Tag Archives: blackened post-metal

Album Review – Drofnosura / Ritual of Split Tongues (2025)

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A strange beast that’s absolutely comfortable in its own iridescent, translucent skin, this Canadian entity will stun us all with their expansive, stirring, and dissonant new album.

A strange beast that’s absolutely comfortable in its own iridescent, translucent skin, Toronto, Canada-based Blackened/Atmospheric Sludge/Post-Metal entity Drofnosura has been taking elements from multiple styles since their inception back in 2010, finely grounding them, and using the material to sculpt a new body entirely, just like what they have to offer in their sophomore opus Ritual of Split Tongues, following up on their scathing 2019 debut Voidfever. Showcasing a beyond menacing, disturbing artwork by Dusty Ray Art, the new album by W.L.F. on guitars, vocals, and synthesizers, M.A.D. on bass, vocals and synthesizers, and D.A.S. on drums, percussion, vocals and synthesizers sees the band traversing various realms, with a few songs surpassing the 15-minute mark, putting the emphasis on creating a meditative, transcendent atmosphere more than anything else.

Like a vile creature arising from the pits of the netherworld, the trio comes crushing our cranial skulls mercilessly in Selection of a Corpse, with the hammering drums by D.A.S. and the visceral guitars by W.L.F. complementing each other in great fashion. Then in the context of Hindu cremation, Kapala Kriya is a ritual where the skull of the deceased is pierced with a stick during the cremation process, while in heavy music it’s a ten-minute demented creation by Drofnosura where their venomous, minimalist vocal lines will haunt your damned souls for all eternity, sounding almost like the actual Hindu ritual. Then the title-track The Ritual of Split Tongues brings to our putrid ears over 15 minutes of primeval, sinister Doom Metal with Post-Black Metal elements led by the once again slow but fierce beats by D.A.S., followed by ἐγείρω (egeirō), a Greek verb that primarily means to raise, awaken, or stir up. It can also mean to wake up from sleep or to be awakened, as well as it can refer to the act of resurrecting or raising someone from the dead, resulting in a ritualistic interlude that sets the tone for The Well of Seven Heads, where the band shows absolutely no mercy for our damned minds and bodies while their Atmospheric Sludge Metal vein pulses harder than ever during its venomous 12 minutes, flowing into the also atmospheric, gloomy and dissonant Desounen, putting a Stygian ending to an album not recommended for the lighthearted.

Highly recommended for admirers of the music by Blut aus Nord, Devenial Verdict, Eibon, Amenra, Lurk, Isis, Pillar of Light, and The Angelic Process, among others, Ritual of Split Tongues is an astounding album where multiple influences converge to create music that’s at once expansive, stirring, and dissonant, and lingers on in the mind for longer than one would think, with the music naturally evolving within each of the songs as they progress, and it isn’t fatiguing just because it’s done in such an intuitive manner. You can get more details about Drofnosura, their music, live concerts and so on by checking what they’re up to on Facebook and on Instagram (or by clicking HERE), stream their cryptic creations on Spotify, and of course show your support to those talented Canadians by purchasing their bestial new album from their own BandCamp, as well as from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. In the end, Ritual of Split Tongues is certainly not an album for the lighthearted as mentioned, but let’s face it, that’s exactly what Drofnosura wanted to achieve with their multi-layered, grim and absolutely stunning new album.

Best moments of the album: The Ritual of Split Tongues and The Well of Seven Heads.

Worst moments of the album: None.

Released in 2025 Transcending Obscurity Records

Track listing
1. Selection of a Corpse 6:23
2. Kapala Kriya 10:22
3. The Ritual of Split Tongues 15:27
4. ἐγείρω 3:48
5. The Well of Seven Heads 12:28
6. Desounen 15:01

Band members
W.L.F. – guitars, vocals, synthesizers
M.A.D. – bass, vocals, synthesizers
D.A.S. – drums, percussion, vocals, synthesizers

Album Review – Ba’al / The Fine Line Between Heaven And Here (2025)

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This amazing Blackened Post-Metal act from the UK strikes back with a dark new album, drawing on the band’s personal experiences, exploring themes of grief, depression, suicide, substance abuse and existential dread.

Forged in the fires of Sheffield, in South Yorkshire, England, Blackened Post-Metal creature Ba’al (a title and honorific meaning “lord” in the Northwest Semitic languages spoken in the Levant during antiquity, which came to be applied to gods from its use among people) is unleashing upon us their new album, titled The Fine Line Between Heaven And Here, a caustic fusion of Black, Sludge and Post-Metal recommended for fans of Crippled Black Phoenix, Harakiri For The Sky, Inter Arma, and Sgaile, among others. Recorded and mixed by Joe Clayton at No Studio and mastered by Brad Boatright at Audiosiege, the same team that brought such a richly textured darkness to the last Ba’al release, and adorned in the stunning artwork of True Spilt Milk Designs, the new album by Joe Stamps on vocals, Nick Gosling and Chris Mole on the guitars, Richard Spencer on bass, and Luke Rutter on drums draws on the band’s personal experiences, exploring themes of grief, depression, suicide, substance abuse and existential dread, invoking the intensely human struggles that are played out against this backdrop of disparate elements and in every other place our troubled species has carved out a home.

Mother’s Concrete Womb is simply dark and sinister from the very beginning, gradually morphing into a massive hybrid of the harshness of Melodic Black Metal with the finesse of Post-Black Metal, with the nonstop screams by Joe sounding truly devilish, smoothly flowing into Waxwork Gorgon, where the minimalist yet caustic guitars by Nick and Chris exhale darkness, not to mention all Doom Metal elements present in the music make it even heavier and more compelling. Floral Cairn brings forward more of their neck breaking, melodic and piercing sounds, with Luke showcasing tons of dexterity and power behind his drums, dictating the song’s pace flawlessly; and the band then captures our senses in a dark embrace with the 11-minute aria Well of Sorrows, with the riffage by Nick and Chris guiding the listener through the band’s unruly Post-Black Metal waters, sounding all very detailed, vibrant and doomed. The Ocean That Fills a Wound is even more introspective and enfolding, another lecture in Post-Black Metal where Joe declaims the song’s pensive words with tons of passion, alternating between atmospheric moments and crushing, anguished passages, whereas lastly it’s time for Legasov, bringing to our avid ears one final onrush of melodic yet harsh sounds, with their haunting vocals, sharp riffs and Doom Metal drums putting a phantasmagorical ending to the album.

The journey through the musical landscapes in The Fine Line Between Heaven And Here is a dark and exciting one, and I’m sure you’ll have an amazing time listening to it from start to finish. Ba’al are waiting for you on Facebook and on Instagram with news, tour dates and more of their music, and you can not only stream their music on Spotify, but also purchase their excellent new album from BandCamp, from Road to Masochist, or by clicking HERE, letting their blackened sounds penetrate deep inside your mind and soul while at the same time connecting their music with your own personal experiences and struggles, proving why modern-day Post-Metal is one of the most humane styles in heavy music and, therefore, allowing the musicians involved to open up their hearts to us fans with each of their amazing songs, just like what’s offered to us all in The Fine Line Between Heaven And Here.

Best moments of the album: Well of Sorrows and The Ocean That Fills a Wound.

Worst moments of the album: None.

Released in 2025 Road to Masochist

Track listing
1. Mother’s Concrete Womb 12:56
2. Waxwork Gorgon 8:41
3. Floral Cairn 7:46
4. Well of Sorrows 11:03
5. The Ocean That Fills a Wound 13:25
6. Legasov 8:18

Band members
Joe Stamps – vocals
Nick Gosling – guitar
Chris Mole – guitar
Richard Spencer – bass
Luke Rutter – drums

Album Review – Demande À La Poussière / Quiétude Hostile (2021)

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An obscure French horde returns from the underworld with their sophomore opus, offering the listener eight tracks of primitive and soily sounds at the crossroads of Black, Doom and Sludge Metal.

3.5rating

demande-à-la-poussière-quiétude-hostile-2021Brought into being in 2017 by former members from The Great Old Ones, Spectrale, Omrade and Würm, Paris, France-based Blackened Sludge/Post-Metal entity Demande À La Poussière, or “Ask the Dust” from French (and also the title of American novelist John Fante’s best-seller book), aim at spreading darkness and weariness through a grey horizon beyond which no one hopes to see the sun shine again with their sophomore effort entitled Quiétude Hostile, or “hostile quietude”, offering the listener eight tracks of primitive and soily sounds with abrasive and bitter lyrics at the crossroads of Black, Doom and Sludge Metal. Comprised of Christophe Denhez on vocals and guitar, Neil Leveugle on bass and acoustic guitar, Edgard Chevallier on guitar and drone, and Vincent Baglin on drums, the band likes to label their music as a fusion of Apocalyptic Doom and Post-Black Metal, the perfect description to what’s found in their newborn spawn enfolded by a sinister artwork by Aurélie-Raidron. In other words, you’ll be overwhelmed by its thick, sludgy and groove-laden guitar lines, and by its vicious and intense vocals. It will annihilate your nervous system with an absolutely obsessive rhythmic section at the limit of paranoia.

Enraged screams from the pits of the underworld ignite the Stygian aria Léger Goût De Soufre (or “slight taste of sulfur”), exploding into disruptive Industrial Death Metal led by the crushing drums by Vincent while Christophe barks and roars like a rabid beast, whereas Morphème is more progressive and melodic thanks to the guitars by Christophe and Edgard, supported by the low-tuned bass by Neil throughout over six minutes of unrelenting Doom and Sludge Metal for our vulgar delectation. Then the bass jabs by Neil sound even more menacing in the Post-Black Metal extravaganza Éréthisme, where Vincent alternates between a sluggish drumming and infernal blast beats and fills, darkening the skies for all eternity; and the quartet keeps hammering our cranial skulls mercilessly in the title-track Quiétude Hostile, another brutal and dissident display of extreme music spearheaded by Christophe’s devilish gnarls while Vincent continues his path of devastation behind his drums.

In Perdu (“lost”), featuring guest contrabassist Jiu Gebenholtz, we’re treated to a slow and steady intro showcasing eerie drone elements in the background, evolving into an introspective and experimental piece for admirers of the genre, and if you think they’ll give us a single moment of peace you’re absolutely wrong, as Demande À La Poussière fire another demented Sludge and Doom Metal tune titled Bois De Justice (“wood of justice”), where all guitars sound as venomous and piercing as possible, not to mention Christophe’s hellish, deep growling, ending in sheer Black Metal splendor. After such furious display of extreme music, their second to last onrush of evil, death and fear comes in the form of L’oubli Du Contrasté (“forgetting the contrast”), blending the most demented elements of Sludge and Post-Black Metal, therefore generating the apocalyptic vibe that became the band’s trademark. Lastly, with guest Dima Dudko (White Ward) on saxophone, the band delivers their most experimental tune to date titled Expiravit, offering us all over nine minutes of creepy, atmospheric sounds, visceral bass punches by Neil and headbanging beats by Vincent that combined will put you in a trance until the very last second.

demande-à-la-poussière-2021If you think you have what it takes to face all the darkness, melancholy, insanity and hostility found in the new album by Demande À La Poussière, you can take a full listen at the album s many times as you want on Spotify, but of course I highly recommend you purchase a copy of it and show your true support to the underground by clicking HERE. Also, don’t forget to give those French metallers a shout on Facebook, as I’m sure they would love to hear from you all your comments about their sick creations. Fans of bands the likes of Neurosis, Mayhem, Cult Of Luna and Akhlys, among many others, will surely have a very good time listening to each and every track from Quiétude Hostile, while fans of pitch black darkness will finally enjoy the perfect soundtrack of this slow depression that walks alongside us every day, even though we keep a smile on our faces.

Best moments of the album: Morphème, Quiétude Hostile and Bois De Justice.

Worst moments of the album: Perdu.

Released in 2021 My Kingdom Music

Track listing
1. Léger Goût De Soufre 5:14
2. Morphème 6:11
3. Éréthisme 5:43
4. Quiétude Hostile 5:12
5. Perdu 7:21
6. Bois De Justice 6:13
7. L’oubli Du Contrasté 6:22
8. Expiravit 9:17

Band members
Christophe Denhez – vocals, guitar
Neil Leveugle – bass, acoustic guitar
Edgard Chevallier – guitar, drone
Vincent Baglin – drums

Guest musicians
Dima Dudko – saxophone on “Expiravit”
Jiu Gebenholtz – contrabass on “Perdu”

Album Review – Feral Light / Life Vapor (2020)

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An infernal American duo is back with more of their sonic madness in their vicious new opus, instantly pulling you in with its killer mix of melodic and dissonant riffing.

Formed in 2015 in the city of Minneapolis, Minnesota, in the United States by vocalist and guitarist Andy Schoengrund (Coagulate, Empires, Wolvhammer) together with drummer Andrew Reesen (Censer), Feral Light are a mysterious enigma playing grim and sorrowful Black Metal entwined with savage and unyielding Crust Punk, resulting in what can be labeled as “Blackened Post-Metal”. After a demo, an EP and two full-length albums, this unyielding force of darkness returns in 2020 with their third full-length installment titled Life Vapor, building up on the foundations of its predecessor while increasing the intensity of the music displayed. Recorded and mixed by Kyle Kaliszewski, mastered by James Plotkin (Plotkinworks), and featuring a minimalist and obscure artwork by Unexpected Specter, Life Vapor instantly pulls you in with its killer mix of melodic and dissonant riffing, combining and incorporating various styles including elements of Post-Metal, Black N’ Roll, Doom Metal and Second-Wave Black Metal, materializing as a downcast howl of war-torn vocals funneled through a lyrical content dealing with mysticism and inner struggle.

Experimental and futuristic sounds kick off the scorching opening tune Blood in Sand, with Andrew blasting his drums with tons of rage and precision while Andy barks the song’s grim, austere lyrics rabidly (“A way forward scrawled on obscure hands / Scorched by the touch of the expanse / Grasp past the sun, tethers unravel / Pull from the dark and carry forth”). Then leaning towards classic Norwegian Black Metal we have the massive Assuage, with Andy not only vociferating like a demonic entity but also firing sharp and acid riffs accompanied by Andrew’s infernal drums, also bringing forward an amazing balance between Andy’s strident guitar and his low-tuned bass; and displaying a huge dosage of Doom Metal added to the band’s core sonority, we’re treated to the ominous and heavy-as-hell Walking Tomb, alternating between otherworldly, lugubrious moments and sheer savagery, with Andy’s guitar riffs once again cutting our skin deep without a single drop of mercy.

Exhaling progressiveness, obscurity and harmony, the duo jams in the lands of doom in Last Gasp Invocation, generating an enfolding atmosphere before all hell breaks loose, with the music gradually morphing into a visceral Black Metal onslaught, whereas modern-day Black Metal sounds and tones permeate the air in Hex of Inverses, where both Andy and Andrew sound at the same time venomous and very melodic with their respective weapons. Needless to say, their music will mercilessly penetrate deep inside your psyche and make your skull tremble. And finally, Andy’s slashing riffage and Andrew’s vicious beats will invite you to slam into the pit in the closing tune In Summation, presenting a sulfurous hybrid of old school Black Metal with more contemporary stiles the likes of Post-Metal and Melodic Black Metal, ending the album on a high and Stygian note.

If you want to give Life Vapor a shot, you can enjoy the album in its entirety on YouTube and on Spotify, but as usual in order to truly support underground metal music I highly recommend you purchase a copy of the album from the band’s official BandCamp page, from the Hypnotic Dirge Records’ BandCamp page or webstore (in regular CD format or as a fantastic bundle including the CD, an exclusive T-shirt, a patch and a sticker), as well as from Apple Music and from Amazon. The infernal Minneapolis-based duo known as Feral Light, who are also waiting for you on Facebook, are definitely paving a very interesting path ahead of them with the constant evolution found in their music, with Life Vapor being undoubtedly their most cohesive and multi-layered work to date. Having said that, you might be asking yourself “what’s next for Feral Light?” Well, only darkness will tell.

Best moments of the album: Assuage and Last Gasp Invocation.

Worst moments of the album: None.

Released in 2020 Hypnotic Dirge Records

Track listing
1. Blood in Sand 7:32
2. Assuage 6:36
3. Walking Tomb 7:18
4. Last Gasp Invocation 7:26
5. Hex of Inverses 5:30
6. In Summation 5:03

Band members
Andy Schoengrund – vocals, guitars, bass
Andrew Reesen – drums