#alcest — Public Fediverse posts

Wacky Idea: Wed September 23: #Bostodon meetup at 5 near #fenway then optional #Mastodon (the band) concert at the HOB (55$ tickets, doors 6p, show @ 7, #deafhaven and #alcest open)? https://www.youtube.com/watch?v=lAihDAJX8Ow https://crossroadspresents.com/pages/more-info-event?eventid=vvG17Z_5K3Clnc #BostonMusic #boston

O joy! What an honor and privilege to have witnessed so much! Day four of #beyondthegatesfestival started with a high for us thanks to the always excellent #gaahlswyrd #arcturus and #alcest We expected #emperor to close the festival in style but frankly we were not prepared to be awed so much. Majestic, powerful, sometimes going for the jugular, this was Emperor at its very best, #blackmetal royalty showing what it’s all about from the early days to the more progressive parts of its catalogue. Seeing Faust and Mortiis on stage made the whole thing even more brilliant. We left #grieghallen whistling tunes and smiling like idiots.

@funkel @arnemart ok, Marduk e litt poser 🦄

Men eg tror du må spandere noe øl nå for å bevare freden 😂

#Deafheaven #Alcest #CradleOfFilth #Marduk #Gorgoroth #Satyricon #Kvelertak

Cradle må virkelig ha gitt inntrykk siden de blir nevnt 2 ganger 🫢

Mastodon have returned with the emotional new single "Your Ghost Again," a song inspired by loss, memory, and grief following the passing of former guitarist Brent Hinds.

The band has also announced The Poisonous Weapons Tour with support from Deafheaven and Alcest.

Details: https://metalinsider.net/video/mastodon-are-back-with-new-single-your-ghost-again-announce-fall-2026-tour

#Mastodon #YourGhostAgain #Deafheaven #Alcest #ProgressiveMetal #Metal #MetalNews #ThePoisonousWeaponsTour #BrentHinds

Lately, I’ve been listening to quite a bit of depressing music. Between Meadowlands, Qroba, and Exequiae, the themes of melancholy, death, and despair have been having quite the run ’round these parts. So it figures my review of the day is Embrace the Death—why turn away from a theme that’s doing well? This is the sophomore full-length release from U.S.-based Mother Crone, over a decade after their debut Awakening, and, if my research is accurate, with a completely different lineup. The topic of the day is clear, and Mother Crone approach it with a blend of doom, stoner, progressive, and groove metal. It’s always exciting to see what a band can do with a refreshed vision, lineup, and style, and apparently, grim topics are strong performers these days. How do Mother Crone compare to their contemporaries?

That my depend on how we define “contemporaries;” while Mother Crone share subject matter with the aforementioned groups, stylistically they have more in common with their own stated influences, Pink Floyd, Pantera, and Alcest (among others). As mentioned earlier, the sound on Embrace the Death is fairly well-rooted in stoner metal, with elements of doom, progressive, and groove naturally creeping in to fit the topic. Guitarists Edoardo Curatolo and Joe Frothingham (also vocals) oscillate between light, introspective play and a burlier, more aggressive approach, and Frothingham’s singing is the same. A lot of the album’s stoner and doom metal leanings actually owe to bassist Preston Wilson and drummer Charlier Romano, whose slower, grimier playing grounds the music in a progressive sort of styling. Together, the result is something at times aggressive, at times introspective, and always atmospheric in some way.

Embrace the Death by Mother Crone

But the best parts of “Embrace the Death” are unquestionably the album’s quieter moments, where Mother Crone embraces the doom and the atmosphere fully. The title track is the best example; here, Frothingham takes a break from what my father would affectionately call shouting in tune to do his best Mikael Åkerfeldt (Opeth) impression and guide the listener through a somber acceptance of the inevitable. The plaintive guitars, soft singing, and rumbling bass give way to subtle, beautiful melodies that grow organically. Not that the heavier moments are not welcome ones—”Fever Stone” is a more traditional, groove-led rocker that demonstrates a nearly opposite side of Mother Crone’s sound, the one that channels Pantera more than Opeth or Alcest. “Eye of Providence” is the middle track for the sound, best blending riffs, atmosphere, and heaviness. In all, Mother Crone don’t really sound like any of their influences, but bring forth something in the odd space between them all, something surprisingly affecting, sometimes heavy, sometimes airy, and often both at once.

Another thing I can say about Embrace the Death is that it is a fairly front-loaded album. In particular, the trio of “Fever Stone,” “Embrace the Death,” and “Unto the Dawn” is a powerful one-two-three hit of Mother Crone’s sound, from burly, melodic aggression to more plaintive, introspective atmospheres. Towards the end of Embrace the Death, however, I think Mother Crone loses sight of their strengths. “Inner Keep” in particular is an example of a song that could have used more editing than it received, clocking in at eleven minutes without making the impression I think it means to. “Celestial Light” is a beautiful closer for the album, but tonally feels a bit out of place. Perhaps if more of Embrace the Death leaned towards its title track sound it would fit better, but as is, it feels like the two extremes of the Mother Crone sound are more in competition with each other than blending into a unified listening experience. It’s all good music, but as a full album, I think there’s too much back and forth between aggressive and plaintive music to feel as “complete” as it could have felt.

Still, there is a clear journey through Embrace the Death, and, despite its grim title and concept, it’s a fun and reasonably thought-provoking listen. Mother Crone was not on my radar before now, but I’ll be paying attention to them for certain in the future. At best, this sophomore is a beautiful, compelling, and contemplative work of atmospheric metal; and otherwise, it is “only” good. Hopefully this new lineup sticks around for a bit—I’ll be looking forward to album three for sure.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Self-release
Websites: mothercrone.bandcamp.com | facebook.com/mothercronemusic
Releases Worldwide: March 4th, 2026

It’s not uncommon for death metal musicians to mellow and prog out the longer they roam this Earth. Far from a negative connotation, enough songwriting prowess can lead to a tasteful and potent way to carry out said development. One of many collectives in this category is the Morbus Chron expanded universe. These Swedes first went from classic death metal to Sweven, which eventually led to an even proggier Sweven. Now, in a further evolution following the Law of Increasing Hippietude™, we arrive at Speglas. Although predating Sweven by some five years, it took until now for the debut full-length Endarkenment, Being & Death to come to fruition. Their goal of fusing death and black metal with heavy metal, however, has remained the same throughout. With two degrees of staff and sound separation between Morbus Chron and Speglas, where has all this evolution led to?

The Sweven presence in the lineup of Speglas is noticeable from the get go. Isak Rosemarin (Sweven, ex-Morbus Chron) acts as half of the guitar crew and all of the vocal crew, lending the album a warm but powerful, raspy growl often reminiscent of Niilo Sevänen (Insomnium). Jesper Nyrelius’s (Sweven) drumming is varied and detailed (“The Spirit Postmortem,” “Hitherto Awry”). Alexi Hedlund’s guitar and Victor Berg’s bass round out the great performances of the lineup. Musically, Endarkenment… tends to fall somewhere between Inconcessus Lux Lucis’s blackened Iron Maiden approach (sadly gone unmentioned on site until now) and Chapel of Disease’s severely underrated deathened dad rock from 2024. Fans of Tribulation’s Down Below era might find a lot to like here as well. The songwriting builds upon their preceding EPs—2015’s Birth, Dreams & Death and 2022’s Time, Futility & Death—but improves on all aspects, nailing down the vocals and crafting a memorable dual guitar tandem (“Incessant Severance,” “Dies Mali”). And while the project’s vision does precede Sweven by a lot, its instrumentation inevitably ends up feeling distantly related (“Dearth”).

Endarkenment, Being & Death by Speglas

Endarkenment, Being & Death flows seamlessly from atmospheric to intense in various styles and tempos. Iron Maiden licks run amok throughout the album’s dual-harmonized guitar work (“Dearth,” “Rage upon the Dying Fire”) of course, but they’re not carrying the record alone. Gorgeous clean guitar parts (“Ailing,” “Dearth”) and sadboi tremolos (“Dies Mali”) accompany the superb rhythm and lead guitar efforts elsewhere. Parts of “The Endarkenment” even resemble Alcest by way of Spiritual Instinct’s fantastic post-black direction. All this leads to Speglas being progressive without it getting in the way of the music. In addition, a stellar production job only lifts up the band’s great stylistic choices. Simon Söderberg’s (whose production credits surprisingly include early Ghost) placement of drums and bass in the mix deserve special mention, as it makes an already good set of instruments sound incredible. Though not a massively layered or complex album, the combination of both songwriting and production depth makes for a highly repeatable experience.

Careful pacing allows Speglas to end their experiment with a triumphant bang instead of a whimper. Though the album could benefit from showing more teeth and grit at its most aggressive, the ending one-two punch of the album in “Dies Mali” and “Rage upon the Dying Fire” is a cornerstone hard to argue against. I wouldn’t be surprised if both end up being among my Song o’ the Year finalists. As for its softer side, the beauty of “Woe” and “Ailing” won’t change the minds of people diametrically opposed to intros and interludes. Some will say Speglas’s style is too watered down, others might think it’s not watered down enough. But I think Endarkenment… strikes a great balance in between, the music being both heavy and beautiful, intricate and addictingly catchy as a result.

You don’t need to reinvent the wheel to craft something that feels fresh and exemplary. Speglas took a long while to fine-tune their writing prowess for the debut, and it paid off in spades. Endarkenment, Being & Death succeeds in its primary goal as a superb example of progressive, deathened and blackened heavy metal. Despite not featuring any cowbell, I reckon it’ll be difficult for future 2026 albums to top this one come year-end. As the final recent n00b remaining who hadn’t broken the Score Safety Counter yet, I’m glad I held out this long for something remarkable. And I wasn’t even originally in charge of covering it!

Rating: Excellent
DR: 8 | Format Reviewed: 320 kbps MP3
Label: Trust No One Recordings | Bandcamp
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: February 27th, 2026

Currently checking out Pictures by #HamaSaari.
I'd describe their music as dreamy, mellow #ProgRock, #Alcest'ey in places and some (late) #Anathema, too.

https://hamasaari.bandcamp.com/album/pictures

#bcf #BandcampFriday #Bandcamp

Atmospheric post-black metal is quite the concept. Both titular subgenres span wide varieties of inspirations, levels of aggression, and affinities for emotion. Done well, they are gateways to catharsis and emotional storytelling. So I was intrigued when Rituel : Initiation caught my eye. This is the debut full-length release from Swiss post-black metal band De l’Abîme Naît l’Aube, recommended, or so I’m told, for fans of Alcest and Heilung. You never quite know what you’re going to get with a debut, but I was eager enough from the concept to want more. On paper, Rituel : Initiation could go anywhere.

Fortunately, the first few minutes of Rituel : Initiation act as an interesting microcosm for its whole: “Une Pleine Absence” lulls you in slowly with heavy atmosphere, wordless sighs, throat singing (I believe from lead vocalist Sébastien Defabiani), and acoustic passages, slowly building in intensity. It does this so effectively, in fact, that when the guitars do arrive, they feel overly jagged, loud, and harsh. I signed up for a post-black metal album—I expected loud. But De l’Abîme Naît l’Aube do somber atmosphere very well, and they do post and black metal well, but it’s interesting how the two can be at odds with each other in this style. Ten minutes later, this moment is forgotten, and the guitars sound as natural as anything else. “Une Pleine Absence” is still going, incorporating tremolos and depressive shrieks as a heavier atmospheric element, and you know well what to expect over the rest of Rituel : Initiation.

Rituel : Initiation by De l’Abîme Naît l’Aube

This intersection of rough-around-the-edges post metal, black metal aggression, and atmospheric melancholy seems to define both Rituel : Initiation and De l’Abîme Naît l’Aube. “Le Vertige d’une Descendance” is similar to the intro in that it starts slowly and gives bassist Valerian Burki a moment to shine. It leans more post than black, with some strong riffs that give the song groove and, if you’ll forgive a technical term, head-nod factor. “Un Sanctuaire de Cendres” is much more blackened than post, but when Fantine Schütz’s clean singing soars through the gloom, it’s a genuinely touching moment. Tremolos towards the end from guitarists Dominique Blanc and Kilian Caddoux counterbalance nicely with Valentin Boada’s frantic drumming, and here, the intersections work very well.

If I were to criticize one thing about Rituel : Initiation, it’s that the blended styles don’t allow for a ton of memorability. There are great moments throughout the five tracks—I’ve mentioned a few already, and want to highlight the slow march riffing around the midpoint of “Un Sanctuaire de Cendres” as well. But generally, Rituel : Initiation does not feel very strongly structured as an album. Songs, all but one over eleven minutes long, move from one idea to the next coherently and naturally, but in such a way as to evade hooks or moments of particular catchiness or impact. I always enjoy listening, but after the fifty-three minutes are done, I don’t have much impression of specific songs I liked; rather, it’s moments here and there that I know were early or late in the session. This makes sense of the style De l’Abîme Naît l’Aube play, but it also gives the impression of a dense album that I perhaps still need to spend more time with to truly crack.

Still, I like what De l’Abîme Naît l’Aube are doing here. Cold, regal, aggressive, anguished, and balanced on a knife’s edge—there’s some good metal here! As “Une Absolute Prèsence” builds to the album’s climactic end, I can’t help but be impressed. I wouldn’t have hated more editing—there’s a lot of metal here too—but too much of a good thing isn’t a bad thing. Rituel : Initiation is, in my mind, an exciting debut, the kind that speaks of genuine potential. Color me intrigued.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 192 kbps mp3
Label: Hypnotic Dirge Records
Websites: danapostmetal.bandcamp.com | facebook.com/dana.postmetal
Releases Worldwide: February 13th, 2026

If you know anything about grumpy ole Grier, you know he’s been dry-humping Bizarrekult ever since 2021’s Vi Overlevde. “Dry-humping” might not be the correct term. Maybe passionate lovemaking? Yeah, that’s the stuff. But, in all seriousness, this little band came out of nowhere and has been making waves in such a short time. While the debut had me glued to my seat, the follow-up, Den Tapte Krigen, damn-near bolted me down—to the point that I had to cut myself out of my pants to break free. If that had been the band’s swansong, I would have been just fine for the rest of my life. But Bizarrekult is back to ruin another pair of my pants. Behold! Alt Som Finnes!

Before we begin, let’s explore some of the new additions Bizarre and co. have brought to the table with this new outing. While the general structure of the output remains the same, the approach can vary. Joining the ranks of second-wave Norwegian black metal, Alcestian meloblack, and Enslaved-like intricacies are three guest vocalists: Yusaf “Vicotnik” Parvez (Dødheimsgard), Lina (Cross Bringer, Predatory Void), and Kim Song Sternkopf (Møl, The Arcane Order). I’m not sure whether the songs were created with the guests in mind or whether they evolved during the songwriting process, but each song was made for its guest. Each with a gentle, clean vocal style, you can expect some of the most melodic, gorgeous accompaniment in the Bizarrekult’s repertoire. And besides Sternkopf’s contribution to the closing “Tomhet,” this song is also the first ever to be penned in English. Not that we metalheads have an issue with songs in a country’s native language, unlike the rest of the mainstream poser fucks. But it’s a nice addition.

Alt Som Finnes by Bizarrekult

Alt Som Finnes kicks off with a surprising piece in the form of “Hun.” Mostly surprising in its simplicity and short runtime. Alternating between clean and distorted vocals and ripping blackened riffs, this track only whets the whistle—nothing more and nothing less. Which leaves me wanting more before “Blikket Hennes” slaps the fuck out of me like a cat who hasn’t received its treats. This track has a thick bass, unsettling old-school black metal dissonance, venomous Aldrahn-like growls, and a trudging pace slowed by tar. Then, it collapses into a gorgeous atmosphere as Parvez’s beautiful vocals hit hard and crush the olde ticker like it’s made of parchment.

There are so many reliable tracks that it’s difficult to choose one over the other. That said, “Avmakt” is a beautiful piece with one of the most memorable black metal licks I’ve heard in some time. And not because it’s thrash, death, or any other sort of approach, but because it’s a killer true black metal riff. As the song progresses, the melodies expand like an ever-growing blanket that settles over mountains and valleys, like giants slumbering below the fabric. It’s one of those songs that proves you don’t need the beauty of the clean vocals of “Blikket Hennes” to achieve the same task. While there are others in the same vein as “Avmakt,” “Aversjon” takes it to another level with its influences. Opening with slow-moving melodics and sorrowful sustains, it quickly goes dark, slithering below the Earthly strains like a viper. But, like a miracle at the darkest of times, an uplifting, Alcest-like air breathes over—pushing deep and far, even into Enslaved-esque prog-tivity.

On first spin, Alt Som Finnes is an absolute rollercoaster of emotions that, even though it’s not uncommon for Bizarrekult to instill, leave me completely crippled by the end. Outside of the surprisingly two-pump Chuck that is “Hun,” the rest weave together while many still try to resist the tempting urge to give in and conform to the predictable fabric patterns. Instead, you have a glowing blanket that is also scorched and tattered beyond repair. Though it remains intact, when touched, it feels both gentle and painful at the same time. It’s a conflicting album in its tone but not in its delivery, and the intricacies of this slow burner try hard to topple Den Tapte Krigen from its perch. Who knows where it’ll stand in time, but, regardless, this new outing is a worthy addition to the Bizarrekult family.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 256 kb/s mp3
Label: Season of Mist Underground Activists
Websites: bizarrekult.bandcamp.com | facebook.com/bizarrekult
Releases Worldwide: February 20th, 2026

If, like me, you played a lot of the original Elder Scrolls IV: Oblivion (2006), then you might agree that the game has a nigh unbeatable vibe. The densely forested hills rolling into the distance, the subtle call of a nearby Nirnroot, the grossly overconfident mudcrabs, the endearing jank of two townspeople conversing like they’ve only just discovered human language; it’s a distinctly cozy high fantasy setting that feels like home in a way few modern games could hope to replicate. Thus, I was excited to learn that Velothian, the epic post-black metal act that was previously featured on the 2024 EP Roundup for their Elder Scrolls III: Morrowind-themed EP Path of the Incarnate, now draws from Oblivion as inspiration for their debut full-length, Mythic Dawn. Path of the Incarnate enraptured me with its intimate riff-work and imaginative atmospheres, so with Mythic Dawn, has Velothian survived their first jump from EP to full-length?

Velothian play a folk-tinged, somber kind of epic/ethereal post-black metal that strikes a good balance between distant tranquility and gritty textures. While there’s a great deal of woodsy ambiance and dreamy chants, the metal enjoys a satisfying, weighty presence whether it’s airy, open-note chords à la Alcest (“The Great Forest,” “Forgotten Ruins,” “Mania”) or direct, blasting riffs (“The One From My Dreams,” “Dragonfires”). Mythic Dawn uses its inspiration tastefully to create something all its own, never feeling schlocky or gimmicky like “video-game metal” often does. Speaking of, I was elated to discover some references to the original Oblivion OST throughout Mythic Dawn. For example, the soft piano melody of Oblivion’s “Auriel’s Ascension” translates beautifully into acoustic guitars and serves as a jumping-off point for the sunlit harmonies of “Mania,” and the game’s main theme makes an understated appearance in “The One From My Dreams.”1 I appreciate that Mythic Dawn never feels like a direct 1:1 of Oblivion’s music or aesthetic, maintaining its own identity and imagery even as it incorporates melodies from the game’s OST such that those unfamiliar with Oblivion won’t feel like they’re missing something.

Mythic Dawn by Velothian

In Mythic Dawn, Velothian have preserved that expansive yet grounded quality I loved about Path of the Incarnate and even improved on it through tighter songwriting and a more verdant soundscape. One ought look to “The Great Forest” for how Velothian construct atmospheres with intelligence and restraint: softly striking guitars ring between rich arboreal sounds and sparse chanting, blooming into a simple but textured, evocative riff in the verse. “Mania” is another atmospherically decadent track, sustaining nearly every note played to create a dreamy haze above gorgeous chord progressions. Velothian understand the benefit of brevity, never bogging a song down with an excess of mindless riffing or languid ambiance, which keeps a slower song like “Forgotten Ruins” or a more varied track like “Night Mother” engaging throughout. Whereas the textures and melodies paint the vivid imagery, it’s largely the guitar’s mixing that gives the music its tactile, grounded feeling. It’s felt especially strongly in the galloping “The One From My Dreams” where the riffs have a gripping, full-bodied crunch to them that draws you in and directly places you into the world Velothian are evoking.

It’s clear that Velothian have grown a lot in the time leading up to this debut, but that does serve to highlight the few areas that stand to further improve. While the mix is overall an improvement over Path of the Incarnate’s, the cymbals can be a little distracting in the heavier tracks, namely “The One From My Dreams.” Though both “Mania” and “Dragonfires” are well-written, each song ends with non-sequiturs that don’t feel properly fleshed out. “Deadlands” is the only track that actually loses me; the riff-work is solid, and I enjoy how the drums resolve into the chorus, but it lacks the quiet, moving majesty of the other songs that keep me returning to them. But ultimately, these finer details of Mythic Dawn do little to diminish its charm or impact. When Mythic Dawn ends (after a tasteful 40-minute runtime, might I add), the good always shines much brighter than the not-as-good.

I’ve long been excited for what Velothian would do after Path of the Incarnate, and Mythic Dawn has rewarded my patience. This album is an improvement on their previous work in many ways: the songwriting is tighter, the sound is crisper, and the atmospheres more vivid. Velothian are still a little rough around the edges, but Mythic Dawn nevertheless well establishes Velothian’s unique voice and songcraft. This is maturely written, and imaginative ethereal post-black metal that has cemented Velothian as one of the better video-game-based metal bands out there, and I shall be enjoying Mythic Dawn for a long time yet.

Rating: 3.5/5.0
DR: 8 | Format Reviewed: PCM
Label: Self-Release
Websites: facebook | bandcamp
Releases Worldwide: February 1st, 2026

#ScribesAndMakers ~ Tell us about a memorable live music experience.

There. Are. So. Many. :music_notes_woozy:

Discovering a band live is magic, Alcest for example. It was like attending a beautiful, melodic séance floating on a cloud of metal bliss. ✨

Or the Mysteryland festival, the largest & happiest hardstyle festie. 💖

#Alcest #Mysteryland

#Kauan remind me a bit of #Alcest.

https://kauan.bandcamp.com/album/wayhome

Tè vertat qu'aqueste ser es lo concèrt de #bruit ≤ !!! Tròp cool.
https://bruitofficial.bandcamp.com/ per los que coneisson pas.
En primièira partida de #Alcest (que m'interessa mens) a #Montpelhièr / Sant Joan de Vedats, a #Victoire2

#rock #metal #musica #concèrt #Erau #bruch

#VersionOccitana #Occitania #Lengadòc #SantJoanDeVedats

@daks https://mamot.fr/@daks/115354605344951855

we.own.the.sky – In Your Absence Review

By GardensTale

Though not all post-metal is instrumental, almost all instrumental metal bands play some variation of post-metal. One could write a riveting dissertation exploring the reasons behind this phenomenon and its implications, if one were inclined towards musical studies and history; alas, I am but a humble observer of such odd patterns and have no definitive answers. Perhaps it is part of how heavily defined by vocals many genres are; perhaps the textured and buildup-heavy nature of post-metal simply lends itself well to instrumental approaches. Greek 5-piece we.own.the.sky makes no effort to break the pattern on its third album In Your Absence, but as a fan of the style, I have no complaint. But it can be a devilishly tricksome affair to eschew vocals altogether without getting stale. How do the sky-owners fare?

As annoyingly hip the stylization of the band name is, so expertly crafted is In Your Absence. No two songs are interchangeable, and rarely does any track feel particularly overlong. Refreshingly for instrumental post-metal, we.own.the.sky does not often lean on languid melancholy. Most tracks have energy and momentum, emerging through the darker, djent-adjacent notes of opener “The Urge to Prey,” the effervescent bliss of “Everbreathing” and the feverish, drum-heavy “Eclipse.” The structures hew further from the expansive and exploratory, aligning closer to traditional verse-chorus setups, and it makes for an immediate, accessible album like few in this style can manage.

This is clearly a deliberate choice. Even longer tracks like “Swarm” and “Liminal Space” stay well under 8 minutes and use their extra time in buildups that return to established phrases and intelligent variations on the rich stock of melodies the guitars provide. “Swarm” is an especially powerful song, its gentle opening notes morphing into a grand ascending beast, the melody carried upon a shifting syncopated foundation. It’s a one-two punch with the sweeping joy of “Everbreathing,” whose bright tremolos remind me of the most recent Alcest. Closer “Silhouette” shares that similarity, and it’s the sole track that does contain vocals, which provides a warm well of emotional contrast and provides rich wonder as the album’s denouement.

The biggest bump in the road is “Fragile, Alive,” a slow and gentle track that skates dangerously close to saccharine soft rock. It’s smack dab in the middle of In Your Absence and is a hard stop for all the momentum built by “Swarm” and “Everbreathing”. The melody is fairly repetitive and a bit mawkish, and the track doesn’t move away from it until the midway point. It’s not outright bad, especially when it opens up and gains more heft, but it is the album’s Achilles’ heel, worsened by its central placement in the track list. Thankfully, the hard-hitting follow-up “Eclipse” is an immediate pick-me-up, and we.own.the.sky return to form within seconds. Dressed with a delicious guitar tone and even-keeled mix, the production1 puts the cherry on the cake. It matches the compositions for an enticing, immediate sound that’s as listenable as it is versatile.

With In Your Absence, we.own.the.sky place yet another nail in the coffin of the idea that quality and fame go hand in hand. In fact, the band kicks over every assumption that crosses their path. Greek metal is known for grandeur and symphonies, yet In Your Absence is concise and introspective. Post-metal tends toward texture-heavy dreaminess, yet this is melody-driven and direct. With a decade and a half behind them and In Your Absence, their third album, under their wing, we.own.the.sky have proven themselves more than capable of producing music that’s beautiful, transporting, and downright addictive. The world’s been sleeping on this band. Don’t miss out.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: PCM
Label: Dunk!Records
Websites: weownthesky.bandcamp.com | facebook.com/weowntheskygr
Releases Worldwide: September 19th, 2025

#2025 #35 #Alcest #DunkRecords #GreekMetal #InYourAbsence #PostMetal #Review #Reviews #Sep25 #weOwnTheSky

HERETOIR – Solastalgia Review

By Owlswald

Fall in the Pacific Northwest means two things: foggy air and the official start of sadboi season. And German post-black quintet HERETOIR are here to offer a choice soundtrack for the colder, darker months ahead. Since its inception as a solo project by multi-instrumentalist David Conrad in 2006, HERETOIR has been a mainstay in the blackgaze scene, crafting music that has been a long-standing source of catharsis while operating in the darkness with other well-known acts like Alcest and Fen. Solastalgia marks the trio’s fourth full-length album, but the first one we’ve reviewed here. Still, the group’s presence at AMG Industries isn’t entirely new. On the heels of their 2017 sophomore album The Circle, drummer Nils Groth spoke candidly in an interview with staff emeritus Muppet about how music can be a vital outlet for dealing with mental health. Since then, HERETOIR shifted to a collaborative songwriting process to define the darker and ethereal sound of their third album, Nightsphere. That same collaborative spirit now forms the core of Solastalgia, which explores themes of alienation and grief over the loss of our natural world.

Crafted to be an immersive listen, Solastalgia follows a heavy-light-heavy progression. High-energy tracks like “You are the Night,” “Burial” and “The Ashen Falls” boast the crunchy riffs, trem-picked guitars and rhythmic aggression of The Circle, while “Dreamgatherer,” “The Heart of December” and “Rain” shift toward the softer Alecstian sounds of Nightsphere during Solastalgia’s more contemplative middle. Groth absolutely pummels his kit for over an hour with tight blasts, hard-hitting hardcore rhythms, and eclectic fills that add tons of stylistic flair. Likewise, Conrad delivers a standout vocal performance, adding to the material’s raw, emotional feel with Katatonian sadboi cleans and Novembre-like murmurs contrasting blood-curdling screams and sweeping choral hooks. A high-quality production, with a smothering bass tone and cinematic elements like spoken word (“The Ashen Falls”), piano (“Solastalgia,” “Rain”,) and flute (“Season of Grief”) magnifies the immense emotional weight of HERETOIR’s music, creating a charged, multilayered atmosphere fraught with inner conflict and catharsis.

HERETOIR is adept at building a palpable sense of tension and releasing it through explosive crescendos, weaving a rich sonic tapestry of contrasting dynamics. They masterfully execute this formula across the album’s ten1 tracks with serene, reverb-drenched blackgaze textures juxtaposed by furious blasts, crushing breakdowns and soaring choruses. On “Inertia,” a pensive beginning of ominous piano and cascading tremolos abruptly halts—a pin-drop then detonates, unleashing a devastating maelstrom of thick distortion and ear-piercing screams that propels the track forward. “Season of Grief” is a dynamic journey that gradually builds momentum, shifting from unexpected death metal passages to a quiet, ghostly acoustic bridge before an epic, atmospheric crescendo—driven by Groth’s technical fills—brings the song to an enthralling conclusion. Throughout Solastalgia’s runtime, Conrad’s fluid vocals are key to fusing the album’s wide influences. He seamlessly transitions from soaring, Howard Jones-esque (Killswitch Engage) cleans (“You Are the Night”) to a grief-stricken fry (“Inertia”) and even burly death metal growls (“Season of Grief”), balancing accessibility with profound sorrow and grief.2

With such emotional veracity, an album of Solastalgia’s caliber could easily become too emotionally taxing. But HERETOIR deftly prevents listener burnout by bookending the record with its most expansive compositions. However, while this structure largely succeeds, Solastalgia’s flow is somewhat disrupted by the back-to-back placement of softer tracks like “Dreamgatherer” and “The Heart of December.” Although these tracks provide necessary breaks, their weaker hooks and limited variation make Solastalgia’s middle—from “Rain” through “The Heart of December”—feel a bit like a slog. Furthermore, the inclusion of “Metaphor,” an In Flames cover, at the very end detracts from the album’s flow and would have been better suited as a bonus track.

Even with its minor flaws, Solastalgia provides the perfect welcome to colder and darker seasons, offering a soundtrack for those who seek catharsis and solace in confronting inner turmoil. It successfully blends the best of The Circle and Nightsphere, creating a powerful and immersive tour de force of emotional intensity. Its songwriting takes listeners on a musical journey through a spectrum of genres, from serene blackgaze to aggressive hardcore, progressive death metal, and even screamo. For those drawn to the dark and melancholic, HERETOIR has created a record that successfully fuses their past into an experience that is sure to satisfy.

Rating: Very Good!
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: AOP Records
Websites: heretoir.bandcamp.com/album/solastalgia | heretoir.com | facebook.com/heretoir
Releases Worldwide: September 19th, 2025

#2025 #35 #Alcest #AOPRecords #AtmosphericBlackMetal #BlackMetal #Fen #GermanMetal #Heretoir #InFlames #Katatonia #KillswitchEngage #Novembre #PostMetal #Review #Reviews #Sep25 #Shoegaze #Solastalgia

Jord – Emellan Träden Review

By Killjoy

Jord began life in pretty much the exact way one would expect of an atmospheric black metal act. Founder Jörgen “Jurg” Ström would take daily walks through the forests of Sweden during fall 2020, during which he decided to start a nature-oriented musical endeavor. He quickly released two albums, Sol and Måne, on his own before recruiting guitarist Sebastian “Hravn” Svedlund and drummer Stefan Jansson, both of whom he had briefly performed with in Rimfrost and its splinter group Omnicidal. They worked together to create Tundra in 2023, and now look to extend their productive streak with Emellan Träden, Jord’s fourth full-length record in five years.

Jord is a sharp change of pace from the rowdy Rimfrost and Omnicidal, but by no means an unwelcome one. The earlier material that Jurg composed while living a nomadic van lifestyle is a faintly blackened post-rock, suggesting that he mainly listened to Alcest’s Kodama while driving. Emellan Träden retains a similar, albeit more refined, sound. Jord splashes in the same honey-sweet mountain lake as Einvigi or Vorna, the melodies steeped generously in the emotive splendor of Eneferens. The new band members appear to have brought more urgency and heft to Jord. Riffs are more plentiful and Hravn takes every opportunity to erupt in a lively guitar solo. Jansson’s drum beats are more forceful, pairing well with a bass tone that’s crunchy like crisp autumn leaves on the ground.

At first, Emellan Träden may seem more homogeneous than it actually is. Closer attention reveals ample variety, but more in the placement of the building blocks rather than the blocks themselves. For instance, the piano is central to Jord’s sound. Its simple yet wistful melodies underpin several songs (“Stay,” “King of the Night,” “Prinsessan Och Hästen”) in a manner like unto Kauan or Weltenbrandt. Jurg’s vocals are mainly a gravelly growl with a good amount of bite, but in “Stay” he adopts a sharper, rhythmic tone somewhat analogous to Vincent Jones (Æther Realm). His voice serves as an effective contrast with the female singing1 in “Hon Kallar,” which, when paired with a violi,n casts a hearty folk glow. Emellan Träden could have benefitted from a few more moments like this.

Emellan Träden strikes a decent balance between tranquility and heaviness. Jord seems most comfortable with a mid-paced tempo, where the emotional songwriting can shine brightest. The slight over-reliance on this trait might fall a bit flat for some listeners, but when Jord gets it right, the results are efficacious. “Vid Muren” starts off slow as an acoustic guitar intermingles with the electric, then gradually ramps up in velocity and intensity, culminating with a brisk guitar solo that could have sounded out of place without prior setup. Hravn’s soloing is one of the highlights of Emellan Träden, and “Den Brandgula Salen” in particular has the fingerprints of Rimfrost’s Expedition: Darkness all over it. The overall flow of Emellan Träden isn’t perfect, and at times a little jerky, but it’s nonetheless a treat to listen to as a whole.

While Jord’s origins may be stereotypical, its output quality is considerably above average. Emellan Träden is perhaps not the most original post-black record, but it’s among the better-executed ones I’ve heard in the style. Refreshingly, the melancholy and somberness are more of a tool than an end goal. The piano is a simple yet pleasant touch that goes a long way toward helping the music feel inviting. Emellan Träden is very good, but it feels like it’s missing that last little oomph of vitality to become great. Even so, it’s my idea of a perfect album to kick off this fall season.

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 192 kbps mp3
Label: Hammerheart Records
Websites: jord-northernsilence.bandcamp.com | facebook.com/jordsounds
Releases Worldwide: September 5th, 2025

#2025 #35 #Alcest #AtmosphericBlackMetal #Einvigi #EmellanTräden #Eneferens #HammerheartRecords #Jord #Kauan #Omnicidal #PostRock #PostBlackMetal #PostMetal #Review #Reviews #Rimfrost #Sep25 #SwedishMetal #Vorna #Weltenbrandt

I’ve really, really gotten into Alcest recently (like in the past week). I don’t speak French, nor am I a big metal fan (though I don’t know if I would consider Alcest’s music really metal at this point), but this is some of the most beautiful music I’ve ever listened to.

#Music #Metal #ShoeGaze #Alcest

Stuck in the Filter: May 2025’s Angry Misses

By Kenstrosity

Every day we toil, rain or shine, to find you the semi-finest ore of the month. Lately, though, it’s been mostly rain. Leaks abound, uniforms are soaked to the bone, the chutes are slick and slippery. We must continue, however, to provide for the masses!

Unfortunately, we don’t have any resources to keep anything dry in this godforsaken place. I hope you like your Filter nuggets soggy!

Kenstrosity’s Meanest Meanies

Death Whore // Blood Washes Everything Away [May 16th, 2025 – Self-Release]

Hailing from Nancy, France, crust/death newcomers Death Whore unleashed what is surely one of the meanest records of the year so far. A debut capable of humbling some of the better releases by far more seasoned acts, Blood Washes Everything Away is a nonstop cavalcade of stank-face, bone-shattering riffs. From the onset of vicious onslaught “Inhaling the Dead,” to the stomp and swerve that is the massive “Infernal Terror Machine” and “None Are Forgotten,” to the blistering and evil “12 Worm Wounds,” Death Whore crafted 11 brutally addictive, but smart and lean cuts guaranteed to snap necks. They allow only the sharpest hooks to imbue accessibility to this killer material, but make no sacrifice to the filthy, crust-laden tones and textures determined to pummel and paste (“Noyé dans le sang,” “Motorthroat ’79,” “Savage Aesthetic Revenge”). Throw in a refreshing message criticizing late-stage capitalistic trends, worldwide misappropriation of wealth by the elite class, and the futility of hard work in the modern era for those struggling to meet their basic needs (“You Owe Me a Living”), and you’ve got a record after my heart. I can already tell that I’m going to regret not saving Blood Washes Everything Away from Filter relegation by the time this publishes, but don’t let my transgression in this matter stop you from enjoying of deep Death Whore.

Executionist // Sacrament of the Sick [May 16th, 2025 – Self-Release]

West Virginian death thrashers Executionist were not on my radar. First off, I am, historically, very picky when it comes to thrash. It slaps when it slaps and leaves me cold when it doesn’t. Lately, though, I’ve been digging the style more and more, and Executionist’s particularly meaty take on Kreator WIOLENCE has my attention thoroughly affixed. With debut LP Sacrament of the Sick, Executionist bring on the riffs, but elevate them with blackened tremolos, rabid barks, and an immense bass tone. Opener proper “Edge of Annihilation” pulls no punches, but only hints at the quality held beyond. There’s an almost At the Gates-like sense of melody here, one which works in tandem with deadly riffs and blackened char instead of as a mere surface-level decoration (“Wheels of War,” “Divided We Stand… United We Fall”). While Sacrament of the Sick relies heavily on the long form for its song structures, creating a spot of bloat, there’s usually something memorable and interesting to keep me invested in the story from beginning to end (“Thy Kingdom Come,” “Sacrament of the Sick”). With just a little tightening of the screws, Executionist could easily become the next big name in thrash. Until then, rest easy knowing Sacrament of the Sick is a worthy contender on its own merits.

Thus Spoke’s Shiny Scraps

Ghost Bath // Rose Thorn Necklace [May 9th, 2025 – Nuclear Blast]

DSBM is a genre of necessity tied to a particular mood, and it’s not a happy one. In spite—or perhaps because—of this,1 it’s one I usually enjoy. Ghost Bath’s take on this particular type of misery music has fluctuated between more black metal and more post, and I personally found it never quite stuck. Rose Thorn Necklace, however, has kept me coming back for repeated mope sessions for weeks. It’s still recognisably Ghost Bath thanks to those same echoing howls that lurch into voiceless high-pitched wails (“Well, I Tried Drowning”), and a familiarity about the bitter refrains. But synths now play a prominent role in driving melody2 both dreamy (“Grotesque Display,” “Throat Cancer”) and uncomfortably upbeat (“Vodka Butterfly”), as things swing back in the direction of post-leaning DSBM. Layered strums lace into pessimistic chord swings and scream-resonant atmoblack (title, track, “Dandelion Tea,” “Stamen and Pistil”), sometimes recalling Harakiri for the Sky. It manages to be pretty, in that characteristically depressing way, as minor melodies bleed into blackened tantrums (“Well, I Tried Drowning”) or ride on synths as harrowing screams narrate (“Throat Cancer”). The snippets of coughing (“Dandelion Tea”), sobbing (“Vodka Butterfly”), and sirens (“Throat Cancer”) are par for the course, but still very effective, and the ending duo “Needles” and the horribly—but brilliantly—named “Throat Cancer” is kind of…genuinely lovely in a really gross, demoralising sense. I’m converted.

ClarkKent’s Bestial Beats

Animalize // Verminateur [May 23, 2025 – Dying Victims Productions]

While the album cover might not inspire confidence, make no mistake, Animalize is worthy of your attention. On their sophomore album, Verminateur, these Frenchmen bring youth and energy to the old school speed and traditional metal scene. They mix up mid-tempo tunes with high-octane thrash, and even throw in a lovely piano ballad for good measure (“Priere de Remords”). On tracks like “Chevel Astral” and “Au Jugement de Soi” you can hear influences ranging from Accept to Def Leppard, while the lightning-fast “Verminateur” sounds like a blast from Judas Priest’s Painkiller. Front man Coyote brings plenty of charm, ranging from excitedly shrill to cool-headed, all while executing some well-timed “oohs” and infectious laughter here and there. Fortunately, he doesn’t carry all of the weight. Jessman and RattleGab keep the riffs spicy throughout, ensuring Animalize never phones it in, while Lynx’s drumming adds some much-needed heft. The songwriting is nice and tight, allowing the album to clock in at a tidy 36 minutes. As good as each song is, the icing on the cake is “Envahisseurs,” which will end up as a strong candidate for song of the year. It brings a killer riff and thrilling energy that’s sure to get the Statue of Liberty to drop her torch and make some devil horns.

Owlswald’s Feathered Echoes

Pandemia // Darkened Devotion [May 16th, 2025 – Hammerheart Records]

After a decade between releases, Czech death metal veterans Pandemia burst back onto the scene with their sixth full-length, Darkened Devotion. Still channeling the menacing souls of legends like Vader and Immolation, Darkened Devotion marks a significant yet successful pivot towards a more accessible sound for Pandemia. Delivering bone-crushingly heavy and succinct songs that are both memorable and easily palatable, Pandemia haven’t lost their edge—they’ve simply refined it. From “Nightmare Paradox’s” gut-punching, wicked riffing to “Catalepsy’s” gratifying, atmospheric thrash-inspired arpeggiations, every part of Darkened Devotion feels focused and tastefully executed. New drummer Jake Bayer (Cutterred Flesh) is an absolute beast, shaping Darkened Devotion’s mammoth backbone with thunderous rapid-fire double bass runs (“Blessed, Blessed Oblivion,” “Depths”), intricate tom fills (“The Pallor of Detest,” “The Wretched Dance”) and precision blasts (“Nighttime Paradox,” “A Sea to Breathe In”). Returning guitarist Alex Marek—last heard on 2005’s Riven—unleashes a barrage of infectious shredding that makes headbanging involuntary. Jaroslav “Jarda” Friedrich’s bass and Jikra Krš’s vocals complement Bayer and Marek’s authority with angry drawls and guttural, gravely growls. The album’s overall tone is immense, effortlessly engulfing listeners into its nocturnal anxieties with ease. With Darkened Devotion, Pandemia have forged a refined and brutal auditory feast that genuinely took me by surprise. Embrace the darkness.

Killjoy’s Dreamy Delights

Asthénie // Iridescence [May 5th, 2025 – Self-Release]

Iridescence is literally a colorful piece of music. Named after the naturally occurring phenomenon of an object appearing to change colors, Asthénie assigned a different color to each of these five songs. The guitars are the main focus here—whether with a glimmer (“Mélèze”) or a shimmer (“Indigo”), they brilliantly showcase the prettier side of post metal. Hardcore-tinged screams boldly accentuate the guitars’ vibrant hues, providing heft and urgency. Somewhat ironically, “Gris” (meaning grey) takes up the most time at 11 minutes and is the most developed contrast between the calm and furious. At only 35 minutes in total, Iridescence passes like a beautiful breeze with little fluff or filler. While by no means necessary, some clean vocals could potentially add even more color to a future release. Though this is not the first instance this year of a post-black record patterned after various wavelengths in the visible light spectrum, Iridescence is resplendent in its own right.

Au Clair de Lune // In the Wake of Dusk [May 16th, 2025 – Self-Release]

Moonlight and bodies of water share an intrinsic artistic bond. There’s something deeply enchanting about a celestial, ghostly source of illumination amidst a dark, murky setting. Leonard Sinaguglia’s blackgaze project Au Clair de Lune aurally combines these two aesthetics via dreamy, floaty guitars and synths akin to Autumn Nostalgie and, of course, Alcest’s Écailles de Lune. At times, the melodies are smooth and glassy like the surface of a lake (“Echoing Silhouettes,” “Neon Dusk”). Other times, they’re upbeat and catchy as a rip current (“Anaemoia,” “Distant Glow”). The principal vocal style is a mild rasp, more for flavor than heaviness, though Falyriae adds her airy singing voice on occasion. Although the track order and overall pacing usually find a good balance between the atmospheric parts and the punchy parts, the longer track lengths make In the Wake of Dusk feel a bit fluffy in places. But even so, Au Clair de Lune provides a satisfying and transportative experience to an unearthly realm.

Dolphin Whisperer’s Dusky Deposition

Slumbering Sun // Starmony [May 9th, 2025 – Self Release]

Music is the closest thing we have to magic in this world. When a great song or a great album graces your ears, it’s a clean sweep to any combo the head, heart, and gyrating body. Such was the case with Lone Star Doomsters Slumbering Sun and their debut release The Ever-Living Fire back in 2023. With a fragile heart in one hand and a fat riff in the other, their take on the kind of sadboi doom you’d hear in bands like Warning or early Pallbearer struck me deep. On Starmony, much of the same elements return: growling bass underpinning stadium-sized riffs, Ozzy-like vocals that bustle with a modern emotion and charisma, and a posty playfulness that allows long-form compositions to swell and soar. The only trouble is that it takes a couple songs for Starmony to settle into that same form of riffed-out hypnosis, with the one-two intro of “Together Forever” and “Keep It a Secret” sounding like the middle drive of a live set rather than the start of an introspective journey. But with the violin-assisted weeping catharsis of “Midsommar Night’s Dream” and “Wanderlust,” the waltzing melody of “Danse Macabre,” and the Thin Lizzy-styled dueling leads of “The Tower,” Slumbering Sun again finds a monstrous groove in hopeful and hammering songcraft. And, of course, if you get a chance to catch this act live like I did, just a few days before The Dolphlet emerged, you’ll fall extra prey to the kinds of doomy incantations that Slumbering Sun conjures with their mystic-minded compositions. In fat riffs we trust, and in sorrowful hearts we linger.

Tyme’s Tragic Tones

Enterré Vivant // 悪罪 (Akuzaï) [May 26th, 2025 – Antiq]

Comprised of French multi-instrumentalist Erroiak and vocalist Sakrifiss—whose 25-year residency in Japan heavily influences the music—depressive black metallers Enterré Vivant’s3 third album, Akuzaï, blew me away. My DSBM bar was set long ago by Shining‘s unfuckwithable V: Halmstad, and yet Akuzaï has come along to give it a run for its money. Centered around 10 Buddhist sins, Akuzaï relates the experiences of Japanese civilians and victims during the Second World War. From the emotionally charged cover photo depicting a mother breastfeeding her newborn shortly after the bombing of Nagasaki,4 to the haunting interludes and shimmering, melancholic melodies within, Akuzaï melds traditional, tremolo-picked guitars and icy vocals ala Summoning and Emperor (“Sesshô,” “Shin’i”) with Moonsorrow-esque keys, Japanese-influenced flutes and violins, along with ghostly moaning howls to create its depressive atmospheres. Transitioning from the twisted croaks of interlude “Waraguchi,” album highlight “Jain” begins with mournful pianos and a pensive, tremolo-picked lead before crashing forth in waves of crushingly cascading chords and Sakrifiss’ tortured screams, its eight and a half minutes awash in black metal sadness. By the time the wails of a suffering child floated in around the seven-and-a-half-minute mark, my arms had broken out in goosebumps, and my heart was fucking broken. Offering yet another lens through which to view the torturous horrors of war, Akuzaï is harrowing, relentless, and not to be missed.

#2025 #Accept #Alcest #AmericanMetal #Animalize #Asthénie #AtTheGates #AtmosphericBlackMetal #AuClaireDeLune #AutumnNostalgie #Blackgaze #BloodWashesEverythingAway #Crust #CutterredFlesh #CzechMetal #DarkenedDevotion #DeathMetal #DeathWhore #DefLeppard #DoomMetal #DSBM #DyingVictimsProductions #Emperor #EnterréVivant #Executionist #Falyriae #FrenchMetal #GhostBath #HammerheartRecords #HarakiriForTheSky #Hardcore #HeavyMetal #Immolation #InTheWakeOfDusk #Iridescence #ItalianMetal #JudasPriest #Kreator #May25 #MelodicBlackMetal #MelodicDeathMetal #Moonsorrow #NuclearBlast #Pallbearer #Pandemia #PostBlackMetal #PostMetal #Review #Reviews #RoseThornNecklace #SacramentOfTheSick #SelfRelease #Shining #SlumberingSun #Starmony #StuckInTheFilter #StuckInTheFilter2025 #Summoning #ThinLizzy #ThrashMetal #Vader #Verminateur #Warning #悪罪Akuzaï_

update: it happened

https://app.wafrn.net/fediverse/post/a2b52f10-0011-4f8f-bc23-d86cf72760e4

I think i am currently singlehandedly carrying the alcest/blackgaze-poster community on fedi and bluesky and I don't know if I should say I'm proud of it,

i own the #alcest tag on fedi

i was afraid of getting cancelled for posting it outright, so here's a behind-the-scenes look at my alcestposting process

ignore this

screw the blue number websites to hell and back, June 21 is now Les Chants de L'Aurore day. Happy 1st anniversary to this beautiful album

https://tidal.com/browse/album/353075789?u==

#alcest

I swear this will be the last one

#alcest #blackgaze #shitpost