Tag Archives: post-metal

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 the University of Antwerpen, 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
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Splendidula’s Official Facebook page
Splendidula’s Official Instagram
Splendidula’s Official YouTube channel

Album Review – The Fifth Alliance / Stenahoria (2026)

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This uncanny Dutch collective returns with their suffocating fourth studio album, a dark and compelling work that once again pushes the boundaries between Black, Doom and Post-Metal.

Hailing from Breda, a city and municipality in the southern part of the Netherlands, located in the province of North Brabant, the uncanny Sludge/Post-Metal/Post-Hardcore entity The Fifth Alliance returns with their fourth studio album, titled Stenahoria, a dark and compelling work that once again pushes the boundaries between Black, Doom and Post-Metal. Recorded by Lander Cluyse at Hearse Studio, and mixed and mastered by Mendel bij de Leij, the follow-up to their 2019 album The Depth of the Darkness sees the band currently formed of Natalya Thelen (aka Thalos Sacritas) on vocals, Niels Termote and Matthijs Keuvelaar on the guitars, Puck Wildschut on bass, and Peter Scheffer on drums push into even more expressive territory, shifting between fragile, almost ethereal passages and massive, crushing moments, emerging from shared human experiences of sorrow, fear, and confinement, and therefore drawing the listener into an intense sonic journey through distress and introspection.

The album simply explodes in darkness from the very first second in Phoenix, with Natalya roaring in anger and hatred like a true she-demon while Peter hammers his drums like there’s no tomorrow in a lecture in Post-Black Metal madness. Then the minimalist but caustic and piercing guitars by Niels and Matthijs will put you in a trance in Benandanti, offering a grim fusion of Post-Metal with blackened, sluggish and visceral sounds, with Natalya stealing the show with her deep clean vocals. Fool on the Hill is as atmospheric as it is obscure and hypnotizing, with their Black Metal vein pulsing harder than ever thanks to the massive blast beats by Peter and the Stygian riffage by the band’s guitar duo; whereas in Battle of Barnet the band adds progressive and experimental elements to their core sound, providing Natalya with exactly what she needs to penetrate deep inside our souls with her flawless vocal performance. And closing the album we’re treated to the even more introspective and vile Jakob, where their Blackened Sludge Metal sonority erupts like a ruthless volcano, delivering metallic lava to our avid ears spearheaded by the scorching bass and drums by Puck and Peter before flowing into an absolute void.

A deliberate confrontation with discomfort, Stenahoria is a cathartic listening experience where intensity and fragility collide, creating a sound that lingers long after the final note fades, truly unfolding the more you sit with it, somewhere between the emotional intensity of Amenra, the atmosphere of Wolves in the Throne Room, and the dynamics of Cult of Luna, with those darker edges of Year of No Light and early Katatonia running throughout. Hence, you can get to know more about such a talented Dutch ensemble by following them on Facebook and on Instagram, stream their unique creations on Spotify, and of course purchase their striking new album from their own BandCamp, from the Tartarus Records’ BandCamp, from Ardua Music, or from Breathe Plastic’s BandCamp or webstore. The word “stenahoria” refers to a deep sense of emotional distress, anguish, sadness, or anxiety, derived from words meaning “narrow space,” and metaphorically signifying feeling suffocated, confined, or troubled. In other words, that’s exactly what you’ll feel while listening to the new album by The Fifth Alliance, with their dark music suffocating you until you can’t breathe anymore.

Best moments of the album: Phoenix and Fool on the Hill.

Worst moments of the album: None.

Released in 2026 Tartarus Records/Breathe Plastic/Ardua Music

Track listing
1. Phoenix 8:11
2. Benandanti 7:33
3. Fool on the Hill 7:35
4. Battle of Barnet 6:59
5. Jakob 7:28

Band members
Natalya Thelen – vocals
Niels Termote – guitars
Matthijs Keuvelaar – guitars
Puck Wildschut – bass
Peter Scheffer – drums

Album Review – Muerto / Eclipsed Realms (2026)

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A Stygian Mexican entity returns with their third album, offering a well-balanced blend of Black Metal with Doom and Post-Metal, with its atmosphere pressing down on the listener like a hand to the throat.

Against the backdrop of harrowing, plaintive music are the hollow echoes of an aggrieved, possessed-sounding woman, adding more malice to the music than anything possibly contrived. Eclipsed Realms, the third studio album by San Juan del Río, Mexico-based Black Metal entity Muerto (the Spanish word for “dead”), is a worthy follow-up to their 2023 sophomore Dust Fire Dust. Displaying a Stygian artwork by Ricardo González, the new opus by Penelope Matamoros on vocals and bass, Juan Mondragon (Necronos, Castleumbra) on the guitars, and Eddel Jared on drums offers a well-balanced blend of Black Metal with Doom and Post-Metal, as well as avantgarde touches, with its atmosphere pressing down on the listener like a hand to the throat, being therefore highly recommended for fans of Amenra, Emptiness, Opera IX, and Deathspell Omega, just to name a few.

Penelope begins distilling her venomous gnarls in Serpentine Echoes, while Juan and Eddel fire a scathing fusion of Black and Death Metal with Post-Metal nuances, sounding chaotic, cryptic and vile from start to finish. Then the minimalist and somber guitars and bass by Juan and Penelope set the tone in Veil of Desolation, evolving into a sluggish beast of Blackened Death and Doom Metal that will haunt your souls for all eternity; followed by Burning Shadows, as acid and visceral as its predecessors, with Penelope once again roaring like a true she-demon while Eddel smashes his drums with zero mercy for anyone who dares to cross his path. He keeps demolishing our putrid bodies in Wilderness, while the strident riffage by Juan couldn’t have sounded more obscure; and in Decay a Post-Black Metal start gradually evolves into a sinister feast of otherworldly sounds, keeping the album as dark and sulfurous as possible. Lastly, get ready for total annihilation with the eight-minute beast entitled Radiance, led by Penelope’s devilish vociferations and the always scorching Black Metal guitar lines by Juan.

Masterfully juggling various emotions in an aura of suffocating darkness, the new offering by Muerto presents a refreshing rawness in a time of overly processed music, and if you want to experience such a thrilling fusion of raw and dark sounds you can purchase the album from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store, as well as stream it as many times as you want on any platform like Spotify. Don’t forget to also follow the band on Facebook and on Instagram, staying up to date with all things Muerto, therefore darkening your minds and souls even more. The music presented by those Mexican metallers in Eclipsed Realms is truly embracing, harsh and hypnotizing, leaving us eager for more of their suffocating sounds in a not-so-distant future.

Best moments of the album: Serpentine Echoes and Radiance.

Worst moments of the album: None.

Released in 2026 Transcending Obscurity Records

Track listing
1. Serpentine Echoes 4:46
2. Veil of Desolation 6:48
3. Burning Shadows 4:55
4. Wilderness 4:36
5. Decay 6:31
6. Radiance 8:23

Band members
Penelope Matamoros – vocals, bass
Juan Mondragon – guitars
Eddel Jared – drums

Album Review – Gaerea / Loss (2026)

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Portugal’s own Post-Black Metal masked collective is back again from the underworld, navigated countless darkened shades of metal to arrive at their stunning fifth album.

The uncanny Gaerea is nothing short of a beautiful enigma rooted in musical extremity and utter passion. In under a decade, the masked Post-Black Metal collective, born in the Portuguese town of Porto, has navigated countless darkened shades of metal to arrive at their fifth album, simply titled Loss, the follow-up to their 2024 critically acclaimed opus Coma. Recorded in early 2025 in Portugal with long-running collaborator Miguel Teroso at Demigod Recordings, Loss finds Gaerea emerging from creative chrysalis and bursting into something as engaging as it is unexpected, offering us all the sound of the masked specters of the band laying their souls bare. Musically and emotionally, they’re opening themselves up and bringing a decade’s worth of musical and personal soul-rending into sharper focus and becoming a genre-of-one in the process, continuing to define and redefine themselves album after album.

The band offers their trademark cryptic, ominous atmosphere right from the start in Luminary before they begin hammering their drums and firing strident riffs for our absolute delectation, whereas Submerged follows a similar style as the music from Coma, with its lyrics exhaling insanity and introspection (“We’re submerged, and can’t break free, / The tide of our story’s got a hold on me, / We’re submerged, and sinking slow, / We’re lost in the deep where the waters flow / The lies I hide… ”). Hellbound is another bestial song with a serene intro that explodes into sheer Post-Black Metal madness, with their scathing vocals and visceral riffs sounding fantastic; and their strident guitars will pierce deep inside your psyche in Uncontrolled, inviting us all to dive manically into a darkened mosh pit. After such a thunderous tune, Phoenix feels like the soundtrack to a psychological thriller, not to mention it’s impressive how they always blend classic Black Metal with more melodic and experimental sounds flawlessly, also presenting a truly epic vibe.

The intro to Cyclone is like a calm before the storm, evolving into a massive creature of Black and Post-Metal led by the grim vociferations by the band’s mysterious frontman. Then after the avantgarde interlude LBRNTH we’re treated to the infuriated yet also delicate Post-Black Metal extravaganza Nomad, showcasing perhaps the most passionate lyrics of the entire album (“I’m a drifter in life, / Forever chasing the fading light. / Every step is out of place, / Can’t seem to find my saving grace. / And I don’t know why I keep running, / Like I’m afraid of what’s becoming. / Every town’s a blur of blame, / No roots, just endless shame.”), followed by Stardust, offering an enfolding mix of clean and harsh vocals which combined sound stunning. It’s one of their most detailed compositions to date, where its blast beats walk hand in hand with the venomous sounds of their guitars until the song’s ethereal, melancholic grand finale.

“We’ve done what we’ve always done, which is follow our instincts,” says Gaerea’s anonymous vocalist. “Yet, something tells me that on this new record, there’s elements that both our new and old fans will love, but it’s not exactly what they’ll expect us to do.” If you want to explore more of Gaerea’s enigmatic world, you can find those masked metallers on Facebook, Instagram and YouTube, stream more of their unique creations on any platform like Spotify, and of course put your darkened hands on Loss by purchasing it from BandCamp or from Century Media Records (or simply by clicking HERE). And if you still think Gaerea can be labeled as anything known to us after Loss (just like what I did in the beginning of this review by calling them Post-Black Metal, by the way), sorry but you’ll have to review your concepts. “We’re not a Black Metal band anymore, if we ever were,” states the vocalist. “We always have been compared to Hardcore bands and Post-Hardcore and Shoegaze and post-this and post-that. We’re slowly finding our way as a band but just as importantly, as people, but the DNA is always there. This is Gaerea!”

Best moments of the album: Submerged, Hellbound, Nomad and Stardust.

Worst moments of the album: LBRNTH.

Released in 2026 Century Media Records

Track listing
1. Luminary 5:10
2. Submerged 5:08
3. Hellbound 5:23
4. Uncontrolled 4:09
5. Phoenix 4:41
6. Cyclone 5:33
7. LBRNTH 2:24
8. Nomad 5:30
9. Stardust 7:58

Band members
*Information not available*

Album Review – Soul of Anubis / Ritual (2026)

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This Portuguese duo returns with their fourth full-length opus, capturing the full scope of their signature sound, a visceral blend of aggression and dynamic shifts that refuses to be confined to a single genre.

Formed in 2010 in Northern Portugal, Sludge/Doom Metal creature Soul of Anubis has carved out a distinct place within the European underground thanks to their explosive fusion of Thrash, Sludge, Doom and Post-Metal, channeling the raw urgency of Mantar, the primal energy of early Mastodon, and the relentless drive of High On Fire and Black Cobra. Now in 2026 the duo formed of Hugo Ferrão on vocals and guitars, and Rui Silva on drums returns with their fourth full-length opus, titled Ritual, following up on their 2019 album The Last Journey. Recorded, mixed and mastered at Studio Lote 71 in Portugal, Ritual captures the full scope of the band’s signature sound, a visceral blend of aggression and dynamic shifts that refuses to be confined to a single genre.

The duo wastes no time and kicks off their groovy and visceral attack with the title-track Ritual, where Hugo screams with tons of anguish while Rui crushes his drums in the name of sludge and doom. Then featuring guest vocalist Keijo Niinimaa from Rotten Sound, it’s pedal to the metal in the demented Mind Crusher, bringing elements of Hardcore, Punk Rock and Crust to their trademark insanity, followed by Incarnation, the first single of the album, keeping the fires of Doom Metal burning, with Hugo not only roaring manically but his riffs also exhale aggression. And Vermin is by far the least dynamic and exciting of all songs, although it still presents the band’s core essence (but not as strong as the other songs).

Death Cult carries the perfect name for a song by any band in the heavy music spectrum, and Soul of Anubis crush our spinal cords with their undisputed blend of absolute doom, as heavy as a thousand riffs in their “version” of it. Let’s keep headbanging like true maniacs to the sound of God’s Burial, where the duo builds a rumbling atmosphere with their caustic riffs and beats; and it’s then time to put the pedal to the metal and speed things up in Human Torch, with Hugo once again bursting his lungs screaming. Last but not least, we face the longest and most obscure of all songs, Unholy Tomb, with Hugo’s riffage and Rui’s drums making the earth tremble until the very last second of such a groovy-as-hell aria.

Pushing the sonic boundaries by Soul of Anubis even further, expanding upon their trademark blend of massive riffs, dark groove, and emotional gravity, while highlighting a newfound sense of urgency and compositional versatility, Ritual is undoubtedly their strongest effort to date, and you can put your damned hands on such an incendiary album by purchasing it from BandCamp, from the Time To Kill Records’ webstore, or simply by clicking HERE. Don’t forget to also follow the duo on Facebook and on Instagram, and to stream their austere creations on Spotify. With their new album, Hugo and Rui have crafted a true metallic ritual, pointing to an even brighter future ahead of them and, consequently, keeping us metalheads as happy as we can be with another demolishing underground band.

Best moments of the album: Mind Crusher, Dead Cult and Human Torch.

Worst moments of the album: Vermin.

Released in 2026 Time To Kill Records

Track listing
1. Ritual 6:17
2. Mind Crusher 4:46
3. Incarnation 4:49
4. Vermin 3:29
5. Death Cult 5:20
6. God’s Burial 4:32
7. Human Torch 3:41
8. Unholy Tomb 8:30

Band members
Hugo Ferrão – vocals, guitars
Rui Silva – drums

Guest musician
Keijo Niinimaa – vocals on “Mind Crusher”

Album Review – Domhain / In Perfect Stillness (2026)

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This up-and-coming Irish entity is poised for world domination with their first full-length opus, blending an emotional mix of Post-Black Metal, Blackgaze, and Atmospheric Black Metal.

Formed in 2021 in Northern Ireland and consisting of four experienced musicians from the Irish metal scene, those being Andy Ennis (Celtachor, Imperial Demonic, Overoth) on vocals and bass, Nathan Irvine (So Much for the Sun) on the guitars, Ashley Irwin (So Much for the Sun) on the guitars and backing vocals, and Anaïs Chareyre-Méjan (Ironborne) on drums, vocals and cello, Belfast-based outfit  Domhain (an Irish word meaning “world,” “the deep,” or “depth”) blends an emotional mix of Post-Black Metal, Blackgaze, and Atmospheric Black Metal, featuring distinctive vocal harmonies and cello. Following the release of their debut EP Nimue, in 2023, and the split Of Pine and Oak (with the band Ephemeral), in 2025, the band returns in full force now in 2026 with their first full-length opus, entitled In Perfect Stillness. Produced by the band itself alongside Chris Fielding, who was also responsible for the engineering and mixing at Foel Studio, mastered by Mike Lamb at Ghost Bird Studios, and displaying a grim yet delicate artwork by the band’s own Anaïs Chareyre-Méjan, In Perfect Stillness consists of five darkly embracing songs highly recommended for admirers of the darkest yet delicate side of music, positioning Domhain as a force to be reckoned with in the current Post-Metal landscape.

An overdose of melancholy flows from the dark cello by Anaïs in the cinematic intro Una Tarra Ci Hé (which translates roughly to “A Land Is There” from Corsican, often referring to the beauty or essence of Corsica), warming up our senses for the band’s undisputed Post-Black Metal attack in Talamh Lom, a Gaelic phrase, primarily Irish, that translates to “bare land,” “empty land,” or “uncultivated ground,” with Andy’s both clean and deep guttural adding an extra touch of obscurity to their sound while the guitars by Nathan and Ashley exhale heaviness. Things get even more introspective in Footsteps II, featuring guests John Wilson on the piano and Raul Andueza on the cello, with the band going almost full Post-Metal while also presenting atmospheric and progressive nuances in their core sonority. The last part of the album is by far the heaviest one, starting with the stormy title-track In Perfect Stillness, where Andy’s visceral roars and Anaïs’ thunderous drumming turn it into a must-listen for fans of the genre; and guest vocalist Sarah Fielding (of Darkest Era) lends her stunning voice to My Tomb Beneath The Tide, starting in a serene, melodic manner and presenting a beautiful clash of vocal styles while Nathan and Ashley fire their trademark scathing riffs and solos, ending the album on a high and embracing mode.

If you want to know more about the stylish, enfolding music crafted by Domhain, as well as more details about the band and their live performances, you can get in touch with those Northern Irish metallers via Facebook and Instagram, and don’t forget to also stream their unique music on any platform such as Spotify, and of course to grab a copy of the awesome In Perfect Stillness from their own Bandcamp or from These Hands Melt, or simply click HERE for all things Domhain. Domhain are poised for world domination armed with their striking full-length opus, shaking the foundations of Post-Black Metal in a beautiful and compelling way, and I can’t wait to see what’s next in the career of one of the must-see names of the underground scene worldwide.

Best moments of the album: In Perfect Stillness and My Tomb Beneath The Tide.

Worst moments of the album: None.

Released in 2026 These Hands Melt

Track listing
1. Una Tarra Ci Hé 1:57
2. Talamh Lom 7:10
3. Footsteps II 9:29
4. In Perfect Stillness 7:22
5. My Tomb Beneath The Tide 9:22

Band members
Andy Ennis – vocals, bass
Nathan Irvine – guitars
Ashley Irwin – guitars, backing vocals
Anaïs Chareyre-Méjan – drums, vocals, cello

Guest musicians
Sarah Fielding – vocals on “My Tomb Beneath The Tide”
John Wilson – piano on “Footsteps II”
Raul Andueza – cello on “Footsteps II”

Album Review – Ponte Del Diavolo / De Venom Natura (2026)

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This uncanny Italian creature is back with the poison of nature, taking their potent potion of Blackened Doom and Post-Metal to strange new heights.

Fresh off appearances at Roadburn and Inferno, the daring and devilishly talented Turin, Italy-based creatures known as Ponte Del Diavolo (Italian for “Devil’s Bridge,” a name applied to dozens of ancient or medieval bridges across Europe, particularly in Italy, due to their impressive or unusual architectural design for their time, which led to popular myths and folklore) have taken their potent potion of Blackened Doom and Post-Metal to strange new heights in their sophomore full-length offering, entitled De Venom Natura, Latin for “the poison of nature.” Recorded, produced, engineered and mixed by Danilo Battocchio at The Deepest Sea, mastered by Magnus Lindberg at Redmount Studios, and displaying a Stygian artwork by Francesco Dossena, the follow-up to their critically acclaimed 2024 album Fire Blades from the Tomb sees the band formed of frontwoman Erba del Diavolo, guitarist Nerium, bassists Khrura Abro and Kratom, and drummer Segale Cornuta deliver a record that extends and refines their musical boundaries, being recommended for admirers of the music by Messa, Chelsea Wolfe, Esben and the Witch, Dead Can Dance, Dool, Electric Wizard, and Darkthrone.

Haunting sounds permeate the air in the horror movie-like opening track Every Tongue Has Its Thorns, featuring guests Andrea l’Abbate on programming and Sergio Bertani (Lucynine) on theremin, exploding into pure Post-Black Metal where Erba del Diavolo is hypnotizing with both her clean vocals and devilish vociferations. Lunga vita alla necrosi, or “long live necrosis” from Italian, is another fantastic song where Nerium slashes his axe supported by the double bass attack by Khrura Abro and Kratom; followed by Spirit, Blood, Poison, Ferment!, featuring Francesco Bucci (Ottone Pesante) on trombone, a massive, hard hitting creation by those Italians with Segale Cornuta taking the lead with his pounding drums while Erba del Diavolo declaims the song’s dark lyrics with tons of passion (“Nature, I notice you! / And I secretly observe / your eroic mutation, possessing me too, / Having me too! / Spirit, blood, poison, ferment! / Spirit, blood, poison, torment!”).

Sergio Bertani then lends his synths to Il veleno della Natura, or “the poison of nature” from Italian, an amazing tune that’s fast, chaotic, melodic and visceral, with all instruments matching perfectly with the Italian words vociferated by Erba del Diavolo, whereas despite all of its layers and nuances (plus guests Andrea l’Abbate on synths and Vittorio Sabelli on bass clarinet), Delta-9 (161) gets a bit too experimental at times, although the band’s core sound is still intact. Silence Walk With Me presents guest Gionata Potenti (aka Omega of the band Nubivagant) on vocals and acoustic guitar, making a sensational vocal duet with Erba del Diabolo while Segale Cornuta brings an overdose of Black Metal insanity to their sound, not to mention the killer bass lines by Khrura Abro and Kratom. And last but not least, the band goes back to the glory of the 80’s in In the Flat Field, blending their Post-Black Metal sonority with elements from Gothic Rock to give the song an even more thrilling vibe, led by Nerium’s strident riffs.

Like a curious scent, De Venom Natura wafts around the idea that Mother Nature is a double-edged sword, at once beautiful and intoxicating while also lethal in its seduction, and Ponte Del Diavolo make sure the listener also sees Gaia that same way while listening to the album. You can get in touch with one of the most interesting names of the current Italian rock and metal scene by following the band on Facebook and on Instagram, staying up to date with their breathtaking live concerts, stream their unique music on Spotify, and of course, show them your utmost support by purchasing De Venom Natura from their own BandCamp, from Season of Mist, or by clicking HERE. Building a dark and sinister bridge between metal and Mother Nature, Ponte Del Diavolo are carving their name in the history of heavy music, leaving us eager for more of their caustic sounds in the near future while we’re all seduced and hypnotized by the powers of nature.

Best moments of the album: Every Tongue Has Its Thorns, Il veleno della Natura and Silence Walk With Me.

Worst moments of the album: Delta-9 (161).

Released in 2026 Season of Mist

Track listing
1. Every Tongue Has Its Thorns 6:25
2. Lunga vita alla necrosi 4:01
3. Spirit, Blood, Poison, Ferment! 4:36
4. Il veleno della Natura 4:58
5. Delta-9 (161) 8:52
6. Silence Walk With Me 6:17
7. In the Flat Field 4:54

Band members
Erba del Diavolo – vocals
Nerium – guitar
Khrura Abro – bass
Kratom – bass
Segale Cornuta – drums

Guest musicians
Francesco Bucci – trombone on “Spirit, Blood, Poison, Ferment!”
Andrea l’Abbate – programming on “Every Tongue Has Its Thorns”, additional synths on “Delta-9 (161)”
Sergio Bertani – theremin on “Every Tongue Has Its Thorns”, synths on “Il veleno della Natura”
Vittorio Sabelli – bass clarinet on “Delta-9 (161)”
Gionata Potenti – vocals & acoustic guitar on “Silence Walk With Me”

Album Review – Velothian / Mythic Dawn (2026)

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This up-and-coming Portland, Oregon-based five-piece Post-Black Metal band will stun us all with their “musical tribute” to the lore of The Elder Scrolls IV: Oblivion.

An up-and-coming five-piece Post-Black Metal band from Portland, Oregon, the thrilling Velothian, the brainchild of multi-instrumentalist Daren Walker, blends elements of Post-Metal, Folk Metal and Shoegaze (often with the inclusion of instruments like horns, synth, cello, and hand drums) in their music, drawing inspiration from nature, science fiction and fantasy. After the release of their 2024 debut EP Path of the Incarnate, the band currently formed of the aforementioned Daren Walker on the guitars alongside Juniper Ashford on vocals, Shawn Brannon on the guitar, Ethan Miller on bass, and Ryan Chappell on drums in unleashing upon humanity their first full-length opus, titled Mythic Dawn. Mixed and mastered by Daren Walker himself, the album is a “musical tribute” to the lore of The Elder Scrolls IV: Oblivion, following Path of the Incarnate, which focused on Morrowind. Moreover, the album title refers to the Mythic Dawn, a secretive Daedric cult in The Elder Scrolls universe that worships Mehrunes Dagon and instigated the Oblivion Crisis.

Their epic battle begins in full force with The One From My Dreams, where Juniper’s devilish gnarls are properly boosted by the scathing riffs by Daren and Shawn, also presenting ethereal passages to give the song even more depth. In Forgotten Ruins, Juniper roars the song’s dark words (“Keepers of the fire / Sigils of ancient glass / Guardians of this mortal plane / Now a scattered memory / Eyes of pale fire / The Children of the sky”) amidst a doom-ish and enfolding blend of Symphonic Black Metal; while the journey continues with The Great Forest, venturing through the realms of Atmospheric Black Metal, with the guitars by Daren and Shawn exhaling obscurity. Night Mother is another sinister and Stygian creation by Daren and his henchmen, with the massive beats by Ryan adding an extra dosage of heaviness to their music; and Ryan keeps pounding his drums supported by the rumbling bass by Ethan in Deadlands, keeping the album at a demonic level of darkness. The band then goes full Symphonic Black Metal in Mania, led by the vile vociferations by Juniper, flowing into the incendiary and intricate closing song Dragonfires, where Daren and Shawn breathe fire from their axes in the name of extreme music.

With songs focusing on both nostalgia from the game itself while also dealing with original stories and scenarios from the role playing experience, Mythic Dawn offers the listener epic, triumphant, and adventurous blackened extreme music, and if you want to join Daren and his horde in such a heavy and dark adventure, you can start following Velothian on Facebook, and of course grab a copy of the excellent Mythic Dawn from the project’s own BandCamp. Extreme Metal has always been the perfect type of music to represent the passion and perils found in role playing games like The Elder Scrolls IV: Oblivion, even more than the usual Power Metal bands, and I’m sure Velothian will soon return with another exciting and utterly metallic journey the likes of Mythic Dawn for our absolute delight.

Best moments of the album: Forgotten Ruins, Night Mother and Dragonfires.

Worst moments of the album: None.

Released in 2026 Independent

Track listing
1. The One From My Dreams 4:19
2. Forgotten Ruins 5:05
3. The Great Forest 6:16
4. Night Mother 6:19
5. Deadlands 5:53
6. Mania 4:51
7. Dragonfires 6:51

Band members
Juniper Ashford – vocals
Daren Walker – guitar
Shawn Brannon – guitar
Ethan Miller – bass
Ryan Chappell – drums

Album Review – Karloff / Revered by Death (2026)

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The sophomore opus by this German Black Metal and Punk Rock beast sounds moodier and murkier than their debut offering, while also portending a deeper doom and gloom.

Hailing from Germany, Black Metal/Punk Rock brigade Karloff was formed in 2018 initially as a means for erstwhile Graveyard Ghoul member Tom Horrified to blow off some punk-oriented steam with a couple close comrades. Three years after the release of their 2022 debut The Appearing, the band currently formed of Tom Horrified on vocals and guitar, 733 on bass, and H. T. Steinbrecher on drums and percussion returns in full force with their sophomore installment, the incendiary Revered by Death. Following logically from The Appearing, Revered by Death sounds moodier and murkier, living up to its lofty title while its songwriting definitely feels punchier, portending a deeper doom and gloom.

The scorching, visceral riffage by Tom kicks off the trio’s beyond devilish festivities in Pessimistic Soaring, presenting a deep Punk Rock rebelliousness intertwined with the raw, obscure sounds of Black Metal, whereas the relentless bass by 733 and the pounding drums by H. T. will smash your skull in Die Wiederkehr der Dunkelei, or “the return of the dark egg” (if that makes any sense). The band then blends elements from Doom and Post-Metal to their core sound in When the Flames Devour You All, with Tom once again delivering absolutely caustic vocals and riffs.

Then the atmospheric (yet a bit too lengthy) interlude On Weathered Altar sets the tone for Prince of Parasites, where we’re treated to a caustic, electrifying fusion of Black Metal and Punk Rock, in special through the rebellious riffs by Tom and the classic beats by H. T. The band then ventures through the vast realms of Death Metal in Regicide, with the song’s vicious, deep riffage matching perfectly with its bass lines and crushing beats; and it’s pedal to the metal in the slamming tune Crown Cvlt Fate, perfect for some wild action inside a hot and humid circle pit at one of those infernal metal pubs, while Elisabetha’s Revenge, their last blast of insanity and rage, will simply demolish your soul, again presenting the raspy, harsh vociferations by Tom.

Ghouls and ghosts, thugs and thieves, Karloff are back and calling upon you to be Revered by Death, and if you believe you have what it takes to face such a harsh and visceral album of Black Metal and Punk Rock you can find those talented guys on Facebook and on Instagram, stream their acid creations on Spotify, and above all that, grab a copy of Revered by Death from the Dying Victims Productions’ BandCamp or webstore as a CD, an LP or a special edition LP on oxblood vinyl including an insert, a poster, a sticker, a post card, a woven patch, and a download code. Because Revered by Death is not just Black Metal, nor only Punk Rock; it’s everything at once, offering an amalgamation of violent and obscure sounds that will certainly haunt your souls for all eternity.

Best moments of the album: A Pessimistic Soaring, Prince of Parasites and Crown Cvlt Fate.

Worst moments of the album: On Weathered Altar.

Released in 2026 Dying Victims Productions

Track listing
1. A Pessimistic Soaring 2:52
2. Die Wiederkehr der Dunkelei 3:05
3. When the Flames Devour You All 5:53
4. On Weathered Altar 4:08
5. Prince of Parasites 2:47
6. Regicide 3:52
7. Crown Cvlt Fate 2:30
8. Elisabetha’s Revenge 4:52

Band members
Tom Horrified – vocals, electric rhythm & lead guitar
733 – electric bass guitar
H. T. Steinbrecher – drums & percussion

Album Review – Unviâr / Disglaç (2025)

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This unique Atmospheric Black Metal band from the beautiful region of Friûl will hypnotize you with their first full-length album, revolving around the complex yet unavoidable relationship between man and nature.

An Atmospheric Black Metal project hailing from a small land in Mitteleurope called Friûl, where the Celtic, Germanic, Slavic, Latin worlds coalesce in a unique mosaic of nature, people, magic, culture, languages and traditions, Unviâr, which means “winter” in Friulian, is an ode to the band’s homeland and to its people that pits the constant research and reworking of territorial identity against rampant hyperglobalization. Recorded, mixed and mastered by Davide Zago, and showcasing a stunning artwork by Paolo Girardi, Disglaç, or “defrost” in English, is the band’s follow-up to their 2023 debut EP Faliscjis, revolves around the complex yet unavoidable relationship between man and nature, a work that will delight fans of early Ulver, Drudkh, and Agalloch carefully brought into being by Daniele Tollon on vocals and guitars, Manuel Scapinello also on the guitars, Luca Franzin on bass, and Giulia Zuliani on drums.

The cello by guest Massimo Silverio already adds endless darkness to the band’s core sound in Nevere, or “never” in English, exploding into pure, unfiltered Atmospheric Black Metal led by Guilia’s venomous blast beats, not to mention the ferocity flowing from Daniele’s roars. Corints (“currents”) is another dark and visceral tune blending Black Metal with Post-Metal nuances, with the guitars by Daniele and Manuel exhaling fire; and Guilia takes the lead once again and kicks off the headbanging title-track Disglaç, supported by the massive bass lines by Luca, venturing through more melodic and even acoustic lands while also showcasing the band’s trademark heaviness as if it was three or four songs in one. Ritîr, which means “withdrawal” or “retire,” is a more straightforward Atmospheric Black Metal extravaganza, again presenting the striking riffage by Manuel; whereas last but not least, Massimo Silverio returns with his cello in Sul Ôr, which should translate as something like “on the gold,” closing the album on a pensive, grim mode, with even Daniele’s vocals getting deeper and more introspective.

Featuring dark music and a heavy epicness born from a dark naturalistic romanticism, a music that, with penetrating force, will firmly root itself in the listener’s heart, Disglaç brings forward the ancient voice of the land, the innate call of natural theophany, emerging as an intimate and reserved work, but precisely for this reason pure and uncontaminated. You can get to know more details about such an amazing band, including their live performances, on Facebook and on Instagram, stream their undisputed music on any platform like Spotify, and of course purchase their new album from their own BandCamp, from ATMF’s BandCamp, or from Metal Odissey as a CD or as an LP. Unviâr have simply  mastered the art of Black Metal with their debut album, crafting music that’s rooted in the early days of the genre while also looking forward, never sounding dull or repetitive. They’re one of the must-see names of the current scene worldwide, and I bet you’ll have an absolute blast once you dive deep into the irresistible world of Disglaç.

Best moments of the album: Nevere and Disglaç.

Worst moments of the album: None.

Released in 2025 ATMF

Track listing
1. Nevere 11:31
2. Corints 7:52
3. Disglaç 9:44
4. Ritîr 7:30
5. Sul Ôr 8:19

Band members
Daniele Tollon – vocals, guitars
Manuel Scapinello – guitars
Luca Franzin – bass
Giulia Zuliani – drums

Guest musician
Massimo Silverio – cello on “Nevere” and “Sul Ôr”