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19 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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Although a little old now this still makes me chuckle out loud.
Poor Edith has had an absolute mare.
#TwitterFails
#SocialMediaBlunders
#TweetRegret
#FunnyTweets
#OopsMoment
#TweetMistakes
#NigelFarage -
Song of the Day - No 120
Lisa Gerrard - Sanvean (I Am Your Shadow)
WIKI
Is a song co-written in September 1993 by Lisa Gerrard and composer Andrew Claxton during rehearsals in Ireland for the 1993 Dead Can Dance tour. Lisa Gerrard stated she wrote this song missing her family who had remained in Australia. -
Useless Facts, Badly Drawn #409: The Dark Forest Hypothesis.
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#darkforesthypothesis #drakeequation #fermiparadox #thegreatfilter #aliens #firstcontact #seti #stfu #bequietortheywillhearyou #science #extraterrestrials #et #webcomic #comics #lovecraft #cosmichorror #existentialhorror #lovecraftianhorror #uselessfacts #uselessfactsbadlydrawn -
Auch ein ziemlich hammermässiges Album ist "Ylem" von #DarkFortress
#blackmetal aus Bayern 🤘
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Secret Archives of the Vatican – Singles 2020
#World #darkfolk #fantasymusic #globalbeats #numedieval #postdubstep #Croydon
CC BY-NC-SA (#CreativeCommons Attribution Non Commercial Share Alike) #ccmusic
https://secretarchivesofthevatican.bandcamp.com/album/singles-2020 -
By Mystikus Hugebeard
Ah, the Viking Age. One of the most mythologized eras in history, and a bottomless well of inspiration for cool things like video games, shows, books, tattoos, and bad things like obsession over ancestral purity, shockingly racist ideologies, and lutefisk. But the best thing of all, and most importantly, music! Which leads us to Danheim (Literally “Danish Home”). Danheim is the solo Nordic folk project by Reidar Schæfer Olsen, and Heimferd is his first full album in four years, which might as well be an eternity. Danheim is usually very prolific, with eight albums released between 2017 and 2021, with about a gazillion singles released during and after those 4 years. Furthermore, Danheim is one of the more well-known Nordic folk artists; he has numerous collaborations with, to name a few, Gealdýr, Sigurboði, Heldom, and has, like Wardruna, been featured on the History Channel’s Vikings. In other words, Danheim is something of a titan of the genre—is Heimferd worth the wait?
Danheim’s music, and by extension Heimferd, is a sonic extension of the version of the Vikings that has embedded itself within people’s imagination and contemporary media: an intoxicating image of a powerful and mysterious people, plunged into a captivating world of violence and mysticism.1 Most might immediately connect Danheim’s sound to Wardruna (not unjustifiably), but that paints a rather flat picture. The music is cinematic in a way that calls to mind a less avant-garde Heilung, it vibrates with a slightly electronic, tribal weight that, at this point, belongs more to Danheim than any of his peers (but one might still compare it to Vígundr or Heldom), and it’s atmospheric and densely layered like, well, Wardruna. But I believe it’s the simple immediacy of Danheim’s that has made him the Nordic folk titan that he is. It’s just so easy to fall under the spell of electronically augmented droning chants set to the rhythm of deep, beating drums, heard in some form or another in nearly every song on Heimferd.
…and yet, there sadly wafts an air of shallowness across Heimferd. There is an unfulfilled relationship between Heimferd’s sound and its songwriting. Heimferd’s stellar production and the variety of instruments create a captivating soundscape, but so rarely do songs breathe or evolve in a way that gives the songs life. This is felt all throughout Heimferd. “Heljar Skuggar” and “Rúnmyrkr” each utilize engaging, distorted chants in the vein of Heilung, but feel stagnant, without peaks or valleys. Songs are often lacking in stakes or tension, the worst of which is heard in the lifeless “Valvejen” as it flits loosely between tagelharpa melodies and excessive downtime. For songs meant to sound almost hypnotic in their droning, much comes off as forgettable, like “Kominn Dagr” as it switches from monotone chanting into a toothless tagelharpa melody, neither section given ample time to grow or make an impact. Clearly, Danheim places a lot of emphasis on atmosphere, and Heimferd is indeed viking-y at a distance—but up close, there is little to sink your teeth into.
This is not always the case, however, with a handful of songs towering above the rest. The vocal-heavy closer, “Yggdrasil II” (a sequel to “Yggdrasil” from 2018’s Fridr), has a quiet majesty to its rhythmic and beautiful chorus. “Vindfari” is an unassuming song that really sneaks up on you, as the drums march behind a simple chanting melody with a peculiar, percussive vocal delivery to some words that adds unique character to the song. Heimferd’s best song is “Haukadalur,” though. This song moves and breathes like a living thing, as distant haggard exhalations augment a powerful beat which heralds a coarse, dancing tagelharpa. These songs have such richness to their melodies, making the most of Danheim’s accessible and engaging style. It feels as if this has been my experience with every Danheim album: two or three genuinely stellar tracks that speak of an artist capable of amazing things, surrounded by songs that sound great but leave little impression.
Danheim has ever been frustrating for me, and Heimferd reaffirms that feeling. His infectious soundscape sufficiently conjures a Viking-age atmosphere and energy, but with base songwriting that so rarely transforms the music into something lasting or impactful. It’s strange, because my first listen of Heimferd was the most positive one, and I think it’s because Danheim’s style of Nordic folk can be cathartic in a way not many other artists within the genre are. But on each subsequent spin, when I listen closer, probing, pleading for depth, I’m left wanting. Heimferd is the distilled essence of the modern perception of Vikings, but with little drama or tension. It’s fun, but ephemeral.
Rating: Mixed
DR: 7 | Format Reviewed: 320 kbps
Label: Season of Mist
Websites: official | bandcamp
Releases Worldwide: October 31st, 2025#25 #2025 #Danheim #DarkFolk #Gealdýr #Heilung #Heimferd #Heldom #Neofolk #NordicFolk #Oct25 #Review #Reviews #SeasonOfMist #Sigurbodi #Vigundr #VikingMusic #Wardruna
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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 -
Secret Archives of the Vatican – Halls of Stone
#Dwarves #NorseFolk #Tolkien #Vikings #World #darkfolk #elves #fantasymusic #globalbeats #norsemythology #numedieval #postdubstep #Croydon
CC BY-NC-SA (#CreativeCommons Attribution Non Commercial Share Alike) #ccmusic
https://secretarchivesofthevatican.bandcamp.com/album/halls-of-stone -
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 -
The Expanding Dark Forest and Generative AI
Proving you're a human on a web flooded with generative AI content
https://maggieappleton.com/ai-dark-forest
#GenArt #GenerativeArt #AIart #AI #DarkForest #CozyWeb #DarkWeb #HumanContent #ContentGeneration #News
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“A Foggy Morning” Prints, Products, and Gifts from Douglas E. Welch Design and Photography
http://DouglasEWelch.com/shop/831
Immerse yourself in the quiet mystery of a heavy morning fog. This black and white photograph captures a wet street vanishing into the mist, creating a striking natural gradient from the dark, textured pavement to the endless white void ahead.
#street #road #neighborhood #california #tree #blackandwhite #bw #outdoors #nature #plant #bnw #oak tree #blackandwhite #monochrome #forest #treecanopy #oaktree #naturephotography #OakTree #ForestCanopy #BlackAndWhitePhoto #NatureMonochrome #GnarlyBranches #WoodlandVibes #TreeTexture #HighContrast #ForestImmersion #DarkForest
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“Oak Trees, Santa Monica Mountains, California” Prints, Products, and Gifts from Douglas E. Welch Design and Photography
http://DouglasEWelch.com/shop/37
I took this photo looking straight up into the dense, wild canopy of an old oak woodland. What grabbed me was how the sheer chaos of the branches and leaves turned into this beautiful, almost abstract pattern in black and white.
#california #tree #black and white #bw #outdoors #nature #plant #bnw #oak tree #blackandwhite #monochrome #forest #treecanopy #oaktree #naturephotography #OakTree #ForestCanopy #BlackAndWhitePhoto #NatureMonochrome #GnarlyBranches #WoodlandVibes #TreeTexture #HighContrast #ForestImmersion #DarkForest
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DARK FORTRESS, one of the first Black Metal bands I ever listened to, recently had their last farewell show. Glad I got to experience them live once more.
With: ASPHAGOR and THE SPIRIT.
More pics 👉🏻 https://www.wetphoto.at/2023/05/18/ein-gebuehrender-abschied-dark-fortress-im-viper-room-vienna/
#DarkFortress #Asphagor #TheSpirit #BlackMetal #Live #BandPhotography #MusicPhotography #ConcertPhotography #LivePhotography #PhotographersLife #BestMusicShots #Nikon #MastodonVienna #MastodonAustria #Vienna #Austria #ViperRoom
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:heart_fire: :heart_fire: :heart_fire: :heart_fire:
