Tag Archives: post-rock

Album Review – Duncan Evans And The Weeping Starlight / The World is a War Zone (2026)

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Led by songwriter and multi-instrumentalist Duncan Evans, this three-piece Dark Folk and Post-Punk outfit explores faith, doubt, suffering, transcendence and the search for meaning in a fractured world in their new album.

The collaborative evolution of songwriter and multi-instrumentalist Duncan Evans, built around a committed three-piece lineup that transforms intimate compositions into expansive, emotionally charged performances, Leeds, England’s own Dark Folk/Post-Punk/Gothic Rock outfit Duncan Evans And The Weeping Starlight is back in action with a brand new album, titled The World is a War Zone. Recorded between The Nave and Duncan Evans’ home studio in Leeds, produced and mixed by Duncan Evans himself, engineered by Tom Orrell and Duncan Evans, and mastered by James Plotkin, the new album by Duncan Evans on vocals, guitars, synths and software instruments, Ol Jessop on bass, and Kev Reid on drums, with additional percussion by Gareth Hodgson of A Forest of Stars and Darkher, unfolds across nine tracks and 45 minutes of intense, cathartic Post-Punk melancholia rooted in the dark and primal spirit of folk music, exploring faith, doubt, suffering, transcendence and the search for meaning in a fractured world.

Working as an extended theatrical, captivating intro, The Starlight Weeps showcases all three musicians revving up their rockin’ engines for The Path, offering a Blues Rock-infused blend of their core sound led by the melodic vocal lines by Duncan, as if Jethro Tull and Nick Cave decided to jam together while watching the night sky. Kev and Ol then bring the groove to the band’s music armed with their respective bass and drums in The World is a War Zone (a fitting title for a song in 2026, by the way), while Duncan extracts whimsical sounds from his guitar; followed by Loss, which feels like the soundtrack to an Oscar-nominated movie. Furthermore, it gets trippy after a while, obviously in a very good way, keeping the album as captivating as it can be.

Sierra Delta might be a bit too slow compared to the rest of the album, and maybe some extra heaviness from Duncan’s guitar would have added more taste to the overall result; whereas Waiting for Rain is the epitome of their trademark fusion of Dark Folk with Post-Rock elements, with Duncan once again declaiming the song’s words like a Rock N’ Roll poet. Deathless is a beautiful, dark ballad by the trio, with Kev hitting his drums just hard enough to bring that kick to the music; and Duncan’s classic guitar lines walk hand in hand with the bass by Ol in River of Milk, alternating between ethereal moments and the heaviness of modern-day Gothic Rock. Lastly we have Suffer, led by the pounding beats by Kev, putting a striking ending to the album. Needless to say, it should sound very enfolding if played live.

Listeners drawn to the emotional depth of Nick Cave & The Bad Seeds, Emma Ruth Rundle, Swans and Richard Thompson will surely find resonance in The World is a War Zone, yet the album ultimately stands as its own statement, burning with conviction and carrying a persistent belief in redemption amid turmoil. The result is a sound that feels somber, mournful and fiercely committed, grounded in the traditions of Post-Punk and folk music yet shaped by a distinctly personal vision. The indomitable Duncan Evans and his henchmen can be found on Facebook and on Instagram, and don’t forget to also stream their music on Spotify, and to purchase their new album from their BandCamp or webstore. The world is indeed a war zone, but fear not, my dear friends, as Duncan Evans will protect us all with the power of our good old Rock N’ Roll.

Best moments of the album: The Path, River of Milk and Suffer.

Worst moments of the album: Sierra Delta.

Released in 2026 Widowbird Records

Track listing
1. The Starlight Weeps 3:39
2. The Path 4:23
3. The World is a War Zone 6:46
4. Loss 6:23
5. Sierra Delta 5:10
6. Waiting for Rain 4:54
7. Deathless 4:56
8. River of Milk 4:04
9. Suffer 5:14

Band members
Duncan Evans – vocals, guitars, synths, software instruments
Ol Jessop – bass
Kev Reid – drums

Guest musician
Gareth Hodgson – additional percussion

Concert Review – Rivers Of Nihil (Lee’s Palace, Toronto, ON, 06/22/2025)

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A scorching night of sheer progressiveness and aggressiveness in Toronto, courtesy of some of the must-see names of the current American rock and metal scene.

OPENING ACTS: Glacial Tomb, Inter Arma and Holy Fawn

This Sunday night in Toronto was one of those days that felt like you were at an open air sauna, and GLACIAL TOMB, INTER ARMA, HOLY FAWN and RIVERS OF NIHIL made sure Lee’s Palace got even hotter and more humid during their The Aggressive Progressive Tour 2025, their last stop of the tour, and another excellent event brought to the city by the one and only Noel Peters of Inertia Entertainment. Keith Ibbitson of Metal Paparazzi coundn’t be there, unfortunately, but not only I was there inside the rock and metal sauna called Lee’s Palace to cover such a great night of heavy music, but I was also lucky enough to get some wild shots from our brother Ryan Miles Leblanc to add to this review. Furthermore, if you take into account almost every single band on this planet is playing at all of those awesome European summer festivals (just check the lineup for Graspop Metal Meeting this year, for example), it’s actually a miracle Toronto got this show during what’s in my humble opinion one of the biggest “metal concert draughts” in the history of the city. In all seriousness, I’m starting to get worried about the future of heavy music in Toronto, as we’re getting less and less concerts, and even being left out of tours scheduled for multiple Canadian location, but Toronto.

Done with the rant about the lack of metal concerts in Toronto. Let’s get back to the show, and what an amazing show by Denver, Colorado’s own Sludge/Death/Black Metal beast GLACIAL TOMB, kicking ass hard in the ass with their heavier-than-hell sounds. Having released the excellent Lightless Expanse last year, available on both BandCamp and on Spotify, the band formed of Ben Hutcherson, Kevin Berstler, David Small and Joey Spates took no prisoners in their quest for heaviness and obscurity, crushing our damned souls with violent yet melodic and grim songs like Abyssal Host and Stygian Abattoir. Those guys were by far one of the most solid opening bands I’ve ever seen live, raising the bar high for the upcoming attractions of the night, and if you’ve never seen Glacial Tomb live or if you’ve never heard anything from them, I highly recommend you go check their discography and keep an eye on their tour dates, because they’re definitely a must-see band of the current underground scene.

Setlist
Abyssal Host
Voidwomb
Stygian Abattoir
Wound of Existence
The Lightless Expanse
Enshrined in Concrete

Band members
Ben Hutcherson – vocals, guitars
Kevin Berstler – guitars
David Small – bass
Joey Spates – drums

After a short and necessary break, where everyone took the time to cool off with some beer and water (and one of the concert goers even said the air outdoor felt like “butternut squash soup,” just to give you an idea of how hot and humid it was), it was time for Richmond, Virginia-based Sludge/Black/Death/Post-Metal outfit INTER ARMA (and hell yeah, I love their name!) to bring sheer doom to the venue with their noisy and apocalyptic performance. Their ruthless setlist was comprised basically of songs from their latest album New Heaven, released in 2024 (also available on BandCamp and on Spotify), those being New Heaven, Violet Seizures, and Concrete Cliffs, and oh boy, those songs sounded heavier than a thousand thunders. Frontman Mike Paparo was on fire throughout their entire concert, as well as a tiny bit drunk (which was actually fun), supported by the unrelenting guitarists Steven “Dirt” Russell and Trey Dalton, and just like I said for Glacial Tomb, if you know nothing about Inter Arma simply go after their discography because those guys play amazing metal music.

Setlist
New Heaven
Citadel
Violet Seizures
Concrete Cliffs
An Archer in the Emptiness

Band members
Mike Paparo – vocals
Steven “Dirt” Russell – guitars
Trey Dalton – guitars
Joel Moore – bass
Alex Tomlin – drums

The venue got really packed (and consequently even hotter) when Phoenix, Arizona’s cult Post-Black Metal/Rock act HOLY FAWN took the stage for the total delight of their fans, blasting a dark and gripping setlist including songs from all of their albums, like their 2022 opus Dimensional Bleed, plus their brand new single Beneath a Lightless Star, all available on BandCamp and on Spotify. Literally everyone at Lee’s Palace was having an absolute blast with those American rockers, getting louder and louder as they kept delivering total heaviness armed with their sonic weapons. It was indeed a phenomenal concert by Holy Fawn, proving why they’ve become legends in the underground scene, and even the guys from Rivers of Nihil were enjoying their show a lot from backstage. I guess it won’t take long for the band to return to Toronto, maybe as the headliners next time, and I’m beyond certain it will be a sold out event.

Setlist
Candy
Dark Stone
Blood Pact
Beneath a Lightless Star
New song (SVR)
Void of Light
Seer

Band members
Ryan Osterman – vocals, guitar
Evan Phelps – guitar
Alexander Rieth – bass
Austin Reinholz – drums

RIVERS OF NIHIL

It wasn’t even 9:30pm, which is amazing as that usually means we can all enjoy the show to the fullest without worrying about the time and go home earlier than expected, when the main attraction of the night, Reading, Pennsylvania’s unstoppable Progressive/Technical Death Metal masters RIVERS OF NIHIL took the stage by storm with a brilliant performance, igniting a beautiful “hurricane” on the floor section. Currently promoting their 2025 self-titled new album, which you can enjoy in full on BandCamp and on Spotify, the band formed of Adam Biggs, Brody Uttley, Andy Thomas and Jared Klei, with the support of the awesome saxophonist Patrick Corona (of the excellent Progressive Metalcore band Cyborg Octopus), delivered a powerful, captivating, heavy-as-hell and extremely dynamic show, with songs like The Silent Life, American Death and Water & Time sounding even better live than in the studio, which is always a delight for me, by the way. The band was tight, there was zero room for error, and the reaction of their fans to each song played was a thing of beauty. We even got a wall of death to the sound of Patrick’s saxophone. Thank you, Rivers of Nihil, for bringing some quality heavy music to the city during this boring period of musical draught, and whenever you guys decide to pay the city of Toronto a visit again, rest assured we’ll all be here waiting for you.

Setlist
The Sub‐Orbital Blues
The Silent Life
American Death
A Home
The Void From Which No Sound Escapes
Water & Time
House of Light
Death Is Real
Episode
Where Owls Know My Name

Encore:
Clean

Band members
Adam Biggs – vocals, bass
Brody Uttley – guitars
Andy Thomas – guitars, backing vocals
Jared Klein – drums, backing vocals
Patrick Corona – saxophone

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Album Review – Unreqvited / A Pathway To The Moon (2025)

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One of the most respected Post-Black Metal acts in Canada returns with its eighth studio album, emerging as a new creature with luminous, polychromatic wings and ready to soar into stellar space.

Vocalist and multi-instrumentalist 鬼 (Ghost), the mastermind behind Ottawa, Ontario’s own Post-Black Metal/Shoegaze/Ambient entity Unreqvited, has a penchant for beautiful musical creations that reveal their claws and fangs only at closer inspection after spending some time on them. This solo project is firmly rooted in Blackgaze sonic soil but has also out sent tendrils into Ambient, Post-Rock, Post-Black Metal, and other related stylistic strata, with its seventh studio album, titled A Pathway to the Moon, taking an impressive evolutionary leap. Recorded by 鬼 at Unreqvited Studio, mixed by Benjamin V. Cooligan at New Alchemy Audio, mastered by Bogdan Makarov at NƎkkomix, and with cover artwork by Bérénice (Noirs Dessins) and layout by Irrwisch Artdesign, A Pathway to the Moon emerges as a new creature with luminous, polychromatic wings and ready to soar into stellar space; yet still it bears claws and fangs, being therefore highly recommended for fans of Alcest, Harakiri For The Sky, Deafheaven and Heretoir, among others.

The soothing, ethereal intro Overture I: Disintegrate will transport the listener to Unreqvited’s emotional journey starting with The Antimatter, offering ten minutes of beautiful yet dark passages blending the venomous side of classic Black Metal with the more modern nuances of Post-Metal, while the vocals by our lone wolf 鬼 exhale despair and obscurity. The other single released, titled The Starforger, begins in a calming, enfolding manner to the minimalist guitars by 鬼 while his vocalizations also bring melancholy and peace to our hearts; followed by Void Essence / Frozen Tears, a beautifully dark composition by Unreqvited that will surely take you to the stars to the sound of its melodious guitars and stylish piano notes. Into the Starlit Beyond sounds and feels even more spiritual and pensive than its predecessors, perhaps a bit too much albeit sounding very comforting, whereas Celestial Sleep brings forward two minutes of first-class Blackgaze, with 鬼 thoroughly putting together elements from several types of music, flowing into Departure: Everlasting Dream, a beyond atmospheric track that puts a charming yet somber conclusion to the album.

In a nutshell, A Pathway to the Moon takes Unreqvited closer to a traditional rock and metal album based on its songs than ever before – yet it is also the soundtrack of a most beautiful sonic journey, and you can join our mysterious lone wolf in his musical voyage by following the project on Facebook and on Instagram, by subscribing to its YouTube channel, and of course by purchasing the album from BandCamp or by clicking HERE, available as a stunning 36-page hardcover CD-artbook including a cover version for Cornfield Chase by Hans Zimmer (from the 2014 movie Interstellar) as a bonus track, as a black vinyl LP, and as a limited ash-grey marbled vinyl LP. Having said all that, it’s time to let the luminous creature known as Unreqvited soar high to the sound of its striking new album, elevating Canadian Blackgaze to new and exciting heights.

Best moments of the album: The Antimatter, The Starforger and Void Essence / Frozen Tears.

Worst moments of the album: Into the Starlit Beyond.

Released in 2025 Prophecy Productions

Track listing
1. Overture I: Disintegrate 2:19
2. The Antimatter 10:34
3. The Starforger 8:04
4. Void Essence / Frozen Tears 9:08
5. Into the Starlit Beyond 5:23
6. Celestial Sleep 1:49
7. Departure: Everlasting Dream 5:48

CD-artbook bonus track
8. Conrfield Chase 2:07

Band members
鬼 (Ghost) – vocals, all instruments

Guest musicians
Benjamin V. Cooligan – guitar solos on “The Antimatter” and “Into the Starlit Beyond”
Jamie Turton – additional orchestration on “Overture: I Disintegrate”, “Frozen Tears” and “Cornfield Chase”

Album Review – The Sun Through a Telescope / Warm, Grey Day (2025)

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Ottawa, Canada’s own Drone, Doom and Sludge Metal lone wolf will crush our senses with his new offering, capturing the rawness of the BBC Radio One and Peel Sessions in his distinctive sound.

Incorporating elements of Post-Metal, Doom Metal, Post-Rock, Doomgaze, Psychedelic, and Ambient in his music, Ottawa, Canada-based lone wolf Leigh Newton (aka Lee Neutron) and his Drone/Doom/Sludge Metal beast The Sun Through a Telescope strike again with a brand new offering, titled Warm, Grey Day, the thirteenth release (and fourth full-length album) in the project’s already solid career. Written, recorded and mixed by Leigh himself at G-West Studios, and mastered by Topon Das at Apartment 2 Studios, Warm, Grey Day captures the rawness of the BBC Radio One and Peel Sessions, which Leigh was listening to a lot during the writing and recording of the album, being therefore recommended for fans of Godflesh, Jesu, Oranssi Pazuzu, Zeal & Ardor, and Sumac, among many others.

The album kicks off with the 12-minute experimental tune Eyes Lambent, arising from the underworld like a devilish creature, feeling like a sonic mantra where Leigh delivers minimalist, haunting sounds from his instruments before all hell breaks loose in a feast of Drone and Doom Metal. Then Leigh and his sharp riffs ignite the sluggish Fantastic Waste, overflowing melancholy and obscurity to Leigh’s harsh vociferations; followed by Pathways I, presenting eight minutes of a space and time voyage in the form of Doomgaze, with Leigh experimenting with countless sounds in the background, flowing into the harsh Pathways II, a grim fusion of Drone, Doom and Sludge Metal, with Leigh hammering his drums while also gnarling nonstop.

We’re then treated to two and a half minutes of distorted yet melodious sounds in The Mercy, working as an interlude before we face Yellow Darkyard, the second song of the album that surpasses the 12-minute mark, sounding very emotional with a striking, passionate vocal performance by Leigh, who also does an amazing job on the guitars and drums, adding an extra touch of heaviness to the overall result and ending on a high and caustic note. In Green (Again) our lone wolf offers a lighter version of his project, almost like an acoustic track with his guitars exhaling hope and peace, before the album ends with the pure Ambient track Grey, putting a whimsical conclusion to such a diverse and interesting album.

It’s been a while since our last review of any release by The Sun Through a Telescope, with the lats one being the project’s 2017 album Black Hole Smile, and I must say it’s a pleasure to get in touch once again with such a talented musician and his unique take on the genre, always pushing the boundaries and always experimenting with new sounds and techniques. Hence, if you want to give Leigh a shout you can find him on Facebook, and of course purchase a copy of Warm, Grey Day from BandCamp (with a limited run of 20 cassettes available), which is also available on all streaming services like Spotify. I don’t think it will take long for us to hear again from Leigh and his The Sun Through a Telescope as the guy seems to be unstoppable, and as long as he keeps delivering to our avid ears high quality noise like what’s found in Warm, Grey Day we’ll be more than happy with that.

Best moments of the album: Fantastic Waste, Pathways II and Yellow Darkyard.

Worst moments of the album: The Mercy.

Released in 2025 Independent

Track listing
1. Eyes Lambent 12:21
2. Fantastic Waste 6:16
3. Pathways I 8:04
4. Pathways II 5:31
5. The Mercy 2:33
6. Yellow Darkyard 12:11
7. Green (Again) 3:25
8. Grey 5:01

Band members
Leigh Newton – vocals, guitars, bass, drums, programming, samples

Album Review – Fostermother / Echo Manor (2024)

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This Heavy Rock trio from Texas strikes again with their third studio album, pushing their sound into heavy psych territory with hints of Post-Rock and Progressive Rock.

Founded in 2019 in Houston, Texas by multi-instrumentalist Travis Weatherred, quickly joined by bassist Stephen Griffin and with drummer Jason Motamedi officially rounding out the lineup, Heavy/Psych Rock trio Fostermother is about to release their third full-length opus, titled Echo Manor, pushing their sound into heavy psych territory with hints of Post-Rock and Progressive Rock. Produced, mixed and mastered by Travis Weatherred, and displaying a classy artwork by Kimberly Weatherred, Echo Manor is a finely chiseled 10-track opus that is a rich sonic journey driven by goldsmith riffing, alluring grooves and the haunting Alternative Rock/Shoegaze-infused vocals by Travis.

The opening tune Wraith already presents the band’s trademark rockin’ sounds, with the Sludge Metal riffs by Travis and Stephen adding endless heaviness to their already thrilling music, flowing into the neck-breaking Heavy Rock tune Empty One, bringing to our avid ears their fierce yet melodic riffs, plus of course the classic beats by Jason. Then sounding more melodic and mysterious, All We Know is another song heavily influenced by Sludge Rock and Metal, while Travis continues to deliver his smooth, penetrating vocal lines; whereas Jason’s pounding drums kick off the title-track Echo Manor, starting in an ethereal, atmospheric manner before the guitars by Travis and Stephen bring sheer Rock N’ Roll to our ears, not to mention their soulful guitar solos. And it’s then time to invest in a Doom Metal sound in Rituals Unknown, while still presenting their Psych Rock vibe, again delivering the power of the riff for our total delight.

Featuring a guest guitar solo by Rusty Miller of High Desert Queen, get ready for a six-minute Heavy Rock voyage together with the trio entitled King To A Dead Tree, with their guitars and bass sounding striking supported by the hammering drums by Jason, followed by Carry Me, a serene ballad by the band that doesn’t add much to the album, although the vocals by Travis are spot-on. And offering more of their Heavy Rock with psych and sludge elements we have Watchers, where the riffs by Travis and Stephen walk hand in hand with the slow and steady drums by Jason; while the second to last song of the album, titled Lighthouse, once again ventures through the lands of Sludge and Stoner Rock. Finally, Jason pounds his drums with tons of anger in In The Garden Of Lies, a melodic, whimsical creation by Fostermother, working as an outro as the music fades into the embracing sound of minimalist piano notes.

In a nutshell, Fostermother deliver exactly what they said about their music in Echo Manor, bringing forward the power of the riff to us all while also presenting tons of delicate and atmospheric moments. Hence, don’t forget to visit the band’s official Facebook and Instagram for news, tour dates and so on, to stream their music on Spotify, and if Heavy Rock is your cup of tea you can grab a copy of the album from their own BandCamp page, as well as order a physical copy of the album in the US, in Europe or worldwide, or click HERE for all things Fostermother. When a band sounds so heavy yet so delicate at the same time like Fostermother, you know they’re going places, and Echo Manor is proof that they’re on the right path, always sounding honest, fresh and loyal to their foundations.

Best moments of the album: Empty One, Echo Manor and King To A Dead Tree.

Worst moments of the album: Carry Me.

Released in 2024 Ripple Music

Track listing
1. Wraith 4:39
2. Empty One 4:03
3. All We Know 3:47
4. Echo Manor 3:50
5. Rituals Unknown 3:44
6. King To A Dead Tree 6:20
7. Carry Me 3:06
8. Watchers 5:10
9. Lighthouse 3:21
10. In The Garden Of Lies 3:38

Band members
Travis Weatherred – vocals, guitars, keyboards
Stephen Griffin – guitars, bass, keyboards
Jason Motamedi – drums

Guest musician
Rusty Miller – guitar solo on “King To A Dead Tree”

Album Review – Heiden / Andzjel (2022)

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Wandering across different genres and inspirations, this Czech Progressive Black Metal entity offer in their ninth studio album a stunning view of the inhospitable beauty of the White Carpathians.

Having started up in 2003 as a Pagan Black Metal band, Brno, Czech Republic-based Progressive Black Metal entity Heiden wanders across different genres and inspirations, returning now in 2022 to a Dark Metal sound with their newborn opus entitled Andzjel, or “angel” in English, their ninth studio album expanding the perspectives of their audience base through dark, elegant and atmospherically authentic music. Mixed and mastered by Karl Daniel Lidén at Tri-Lamb Studio, and displaying a classy artwork taken from the personal collection of inhabitants of the Žítková village and repainted by Luděk Řezáč, Andzjel presents seven songs thematically set in the inhospitable beauty of the White Carpathians, offering an insight into the souls of the local people, sharing the soil, blood, healing and knowledge passed down through generations, showcasing not only the talent but also the deep connection the band comprised of vocalist, guitarist and bassist Kverd, guitarist Tom, keyboardist Werlinga and drummer Einsk have with their homeland.

The strident guitars by Kverd and Tom ignite the imposing opening tune Nevěřím těm očím (“I can’t believe those eyes” from Czech), blending elements from Progressive and Symphonic Black Metal and, consequently, generating a Stygian atmosphere perfect for the cryptic gnarls by Kverd; and switching gears to a more melodic and melancholic vibe we’re treated to V hodině vlka (“in the hour of the wolf”), getting closer to modern-day Post-Metal while Einsk does a beautiful job with his minimalist beats and Werlinga’s keys embellish the airwaves in great fashion. Continuing to showcase their more Jazz-ish side, Musím ti tolik říct (“I have so much to tell you”) brings to our ears another ass-kicking round of keys by Werlinga accompanied by the classy guitars by Kverd and Tom, followed by Září (“September”), as wicked and obscure as its predecessors, sounding very detailed and enfolding from the very first second with Eisnk alternating between shee violence and more intimate, rhythmic beats, resulting in a lecture in Post-Metal infused with tons of progressiveness.

Sviť, měsíčku, jasno, an adaptation of a Moravian folklore song from the Kopanice region that means “shine, moon, clear”, brings forward two and a half minutes of experimentations and eerie sounds, which could have been extended to something more complete instead of working as just an interlude, though, whereas Běsů se nezbavíš, or “you can’t get rid of demons”, is another solid hybrid of Progressive Metal and Post-Rock and Metal, at the same time soothing your soul before smashing you with a visceral sonic attack led by the devilish vocals by Kverd. Lastly, the quartet will captivate our senses once again in Patřím sem (“I belong here”), with Werlinga and Eisnk being  in absolute sync with their respective keys and beats, not to mention how caustic the guitars by Kverd and Tom sound, consequently putting a dark and climatic ending to the album.

If you want to know more about Heiden, get in touch with the band and show them all your support, you can start following them on Facebook and on Instagram, subscribe to their YouTube channel and stream their unique creations on Spotify, and above all that, purchase a copy of Andzjel from their own BandCamp page or webstore, or simply click HERE to get fully immersed in the obscure realm of Heiden. The phenomenon of the Žítková goddesses, which the postwar totalitarian regime permanently eradicated, is still present in Andzjel, inviting us all to learn more about the history of the Czech Republic while enjoying the first-class experimentations by those four skillful musicians, proving the Czech underground scene is and will always be a fantastic source of great music.

Best moments of the album: V hodině vlka, Září and Běsů se nezbavíš.

Worst moments of the album: Sviť, měsíčku, jasno.

Released in 2022 Magick Disk Musick

Track listing
1. Nevěřím těm očím 5:57
2. V hodině vlka 5:37
3. Musím ti tolik říct 4:18
4. Září 5:34
5. Sviť, měsíčku, jasno 2:25
6. Běsů se nezbavíš 3:51
7. Patřím sem 5:07

Band members
Kverd – vocals, guitars, bass
Tom – guitars
Werlinga – keyboards
Einsk – drums

Album Review – Bouquet of Dead Crows / Hemispheres Part 2: Cerebral EP (2021)

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The second half of Hemispheres is finally among us, showcasing a more Post-Rock side of one of the most interesting names of the current British scene.

When two become one. That’s the story behind the EP’s Hemispheres Part 1: Celestial, released last year, and Hemispheres Part 2: Cerebral, recently brought into being, which together form a single entity named Hemispheres by Cambridge, UK-based Sci-Fi Alternative Rock and Metal act Bouquet of Dead Crows. Originally written as one album but released in two parts mainly because of the COVID-19 pandemic, Hemispheres combines big riffs with big melodies and shifting time signatures, with Celestial showcasing a more punkish and upbeats vibe, while Cerebral leans towards Post-Rock. Recorded at the Parlour Studios, produced by Neil Haynes and displaying a classy artwork by Stewart Harris from Stewart Harris Designs, just like the 2020 EP, Cerebral continues to showcase all the talent and attention to detail by vocalist Antoinette Cooper, guitarist Neil Bruce, bassist Karen Gadd and drummer Andrew Coxall, putting a dark and very melodic ending to Hemispheres that will please all fans of our good old rock music.

Neil begins extracting serene notes from his guitar accompanied by the steady beats by Andrew in Idle Thoughts before Antoinette delivers her trademark, smooth vocals for our total delight in a great display of Post-Rock with progressive elements; then putting the pedal to the metal the band fires the dancing and heavy tune Standing at the Precipice, bringing forward their Alternative Metal vein with Neil and Karen being on fire with their respective riffs and bass lines, not to mention how visceral the drums by Andrew sound. In One More Sunrise the band gets back to a more gentle and enfolding sonority, presenting a charming atmosphere crafted by all four band members spearheaded by the stunning vocals by Antoinette, followed by The Longest Road, a fantastic ballad where they invest in a more melancholic sound by blending their core Alternative Rock with Post-Rock nuances, and with Neil doing a beautiful job on the guitar as usual. Lastly, get ready for over nine minutes of classy Rock N’ Roll in the form of Somewhere in the Static, where Antoinette sounds majestic supported by the strident guitars by Neil and the rumbling kitchen by Karen and Andrew, flowing smoothly and flawlessly until the very last second.

The second part of Hemispheres can be better appreciated in its entirety on YouTube and on Spotify, and of course if you want to add Cerebral (and Celestial) to your collection of rock albums you can purchase it from their own BandCamp page, from Apple Music or from Amazon, or simply grab the full Hemispheres album by clicking HERE or HERE. In addition, don’t forget to give Antoinette, Neil, Karen and Andrew a shout on Facebook and on Instagram, and to subscribe to their YouTube channel for more of their stylish music. Now that Celestial and Cerebral are finally united and Hemispheres has reached its final shape and form, I’m eager to know what’s next in the career of one of the most interesting names of the current British rock scene, and based on what they have already offered us with their latest releases I’m sure their next endeavor will be just as awesome.

Best moments of the album: Standing at the Precipice and Somewhere in the Static.

Worst moments of the album: None.

Released in 2021 German Shepherd Records

Track listing
1. Idle Thoughts 4:20
2. Standing at the Precipice 2:29
3. One More Sunrise 4:17
4. The Longest Road 5:36
5. Somewhere in the Static 9:48

Band members
Antoinette Cooper – vocals
Neil Bruce – guitars
Karen Gadd – bass, backing vocals
Andrew Coxall – drums, synths, programming, backing vocals

Album Review – Dynfari / Myrkurs er Þörf (2020)

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The brand new album by an amazing Icelandic Atmospheric Black Metal unity sounds as beautiful and inspiring as it is quietly somber and menacing, and as illuminating as it is sorrowful.

Since the band’s formation as a duo in 2010 in the city of Reykjavík, Iceland, the Atmospheric Black Metal unity known as Dynfari has been making a name for themselves not only in Icelandic lands, but anywhere else in the world where Black Metal influenced, heavily atmospheric music is appreciated. Currently comprised of Jóhann Örn on vocals, bass, accordion, synths and guitars, Jón Emil on percussion and guitars, and Martin Tsenov and Bragi Knutsson also on the guitars, Dynfari deal with the philosophy of life, death, the universe, loss, hope and sorrow, having explored more progressive soundscapes in their blend of Post-Rock and Black Metal in the most recent works, while returning to a more atmospheric and direct attitude now in 2020 with their fifth full-length opus, titled Myrkurs er Þörf, or something like “darkness in needed” in English. Featuring a cryptic artwork by Metaztasis (Watain, Behemoth), the album is a chameleonic, labyrinthine mix of subgenres of rock and metal, sounding thickly atmospheric, as beautiful and inspiring as it is quietly somber and menacing, and as illuminating as it is sorrowful, flowing towards a darker, heavier side of the musical spectrum, expressing a violent refusal of merely becoming a means to an end.

The opening track Dauðans Dimmu Dagar (“the dark days of death”) starts in an ominous and ethereal way to minimalist guitar notes, being gradually accompanied by the percussion and beast by Jón until a dense wall of instrumental Atmospheric Black Metal fills out every single space in the air, morphing into the enfolding Langar Nætur (Í Botnlausum Spíralstiga), or “long nights (in bottomless spiral staircase)”, a flawless depiction of modern-day Icelandic Black Metal with Jóhann delivering anguished vocal lines while Martin and Bragi slash their seven-stringed weapons majestically. And the title-track Myrkurs Er Þörf keeps embracing our souls and taking us to chilling and despondent Icelandic lands showcasing another amazing guitar job done by the quartet, while Jóhann’s vocals sound like they’re coming from a place far, far away, whereas Ég Fálma Gegnum Tómið, or “I fade through the void”, exhales melancholy and hopelessness, with the Doom Metal-inspired beats by Jón walking hand in hand with the strident riffs by Martin and Bragi, keeping the album as dark and grim as possible.

The serene instrumental interlude titled Svefnlag (“sleeping layer”) brings some peace to our blackened hearts, setting the tone for the ode to despair and obscurity named Ég Tortímdi Sjálfum Mér (“I destroyed myself”), where Jóhann blasts his most introspective roars of the entire album while the song’s imposing background keys support the piercing riffage delivered by the quartet. Then what at first seems to be another calm and bitterly cold creation by Dynfari turns into a 10-minute majestic feast of heavy-as-hell, hypnotizing sounds titled Peripheral Dreams, a lecture in contemporary Black Metal led by the crushing beats by Jón intertwined with grandiose keyboards and doomed passages, also presenting elements from Folk Metal and Blackened Doom, running wild and free until its climatic grand finale. Lastly, the wicked bass lines by Jóhann ignite the closing tune Of Suicide and Redemption, an Atmospheric Black Metal aria that lives up to the legacy of the genre, bringing forward their trademark blast beats and symphonic keys and, therefore, ending the album on a truly inspiring note.

After all is said and done, I’m more than certain you’ll be mesmerized by the atmospheric and absolutely stunning music by Dynfari, and in order to show the band your support and appreciation don’t forget to follow them on Facebook, and of course to purchase a copy of Myrkurs er Þörf from their own BandCamp page, from the Aural Music webstore in CD, silver LP, or splatter LP format, and from other locations such as Amazon and mvdshop.com. An introspection on thoughts of suicide and self-destruction, Myrkurs er Þörf is another beautiful product form the always prolific and dynamic Icelandic metal scene, showing us all that not only Icelandic Black Metal continues to be on a healthy and inspiring rise, but also that we can count on the talented guys from Dynfari to keep embellishing the airwaves with their creations until darkness finally consumes us all.

Best moments of the album: Langar Nætur (Í Botnlausum Spíralstiga), Myrkurs Er Þörf and Peripheral Dreams.

Worst moments of the album: None.

Released in 2020 Code666

Track listing
1. Dauðans Dimmu Dagar 5:23
2. Langar Nætur (Í Botnlausum Spíralstiga) 6:37
3. Myrkurs Er Þörf 4:52
4. Ég Fálma Gegnum Tómið 4:39
5. Svefnlag 2:57
6. Ég Tortímdi Sjálfum Mér 5:10
7. Peripheral Dreams 10:35
8. Of Suicide and Redemption 6:37

Band members
Jóhann Örn – vocals, bass, accordion, synths, guitars
Jón Emil – percussion, guitars
Martin Tsenov – guitars
Bragi Knutsson – guitars

Album Review – Dunwich / Tail-Tied Hearts (2020)

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A bottomless ocean of emotions, worlds and experiences connected into something much larger, absorbing and liberating in the form of the debut album by an innovative trio from Russia.

Hailing from Moscow, Russia, the Black and Doom Metal trio known as Dunwich doesn’t limit themselves to just those two subgenres of heavy music, also adding to their music an array of distinguished elements from Darkwave, Post-Punk, Post-Rock and Progressive Rock, among others, resulting in a unique sound that frontwoman Margarita Dunwich has been crafting together with guitarist and keyboardist Anton Bronikov and drummer Mikhail Markelov since the band’s inception in 2018. Together, Dunwich are an attempt to dive into the bottomless ocean of your emotions, which is exactly what they’re offering us all in their debut effort entitled Tail​-​Tied Hearts, with each song from the album representing a separate world and a separate experience, but with all of those worlds and experiences being connected into something much larger, absorbing and liberating, showcasing the paradoxical beauty of the creations by those talented and passionate Russian musicians.

The phantasmagorical keys by Anton ignite the dark and sinister Glow, bringing forward elements from Atmospheric and Depressive Black Metal to their smoother sonority, setting the stage for Margarita to shine with her piercing vocals and roars in Through the Dense Woods, bringing forward doomed sounds perfect for Margarita to darkly declaim its cryptic lyrics (“Crawling bugs along the spine / You feel them, that’s what you’re think / Wolf howl in the ears and webs in hair / Slobbering mouth of fear exuding stink”), sounding cinematic, dense and Stygian from start to finish. And the gentle, acoustic guitar lines by Anton permeate the air in Solitude, with Margarita simply stealing the spotlight with her introspective and mesmerizing vocals while Mikhail delivers minimalist and at the same time tribal beats in this modern Darkwave composition, followed by Wooden Heart, where futuristic sounds and tones warm up our souls in one of the most progressive and groovier of all tracks, with Anton doing a superb job with both his riffs and keys, resulting in a lighter but still obscure version of modern-day Doom Metal.

Anton comes ripping once again with his Phantom of the Opera-inspired organs, generating a menacing ambience before the band ventures through more rockin’ and visceral lands in Mouth of Darkness, a lesson in Post-Metal where Mikhail dictates the rhythm with his classic beats in a fusion of the music by Cradle of Filth with Sisters of Mercy and Type O Negative, all spiced up by the witch-like roars by Margarita, whereas Fall is another grim and pensive creation where Margarita, Anton and Mikhail offer the listener a Post-Black Metal aria focusing on the serene vocal lines by our stunning frontwoman, growing in intensity until reaching a truly Stygian vibe. Sanctuary is a folk-ish song full of ethereal passages and an embracing atmosphere, with Anton alternating between gentle guitar lines and heavy-as-hell riffs while Mikhail brings sheer doom to the overall result with his sluggish beats, before The Sea concludes the album in the best possible way you can imagine. The song couldn’t have started in a more doomed and melancholic way, with Anton slashing his guitar in great fashion in over nine minutes of somber passages, classy beats and the always hypnotizing voice by Margarita, flowing smoothly and beautifully until its climatic finale.

If you have what it takes to dive into the dark and embracing world ruled by Dunwich, simply follow them on Instagram and on VKontakte for news and other nice-to-know details about the band, subscribe to their YouTube channel for more of their music and stunning videos, and of course purchase their newborn opus Tail​-​Tied Hearts from the Caligari Records’ BandCamp page or from Amazon. Margarita and her loyal bandmates might be a new face to the world of heavy music, but the high level of professionalism and the top-of-the-line production of their debut album make them look like true veterans to the scene, proving not only that they know exactly what they’re doing, but also that there’s nothing better than a wild and gripping fusion of dark music styles to flawlessly depict the never-ending rollercoaster of emotions we end up experiencing every single day of our lives.

Best moments of the album: Through the Dense Woods, Wooden Heart and Mouth of Darkness.

Worst moments of the album: Solitude.

Released in 2020 Caligari Records

Track listing
1. Glow 2:43
2. Through the Dense Woods 4:35
3. Solitude 5:46
4. Wooden Heart 5:47
5. Mouth of Darkness 6:39
6. Fall 5:28
7. Sanctuary 5:45
8. The Sea 9:13

Band members
Margarita Dunwich – vocal
Anton Bronikov – guitars, keyboards
Mikhail Markelov – drums

Album Review – Moanaa / Torches EP (2019)

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Revolving around a diverse range of styles such as Post-Metal, Post-Rock, Atmospheric, Sludge and Doom Metal, the new EP by this Polish entity overflows sorrow, grief and heaviness.

Founded in the already distant year of 2008 in Bielsko-Biala, a city in southern Poland in the Cieszyn Silesia region, Post-Metal outfit Moanaa has been making a name for themselves in the underground scene with a consistent stream of high-quality albums, revolving around a diverse range of styles such as Post-Metal, Post-Rock, Atmospheric, Sludge and Doom Metal, always with a melancholic and psychedelic approach to obscure topics like personal struggles and depression, leading them to share the stage with renowned acts of the scene such as Blindead, Tides From Nebula, Jarboe, Nachtmystium and At The Soundawn. After the releases of their debut self-titled EP in 2010, followed by the full-length albums Descent, in 2014, and Passage, in 2016, it’s time for lead singer K-vass, guitarists Łukasz ‘cHooDy’ Kursa and Maciej Kosarz, bassist Łukasz Tomiczek and drummer Kamil Gębala to heighten our senses once again with their brand new EP Torches. Mixed and mastered by Haldor Grunberg (Satanic Audio) and featuring a somber artwork by Przemysław Duda (Pastor Graphics), Torches is a short and sweet display of what this Polish band is capable of, leaving you eager for more of their music after its 25 minutes of sorrow and grief are over.

Prepare you neck for a headbanging beast entitled Inflexion, with Kamil blasting sheer adrenaline and intricacy form his beats while K-vass exhales endless anguish and hatred from his raspy roars and the band’s stringed trio brings electricity and groove to their already dense musicality. Put differently, this is a beautiful and melancholic lesson in Post-Metal that will certainly please all fans of the genre. Then it’s time for their cover version for Placebo’s Without You I’m Nothing (take a listen at the original version HERE), featuring guest vocals by Polish singer and keyboardist Jakub Radomski, and let me tell you that Moanaa’s “extended” version of the song (around two minutes longer than the original one) begins in a charming and serene manner before it gradually evolves into a dark, more sinister sound led by the incendiary guitars by Łukasz ‘cHooDy’ Kursa and Maciej. And lastly, a tribal start warms up our senses for over 12 minutes of somber passages and Stygian notes in Red, with K-vass growling and screaming in a truly desperate and obscure way. Moreover, Kamil dictates the song’s lugubrious but fierce rhythm, exhaling progressiveness, obscurity and modernity, all united in sheer harmony, while Łukasz Tomiczek is vicious with his low-tuned bass, with the music flowing into an enfolding finale where K-vass’ clean vocals bring even more melancholy to the overall result.

The guys from Moanaa are eager to know your thoughts about their brand new EP Torches, and in order to do that simply go to their Facebook page and leave them a comment, like their page, check their tour dates and stay up-to-date about all things revolving around such interesting band hailing form Poland. Also, if Post-Metal is your cup of tea and you want to show your utmost support to the band, you can grab your copy of Torches from their BandCamp page or from Apple Music (without their cover for the song by Placebo, for a reason beyond my understanding). Post-Metal might not be among the easiest subgenres of heavy music to be listened to, but in the end that’s the beauty of it, and thanks to talented bands like Moanaa it’s a music style that’s growing and developing year after year, with Torches being indeed a very welcome addition to your collection of obscure and dense albums.

Best moments of the album: Inflexion.

Worst moments of the album: None.

Released in 2019 Independent

Track listing
1. Inflexion 7:00
2. Without You I’m Nothing (Placebo cover) 6:04
3. Red 12:39

Band members
K-vass – vocals
Łukasz ‘cHooDy’ Kursa – guitar
Maciej Kosarz – guitar
Łukasz Tomiczek – bass
Kamil Gębala – drums

Gueat musician
Jakub Radomski – vocals on “Without You I’m Nothing”