Tag Archives: atmospheric folk 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 – Duir / Catarsi (2026)

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Behold the sophomore album by this uncanny Italian Atmospheric Folk and Black Metal entity, guiding listeners on a cathartic journey where history becomes emotion and memory turns into sound.

An Atmospheric Folk and Black Metal band formed in 2013 by guitarist MK, aiming to blend personal influences with Folk and Black Metal elements, Verona, Italy-based horde Duir, whose moniker comes from the Celtic word for “oak,” a symbol of longevity and wisdom, returns with the follow-up to their 2022 debut T​.​S​.​N​.​R​.​I. – Impermanenza, entitled Catarsi. Recorded by Alberto Spaziani and the band itself, edited by MK at Void Sounds Studio, mixed and mastered by P.G. of Groza at Ad Nauseam Sounds, and displaying a stylish artwork by Silvia Luppi of The Veil of Arda (with logo by Moonroot), the new opus by Vox in Umbra on vocals, MK and Skryer on the guitars, TZ. on flute, bagpipe and hurdy gurdy, and P. on drums, and featuring guest bassist Andrea Privato, the album represents the band’s most ambitious work yet. Set during the First World War, it follows a young soldier caught between pride, despair, and oblivion, guiding listeners on a cathartic journey where history becomes emotion and memory turns into sound.

The band kicks off the album with the multi-layered, atmospheric and ritualistic Manifesto, where the venomous gnarling by Vox in Umbra walks hand in hand with their caustic riffs by MK and Skryer, not to mention the background sounds blasted by TZ. are a thing of beauty. After such a detailed and captivating aria, the band brings forward their most Black Metal side in Di nessuno (“of no one”), without forgetting to add their share of folk music to the overall result; and Impeto, featuring L.G. of Ellende, is a modern-day Post-Black Metal extravaganza with tons of atmospheric and folk elements where P. steals the spotlight with his demonic drumming. Then we have what feels like a trilogy inspired by the paradox between night and day, starting with Della notte (“of the night”), where MK and Skryer embellish the airwaves with another killer riff attack, flowing into Del giorno (“of the day”), with its ethereal intro being boosted by the devilish vociferations by Vox in Umbra, again presenting an amalgamation of styles such as Post-Metal, Black Metal and folk music. And they conclude such trilogy and the album as a whole on a high and emotional note with Oltre l’alba (“beyond the dawn”), where Vox in Umbra and P. are in absolute sync, as well as the multi-talented TZ. and his stunning folk sounds, before the song’s climatic, whimsical finale.

Through Atmospheric Black Metal intertwined with evocative folk elements, Catarsi showcases the band’s signature blend of haunting melodies and visceral intensity, positioning them as one of the must-see names not only of the current Italian Extreme Metal scene, but also anywhere else in the world where first-class heavy music is truly appreciated. Those uncanny creatures from Italy can be found on Facebook and on Instagram, including their breathtaking live concerts, and don’t forget to also stream their music on Spotify, and above all, to purchase Catarsi from their own BandCamp or from the AOP Records’ BandCamp. Having said all that, do you think you have what it takes to follow Duir on their Stygian, purifying voyage to the sound of their caustic new album?

Best moments of the album: Manifesto, Impeto and Oltre l’alba.

Worst moments of the album: None.

Released in 2026 AOP Records

Track listing
1. Manifesto 10:02
2. Di nessuno 6:54
3. Impeto 7:59
4. Della notte 4:38
5. Del giorno 7:20
6. Oltre l’alba 9:40

Band members
Vox in Umbra – vocals
MK – guitar
Skryer – guitar
TZ. – flute, bagpipe, hurdy gurdy
P.  – drums

Guest musician
Andrea Privato – bass (session)
L.G. – vocals on “Impeto”

Album Review – SAOR / Amidst the Ruins (2025)

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Andy Marshall and his band of Caledonian warriors are back with an epic voyage set to rekindle the fires of heritage and resurrect the valor that courses through Scotland’s vast landscapes.

Out of the mists, where lore whispers in the winds, Glasgow, Scotland-based Atmospheric Folk/Black Metal act SAOR, pronounced “seur”, which means “free” and “unconstrained” in Scottish Gaelic, the heralds of Caledonia’s primeval beauty and ancient tales, rises once again to enrapture souls far and wide. Their newest offering, Amidst the Ruins, is an epic voyage set to rekindle the fires of heritage and resurrect the valor that courses through Scotland’s vast landscapes. Recorded at Fortriu Studios (vocals, guitars, bass), Nikolaus Recordings Studio (female vocals, tin whistles, low whistles, uilleann pipes), NewLife Studios (drums) and Farkosten Studios (violin, viola, cello), mixed by Chris Fielding at Penylan Studio, mastered by Tony Lindgren at Fascination Street Studios, displaying a beautiful artwork by Julian Bauer (with layout by Adrien Bousson), and featuring guest musicians Ella Zlotos, Carlos Vivas, Jo Quail, Àngela Moya Serrat, Miguel Izquierdo, and Samuel C. Ledesma, Amidst the Ruins stands proud, a timeless sentinel amidst the sands of time carefully brought into being by the project’s mastermind Andy Marshall, offering a stunning onrush of his “Caledonian Metal” perfect for fans of Winterfylleth, Agalloch, and Wolves in the Throne Room, among many others.

Andy and his more-than-special guests waste no time and melt our faces with 12 minutes of beautiful and atmospheric passages in Amidst the Ruins, led by the pulverizing drums by Carlos while Andy fires razor-edged riffs, not to mention how all background instruments like the whistles, violin, viola and cello sound utterly embracing. Echoes of the Ancient Land already begins in full force with Andy gnarling like a beast accompanied by the massive beats by Carlos, offering our avid years another very detailed and embracing musical experience; and by now you’ve probably noticed Andy nurtures a deep passion for long and complex songs, which is also the case with Glen of Sorrow, where the charming vocals by Ella bring a touch of finesse to the hurricane of Atmospheric Black Metal crafted by the whole crew. Then after such an imposing tune it’s time for the folk-infused, atmospheric The Sylvan Embrace, with guest Jo Quail embellishing the airwaves with her cello, followed by the closing song Rebirth, the perfect fusion of Atmospheric Black Metal with classic folk sounds where Ella is once again spot-on with her whimsical whistles while Andy continues to blast his harsh vociferations and melodic yet scorching riffs, all spiced up by the hypnotizing strings by Àngela, Miguel and Samuel.

Building upon the chronicles of old, Amidst the Ruins sees the warriors of SAOR cast a clarion call to awaken from the lethargy of modern existence, to reclaim the essence of a heritage laid asunder. Hence, if you want to join such an amazing army hailing from the Scottish Highlands, you can find them on Facebook, Instagram, YouTube, and Spotify, and of course purchase a copy of the stylish Amidst the Ruins from Bandcamp or by clicking HERE. Andy and his band of Caledonian warriors have crafted a majestic symphony that welds the intensity of Black Metal with Celtic folk melodies in their new album, bridging the past and present as they remain the ceaseless bards of Caledonia unbroken.

Best moments of the album: Amidst the Ruins and Rebirth.

Worst moments of the album: None.

Released in 2025 Season of Mist

Track listing
1. Amidst the Ruins 12:41
2. Echoes of the Ancient Land 11:41
3. Glen of Sorrow 12:05
4. The Sylvan Embrace 8:19
5. Rebirth 14:10

Band members
Andy Marshall – vocals, guitars, bass

Guest musicians
Ella Zlotos – female vocals, tin whistles, low whistles, uilleann pipes
Carlos Vivas – drums
Jo Quail – cello and FX on “The Sylvan Embrace”
Àngela Moya Serrat – violin on “Amidst the Ruins”, “Echoes of the Ancient Land” and “Rebirth”
Miguel Izquierdo – viola on “Amidst the Ruins”, “Echoes of the Ancient Land” and “Rebirth”
Samuel C. Ledesma – cello on “Amidst the Ruins”, “Echoes of the Ancient Land” and “Rebirth”

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

Album Review – Ruadh / The Rock of the Clyde (2020)

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Open your heart and join musician and songwriter Tom Perrett in his Atmospheric Black Metal journey through the Iron Ages in Scotland.

Drawing from the vast well of history, culture and mythology, Glasgow, Scotland’s own musician and songwriter Tom Perrett set out to compose music purely to taste with his Atmospheric Black Metal solo-project Ruadh (which is pronounced ‘Roo-Ah’ and translates to ‘red’), creating an unmistakable atmosphere with the beating heart of old school Black Metal favourites of his since the project’s inception in 2018, such as Windir, Bathory, Burzum and others, which should also appeal to fans of Saor, Winterfylleth, Panopticon and similar acts. Hailing from Rutherglen (also known as the red glen) in the central belt of Scotland, Tom and his very special guests Cieti on female vocals, Kimberly Copland on bass and Philip Morrison on drums are unleashing upon us all Ruadh’s sophomore album The Rock of the Clyde, an evolution from their 2019 debut album Sovereign presenting six tracks of epic Scottish Atmospheric Black Metal with Folk elements, taking you through the Iron Ages in Scotland and also exploring the history and mythology of the people of Scotland, conveying both sorrow and uplifting, almost heroic tones, all embraced by the delicate and enthralling artwork by Joan Llopis Doménech Illustrations.

Tom and his bandmates don’t waste a single second and fill every single space in the air with crisp, dark and atmospheric sounds in Embers, where Tom fires some deep guttural roars accompanied by Philip’s classic, steady beats and Cieti’s delicate vocals in a 10-minute sonic voyage alternating between heavier moments and an enfolding and whimsical vibe, not to mention the amazing job done by our brave Scottish warrior with his strident guitar riffs. After a fantastic welcome card like that, a ritualistic intro kicks off the title-track The Rock Of The Clyde, morphing into an Atmospheric Folk and Black Metal extravaganza where Kimberly and Philip generate a bold and groovy base for Tom and his soulful riffs and solos, as well as his potent clean vocals, also bringing to our ears acoustic passages and endless melancholy before finally exploding into a visceral fusion of traditional Folk and Black Metal. And in Winters Light the band continues to pave their dark and introspective path, with Kimberly delivering thunderous bass jabs together with the blast beats by Philip while Tom is once again on absolute fire with his growling, his riffage and all background elements found throughout the song’s inspiring nine minutes of music.

Fields Of Heather is another lecture in Atmospheric Black Metal made in Scotland going full Black Metal at times, with all band members generating a classy and piercing sonority with their sonic weapons, sounding at the same time violent, rebellious and epic, and with Tom’s riffs and Kimberly’s bass walking hand in hand it doesn’t matter the speed of the music. Then acoustic and serene sounds and tones permeate the air in Only Distant Echoes Reign (Part 1), a very personal and gentle creation by Tom heightening our senses and warming up our hearts for the second part of this beautiful aria, Only Distant Echoes Reign (Part 2), where a murder of ravens in fugue follows Tom and his dense and captivating music, uniting the heaviness and darkness of Black and Death Metal with more atmospheric and ethereal sounds while Philip dictates the rhythm and Tom barks rabidly as usual, flowing majestically until the song’s grand finale and, consequently, putting a stunning conclusion to such vibrant voyage through Scottish lands.

You don’t need to travel all the way to Scotland to join Tom and his Ruadh in their quest for Atmospheric Black Metal, as all you need to do is follow the project on Facebook and on Instagram to know more about his music, his goals and his music, and above all that, grab your copy of The Rock of the Clyde directly from Ruadh’s own BandCamp page, from the Northern Silence Productions’ BandCamp page, or simply click HERE for all locations where you can buy and stream the album. Massive in both scope and scale, The Rock of the Clyde will feature among the best Atmospheric Black Metal albums of the year without a shadow of a doubt, proving not only that Tom is thoroughly connected to his Scottish roots, but also that underground metal music always sounds more compelling and vibrant when its made of Scottish iron.

Best moments of the album: The Rock Of The Clyde and Fields Of Heather.

Worst moments of the album: None.

Released in 2020 Northern Silence Productions

Track listing
1. Embers 10:01
2. The Rock Of The Clyde 10:20
3. Winters Light 9:01
4. Fields Of Heather 10:56
5. Only Distant Echoes Reign (Part 1) 4:44
6. Only Distant Echoes Reign (Part 2) 8:54

Band members
Tom Perrett – vocals, all instruments

Guest musicians
Cieti – female vocals
Kimberly Copland – bass
Philip Morrison – drums