Tag Archives: atmospheric doom metal

Album Review – Mental Cruelty / Echoes of a Forlorn Land (2026)

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Inspired by Northern mythology and ancient folklore, this relentless German Symphonic and Blackened Deathcore horde returns with their most ambitious work to date, exploring the darker, mystical aspects of forgotten legends.

For Karlsruhe, Germany-based Symphonic/Blackened Deathcore band Mental Cruelty, it all changed with a trip to the library after a visit to Hel(l). After purchasing books on Norse Mythology, those Teutonic warriors took the inspiration from the standalone single “Helheim” (based on the ruler of the titular realm of the dead) to a full-album affair on Echoes of a Forlorn Land, following up on their critically acclaimed 2023 opus Zwielicht. Produced, mixed and mastered by the legendary Jens Bogren at Fascination Street Studios, the new opus by frontman Lukas Nicolai, guitarists Nahuel Lozano and Marvin Kessler, and drummer Danny Straßer captures the band at the height of their creative powers inspired by Northern mythology and ancient folklore, deliberately moving away from familiar clichés, instead exploring the darker, mystical aspects of forgotten legends, hence fans hoisting upon the band the banner of “Viking Deathcore.” Authentic traditional instruments from across Europe and Asia add depth and atmosphere to the album, while crushing riffs, relentless blast beats, haunting orchestrations, soaring melodies and ferocious vocals create an intense yet emotionally rich journey.

The epic, dark and enfolding intro Weltennacht transports us to Hel together with Mental Cruelty before the sonic storm titled Fenrir hits us majestically, with the bestial drumming by Danny offering Lukas exactly what he needs to roar like a demonic entity, kicking off the album on a beyond electrifying mode. Then we have Blood for Blood, blending their Deathcore essence with the epicness of Folk Metal, with the guitars by Nahuel and Marvin breathing fire like dragons; followed by The Serpent of Midgard, where Lukas roars the song’s venomous lyrics rabidly (“A colossus born from chaos / Guarding the realm of the deep / A bite that murders immortals / No soul will ever escape / Escape / No soul will ever escape / No cure for his venom / Guarding the realm of the deep”) while the music is a powerhouse of Symphonic Deathcore insanity. And Helheim is as heavy as it is epic and imposing, with the wall of sounds crafted by the entire band crushing our bodies and souls mercilessly.

Draugar alternates between absolute metallic madness, ethereal passages, and thunderous breakdowns, while also presenting elements from an array of styles from Death to Atmospheric Black Metal; whereas in Raise the Raven Banner all traditional instruments make it feel like we’re in the middle of a Viking battle. Moreover, Lukas keeps screaming nonstop supported by Dany, who pounds his drums like the hammer of Thor. Cry of Batariel keeps the atmosphere dense, ritualistic and visceral, once again presenting the scorching melodeath riffs by Nahuel and Marvin, while Frost invests in a more Atmospheric Doom and Folk Metal vibe, with its Stygian lyrics (“Every night, I hope for redemption / And for this darkness may come to an end / Every god remains in silence / No sunlight dares to descend”) adding even more epicness to the music. And finally, after the piano interlude Dämmerbruch, we face Ride of the Valkyries, a masterpiece of Viking Deathcore with all band members giving all they got, turning it into a stunning musical voyage led by the cryptic vocals by Lukas and their always scorching riffs.

With Echoes of a Forlorn Land, Mental Cruelty have crafted a sound vast enough to stand alongside all of them and more, while remaining unmistakably their own, entering a bold new chapter and delivering their most ambitious album to date. Expanding far beyond the boundaries of modern Deathcore, the band forges a distinctive sound that masterfully blends Blackened Death Metal with elements of Black, Folk and Power Metal, creating an immersive and cinematic listening experience unlike anything in their catalogue. “We already wrote about Satan on ‘Obsessis a Daemonio,’ I already wrote about Hades in a previous band, and I was curious about more rulers of the Underworld,” explained vocalist Lukas Nicolai. “Hel just made sense as our sound has increasingly become more influenced by Scandinavian music. The books we bought expanded our knowledge of Nordic folklore, and the stories kept ringing in our ears until they became the Echoes of a Forlorn Land.” Needless to say, you can find more details about those German metallers, including their tour dates, on Facebook, on Instagram and on YouTube, stream their music on Spotify, and of course purchase their new album by clicking HERE or HERE. Because Echoes of a Forlorn Land is not just the next Mental Cruelty album. It is the sound of a band redefining its own genre.

Best moments of the album: Fenrir, The Serpent of Midgard, Raise the Raven Banner and Ride of the Valkyries.

Worst moments of the album: None.

Released in 2026 Century Media

Track listing
1. Weltennacht 2:06
2. Fenrir 4:21
3. Blood for Blood 3:14
4. The Serpent of Midgard 4:50
5. Helheim 3:53
6. Draugar 2:49
7. Raise the Raven Banner 6:19
8. Cry of Batariel 4:02
9. Frost 4:13
10. Dämmerbruch 1:26
11. Ride of the Valkyries 6:45

Band members
Lukas Nicolai – vocals
Nahuel Lozano – guitars
Marvin Kessler – guitars
Danny Straßer – drums

Album Review – Cultus Sanguine / Tears Painted Sky (2026)

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These Italian veterans are back with their fourth opus, immersing us all in dark, powerful sounds that take us on a slow, relentless journey into the depths of the soul, a place where pain and darkness take shape.

Formed in 1993 in Milan, Italy, Cultus Sanguine are one of the most influential and genre defining bands in the history of dark, devilish Blackened Gothic and Doom Metal, having already release the cult albums Shadows’ Blood (1997), The Sum of All Fears (1999), and Dust Once Alive (2023). Written and composed by the band itself, recorded, mixed and mastered by Danilo Dilorenzo at MoonHouse Studio,  and displaying a sinister artwork and layout by Federico Rebusso, Tears Painted Sky is the fourth studio album by Joe Ferrero on vocals, Federico Rebusso on the guitars, Luca Difato on bass, Daniele Bovo on keyboards, and Fabrizio Cislaghi on drums, immersing us all in dark, powerful sounds that take us on a slow, relentless journey into the depths of the soul, a place where pain and darkness take shape.

The quintet wastes no time and fills up every single space in the air with their dark and atmospheric sounds in Tears Painted Sky, led by the striking keys by Daniele and the massive beats by Fabrizio; and the deep vociferations by Joe set the tone in the also obscure Inner Solitude, with their Gothic Metal vein pulsing harder than ever. In When Silence Devours we see the band blend the heaviness of Doom Metal with the delicate sounds of Gothic Rock and Metal, with Daniele being once again on fire behind his drums, followed by My Wounds Are Eternal, a pensive tune that carries a beautiful title, with Federico bringing sheer heaviness through his axe. And then we face Le tue ossa sono fredde, or “your bones are cold” from Italian, featuring guest Luca Difato on the violin, evolving into a visceral display of Doom Metal with atmospheric elements.

Pale Presence offers a more generic version of their own blend of Atmospheric Gothic and Doom Metal. It’s still a solid effort by the boys, but it lacks the same intensity of the previous tunes, whereas Grey, Cold and Unforgiving showcases a more theatrical side of the band, with the reverberating bass by Lucas adding even more obscurity to Daniele’s phantasmagorical keys. Rise to Nowhere continues with their theatre of doom, with Joe again delivering absolute anguish and heaviness through his vocals lines, supported by the minimalist, caustic guitars by Federico, flowing into the closing tune Funeral Farewells, as heavy as it is dynamic, multi-layered and grim, where Joe’s vocals are effectively boosted by the song’s background vocals (not to mention the scathing riffs by Federico), therefore putting a climatic ending to the album.

With the release of Tears Painted Sky, Cultus Sanguine are pushing beyond the already fragile boundaries of their poetic vision, exploring painful territories and surrendering completely to the aesthetics of the end. There is no consolation, no hope, no catharsis; just an elegant and decadent representation of the inner twilight. In case you want to follow the band into such harsh territories, you can find them on Facebook and on Instagram, stream their music on any platform like Spotify, and of course purchase their new album from their own BandCamp or from My Kingdom Music’s BandCamp or webstore (or click HERE for all things Cultus Sanguine). The cult is alive, the sky is painted with tears, and the new album by these Italian veterans is the perfect soundtrack for such darkness and melancholy.

Best moments of the album: Tears Painted Sky, My Wounds Are Eternal and Funeral Farewells.

Worst moments of the album: Pale Presence.

Released in 2026 My Kingdom Music

Track listing
1. Tears Painted Sky 6:06
2. Inner Solitude 5:32
3. When Silence Devours 4:30
4. My Wounds Are Eternal5:20
5. Le tue ossa sono fredde 4:39
6. Pale Presence 5:31
7. Grey, Cold and Unforgiving 5:06
8. Rise to Nowhere 5:38
9. Funeral Farewells 6:55

Band members
Joe Ferrero – vocals
Federico Rebusso – guitars
Luca Difato – bass
Daniele Bovo – keyboards
Fabrizio Cislaghi – drums

Guest musician
Luca Difato – violin on “Le tue ossa sono fredde”

Album Review – God Unknown / Last Glimpse of Daylight (2026)

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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

Metal Chick of the Month – Kristien Cools

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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.

Kristien Cools’ Official Facebook page
Kristien Cools’ Official Instagram
Splendidula’s Official Facebook page
Splendidula’s Official Instagram
Splendidula’s Official YouTube channel

Album Review – Moon Wisdom / Let Water Flow (2026)

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The debut opus by this Italian Black Metal entity will embrace us all in darkness, portraying humanity lost in nature, seeking itself amid hatred, solitude, and the eternal return of its own demons.

Born from the depths of lunar silence from the vision of vocalist Faith and guitarist Kaelos, kindred spirits united by the desire to give voice to inner silence, with drummer Hexis completing the lineup, Moon Wisdom is the reflection of a soul that contemplates darkness as part of its own essence. In their Black Metal, mist, forests, and inner abysses intertwine, every note echoing an ancient feeling suspended between pain and beauty, exactly like what they have to offer in their debut opus, entitled Let Water Flow. Recorded by the band itself, mixed and mastered by Faith and Kaelos, with photography by Debrinka and Faith, and a stunning artwork and logo combo by Faith and Kaelos, this lean, 29-minute ritual introduces the band with unrelenting vigor, channeling the raw spirit of Black Metal’s second wave while weaving a current of Punk Rock energy and depressive Blackgaze.

The atmospheric album Intro will darken the skies and bring a touch of anguish to our hearts before the band destroys our souls with As Rain, with Faith delivering those harsh, devilish vocals we all love so much in primeval Black Metal; and Kaelos keeps firing scorching riffs for our absolute delight in Ashen Winds, supported by the demented blast beats by Hexis in a lesson in Black Metal magic. Then presenting a contemporary fusion of Black Metal with Atmospheric and Blackened Doom Metal we have Frozen Soul, slower and more obscure than its predecessors, whereas they get back to a more ferocious vibe in Solitude, with Faith again vociferating rabidly for our total delight. The longest of all songs, titled Dark Shades, is also the most infernal and visceral, with the trio hammering their sonic weapons in the name of extreme music. Furthermore, Faith’s vocals get even more demonic thanks to the ruthless sonority blasted by Kaelos and Hexis, flowing into the sinister and melancholic outro Lullaby of Woods, concluding the album on a high note to the sound of a crying violin.

A forest of shadows, a lunar call that watches and consumes, Moon Shadow offer cold, melancholic melodies drift like nocturnal winds through the mind in their debut opus, while lyrics steeped in symbolism and mysticism portray humanity lost in nature, seeking itself amid hatred, solitude, and the eternal return of its own demons. You can get to know more about such an up-and-coming entity of the current Black Metal scene via Facebook and Instagram, stream their full album on Spotify, and of course purchase it from the Hypnotic Dirge Records’ Bandcamp or webstore. As the moon rises, the night will enfold us all, and the music found in the debut album by Moon Wisdom is simply perfect for succumbing to such a dark embrace.

Best moments of the album: Ashen Winds and Dark Shades.

Worst moments of the album: None.

Released in 2026 Hypnotic Dirge Records

Track listing
1. Intro 1:42
2. As Rain 3:44
3. Ashen Winds 3:33
4. Frozen Soul 5:47
5. Solitude 4:48
6. Dark Shades 6:31
7. Lullaby of Woods 2:22

Band members
Faith – vocals
Kaelos – guitars
Hexis – drums

Album Review – Novembre / Words of Indigo (2025)

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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”

Album Review – Norilsk / Antipole (2025)

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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

Album Review – Greh / Dysphoric Devotion (2025)

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A beyond talented German trio will take you on a Blackened Death Metal journey through a dark universe in which light and shadow constantly alternate.

A musical journey through a dark universe in which light and shadow constantly alternate, Dysphoric Devotion, the first full-length album by Karlsruhe, Germany-based Blackened Death Metal outfit Greh,  is a “world of sound” that is characterized by both raw violence and intense rage. Recorded and produced by Greh, mixed and mastered by Hard Drive Sounds, and displaying a sinister artwork by Aaron Bonogofsky, the new opus by Martin Kocula (Grau, Lethes Fluten) on vocals, Gjero Krsteski (Hellgreaser) on the guitar, and Maurice Monne (Act of Rage, Hard Strike) on drums is highly recommended for fans of Hexis, Konvent, Triptykon, and Primitive Man, among others, representing a reflection of human existence, full of contradictions, abysses and an irrepressible longing for redemption.

Maurice slams his drums mercilessly in the opening tune Chained Thoughts, generating a reverberating atmosphere boosted by the Stygian riffage by Gjero; whereas the title-track Dysphoric Devotion brings more of the trio’s hammering hybrid of Doom and Death Metal, with Martin’s brutal vocals spreading hatred and fear majestically. Illusional Cenotaph brings forward another three and a half minutes of heaviness and sluggish sounds perfect for some sick headbanging, followed by Thy Breath Not Mine, based on a true story about a near-death experience caused by a blood clot in the lungs during sleep, exploring the painful struggle between life and death and the eventual realization and fascination of nothingness; musically speaking, they blast our faces with one more round of demented Death Metal for our total delight.

The trio goes full Doom Metal in All Flesh Decays, with Gjero leading the pace with his damned riffage, not to mention how visceral the roars and gnarls by Martin sound from start to finish, and there’s no sign of the band slowing down or sounding any softer in Growth In Pain, with Maurice pounding his drums nonstop. The second to last song of the album, titled Through The Eye, will darken your minds and thoughts to the venomous growls by Martin in a slow, steady and evil celebration of darkness; whereas they conclude the album on a very high note with the pulverizing Enter My Oblivion, again showcasing their passion for all things heavy and grim, with Martin once again sounding infernal with his guttural roars.

Immerse yourself in powerful Death Metal riffs that collide with Atmospheric Doom Metal passages in Dysphoric Devotion, while distorted walls of guitars, booming drums and dark vocals create an oppressive atmosphere that will stay with you for a long time, and you can do so by following the band on Facebook and on Instagram, by subscribing to their YouTube channel, by streaming their hard hitting creations on Spotify, and obviously by purchasing their new album from BandCamp (or simply click HERE for all things Greh). Light and shadow, rage and violence, and a humongous dosage of heaviness in the form of blackened music. This is exactly what you’ll get in Dysphoric Devotion, and I can’t wait to see what’s next for this talented trio hailing from Germany.

Best moments of the album: Dysphoric Devotion, Thy Breath Not Mine and Enter My Oblivion.

Worst moments of the album: Growth In Pain.

Released in 2025 Fetzner Death Records

Track listing
1. Chained Thoughts 3:03
2. Dysphoric Devotion 3:52
3. Illusional Cenotaph 3:36
4. Thy Breath Not Mine 3:28
5. All Flesh Decays 3:46
6. Growth In Pain 3:16
7. Through The Eye 2:54
8. Enter My Oblivion 5:07

Band members
Martin Kocula – vocals
Gjero Krsteski – guitar
Maurice Monne – drums

Album Review – Avernus / Grievances (2024)

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A beast of an album that represents the return to action by one of the premiere bands mixing death with doom elements, and by far their most cohesive and powerful recording to date.

Established in 1992 in Chicago, Illinois, Atmospheric Doom/Death Metal outfit Avernus (which, in Roman mythology, was the name for the underworld) was one of the premiere bands mixing death with doom elements as evidenced by early demos over the next couple years. However, after recording a couple more demos, the band wallowed in obscurity in the 2000’s despite the efforts of remaining constant member, founder Rick McCoy, slowly crumbling away. Recorded and engineered by Joe Scaletta at Word Of Mouth Recording (with drums recorded at Bricktop Recording, and additional recording by Andy Lagis at Earshot Recording), mixed and mastered by Charles Macak at Electrowerks Recording, and displaying the sinister 1878 oil in canvas “Anguish”, by August Friedrich Schenck, as the artwork, the newborn beast Grievances is the return to action by Avernus after so many decades, by far the most cohesive and powerful recording assembled by the more experienced and yet calmer heads of Rick McCoy on vocals, guitars and synthesizers, James Genenz on guitars, bass, synthesizers and vocoder, Erik Kikke on guitars and bass, and Rick Yifrach on drums and percussion to create truly a masterwork.

The phantasmagorical intro Calling The Void already brings forward the band’s trademark heaviness, with its sluggish sounds penetrating deep inside our minds before Nemesis darkens the skies with its beyond doomed vibe, where Stygian background elements and minimalist guitars are exactly what Rick McCoy needs to roar like a ruthless creature, not to mention how powerful the slow and steady beats by Rick Yifrach sound. The hammering riffs by Rick McCoy, James and Erik sound caustic and grim in Exitus, offering more of their Atmospheric Doom Metal essence, all boosted by serene, delicate synths, followed by the whimsical instrumental interlude Plateau, making the ambience even heavier and more somber until the band comes crushing like thunder in the Doom Metal aria The Burning Down, featuring spoken words by guest Corporate Death (of Macabre), inspired by giants of the scene the likes of My Dying Bride while Rick McCoy’s vocals exhale anguish and darkness.

And the atmosphere remains dense and pensive in Return To Dust, with the sluggish drums by Rick Yifrach hitting us hard with every single beat, supporting the riffs, bass and grim vocals by his bandmates, morphing into another cinematic, massive interlude titled Open Arms (To The Apocalypse), overflowing Doom Metal until futuristic synths create a stunning paradox with the harsh sound of their guitars in Utter Euphoria, featuring additional guitars by Jeff Ulbrich (of From Beyond These Walls). Abandoned is another song with a beyond atmospheric start, almost sounding like Ambient or Shoegaze, and maybe a bit too long to be honest; and there’s one final onrush of Atmospheric Death and Doom Metal by Avernus titled Quietus, with Rick Yifrach once again pounding his drums in the name of doom while the guitars by the band’s stringed trio sound as sharp as they can be, alternating between delicate passages and sheer heaviness where Death and Doom Metal converge, therefore ending the album in a climatic and piercing manner.

Grievances is more than a strong return to form by Avernus, but a must-listen for admirers of the most sluggish, darkest form of death and doom, and you can show your support to those awesome Chicago musicians by following them on Facebook and on Instagram, staying up to date with all of their news and tour dates, and of course by clicking HERE and purchasing your favorite version of their flammable new opus. The band might have taken years to get back in action, but the wait was absolutely worth it as the music found in Grievances is fantastic, and I’m sure we won’t have to endure another huge hiatus by Avernus in the coming years because after the impact of their new album in the current scene, they’ll feel more than inspired to keep spreading their doomed wings upon us.

Best moments of the album: Nemesis, The Burning Down and Quietus.

Worst moments of the album: Abandoned.

Released in 2024 M-Theory Audio

Track listing
1. Calling The Void 2:16
2. Nemesis 9:33
3. Exitus 8:10
4. Plateau 3:31
5. The Burning Down 9:26
6. Return To Dust 7:37
7. Open Arms (To The Apocalypse) 3:02
8. Utter Euphoria 4:32
9. Abandoned 5:05
10. Quietus 8:52

Band members
Rick McCoy – vocals, guitars, synthesizers
James Genenz – guitars, bass, synthesizers, vocoder
Erik Kikke – guitars, bass
Rick Yifrach – drums, percussion

Guest musicians
Corporate Death – spoken word on “The Burning Down”
Jeff Ulbrich – additional guitars on “Utter Euphoria”

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

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

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

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

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

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

Worst moments of the album: None.

Released in 2024 Independent

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

Band members
Damian Kinowski – guitars

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