowing into the obscure outro Frost on the Windowpane, again led by Adam and his doomed bass lines.
Inspired by the love of somber, funeral doom and atmospheric themes, God Unknown are ready to crush our minds and souls with the absolute heaviness and obscurity flowing from their excellent debut Last Glimpse of Daylight, and if you want to join such a promising band in gloom and darkness you can find them on Instagram, stream their music on any platform such as Spotify, and of course, above all that, purchase a copy of their striking debut from their own BandCamp or by clicking HERE. In other words, let the lugubrious and grim Doom Metal by God Unknown embrace you, until you see your last glimpse of daylight.
Best moments of the album:Embraced by the Moonlight and Stay with Me.
Worst moments of the album: None.
Released in 2026 TM Productions
Track listing 1. MMMMDXIV 1:11
2. Embraced by the Moonlight 2:46
3. Last Glimpse of Daylight 6:09
4. Passage (Interlude) 2:16
5. Fallow Land 6:36
6. Stay with Me 5:11
7. Frost on the Windowpane 2:51
Band members Daniel Tjernberg – vocals
Camilla Tjernberg – vocals on “Stay with Me”
John Courage – guitars
Adam West – bass, additional guitars
Michael Lang – bass
Kostas Panagiotou – keyboards
Tats McGee – drums
This the unrelenting Blackened and Atmospheric Death Metal entity from France strikes again with their sophomore album, definitely not one for the faint of heart.
Forged in 2013 in the fires of Chambéry, an Alpine town in southeast France, the unrelenting Blackened/Atmospheric Death Metal entity known as Viande (the French word for “meat”) does more than create scarring, wholesome dark and doomy Death Metal – they delve into the more atmospheric side of things that messes with your consciousness and has potential psychological implications. Adorned by a grim artwork by JB Godefroy, the caustic Monument aux morts, which is French for “war memorial,” is the sophomore studio opus by vocalist J, guitarist B, bassist O, and drummer I, following up on their 2022 full-length L’abime dévore les âmes, offering more of the band’s aggressive, militaristic approach aided by a combination of abyssal growls and tormented screams, and ultimately, a haunting, eerie atmosphere touched by dissonance that wouldn’t be out of place in a horror movie.
After an ominous start the band comes ripping our hearts out in Linceul immense (“immense shroud”), with the vile guttural by J sending shivers down our spines in a lecture in Blackened Doom Metal; then O and I make the earth tremble with their ruthless bass and drums in Sacrifice ardent (“burning sacrifice”), as sluggish, grim and vile as it can be. Germes de mort (“seeds of death”) brings forward another round of the band’s trademark fusion of Black, Death and Doom Metal, led by the cryptic riffs and synths blasted by B, while Monolithe de chagrin (“monolith of sorrow”) alternates between the absolute heaviness of Doom Metal and the visceral sounds of Death Metal.
After such a demented display of deadly sounds the band keeps haunting our souls with Cercueil de vase (“coffin of vase”), a bold, intense display of their Atmospheric Death Metal vein spearheaded by the always gruesome vociferations by J, followed by Une cage d’os (“a cage of bones”), not recommended for the faint at heart, with the dissonant riffs by B piercing our flesh mercilessly. I takes the lead with his slab of brutality on drums in L’esprit cachot (“the dungeon spirit”), making the album sound even more obscure and infuriated, whereas Austérité maximum (“maximum austerity”) is an extensive outro that albeit atmospheric doesn’t add much to the album. And lastly, as a bonus track we have L’homme Brasier (“the brazier man”), as demented as the other songs and, therefore, worth the investment in whatever version it’s available.
When the carefully devised Monument aux morts ends, the feeling is akin to stumbling out of a horrific catacomb in an enhanced spiritual state, with the cries of a thousand dead souls still ringing in your head, being therefore perfect for fans of the obscure music crafted by Incantation, Teitanblood, Cruciamentum, Dwelling Below, and Dead Congregation. Furthermore, if you want to know more about such a dark creature from the French extreme music landscape, you can find the band on Facebook and on Instagram, staying up to date with their live concerts, stream their scorching music on any platform such as Spotify, and above all that, grab a copy of the excellent Monument aux morts from their own BandCamp, as well as from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store (or click HERE for all things Viande). Monument aux morts is an exceptional album in the style and definitely not one for the faint of heart, and we can all rest assured Viande are far from done when it comes to spreading darkness through their Black and Death Metal creations.
Best moments of the album:Linceul immense, Cercueil de vase and Une cage d’os.
Worst moments of the album:Austérité maximum.
Released in 2026 Transcending Obscurity Records
Track listing 1. Linceul immense 6:26
2. Sacrifice ardent 7:07
3. Germes de mort 6:17
4. Monolithe de chagrin 3:58
5. Cercueil de vase 7:07
6. Une cage d’os 6:28
7. L’esprit cachot 6:11
8. Austérité maximum 2:30
Bonus track
9. L’homme Brasier 5:58
Band members J – vocals
B – guitar, synths
O – bass
I – drums
Demon, please leave my mind… Delusional fight… Beaten, feel so traumatized… Outraged and down…
As June in the Northern Hemisphere is always splendid, our metal lady of such a warm and vibrant month also had to be a splendid one. However, you’re absolutely wrong if you think she sings about happiness and joy. Quite the contrary, she doesn’t care if it’s sunny and warm outside, delivering a Stygian blend of Atmospheric Black and Doom Metal with her band powerful enough to block the sun like a true sonic eclipse. Her name is Kristien Cools, the frontwoman for Belgian doom entity Splendidula, and you better be ready because once you enter her realm of gloomy and visceral doom, there’s no escape.
Born on September 22, 1985 in Mol, a municipality located in the Belgian province of Antwerp, but currently residing in Temse, a municipality in East Flanders, Belgium, Kristien is not only a metal vocalist, but she’s also a digital creator and a financial assistant. Regarding her studies, she went to the Provincial Kunsthumaniora Hasselt (PIKOH), to SISA in Antwerp, and also studied Desktop Publishing at CVO Heusden-Zolder. In addition, she’s is in a relationship with Belgian musician Joachim Taminau, who’s by the way the drummer for Splendidula.
Kristien said that she already started singing from the very first moment she could, already as a young child. Even back then she said “I’m going to be a singer,” and she has stuck to that ever since. “I was in my first band when I was 17, with which I did gigs and recorded a CD. Splendidula is definitely the band where things got more serious. I actually waited a very long time before taking singing lessons, but I once read an article about a singing teacher who teaches the technique for heavier singing in a healthy way, and that piqued my interest.”
Effortlessly blending genres to create a unique and captivating sound while dealing with delicate topics such as spirituality, depression, nightmares and death, Temse, Belgium-based Atmospheric Black/Doom Metal entity Splendidula started back in 2008, but none of the founding members are part of the band anymore. As a matter of fact, the band only released their debut self-titled album in 2013, already including Kristien on vocals, but with a completely different lineup with David Vandegoor and Adriaan Paszewski on the guitars, Jo Flemings on bass, and Patrick Vanderhenst on drums. After that, already featuring Joachim Taminau on drums (as well as other band members), the band released the albums Post Mortem, in 2018, and Somnus, in 2021.
Things unfortunately took a dark turn for Splendidula in 2022 with the passing of bassist Peter Chromiak, who played with the band in the albums Post Mortem and Somnus. Both guitarists at that time, Pieter Houben and David Vandegoor, found it impossible to carry on and Kristien and Joachim had to find new band members. After guitarist Guy Van Campenhout joined the band, and with the departures of guitarist Kim Van Stichel and bassist Bart Deroissart, they released their 2026 opus Absentia, a deeply personal journey through themes of loss and remembrance, available on BandCamp and on Spotify. Furthermore, in all of their albums you’ll find really touching, grim and scathing creations such as Absentia, Echoes of Quiet Remain, Behind My Semblance, Oculus, and Drocht.
According to the band, their name is derived from “lamprohiza splendidula,” the Latin name for “firefly,” aiming to represent the mysterious and peaceful feeling that these insects express when they fly around trees or float over water at night. Sitting at the crossroads of Atmospheric Black Metal and Doom Metal, the band blends the raw intensity of Black Metal with the deep, immersive atmosphere of Doom Metal, and while classic influences are certainly present, their focus is on crafting a layered, emotional experience. The combination of visceral screams, ethereal synths, and heavy instrumentation builds an atmosphere that is both intense and hypnotic, as their music is all about emotion and immersion, drawing the listener into the darkness they create.
Kristien also had some interesting comments about the music style played by Splendidula in one of her interviews. “We actually started writing music without wanting to play a particular genre. For us, the atmosphere that a song radiates is more important than whether or not we fit into the box we’re put into. During this process, we’ve evolved to a sound with a typical Doom metal base, accompanied by different influences from Sludge, Post and Black Metal. In this way we’re not limited to the boundaries of a particular genre. We want to continue evolving and explore musical boundaries, without standing still, and of course we hope that our audience will show the willingness to grow with us.” Regarding the band’s usually bleak artworks, she mentioned that the band decided to go for a really somber, yet very meaningful style of monochromatic art, to connect further with the concept of dreaming. “Actually a part of the population dreams solely in black and white, and a lot of theories suggest that people tend to dream in black and white when they experience something traumatic. After overcoming that difficult period, colours are gradually returning. We found this connection between dreams and reality very intriguing.”
Although Splendidula is obviously Kristien’s only band, you can also find her as a guest vocalist for the song Of Winter’s Woe and Whishes Whispered, from the 2021 album Prelude to Void, and all female vocals in the 2022 album A Voidchaser’s Elegy, both by German Ambient Doom/Post-Metal act Eirð, with her delicate yet visceral vocals matching perfectly with the long composition by the band’s mastermind Andreas Georg Libera, going on for over 10, 15 and even 20 minutes. I’m sure we’ll see more special appearances from Kristien in the near future for other bands that play Black, Death, Doom, Post-Metal, or any other subgenre of extreme music, as her voice fits perfectly in any of the darkest styles in Heavy Metal.
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Within the Black Metal spectrum, Kristien said that some of her major musical influences are renowned acts the likes of Rotting Christ, Wiegedood, Austere, Hecate Enthroned, and Urfaust, among several others, saying she’s always been drawn to Atmospheric Black Metal. “There’s something about the darkness and atmosphere that truly moves me. It’s more than just music, it’s an emotional experience. Outside of metal, my ‘feel-good’ music is New Wave and EBM, as I love the melancholic yet danceable energy these styles bring. I listen to many genres, what truly matters is that the music evokes emotion,” she commented.
As the band wanted to dedicate Absentia to their deceased bassist Peter Chromiak, and as Kristien was looking for a way to express her emotions even further, that album is the one where you’ll find her most aggressive vocals, having received lots of tips on how to properly venture through the realms of screaming and guttural singing. “Personally, I like to be able to vary as much as possible, both the low and high vocals, and now with the screams added, so that people stay captivated, and for me that is interesting too, of course.” Not only that, she mentioned that the band’s creative process includes writing the music first, starting from a basic riff in the rehearsal room, and then experimenting with song structures and implementing some of their personal influences, which is when she begins crafting her vocal lines as well. “Remarkably, I usually create my vocals while driving the car. Belgian traffic jams seem to be the perfect occasion to play some rehearsal recordings and start singing along. In this way I often create melodies very instinctively, and only at the very last stage, these melodies are also accompanied by written words.”
Needless to say, Kristien loves to perform live, having already played in different Belgian cities like Antwerp, as well as outside of their homeland, and at Belgium’s second-largest metal festival, Alcatraz. Furthermore, when asked how she would determine the setlist when Splendidula is scheduled for a 30 or 40-minute slot anywhere, taking into account their songs are long and detailed (sometimes surpassing the nine-minute mark), she said that can be a bit of a puzzle, but in the end everything makes sense and the show flows really well. Also, as the band consistently uses visuals in the background, like video footage, to create the perfect atmosphere and give their concerts a more theatrical vibe, there’s always lot of work to be done by Kristien and the boys, but it’s all worth it as the audiences love every single second of their performances.
Lastly, as a Belgian citizen that’s proud of the metal scene in her homeland, Kristien recommends Antwerp’s own Doom/Death Metal band Marche Funèbre, who by the way released the amazing album After the Storm, in 2024; West Flanders-based Atmospheric Death/Black Metal act Thurisaz, who unfortunately played their last concert on December 6, 2024 in Kortrijk, Belgium, before calling it quits; and Mechelen’s own Atmospheric Sludge/Post-Metal band Pothamus, who released in 2025 the album Abur. Who knows, maybe one day we’ll see Kristien as a guest vocalist for one of these bands, or any other band from the darkest and most melancholic side of music, right? Because we need more of the voice of Kristien Cools in our rotten and decaying world, as her singing is as comforting as it’s dark and gloomy.
The newly reinvigorated Italian pioneers of Atmospheric and Progressive Gothic, Doom and Death Metal return with their most elaborately adorned and sonically refined opus to date.
Coinciding with 35 years since the band’s original inception under the Catacomb moniker, and after an extended period of inactivity following the release of their 2016 acclaimed album Ursa, the newly reinvigorated Italian pioneers of Atmospheric and Progressive Gothic/Doom/Death Metal known as Novembre return with their most elaborately adorned and sonically refined opus to date in the shape of their ninth studio album, titled Words of Indigo. Mixed and mastered by Dan Swanö (Opeth, Katatonia, Bloodbath) at Unisound, and displaying a classy artwork by Travis Smith (Opeth, Katatonia) of Seempieces Design Studio, the new album by vocalist Carmelo Orlando, guitarists Alessio Erriu and Federico Albanese, and drummer Yuri Croscenko, with the support of session bassist Fabio Fraschini, will embrace you in a melancholic yet warm darkness, being therefore highly recommended for fans of Sacturnus, Novembers Doom, Shores of Null, Les Discrets, Woods of Ypres, My Dying Bride, and Draconian.
After a whimsical intro the band comes crushing our souls with their share of melancholy and doom in Sun Magenta, spearheaded by the crisp, piercing guitars by Alession and Federico, whereas Statua showcases an even more pensive, darker side of the band, with the clean and harsh vocals by Carmelo sounding amazing from start to finish. The band continues to distill their fusion of Progressive and Doom Metal in Neptunian Hearts, sounding heavy while also bringing tons of melody to our avid ears; whereas Ann-Mari Edvardsen (of The 3rd and the Mortal) makes a stylish vocal duet with Carmelo with her stunning voice in House of Rain, adding even more darkness to their core sound and, therefore, resulting in a beautiful ballad of extreme music, followed by Brontide, keeping the ambience dense, grim and hypnotic thanks to another classy performance by all band members, with Yuri dictating the pace with his doomed beats and fills.
Then after the theatrical interlude simply titled Intervallo we face another blast of their Progressive Doom Metal in the form of Your Holocene, an enfolding, thrilling tune where Carmelo’s deep, nocturnal vocals sound even more powerful, supported by the always incendiary riffs by both Alessio and Federico. Chiesa dell’alba brings forward more of their mix of Paradise Lost-infused doom and the progressiveness of bands like Dream Theater and Allegaeon, again presenting the intricate and fierce drumming by Yuri, followed by Ipernotte, one of the most detailed, multi-layered and vibrant of all songs, where the guitar job by Alessio and Federico is beautifully complemented by the thunderous bass by Fabio Fraschini. And last but not least, the band will darken the skies and consume our minds with Post Poetic, where Carmelo yet again melts our faces alternating between clean, ethereal vocals and the madness of his harsh gnarls, flowing into the climatic outro Onde, putting a pensive, somber ending to the album.
An exquisite and finely-textured display of creative prowess exploring themes of danger and innocence, fear and nostalgia, the latest journey by Novembre takes the listener through the torrents of raging Death Metal and sweeping, uplifting passages of serene poignancy, all woven together as finely crafted and layered melodic epics. You can put your hands on Words of Indigo via BandCamp or by clicking HERE, and don’t forget to also start following the band on Facebook and on Instagram for news, tours dates and more of their music, and to stream the embracing sounds from all of their albums on Spotify. November is undoubtedly a month that transpires doom, and the music offered by Novembre in Words of Indigo will surely work as the perfect soundtrack for your gloomiest, darkest days of such a Stygian month.
Best moments of the album:Statua, Your Holocene and Post Poetic.
Worst moments of the album:Brontide.
Released in 2025 Peaceville Records
Track listing 1. Sun Magenta 7:23
2. Statua 6:05
3. Neptunian Hearts 6:11
4. House of Rain 7:33
5. Brontide 6:21
6. Intervallo 1:14
7. Your Holocene 5:29
8. Chiesa dell’alba 7:26
9. Ipernotte 6:52
10. Post Poetic 6:27
11. Onde 2:29
Band members Carmelo Orlando – vocals
Alessio Erriu – guitars
Federico Albanese – guitars
Yuri Croscenko – drums
Guest musician
Fabio Fraschini – bass (session)
Ann-Mari Edvardsen – vocals on “House of Rain”
This incredible Swedish Progressive Death and Black Metal entity returns with their heaviest and most atmospheric work to date, exploring the depths of the human psyche and suffering.
Once again utilizing the band’s unique blend of Progressive Death and Black Metal with arpeggiating synths, wistful drones and vast soundscapes, harkening back to the era of 80’s sci-fi soundtracks, the magnificent The Sleeping City is the third full-length opus by Swedish Progressive/Atmospheric Death/Black Metal beast An Abstract Illusion, the follow-up to their critically acclaimed 2022 sophomore album Woe. Produced by Karl Westerlund alongside An Abstract Illusion themselves, recorded at Blackharbour Studios, with drums produced and recorded by Jakob Herrmann at Top Floor Studios and pre-production and additional recording by Emil P. Lundh at Urberg Studios, mixed and mastered by Robin Leijon, and displaying a classy artwork by Alex Eckman-Lawn, the new album by Christian Berglönn on lead vocals, Karl Westerlund on the guitars and bass, Robert Stenvall on keyboards and vocals, and Isak Nilsson on drums and backing vocals, not to mention an array of very special guest musicians, is undoubtedly their most atmospheric and heavy work to date, exploring the depths of the human psyche and suffering.
Featuring vocals by Lukas Backeström, Blackmurmur is absolutely atmospheric, enfolding, futuristic and luxurious from the very first second, uniting the complexity of Progressive Death Metal with the mystery of Melodic Black Metal, and with the guitars by Karl and the keys by Robert sounding absolutely fantastic. They keep delivering sheer awesomeness in No Dreams Beyond Empty Horizons, with the complex yet visceral drumming by Isak adding an extra touch of heaviness to their music, followed by Like a Geyser Ever Erupting, featuring the cello by Jonathan Miranda-Figueroa and the violin by Dawn Ye, carrying a stunning song title for a lecture in modern-day extreme music where once again Isak sounds inhumane behind his drums.
Frost Flower once again features vocals by Lukas Backeström, cello by Jonathan Miranda-Figueroa, and violin by Flavia Fontana, all clashing with the visceral riffs by Karl and the whimsical keys by Robert; whereas Emmett is another long, complex and extremely detailed song, starting in a serene, enfolding manner, almost melancholic, before we face an avalanche of Progressive Death Metal led by Christian’s enraged roars, also showcasing ethereal passages intertwined with absolute violence. Then we face Silverfields, with narration by Elsa Svensson, working almost like an atmospheric interlude, therefore soothing our souls for the monumental title-track The Sleeping City, bringing forward endless breaks and variations without forgetting their core heaviness, as if Dream Theater went Death Metal, with Karl once again doing a superb job with both his guitar and bass boosted by the cello by Jonathan Miranda-Figueroa and the violin by Dawn Ye, before all fades into a climatic, Stygian finale.
“When we compose an album we don’t want it to just be a collection of random songs, we want a holistic theme coursing through the album’s veins. When writing The Sleeping City we wanted to explore what the soundtrack to a dystopian sci-fi film, such as Blade Runner or Terminator, would sound like if it were written by a death metal band. For The Sleeping City, we took inspiration from acts such as Depeche Mode, My Bloody Valentine, Kite, Ólafur Arnalds and Boards of Canada, pushing us to expand and refine our sound palette. Going from the long-song format of Woe, it was a fun challenge to once again write self-contained songs with a clear beginning and end,” commented the band about their newborn masterpiece. You can find those extremely talented guys on Facebook and on Instagram, stream their breathtaking creations on Spotify, and of course purchase their new album from BandCamp or from the Willowtip Records webstore (as a CD or an LP), or simply click HERE for all things An Abstract Illusion. A decrepit yet monumental landmark, the sleeping city awaits ahead. Will you enter?
Best moments of the album:Blackmurmur, Like a Geyser Ever Erupting, Emmett and The Sleeping City.
Worst moments of the album: None.
Released in 2025 Willowtip Records
Track listing 1. Blackmurmur 11:00
2. No Dreams Beyond Empty Horizons 6:56
3. Like a Geyser Ever Erupting 7:58
4. Frost Flower 8:14
5. Emmett 11:19
6. Silverfields 3:46
7. The Sleeping City 10:07
Band members Christian Berglönn – lead vocals
Karl Westerlund – guitars, bass
Robert Stenvall – keyboards, vocals
Isak Nilsson – drums, backing vocals
Guest musicians
Lukas Backeström – lead vocals on “Blackmurmur” and “Frost Flower”, choir vocals on “No Dreams Beyond Empty Horizons” and “Like a Geyser Ever Erupting”
Jonathan Miranda-Figueroa – cello on “Like a Geyser Ever Erupting”, “Frost Flower” and “The Sleeping City”
Dawn Ye – violin on “Like a Geyser Ever Erupting” and “The Sleeping City”
Flavia Fontana – violin on “Frost Flower”
Elsa Svensson – narration on “Silverfields”
Behold this lecture in Atmospheric and Progressive Extreme Metal infused with grandiose orchestrations, endless darkness and energy, and beautiful musicianship.
What started in 2012 in Germany by multi-instrumentalist Ole (of bands like Autokrator, Lycanthropy and Deathstruck) as a one-man project has now turned into a force to be reckoned with in the extreme music scene worldwide. Currently located in Dublin, Ireland, Atmospheric and Progressive Black/Death Metal entity Khôra (in Plato’s account, Khôra is neither being nor nonbeing but an interval between in which the “forms” were originally held) has just unleashed their sophomore opus, entitled Ananke, a more-than-worthy follow-up to their 2020 debut Timaeus. Recorded at Studio Henosis (vocals), Perdition Studio (guitars), Stemcellar Studio (bass), Trackmix Studio (drums), and Steamsaw Studio (orchestrations), mixed and mastered by Frederic Gervais at Studio Henosis, and showcasing a darkly hypnotizing artwork by Simon Chognot of Cold Mind Art, the new album by Ole on the guitars and drums alongside Frédéric (Orakle) on vocals, Göran (Setherial, Svartghast) on bass, and Kjetil (Profane Burial, Haimad) on keyboards and orchestrations, plus an array of special guests including Rune ‘Blasphemer’ Eriksen (Mayhem), Kristian Niemann (Therion), Wolfgang Rothbauer (Thirdmoon), and André ‘Cosmocrator’ Søgnen (The Wretched End), among others, is a lecture in Extreme Metal infused with grandiose orchestrations, endless darkness and energy, and beautiful musicianship, or in other words, a must-listen for fans of the genre.
Featuring a guest guitar solo by Blasphemer (Aura Noir, Vltimas), atmospheric and captivating sounds permeate the air in Empyreal Spindle, exploding into a dark yet very technical feast of Progressive Black Metal led by Ole’s intricate beats and fills. Then we have Legion of the Moirai, with guest vocals by Arnhwald R. (Deathcode Society), sounding even more imposing and somber, with all background orchestrations blackening the skies while Frédéric roars and barks manically nonstop; followed by Wrestling with the Gods, featuring a guest guitar solo by Kristian Niemann (Sorcerer), another striking fusion of Progressive Black and Death Metal where the riffs and bass by Ole and Göran, respectively, exhale aggressiveness, melody and groove. And guest Bill Kranos (Arkhangelsk, Savaoth) delivers striking vocals and a wicked guitar solo in In the Throes of Ascension, a slab of sheer brutality and darkness with Ole stealing the spotlight with his inhumane drumming.
The band then fires a beyond cryptic and epic interlude titled Arcane Creation, setting the stage for the unrelenting On a Starpath, with the harsh vocals by guest Wolfgang Rothbauer (In Slumber, Thirdmoon) crushing your spinal cord mercilessly while the clean vocals by Frédéric and the keys by Kjetil are a lecture in Progressive Metal. It’s pedal to the metal in the infuriated The Sentinel, spearheaded by Ole’s demented vocals and infernal beats while Göran keeps hammering his bass in the name of heavy music; and their Black Metal vein pulses even harder in Supernal Light, with Kjetil embellishing the airwaves with his keys and orchestrations. The last song of the album, entitled Crowned, offers more of the bands Stygian sounds infused with tons of progressiveness and heaviness, even presenting elements from Doom Metal, a stylish and embracing aria by Ole and his henchmen flowing into the cinematic outro Q.E.D, which puts a sinister, Mephistophelian ending to such a fantastic opus.
You can enjoy this precious gem of the underground metal scene in all of its glory on YouTube and on Spotify, and of course show your total support to Khôra by purchasing the album from the Les Acteurs de l’Ombre Productions’ BandCamp or webstore. The guys from Khôra, who are also waiting for you on Facebook with more nice-to-know information about the band, simply nailed it with Ananke, raising the bar high for their upcoming releases without a shadow of a doubt, and positioning their newborn spawn as one of the best and most diverse and dynamic albums of the year.
Best moments of the album:Legion of the Moirai, In the Throes of Ascension, The Sentinel and Crowned.
Worst moments of the album: None.
Released in 2025 Les Acteurs de l’Ombre Productions
Track listing 1. Empyreal Spindle 5:18
2. Legion of the Moirai 4:39
3. Wrestling with the Gods 3:57
4. In the Throes of Ascension 3:54
5. Arcane Creation 2:33
6. On a Starpath 4:08
7. The Sentinel 4:01
8. Supernal Light 4:33
9. Crowned 6:47
10. Q.E.D 1:19
Band members Frédéric – vocals, additional effects
Ole – guitars, drums, vocals on “The Sentinel”
Göran – bass
Kjetil – keyboards, orchestrations, effects
Guest musicians
Blasphemer – guitar solo on “Empyreal Spindle”
Daniel Müller – bass on “Empyreal Spindle” and “Legion of the Moirai”
Cosmocrator – effects on “Empyreal Spindle” and “Q.E.D”
Arnhwald R. – vocals on “Legion of the Moirai”
PJ O’Connell – guitar solos on “Legion of the Moirai”, “On a Starpath” and “Supernal Light”
Kristian Niemann – guitar solo on “Wrestling with the Gods”
Bill Kranos – vocals on “In the Throes of Ascension”, effects on “Wrestling with the Gods”, guitar solos on “In the Throes of Ascension”, “The Sentinel” and “Crowned ”
Wolfgang Rothbauer – harsh vocals on “On a Starpath”
Enter the shrine of first-class Melodic Death and Doom Metal crafted by this one-man project from France, and let the echoes from his debut album guide you on a brooding and immersive journey through sorrow, introspection, and existential desolation.
Founded in 2024 by Antoine Scholtès, the mastermind behind Atmospheric Black Metal project Inherits The Void, Clermont-Ferrand, Auvergne-Rhône-Alpes, France-based act Wurmian emerges with a mission to resurrect the essence of classic Melodic Death and Doom Metal. Drawing inspiration from the melancholic and introspective tones of bands like October Tide, Horrified, and Edge of Sanity, the project’s debut offering, titled Immemorial Shrine, embraces the duality of soaring melodies and crushing heaviness. Mastered by Simon Da Silva at The Empty Hall Studio, and displaying a classic logo by Dipayandas Art and a stunning, doomed artwork by Silvana Massa, Immemorial Shrine is a somber odyssey into solitude and decay, a brooding and immersive journey through sorrow, introspection, and existential desolation, turning it into a compelling listen for fans of both classic and modern death and doom.
Antoine begins embellishing the airwaves with his melodious guitar lines in Aeon Afterglows, reminding me of both old school and contemporary Paradise Lost with a harsher twist; whereas in the title-track Immemorial Shrine he showcases all his passion for Black and Death Metal without forgetting to add a good share of Doom and Gothic Metal to his sound, and the final result is simply beautiful. His Melodic Doom Metal attack goes on in Haven, with his guttural vocals and pounding drums being perfect for some sick headbanging, and our lone wolf speeds things up in Spires of Sorrow, offering a rawer, more direct Death Metal attack led by his classic beats and fills. Then back to a more pensive, melancholic sonority, Antoine roars with tons of anguish in Yearning Unseen, also delivering piercing, sharp riffs, followed by Sleeping Giants, another stunning composition by this multi-talented French musician that overflows Atmospheric Black and Death Metal for our total delight. And the closing song of the album, The Everflowing Stream, is another lecture in Doom Metal, with Antoine enhancing the acidity of his riffs and the depth of his Stygian roars for our vulgar delectation.
In the end, prepare to embark on a melancholic odyssey that echoes the spirit of the 90’s Death and Doom Metal while forging a path into the present in Immemorial Shrine, already available in full on YouTube and on Spotify. Hence, don’t forget to follow the project on Facebook and on Instagram for news, and maybe some live performances in the future in case Antoine assembles a live band for his shows, and above all, to purchase Immemorial Shrine from Wurmian’s own BandCamp or from the Pest Records’ BandCamp, or simply by clicking HERE. After all is said and done, simply enter the shrine of first-class Melodic Death and Doom Metal crafted by Wurmian. Let the echoes guide you.
Best moments of the album:Immemorial Shrine, Haven and Sleeping Giants.
Playing a harmonious blend of Atmospheric Black and Death Metal since their inception, this Ukrainian creature returns with their incendiary third opus.
Playing a harmonious blend of Atmospheric Black and Death Metal since their inception in 2020, with lyrics predominantly dedicated to the raw mysticism of the Carpathian Mountains and events of ancient times, Chernivtsi and Lviv, Ukraine-based creature U Kronakh has just unleashed their third full-length offering, titled The Archaic Dance of Winds (or “Архаїчний Танець Вітрів” in their mother tongue), following up on their 2024 opus Night Devours Being (or “Ніч Поглинає Буття”). Mixed and mastered by Roman “Morvudd” Sapozhnikov, and once again featuring a grim artwork by Ksenia Vasylevska (aka Wintersomnia), the new album by Wormwood on vocals, Voidger on the guitars and bass, and Lycane on drums showcases more of the project’s experimentations with an array of styles, resulting in a unique blend that doesn’t follow any rules nor fit into any specific music genre, as the band believes creativity exists precisely for such freedom.
The melancholic guitar lines by Voidger kick off the nine-minute atmospheric tune titled Black Mountain, offering an overdose of Post-Black Metal sounds as part of their core Atmospheric Black and Death Metal. Then investing in a more direct Black Metal sound with Death Metal nuances we have The River Named Opir, with Wormwood’s harsh vociferations exhaling hatred and obscurity while Lycane hammers his drums with tons of energy and fury. Into Lightless, Uncharted Depths keeps the atmosphere dense and pensive while adding an extra touch of melody to their core Atmospheric Black Metal thanks to the striking riffs and solos by Voidger; and the trio sounds in total and absolute sync in Night Visions Fade, breathing fire and darkness through their sonic weapons, with the lancinating roars by Wormwood reeking of insanity. Lastly, it’s time to break our necks headbanging to the closing tune About Those Who Are Silent Now, with Voidger and Lycane building a Stygian ambience perfect for Wormwood’s devilish gnarls.
Fans of bands the likes of Ezkaton, Silvern, Harakiri For The Sky, Ellende, and Moonsorrow, among several others, will have an absolute blast listening to Archaic Dance of the Winds, another solid step forward in the dark and exciting path taken by U Kronakh in their short but extremely prolific career so far. The uncanny musicians behind U Kronakh are waiting for you armed with their atmospheric sounds on Facebook and on Instagram, and don’t forget to also stream their entire discography on Spotify (or any other streaming service), and above all that, to purchase Archaic Dance of the Winds from BandCamp, or click HERE for all things U Kronakh. Their music is just as mysterious and distinctive as their name, and I’m sure it won’t take long for the band to stun us all once again with the successor of Archaic Dance of the Winds, because if there’s one thing that the guys from U Kronakh know how to do, that’s to keep working hard and crafting high quality grim music nonstop.
Best moments of the album:The River Named Opir and Night Visions Fade.
Worst moments of the album: None.
Released in 2025 Archivist Records
Track listing 1. Black Mountain 9:15
2. The River Named Opir 6:17
3. Into Lightless, Uncharted Depths 9:08
4. Night Visions Fade 7:31
5. About Those Who Are Silent Now 7:44
Band members Wormwood – vocals
Voidger – guitars, bass
Lycane – drums
On a Monday night in what has been a complete shitshow of city incompetence with regards to snow removal, Toronto’s metal denizens were treated to a great night at The Velvet Underground with the titans of Greek extreme metal SEPTICFLESH along with friends VLTIMAS and STORMRULER in support for the Modern Primitive in North America Tour 2025. Toronto being their first stop on the Canadian leg of the tour. Originally this show was supposed to be at The Concert Hall on Yonge Street but ticket sales were not as strong as were anticipated and so a change in venue had to take place as The Concert Hall would have been too large of a venue for the smaller crowd. Quite a shame if you ask me because it is a superior venue, but this dark cloud had a silver lining, if anything, it just made the show at The Velvet Underground feel more intimate.
The weather was finally a bit more cooperative with milder temperatures but the city’s mismanagement of snow removal this year has been such a joke and sidewalks were still inundated with snow and garbage and other such messiness that walking the streets had become such an ordeal for most people. Lining up for the show was a bit of a challenge because there was barely enough room for pedestrians to get by but we all made the best of it. Finally security let us inside at around 7pm and as soon as we had got in the first thing we all noticed was that the merch was priced in American dollars which was a little odd all things considering. It didn’t bother me much though, I was way too excited to see Septicflesh for any of that shit to bother me. The place filled up nicely and I made sure that I got close to the stage because the sight lines at the Velvet Underground are shit if you are short like me. The crowd was eagerly waiting for the show to begin. St. louis Missouri’s STORMRULER kicked off the show with a blistering 5 song set of delicious melodic black metal complete with some solos for desert. Stormruler are filling in for Ex Deo as they are no longer on the tour because of unforeseen circumstances. It was my first time seeing them and I found them to be quite entertaining. I would definitely check them out if or when they visit us again.
Setlist
Sacred Rites & Black Magic
Reign of The Wicked Duke
In The Eye Of The Mirror
Ten Heralds, Ten Desolations
Internal Fulmination Of The Grand Deceivers
Band members
Jason Asberry – vocals, guitars
Nick Burks – guitars
Dalton Moore – bass
Jesse Schobel – drums
Up next was the extreme metal powerhouse that is VLTIMAS. They are a kind of supergroup consisting of ex Morbid Angel Frontman David Vincent (USA) on vocals, ex Mayhem and current Aura Noire guitarist Rune “Blasphemer” Eriksen (NOR), Canada’s own Flo Mounier of Cryptopsy on drums, Dutch Bassist Ype TWS (ex-Dodecahedron) and Portugal’s Joao Duarte of the band Corpus Christii on guitar as well. Vltimas proceeded to tear the roof off with a brutal onslaught of extremity and I was surprised that the pits of hell didn’t open up in the middle of the floor. These guys are so polished and professional that they had the crowd instantly energized. The house was about 85% full but it felt like more than that. Everyone was waiting for Septicflesh to get on before they let loose in the pit. Vltimas absolutely killed it! 10/10!
Setlist
Epic
Something Wicked Marches In
Invictus
Mephisto Manifesto
Exercitus Irae
Last Ones Alive Win Nothing
Scorcher
Diabolus Est Sanguis
Everlasting
Band members
David Vincent – vocals
Rune “Blasphemer” Eriksen – guitars
Joao Duarte – guitars
Ype TWS – bass
Flo Mounier – drums
The crowd was thoroughly rabid when the mighty SEPTICFLESH got on stage. The circle pit was instantaneous and the crowd never let up. Neuromancer was the second song they played and it blew the lid off the place. It was epic! definitely a crowd favourite as well as my own personal favourite song of theirs. I swear that riff lives in my head. The crowd was beside themselves with utter joy and satisfaction and you could tell that this band has a special connection with their fans, almost personal. This was my first time seeing them live and I fucking loved every second of it. Septicflesh belted out banger after banger the whole entire set. They are such an incredible band to see live! 10/10, would love to see them again! Overall it turned out to be a great night and a hell of a good show.
Setlist
The Vampire From Nazareth
Neuromancer
Pyramid God
Heirophant
Portrait Of A Headless Man
Coming Storm
Martyr
We, The Gods
A Desert Throne
Virtues Of The Beast
Communion
The Collector
Anubis
Dark Art
Canada’s own Atmospheric Doom/Death/Post-Metal entity returns with another imposing album, exploring the concept of duality, flowing between slow and faster songs while highlighting the contrasts in death and doom.
Named after Siberia’s northernmost city, Норильск in Russian, home to the world’s largest heavy metals smelting complex, Gatineau/Hull, Quebec-based Atmospheric Doom/Death/Post-Metal band Norilsk blends slow and crushing riffs, death growls, icy melodies and atmospheric arrangements in their music, drawing inspiration from the 1990’s doom-death scene, while incorporating a heavy dose of eclectic and contemporary influences. Now in 2025 the band formed of Nic Miquelon on vocals and bass, Tom Hansen and Matt MacIvor on the guitars, and Nick Richer on drums and backing vocals is back with their third full-length opus, titled Antipole, the first album to be recorded by all four members of the band. Mixed and mastered by James Plotkins at Plotkinsworks, with drums recorded and mixed at Wolf Lake Studios by Mike Bond with assistance from JP Sadek and edited and mixed in The Bond Cave, guitars and bass recorded by Tom Hansen, vocals recorded by Topon Das at Apartment 2 Studios, and displaying a classy artwork by Adam Burke of Nightjar Illustrations, Antipole is also the first record that Norilsk have been extensively rehearsing, and working on the arrangements together before entering the studio, resulting in a much bolder, tighter and heavier opus than their previous releases.
The metallic sounds blasted by Nic, Tom and Matt match perfectly with the hammering drums by Nick in the title-track Antipole, exploding into a darkened feast of Doom Metal with deep, devilish vociferations, followed by D’ombre et de glace (l’asphyxie), which is French for “of shadow and ice (asphyxiation)”, another rumbling creation by the quartet overflowing doom and fear led by the striking riffs by Tom and Matt. And Locus Sanctus, or “holy place” from Latin, starts in a sinister, serene manner before the band smashes their sonic weapons once again, resulting in one of the most sluggish songs of the album, with Nick stealing the show with his thunderous beats.
Nunataks, from Inuit nunataq, is the summit or ridge of a mountain that protrudes from an ice field or glacier that otherwise covers most of the mountain or ridge, and the band puts the pedal to the metal musically speaking, offering a thrilling fusion of Doom and Death Metal with captivating Post-Metal elements. Then get ready for an intense ten-minute musical voyage entitled La chute du géant, or “the fall of the giant” from French, kicking off in the most lugubrious, pensive way and flowing smoothly while at the same time piercing our minds mercilessly until its ethereal finale. In La fonte, or “the source”, Norilsk go full Post-Metal, with the heavy bass by Nic walking hand in hand with the classic drums by Nick, albeit not too exciting in the end. And lastly we have Un chant pour les morts, or “a song for the dead”, a pure Doom Metal onrush sounding absolutely heavy and grim thanks to the raspy roars by Nic.
The quartet has assembled a brand new chapter in their discography with Antipole, building on the characteristics that made Norilsk what it is today while offering something undeniably contemporary, with its slow doomy riffs, cold melodies, recognizable death growls, and a hint of Post-Metal atmosphere brought by a dual guitar interplay. Exploring the concept of duality, the album flows between slow and faster songs, and highlights the contrasts in death and doom, with its beauty and tragedy, harshness and fragility, light and darkness, reality and fiction, and its gravity and ethereality. Hence, don’t forget to get in touch with Norilsk on Facebook and on Instagram for more of their music, news and tour dates, to stream their music on Spotify, and to purchase Antipole from Norilsk’s own BandCamp, or from the Hypnotic Dirge Records’ BandCamp, EU store (and if I were you, I would go for the more than special CD + merch bundle), or Canada/US store, letting their doomed, heavy and pensive creations penetrate dep inside your blackened soul.
Best moments of the album:Antipole, Nunataks and La chute du géant.
Worst moments of the album:La fonte.
Released in 2025 Hypnotic Dirge Records
Track listing 1. Antipole 8:05
2. D’ombre et de glace (l’asphyxie) 4:47
3. Locus Sanctus 6:07
4. Nunataks 5:27
5. La chute du géant 10:42
6. La fonte 5:08
7. Un chant pour les morts 7:18
Band members Nic Miquelon – vocals, bass
Tom Hansen – guitars
Matt MacIvor – guitars
Nick Richer – drums, backing vocals
A collaborative Atmospheric Death and Funeral Doom Metal project formed in Cardiff, Wales in 2022 by guitarist John Courage, featuring musicians from the UK and Sweden, God Unknown are finally unleashing upon humanity their debut offering, beautifully titled Last Glimpse of Daylight. Produced by the band itself, engineered by John Courage and Daniel Tjernberg, mastered by Dan Swanö at Unisound, and showcasing a darkly serene artwork by Manino Linic, the debut album by Daniel Tjernberg on vocals (with additional vocals by Camilla Tjernberg on the song “Stay with Me”), John Courage on the guitars, Adam West on bass and additional guitars, Michael Lang also on bass, Kostas Panagiotou on keyboards, and Tats McGee on drums will embrace you in absolute grief and melancholy, darkening the skies with the sheer power of funereal and grim Doom Metal.
Inspired by the love of somber, funeral doom and atmospheric themes, God Unknown are ready to crush our minds and souls with the absolute heaviness and obscurity flowing from their excellent debut Last Glimpse of Daylight, and if you want to join such a promising band in gloom and darkness you can find them on Instagram, stream their music on any platform such as Spotify, and of course, above all that, purchase a copy of their striking debut from their own BandCamp or by clicking HERE. In other words, let the lugubrious and grim Doom Metal by God Unknown embrace you, until you see your last glimpse of daylight.
THE HEADBANGING MOOSE 