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17 results for “darkufo”
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Song of the Day - No 563
FIELDS OF THE NEPHILIM - THE WATCHMAN
Released in 1988, "The Watchman" is a track from Fields of the Nephilim's album The Nephilim. This song features the band's signature blend of gothic rock and post-punk, with deep, atmospheric tones and mystic lyrics that explore themes of prophecy and ancient lore. It's a standout track that highlights the band's dark, cinematic sound.
https://www.youtube.com/watch?v=SJM6tEEi6Ow
#SOTD #SongOfTheDay #music #FieldsOfTheNephilim #GothicRock #DarkWave
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Song of the Day - No 533
CARTER U.S.M. - BLOODSPORT FOR ALL
Released in 1991 from their album "30 Something," "Bloodsport For All" is a protest song by the English electronic duo Carter U.S.M. The song's lyrics criticize the British military, with references to hazing and abuse. The song features a sample of "God Save the Queen", the then British national anthem
https://www.youtube.com/watch?v=VN9-NK6Z4SU
#SOTD #SongOfTheDay #music #CarterUSM #AlternativeRock #IndieRock #PunkRock
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Song of the Day - No 382
CARTER U.S.M. - ANYTIME, ANYPLACE, ANYWHERE
"Anytime, Anyplace, Anywhere" by Carter U.S.M., released in October 1990, is a track from their 1991 album "30 Something" on Rough Trade Records. The song became a major indie hit, contributing to the album's acclaim, including a 10/10 review from NME, which praised it as a "brilliant, bold record".
https://www.youtube.com/watch?v=s1bKjQJzgRg
#SOTD #SongOfTheDay #music #CarterUSM #alternative #indierock #punk
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Song of the Day - No 152
Carter U.S.M. - Sheriff Fatman
WIKI
"Sheriff Fatman" is a single by Carter the Unstoppable Sex Machine, released in 1989, and featuring on the album 101 Damnations. The track is probably their best-known original compositionThe lyrics rail against slum landlords and their intimidatory tactics used against tenants.
https://www.youtube.com/watch?v=iQXRsshaZk8
#SOTD #SongOfTheDay #music # #Alternativedance #punk #carterusm
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Song of the Day - No 95
Carter U.S.M - The Only Living Boy In New Cross
WIKI
The song is a mix of punk, rock, and dance elements and features lyrics that touch on themes of loneliness, isolation, and youth rebellion. The title references the famous Simon & Garfunkel song "The Only Living Boy in New York." The catchy chorus and energetic instrumentation helped it become one of the band's most popular and enduring songs. -
By Twelve
It’s been a minute since I’ve got a chance to review some folk music around here. It’s not super common that we get these promos, but when a sample of dark folk, spiritually, resembles our heavy metal world, we occasionally find some sent our way. Today’s sample is Niht, the sixth full-length release from Dutch Sowulo (“sun” in proto-Germanic), which takes a philosophical approach to the histories of northern Europe. It’s got everything you could ask for in dark folk on paper: lyrics written in a language no one (to the best of my knowledge) speaks anymore, a small army of instruments that I can’t picture by name alone, and an inscrutable cover with a vague runic shape on it. Sowulo are, on paper, set up for success with Niht already; how does the music itself fare?
Like most works of dark folk in a similar vein—Urferd, Forndom, Wardruna, as examples—Niht draws strength from its reaches at authenticity. Sole band member Faber Horbach (Myrkvur) sings, plays nyckelharpa, carnyx, bouzouki, and acoustic percussion, with guest musicians contribution violins, harps, horns, and more to the work. The stringed instruments create an orchestral-Nordic-folk atmosphere for Sowulo to thrive in, and Niht has a lot of great moments in this vein, from the dramatic “Full Mōna,” featuring hypnotic throat singing at rising intensity, to the eerie, expansive “Swefnian.” Horbach’s gruff, throaty singing, complemented by guest singing from Micky Huijsmans (End of the Dream), brings the Anglo-Saxon lyrics to life; their duet in the stirring chorus of “Nihtēagan” is one of the best moments on Niht, owing largely to their emotional delivery (though the strings work does a lot of heavy lifting too).
Of course, there’s no metal here, and very little in the way of electric influence. Distortion is a distant dream; instead, the music and production are clean and airy, for the most part. “Mōnaþblōd” is a notable exception, with elements of electronica meshing against Sowulo’s natural folk leanings. But generally, you can hear every instrument and enjoy a comparatively quiet listen with atmospheric influence. “Miċele Steorran” is a fantastic example, a peaceful track that uses gently strings to create dream-like soundscapes that complement Horbach and Huijsmans’s singing. It’s not “purely” dark folk or neofolk, but the influences are strong enough that its power comes largely from orchestral highs and emotional vocal melodies, rather than any kind of heaviness.
Despite these terrific qualities, Niht still feels held back, as if it’s a restrained version of Horbach’s original intention—at least to my ears. Niht has on it a lot of tracks that contain a lot of repetition, which makes it feel artificially long. “Carnyx,” for example, is a nearly four-minute exploration of the eponymous wind instrument that doesn’t do much of anything except add ambience, all but halting Niht halfway through. Both the intro and closer share this approach. On the other side of the coin, “Seolfren Sicol” is dominated by its chorus, to the point that it’s the only thing I ever remember about the song. This is, perhaps, the drawback of writing your songs in a dead language—the two verses in the song resemble each other so closely that the song feels like it’s been copied and pasted in several places. With thirteen tracks, it feels as if Sowulo brought too many ideas to Niht—as if there is simultaneously too much album and too little.
Niht does a good job of building an authentic-feeling, atmospheric Nordic folk experience. It is, at varying times, complex, mesmerizing, and passionate. It does have its moments that don’t quite land as they should, but the whole is enjoyable and moving. I hadn’t heard of Sowulo before Niht, but it’s the kind of album that makes me want to hear more. If you need a break from our usual fare, you could do a lot worse than Niht.
Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Season of Mist
Websites: sowulo.bandcamp.com | sowulo.nl | facebook.com/Sowulo
Releases Worldwide: August 29th, 2025#2025 #30 #Aug25 #DarkFolk #DutchMetal #EndOfTheDream #Forndom #Myrkvur #Neofolk #Niht #Review #Reviews #SeasonOfMist #Sowulo #Urferd #Wardruna
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Releasing another run of singer-songwriter songs, one by one, on Bandcamp.These are scattered.Some are done on pianos, some on my electric one.Some are
acoustic, some wholly electric. Some are multi-tracked,some are not.But I have made them for years now, so out they go!I put a rough version of this on Soundcloud nine years ago,but am happier with this one! Today’s song:
"Dollhouse"
2015#singersongwriter
#darkFolk
#psychfolk
#artrock
#outsidermusic
#Sweden -
The devil’s laundry day! #SolInvictus #Neofolk #Darkfolk #Laundry
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#NavalGroup: Hacker erpresst französischen #Kriegsschiffhersteller
"Einem Bericht von Bleeping Computer zufolge veröffentlichte ein Nutzer namens Neferpitou im Hackerforum Darkforums zunächst 13 GByte an Daten, die von der Naval Group stammen sollen. Augenscheinlich handelt es sich dabei um der #Geheimhaltung unterliegende Informationen über #Kriegsschiffe, interne #Kommunikationsdaten, #Quellcodes, technische Dokumente und Entwicklungs-VMs mit #Simulationsdaten..."
https://www.golem.de/news/naval-group-hacker-erpresst-franzoesischen-kriegsschiffhersteller-2507-198601.html -
Mal wieder ein Beitrag zum #MusicWomenWednesday - #TheNewEves aus #Brighton. Was für eine skurrile Mischung aus #DarkFolk und #PostPunk
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My pick for #Saturdoom this week a record from the queen of doomy folk.
👥 Chelsea Wolfe
💿 The Dark
🔗 https://musiccloud.io/mn0T6This record is a bit of a slow grower, but it is getting there for me.
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Take a look at this review posted on @[email protected]! Buzzard - "Doom Folk" by Obstinato
collectorseriesdiy.blogspot.com/2026/08/buzz...
#americanametal #americanarock #altfolk #darkfolk #metal #darkfolk #rock #darkfolk #neofolk #doom #metal #metalfolk #stoner #Massachusetts #diy #metalsky -
Band of the day: Dark Forest (UK)
The Nwothmhttps://www.youtube.com/watch?v=b7CW5SVxyyM&list=RDb7CW5SVxyyM&start_radio=1
Band: Dark Forest
Country: UK
Label: Cruz del Sur Music
Members: Josh Winnard – Vocals Christian Horton – Guitars, Bass Patrick Jenkins – Guitars Adam Sidaway – Drums
Album: Ridge & Furrow (EP)
Track Info: 1. Skylark 00:00 2. The Golden Acre 06:40 3. Ridge & Furrow 12:18 4. Meadowland 18:45 5. Under The Greenwood Tree 20:57
Dark Forest is a heavy metal band from Dudley in the West Midlands, England. Formed in 2002, they are known for blending soaring melodies with themes drawn from mythology, history, patriotism and classic metal traditions. Signed to Cruz del Sur Music, the band has released a series of acclaimed albums including Dark Forest, Dawn of Infinity, The Awakening, Beyond the Veil and Oak, Ash & Thorn. Their music has appeared on several compilations, including Fear Candy and British Steel, marking their place in the rising force of British heavy metal.
https://www.youtube.com/watch?v=j21z8KCbuVc&list=RDj21z8KCbuVc&start_radio=1
Links
Bandcamp: https://darkforest-uk.bandcamp.com/album/ridge-and-furrow
Facebook: https://www.facebook.com/Darkforestuk
Instagram:
Label: https://www.cruzdelsurmusic.com/store/
#bandOfTheDay #britishHeavyMetal #cruzDelSuMusic #darkForest #heavyMetal #newWaveOfTraditionalHeavyMetal #nwothm #ridgeFurrow #thenwothmCom
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Panopticon – Laurentian Blue Review
By Mystikus Hugebeard
With the mammoth1 Panopticon ranking and the electrifying Månegarm review behind us, we can now look towards the album that the ranking was made in anticipation of: Laurentian Blue. What we weren’t quite expecting was that Laurentian Blue would be an unusual album to follow the ranking. After ten albums of post-black metal, this is the first standalone Panopticon work of purely dark, folksy Americana.2 It goes without saying that Americana has ever been a key component to the Panopticon soundscape, so do not mistake “unusual” for “unwelcome.” After all, Laurentian Blue is unquestionably a Panopticon album, for it embodies the same soul of Panopticon’s music that Thus Spoke eloquently illuminated in her introduction to the ranking: “an immense sense of drama, emotional intensity, and an unpretentious, honest heart.”
Not only is Laurentian Blue a dark folk/americana album, it is unapologetic about it. Laurentian Blue is confidently written and deliberate in its minimalism. The instrumentation is kept strictly to the bare necessities: Lunn picks and strums away at his guitar as he sings with the warmth of a crackling fire, with sparse, harmonizing violins as accompaniment. The consecutive exceptions come in the twang of “An Argument with God” (which is also the only song with any percussion) and the bluegrass “Irony and Causality,” which serve as welcome jolts to the pacing, but the bulk of Laurentian Blue is the sort of somber Americana in “Ever North” and “This Mortal Coil’s Rusted.” It reminds one of the Appalachia iteration of Osi and the Jupiter, with a stronger country lilt heard most clearly in “Down Along the Border.” While the guitarwork in Laurentian Blue is enjoyable, whether it takes the form of wistful melodies (“The Poetry in Roadkill”) or steely strumming (“Ever North,”) the focus cannot help but rest on Lunn’s voice and lyrical work.
As always, Lunn is a commanding songwriter fluent in the emotions he wants a song to convey. Nary a note or a word wasted, cutting straight to the heart of what he wants to express. Laurentian Blue is resolute in its deeply depressive lyricism, which becomes inescapable due to the music’s minimalist nature.3 Lines like “And if I needed you to watch me slip away // I’ll find you on the other side some day” (“Down Along the Border”) and “the lie that I forced myself to believe // that I never wasted a breath…” (“Ever North”) carry a catharsis that engulfs you, further strengthened by the preternaturally well-timed violins. Sparse though they may be, they’re beautifully implemented, often swelling at just the right moment like in the chorus of “The Poetry of Roadkill.” With focus this unhindered, lyrics that fail to connect are a greater danger to a song’s impact. The Hemingway-esque bluntness of “And morality ain’t dogmatic // but instead practical // and an individual // type of thing” is compelling, but it lacks the poetry present in the rest of the album, and the accompanying music doesn’t sustain the six-minute runtime.
Through the poetic lyrical work and musical minimalism, Laurentian Blue is emotionally consistent, yet therein lies what also makes it a more challenging album. Lunn’s voice is kept adamantly deadpan throughout, indifferently asking you to engage with Laurentian Blue according to its own terms rather than manipulating your emotions. This can create a disconnect; as the violins swell and the notes ascend when Lunn sings the first “Look for me // ever north,” (“Ever North”), I selfishly feel unfulfilled when the notes dispassionately descend in the second. Other times, his singing style makes for some compelling friction. “Irony and Causality” is easily the most energetic song, and is a fascinating backdrop for the deadpan delivery of “Nothing matters when you die // you can only hope time flies // and someone will visit your grave.” Maintaining such a somber tone across the album is a deliberate choice, one that works through Lunn’s songwriting finesse. But it’s a sadness that’s more aptly felt when you’re already predisposed to such feelings.
Laurentian Blue will not be for everyone. It’s a singular emotional work that doesn’t guide your feelings, but rather presents its own emotions with understated grace and indifference. But it’s only natural that the appeal of a work this personal will ultimately come down to personal preference. Regardless of one’s taste for Americana and dark folk, Laurentian Blue is nevertheless a well-written collection of songs by a well-proven songwriter with a strong connection and understanding of the genre. You might need to be in the right mood for Laurentian Blue, but if that mood should find you, then Laurentian Blue will be a knowing, empathetic embrace.
Rating: Very Good
DR: 12 | Format Reviewed: 320 kbps
Label: Bindrune Recordings
Websites: facebook | bandcamp
Releases Worldwide: August 15th, 2025#2025 #35 #AmericanMetal #Americana #Aug25 #BindruneRecordings #Country #DarkFolk #LaurentianBlue #Panopticon #Review #Reviews
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Here is the next song I am releasing, the newest of all of them.
Today's Song:
Skärholmen
2024https://katthernandez.bandcamp.com/track/sk-rholmen
#singersongwriter
#psychfolk
#artrock
#darkfolk
#pianorock
#outsidermusic
#skarholmen
#stockholm
#music -
I've started releasing my singer-songwriter songs on Bandcamp the last days, recorded every which way, written in different years. Here comes one more song before I take off for the week to New York for the week ... I will continue putting up songs when I return!
Today’s song;
“Outlander”
2022https://katthernandez.bandcamp.com/track/outlander
#singersongwriter
#psychfolk
#artrock
#electronicmusic
#EAM
#darkFolk
#outsidermusic
#music -
👁 Small stories can still leave scars.
Flash Fiction Frenzy is open inside the Dark Forum. Submit a two-sentence horror piece there and it will be published in the next volume of Dark Descent: Whispers From Beyond. 🖤
📖 https://www.darkholmepublishing.uk/darkforum#flash-fiction-frenzy
#writingcommunity #readingcommunity #horrorcommunity #flashfiction #twosentencehorror