EPITIMIA (Rússia) presenta nou EP: "Тяготение" #Epitimia #AmbientBlackMetal #Atmospheric #PostBlackMetal #Setembre2026 #Rússia #NouEp #Metall #Metal #MúsicaMetal #MetalMusic
#ambientblackmetal — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #ambientblackmetal, aggregated by home.social.
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FACELESS SPECTRE (Regne Unit) presenta nova demo: "Melancholic Vampiric Horde Demo" #FacelessSpectre #AmbientBlackMetal #Agost2026 #RegneUnit #NovaDemo #Metall #Metal #MúsicaMetal #MetalMusic
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DESTRUCTION DES ANIMAUX NUISIBLES / MIGUEL SOUTO – DESTRUCTION DES ANIMAUX NUISIBLES / MIGUEL SOUTO
#Experimental #ambient #ambientblackmetal #darkambient #doomambient #drone #noise #Augsburg
CC BY (#CreativeCommons Attribution) #ccmusic
https://emerge.bandcamp.com/album/destruction-des-animaux-nuisibles-miguel-souto -
Free download codes:
Black Shaman - Tradition
"Descend into hypnotic darkness: 'Tradition' by Black Shaman takes you on a journey through shamanic rites, death and rebirth fusing black metal with ambient."
#cinematic #blackmetal #atmosphericblackmetal #ambientblackmetal #blackdoommetal #music
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#PostMetal supergroup:
#Harboured: We're Only The Love That We Lead
https://harbouredmusic.bandcamp.com/album/were-only-the-love-that-we-lead
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MIDNIGHT ODYSSEY (Austràlia) presenta nou àlbum en directe: "A Mass of Fallen Stars - Live in Toulon" #MidnightOdyssey #AmbientBlackMetal #Ambient #Maig2026 #Austràlia #NouÀlbumEnDirecte #Metall #Metal #MúsicaMetal #MetalMusic
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FIRMAMENT (Alemanya) presenta nou àlbum: "Reveries of a Forgotten Spirit" #Firmament #Atmospheric #AmbientBlackMetal #Abril2026 #Alemanya #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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NONE – ⧄
#BlackMetal #Metal #ambient #ambientblackmetal #atmosphericblackmetal #cinematic #darkambient #deathdoom #doommetal #minimalist #postrock #soundscape #Amadora
CC BY-NC (#CreativeCommons Attribution Non Commercial) #ccmusic
https://hypnoticdirgerecords.bandcamp.com/album/--3 -
https://www.youtube.com/watch?v=QB0fW4wE1sQ
yeah i know the logo looks pretty sus. unfortunate design decision.
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https://www.europesays.com/nl/178293/ Ultha – A Light So Dim #2026 #ALightSoDim #ambient #AmbientBlackMetal #Amusement #AshBorer #atmospheric #BlackMetal #BlutAusNord #CultOfLuna #Dutch #Entertainment #Music #Muziek #Nederland #Nederlanden #Nederlands #Netherlands #NL #recensie #SunWorship #swans #ultha #VendettaRecords #weakling #wiegedood #WolvesInTheThroneRoom #YellowEyes #ZwareMetalen
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https://www.europesays.com/be-nl/38889/ Ultha – A Light So Dim #2026 #ALightSoDim #ambient #AmbientBlackMetal #Amusement #AshBorer #atmospheric #BE #België #Belgium #BlackMetal #BlutAusNord #CultOfLuna #Entertainment #Music #Muziek #recensie #SunWorship #swans #ultha #VendettaRecords #weakling #wiegedood #WolvesInTheThroneRoom #YellowEyes #ZwareMetalen
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Foghazer – He Left The Temple
#BlackMetal #ExperimentalBlackMetal #Metal #ambientblackmetal #atmosphericblackmetal #avantgardeblackmetal #deathdoom #doommetal #postrock #triphop #Amadora
CC BY-NC (#CreativeCommons Attribution Non Commercial) #ccmusic
https://hypnoticdirgerecords.bandcamp.com/album/he-left-the-temple -
Free download codes:
Black Shaman - Tradition
"Descend into hypnotic darkness: 'Tradition' by Black Shaman takes you on a journey through shamanic rites, death and rebirth fusing black metal with ambient."
#cinematic #blackmetal #atmosphericblackmetal #ambientblackmetal #blackdoommetal #music
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IMBOLC (Itàlia) presenta nou àlbum: "Sette Cornici di Purificazione" #Imbolc #AmbientBlackMetal #Febrer2026 #Itàlia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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MIDNIGHT ODYSSEY (Austràlia) presenta nou Split: "From the Waters of Death" #MidnightOdyssey #AmbientBlackMetal #Ambient #Febrer2026 #Austràlia #NouSplit #Metall #Metal #MúsicaMetal #MetalMusic
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MIDNIGHT ODYSSEY (Austràlia) presenta nou single: "The Cold and Distant Oracle" #MidnightOdyssey #AmbientBlackMetal #Ambient #Gener2026 #Austràlia #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic
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Free download codes:
Black Shaman - Tradition
"Descend into hypnotic darkness: 'Tradition' by Black Shaman takes you on a journey through shamanic rites, death and rebirth fusing black metal with ambient."
#cinematic #blackmetal #atmosphericblackmetal #ambientblackmetal #blackdoommetal #music
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Free download codes:
Deceitful Sorcery - Of Kings And Landscapes
"'Of Kings and Landscapes' is a dark, epic tale of a war-born king destined to conquer."
#metal #blackmetal #dungeonsynth #atmosphericblackmetal #austrianmetal #ambientblackmetal #runningwildproductions #austria #music
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https://www.europesays.com/nl/55325/ Amenra en Marissa Nadler in uitverkocht TivoliVredenburg #AmbientBlackMetal #amenra #Amusement #AtmosphericPostMetal #BlackMetal #concert #concertverslag #Dutch #Entertainment #Music #Muziek #Nederland #Nederlanden #Nederlands #Netherlands #NL #PostMetal #RelapseRecords #SethAbrikoos #sethabrikoos #sethpicturesmusic #sludge #TivoliVredenburg #ZwareMetalen #zwaremetalen
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VIALS OF WRATH (Estats Units) presenta nou àlbum: "Remnants for Remembrance" #VialsOfWrath #BlackMetal #DeathMetal #AmbientBlackMetal #Octubre2025 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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Free download codes:
Deceitful Sorcery - Of Kings And Landscapes
"'Of Kings and Landscapes' is a dark, epic tale of a war-born king destined to conquer."
#metal #blackmetal #dungeonsynth #atmosphericblackmetal #austrianmetal #ambientblackmetal #runningwildproductions #austria #music
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KAKASBAL (Mèxic) presenta nou Split: "IV: Kakasbal / Gukumatz" #Kakasbal #AmbientBlackMetal #Octubre2025 #Mèxic #NouSplit #Metall #Metal #MúsicaMetal #MetalMusic
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GATES OF DAWN (Estats Units) presenta nou àlbum: "III" #GatesOfDawn #AmbientBlackMetal #DungeonSynth #Setembre2025 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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FAUNA (Estats Units) presenta nou àlbum: "Ochre & Ash" #Fauna #AmbientBlackMetal #Setembre2025 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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KAKASBAL (Mèxic) presenta nou single: "III: Morituri te Salutant!" #Kakasbal #AmbientBlackMetal #Setembre2025 #Mèxic #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic
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Free download codes:
Deceitful Sorcery - Of Kings And Landscapes
"'Of Kings and Landscapes' is a dark, epic tale of a war-born king destined to conquer."
#metal #blackmetal #dungeonsynth #atmosphericblackmetal #austrianmetal #ambientblackmetal #runningwildproductions #austria #music
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KARG (Àustria) presenta nou àlbum: "Marodeur" #Karg #AmbientBlackMetal #PostBlackMetal #Abril2025 #Àustria #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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Free download codes:
Skialykon - Aura Kósmos I: Madre Notte
"Nocturnal black metal from the wilderness to the stars"
#bandcampcodes #blackmetal #atmosphericblackmetal #ambientblackmetal #italianblackmetal #music
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By Thus Spoke
We tend to underestimate how great a role knowledge of the artist plays when experiencing their art. Even if unfamiliar with their work, the awareness of them as a person (or group of people) whose intentions are either plain or discoverable through interviews, notes, or academic consensus informs our opinions insidiously but inevitably. In an age when self-promotion is easier than ever thanks to the internet, a musician choosing to remain anonymous speaks to a desire to center their music in as absolute a way as possible. Who comprises Blood Abscission, and how many of them are there? That may never be known.1 All that exists is their art. This too eschews identity beyond numbers: sophomore II following in inevitability debut I, and all tracks bearing only the numerals of their album position. We must listen to II exactly as it is, with only Blood Abscission’s solemn proclamation as potential guide: “United in pain, we step into the abyss – not as mere individuals, but as a collective force seeking meaning within the chaos, finding a voice in the silence between the stars.”
Though I discovered it in retrospect—the debut having been dropped via self-release with zero fanfare—II continues exactly as I began. Blistering, raw-adjacent atmospheric black metal, relentless beyond the occasional lapses into dreamy gaziness where the keyboards shine and feedback hums (“III,” “IV”), not unlike a synth-obsessed Alcest. Its intensity, the desperate, unintelligible screams of the vocalist, and the grand melodic themes see-sawing between melancholy beauty and eerie dissonance bring to mind Aara on one face (“I,” “V”), Decoherence the other (“II”). II feels like an exercise in pure catharsis, the repeated climaxes of ever-fiercer roars and ascending tremolos communicating only unfiltered emotion, and the contrastive stillness a cleansing indifference. With no identifiable words, and even the muffled samples dampened beyond comprehension, II’s features are solely confined to this ebb and flow, amplifying once more the facelessness and pure aesthetic centrality that Blood Abscission impose by not naming it, or themself. It is a musical black hole, both in atmosphere and sparseness of properties, and is appropriately powerful.
Unlike an actual black hole, II is something we can escape from, though Blood Abscission do a good job of holding you in place. At its most ardent peaks, when beauty pitches fearsomely into urgency, it is hard to ignore, let alone switch off (“II,” “V”). The moves from one state of being to another are smooth, regardless of their speed—whether neo-second-wave and assured to a vulnerable undulation between sorrowfulness and heartenedness (“I”), or gentle contentment to grieving resolution (“III”). “IV”‘s emanation out of the chiming whine of “III,” and procession into the torrent that opens “V,” is not just an obvious example of this compositional fluidity, but itself proves to be a thoroughly absorbing interlude that belies its length. II repeatedly invites introspection, and does so through its rawness that reaches beyond the way the vocals and instruments are mastered, a corollary of the necessary focus on the sweep of its melodies, interplay between airy keys and darker riffing, and the tides dictated by pleasingly crisp percussion. The echoing croon of an escaped tremolo, the escalation of a minor refrain into devastation, and the torture of a conclusive shriek—with the closing act of “V” standing as the album’s crowning glory in this regard—are notably affecting.
Yet II’s consistency in perdurance is a double-edged sword. While full immersion grants the listener an undoubtedly intense and emotional experience, less conscious enjoyment threatens to leave them a little cold, outside of standout apexes at least. Perhaps this is always a danger with atmo-black, particularly of this more unrestrained and unstructured variety. I can testify that after spending some time with it, its magnitude seems greater than it did initially, thanks to deeper appreciation of its nuances, but even the influence of II’s potency doesn’t eliminate flaws entirely. II could stand to be a shade shorter, to give every moment more impact; something not needed so much by its peaks, but from which some of its lingering passages would gain better standing as transitions of beneficial steadiness between outbursts.
With so much atmospheric and raw black metal out there that might as well be anonymous for all its uniformity and ironic placidity, Blood Abscission stand out not only with real anonymity, but music that speaks for itself. In form resisting memorability, in actuality quite impactful and resilient, II shows what the genre is capable of. Even if it lacks the concrete immediacy to solidify it into long-standing greatness, its noise is not meaningless, and its meaning is not lost, however imprecise it might seem.
Rating: Good
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Debemur Morti
Website: Bandcamp
Releases Worldwide: April 11th, 2025Show 1 footnote
- And as is stated quite forcefully in the promo material, “Blood Abscission is NOT available for interviews.” ↩
#2025 #30 #Aara #Alcest #AmbientBlackMetal #Apr25 #AtmosphericBlackMetal #BlackMetal #BloodAbscission #DebemurMortiProductions #Decoherence #II #RawBlackMetal #Review #Reviews
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ELDAMAR (Noruega) presenta nou àlbum: "Astral Journeys Pt. II : Dissolution" #Eldamar #Atmospheric #AmbientBlackMetal #Abril2025 #Noruega #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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SILENT THUNDER (Estats Units) presenta nou EP: "Soulspear" #SilentThunder #AmbientBlackMetal #Març2025 #EstatsUnits #NouEp #Metall #Metal #MúsicaMetal #MetalMusic
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La Torture des Ténèbres – Episode VII – Revenge of Unfailing Valor Review
By Dear Hollow
La Torture des Ténèbres, in spite of the sadistic propensity for aural flaying, offers a unique voice in black metal. A one-woman show with an aesthetic evoking dystopian urban shimmer, decopunk, classic science fiction, and the space age, it conjures images of glittering mile-high cities built on the backs of the impoverished, brave women overcoming the adversity of the stars, the sneaking static cutting through a dictator’s commands through the radio, the jazzy bombasts of the elite’s decadent galas – and the loneliness of it all. There is no overselling just how noisy and jarring this act’s sound is on the ears, but lone mastermind JK has concocted a trademark stew that makes it stand out in nearly every way. Episode VII arrives a mere five months after its predecessor, expressing a fusion of its aesthetics.
Episode VII – Revenge of Unfailing Valor deals in a sound that retains La Torture des Ténèbres’ signature style, the vicious rawness and lonely melodic tremolo leads while fusing its two aesthetic influences. 2016 began with the formidably raw and ambient spacefaring canon of Choirs of Emptiness and Acadian Nights,1 but was reinterpreted by the more dystopian Civilization is the Tomb of Our Noble Gods, which set the tone for the following releases up to last year’s V and The Lost Colony of Altar Vista. In this way, Episode VII – Revenge of Unfailing Valor blends these two themes, dystopian civilizations set amongst the stars, its vast colonies and glorious cities plagued by inequality, sexism, and the hive mind’s whims.
La Torture des Ténèbres lives up to Revenge of Unfailing Valor’s description (“VOLITIONAL EXPLOITATION // SMOULDERING HIVES”) by channeling its trademark melodic template and ambient sensibilities into a fuller sound that amps violence while hinting at a tragic heart beneath machinelike mania. Its trademark is intact: the rawness and utter saturation of rawness is ubiquitous, as even its more placid moments of lonely melodies are scathing. However, one distinction is melodic motifs that tie the album into one cohesive whole: an ascending jazzy synth run (“Vast Black Claws Drag Her Back to Space,” “Metropolitan Warfare,” “Out of All the Years We’ve Come…”) and sanguine synth melodies (“The Second Piscean Abyss,” “Angels”). As always, this is communicated through the ebb and flow of three prongs of scathing second-wave blasting/tremolo/shrieking, lonely tremolo, and distorted vintage samples. This arsenal and dynamic are as intriguing as they are jarring, samples and melodies inviting comparisons to classic science fiction (“Vast Black Claws…,” “The Second Piscean Abyss”) and the roarin’ twenties worship of decopunk (“Breathe in the Fucking Sawdust and Die,” “Yes But Can a Camp Girl Do This”). The first act in particular utilizes a bombast of violent second-wave rawness in contrast with an over-the-top sample presence. A grandiosity pervades in a way that recalls predecessor V, but La Torture des Ténèbres‘ fuller sound adds to the assault – tinnitus is guaranteed.
The second half of Episode VII finds La Torture des Ténèbres taking risks – the samples are fewer, the melodies are far more tragic and empty, and there is rest to be found. The brutal mid-album climax in “The Second Piscean Abyss” allows for reinterpretation for “Metropolitan Warfare” and beyond, trademark and motifs carrying across in emptier and more tragic melodies and moments (i.e. the release of all sound but tinny tremolo and blastbeats in “Traditions” and total collapses into noise in “Out of All the Years…”). This reinforces the need for bulletproof songwriting rather than reliance on samples and jarring movements to do the heavy lifting, and JK is up to the task. “Angels” is placed perfectly, its minimalist, distorted, and aptly angelic sample providing rest for the weary ears – for the first time in La Torture des Ténèbres’ career.
La Torture des Ténèbres will not sway any naysayers of raw black or blackened noise. In fact, many will point to their ringing ears or pinched nerves2 and say “See??” after Episode VII concludes with the noise fadeout of “Out of All the Years…”. Those who are willing to endure will find treasures aplenty, an opus of hyper-atmospheric, excessively noisy, and endlessly tragic melodies and motifs. Episode VII – Revenge of Unfailing Valor sweeps you away to a universe yet to be explored; but even in the dead vacuum of space or within mankind’s hive-mind colonies, you can’t escape your humanity.
Rating: 4.0/5.0
DR: 4 | Format Reviewed: PCM
Label: Self-Released
Website: latorturedestenebres.bandcamp.com
Releases Worldwide: March 7th, 2025#2025 #40 #AmbientBlackMetal #AmbientNoise #AtmosphericBlackMetal #CanadianMetal #Chaosophia #EpisodeVIIRevengeOfUnfailingValor #LaTortureDesTénèbres #Mar25 #Noise #RawBlackMetal #Review #Reviews #SelfReleased
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MIDNIGHT ODYSSEY (Austràlia) presenta nou àlbum: "Master of the Nebulous Reach" #MidnightOdyssey #AmbientBlackMetal #Ambient #Març2025 #Austràlia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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Choir – Smithe Thee Smoldering Providence [Things You Might Have Missed 2024]
By Dear Hollow
Bring them tired ashes to the black waters and sing an anthem for the famine! Smithe Thee Smoldering Providence is blasphemy, a molten and silt-laden horror that saturates every negative space with noise, desolation, and punishment. It dirges and roars like the gods that you thought were benevolent and merciful – their faces lurid and nauseating when you looked upon them. Hallelujah, you will go mad. You will embrace your fate with arms outstretched and feet running until you sink. You will vomit and rejoice at the coming of ruin. You will praise your master. Choir preaches to this manic truth and gospel of filth, recalling the memory of a ritual buried deep in a book of death-bathed dark. As you are baptized in the muddy river, buried with Christ, and raised to walk in newness of life, open your eyes and look below and you’ll notice the abyss of the dead and rotting staring back.
Choir is a one-man act from Singapore consisting of musician/producer The Choir, offering extreme metal dredged in obscurity and violence. At once blending the pulverizing weight of death/doom, the raw hatred of black metal, and the cavernous echoes of death metal, crammed to the brim with misanthropic dissonance, dense atmospherics, and vicious noise, the act can be compared to the likes of Impetuous Ritual, Infernal Coil, Menace Ruine, and Primitive Man, but with an interpretation of pain all its own. While 2021’s first full-length Songs for a Tarnished World introduced this noise, its follow-up Smithe Thee Smoldering Providence hones it, Choir’s sound achieves relentless devastation and palpable purpose. And it’s a damn shame it was released so late in 2024.
Smithe Thee Smoldering Providence consists of two twenty-two-minute songs, but the tracklist breaks them into three and four movements respectively – one of the few mercies you will receive listening to Choir’s relentless onslaught. Like 2024’s boundary-pushing Ingurgitating Oblivion, Choir combines the outer limits of extreme metal. However, contrary to the elegance, technicality, and grace of Ontology of Nought, Choir molds the festering and rotten loams of lumbering weight, blackened chaos, and ruthless dissonance into a lethal clay, encased in the thick grime of murk. Emerging like many-eyed and many-limbed creatures emerging from the muddy river, movements will sear themselves into your ears from out of nowhere, such as the Mitochondrion-esque chugging riffs (“Bring Them… I,” “Bring Them… III,” “And Sing… IV”), dizzying brain-bleeds and complete disintegrations into noise and dissonance (“And Sing… III”), full-on blackened assaults buried beneath the garbling Portal-esque weight of mud (“And Sing… I”), and ambient sprawls with a rotten hum and bilious distortion trembling beneath (“Bring Them… II”). Gorgeous synth melodies are sparse and stand in stark contrast during capitalizations of crescendos (“And Sing… IV”). While nonetheless bathed in the blood of distortion, they add a distinctly human feel that somehow makes the album much more punishing by contrast while also providing a jagged light at the end of Choir’s pitch-black tunnel.
Choir has accomplished an insane feat, creating an experience that balances haunting hypnotism, primitive ritualism, and cutthroat punishment in its misanthropic blend of extreme styles. Simultaneously a thunderously colossal and lumbering beast and a hateful specter with teeth of lightning, Smithe Thee Smoldering Providence is a portrayal of divine smelt, god silt, and blasphemous murk. Molten and filthy, hypnotic and punishing, Choir is an easy triumph for year-end lists had it been released earlier.
Tracks to Check Out: “Bring Them Tired Ashes to the Black Waters,” “And Sing an Anthem for the Famine”
#2024 #AmbientBlackMetal #AmbientNoise #BlackMetal #BlackenedDeathMetal #BlackenedDoomMetal #Choir #DeathMetal #DeathDoomMetal #DissonantBlackMetal #DissonantDeathMetal #ImpetuousRitual #InfernalCoil #IngurgitatingOblivion #MenaceRuine #Mitochondrion #Portal #PrimitiveMan #SingaporeanMetal #SmitheTheeSmolderingProvidence #ThingsYouMightHaveMissed #ThingsYouMightHaveMissed2024 #TYMHM
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#DenTagStarten
#music
Heute mit #AmbientBlackMetal
Lustre - The First Snow
https://song.link/y/Sxws_dKEzxY -
La Torture des Ténèbres – V / The Lost Colony of Altar Vista [Things You Might Have Missed 2024]
By Dear Hollow
The breed of noise that courses through Ottawa one-woman act La Torture des Ténèbres is truly disorienting and off-putting,1 but it takes on a hypnotizing and triumphant quality when its curious blend of caustic and decadent settles into your bones. While 2016 debuts Acadian Nights and Choirs of Emptiness captured a predictable blend of raw black and spacefaring dark ambient, Civilization is the Tomb of Our Noble Gods found mastermind J.K. taking influence from classic science fiction and decopunk: raw black played as an accompaniment to Fritz Lang’s Metropolis, perhaps. With this breed of raw punishment, discernment is a spiritual gift – V praises a grand civilization, The Lost Colony of Altar Vista laments it. Viciously raw, relentlessly noisy, and painfully discordant, while also beautifully grandiose and subtly tragic, La Torture des Ténèbres offers decadence and venom as few can.
April’s V is the more straightforward of the 2024 releases, reflecting its grainy album art basking in a birds-eye view of the grand metropolis.2 There’s a robotic quality about V that pairs neatly with its predecessor IV – Memoirs of a Machine Girl, as La Torture des Ténèbres saturates the palette of relentless blasting, dense and raw tremolo tinnitus, and tortured wails and harrowing shrieks with grimy feedback, noise, industrial ambiance, and the act’s trademark flaying melodic sensibilities. Reverb-laden melodic interludes would seem to offer reprieve during the punishment, but their blaring distortion and clipping only drive the knife deeper with a shrill and warped quality, like ringing sirens during the calm before the storm. Inspired by the shimmering deceptively utopian and futuristic civilizations, the juxtaposition of the grandiosity of tomorrow (“Accelerated Degeneration Descent,” “Valley of the Unclean”) and the horrors of today (“Descent into Suburban Hellscape,” “Catalyst of Tomb Reconfiguration”) only heightens J.K.’s themes. Lyrics detail paranoia, sexual oppression, obsession, and horror, idolizing beautiful cities built atop the broken backs of the ugly. And despite its triumphant ambiance, V is one of the ugliest black metal albums of the year.
October’s The Lost Colony of Altar Vista is a more lonely and contemplative affair,3 reflected in its artwork of the same city at a grimmer low angle and in a filthier light. La Torture des Ténèbres’ punishing palette and caustic rawness remain largely the same, but the empty tinny melodies contrast to the decadent gloss of V. Paired with experimental samples stuttered from audio clipping and perverted by distortion,4 the tremolo-picked melodies atop subtle ambiance and silence are more abundant and dwell more in somber countenance (i.e. “The Reflection of the Moon in Her Skyline Eyes”), with more complete collapses of noise (“Allison”) and doomed piano (“The Axis of the Exaltation and the Fall of Venus”). The Lost Colony of Altar Vista basks in its forlornness, its relentless rawness a jagged and jaded vessel for fragile pain.
V and The Lost Colony of Altar Vista showcase both sides of La Torture des Ténèbres, streamlined with a propensity for vicious noise and flaying rawness. It’s completely unforgiving, painfully harsh, and alienating to even the most hardened black metal fans. It’s jaggedly pieced, tracks cutting off abruptly and samples seeming to have no relevance to the sound, but every element adds to the themes of dissociation of both the beautiful glimmer and filthy underbelly of this metropolis. Truly a thin glossy mask atop a horrific face.
Tracks to Check Out: ”Descent Into Suburban Hellscape,” “Phantoms Over Altar Vista,” “Allison,” “Spectres Over Altar Vista”
#2024 #AmbientBlackMetal #AmbientNoise #BlackMetal #CanadianMetal #ConnieFrancis #IndependentRelease #JillianBanks #LaTortureDesTénèbres #Noise #RawBlackMetal #TheLostColonyOfAltarVista #ThingsYouMightHaveMissed #ThingsYouMightHaveMissed2024 #TYMHM #V
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Aprilmist – Homesick
#AtmosphericBlackMetal #BlackMetal #Blackgaze #Metal #PostBlackMetal #ambientblackmetal #postmetal #KansasCity
CC BY-NC-ND (#CreativeCommons Attribution Non Commercial No Derivatives)
https://aprilmist.bandcamp.com/album/homesick -
Paysage d’Hiver – Die Berge Review
By Dear Hollow
While black metal and cold atmosphere are nearly inseparable, Paysage d’Hiver’s icy Nordic aesthetic is a step above. Through the eyes of “the wanderer,” mastermind Tobias “Wintherr” Möckl1 weaves tales of frostbitten wilderness, icy desolation, and vicious blizzards through raw tremolo and shimmering synth. Each release another chapter in the wanderer’s journey, fourteenth installment Die Berge is its final installment.2 Die Berge (“the mountains”) tells of the monkish pilgrimage taken across jagged peaks and forlorn valleys, the ultimate revelation and unveiling of death awaiting him. It’s a beautiful demise, but as anything you expect with Paysage d’Hiver, it’s cold.
Die Berge is Paysage d’Hiver’s third full-length. To say that is absolutely asinine because Wintherr’s long legacy of ten formidable demos spans three decades, including highlights like Schattengang, Winterkälte, and Das Tor, masterclass after masterclass of raw black and icy ambiance. 2020’s “first full-length” Im Wald was a pinnacle, a balanced two-hour trek through frozen wilderness that married Paysage’s trademark rawness with the dark ambient of demos like Nacht and Einsamkeit, evocative of both cold and darkness. This is what made 2022’s Geister a head-scratcher. While chilly like second-wave ought to be, Wintherr took a newfound dive into riffy grooves in evoking the Tschäggättä, masked beings in a regional Swiss winter festival. Die Berge is a step back and forward, its predecessor’s groove lending itself to muscular riffage, patient pacing, and frostbitten rawness that evokes the majesty of the mountains.
Paysage d’Hiver’s effectiveness lies in its trademark simplicity. Each track features a chord progression or plucking motif around which shrieked and growled vocals, tremolo, percussion, and synthesizer revolve. Endlessly grim, the riffs are what sets Möckl’s compositions a step above, refusing the warmth and saturation of contemporary “atmoblack” in favor of something both searingly raw and frigidly haunting – truly like being caught in a blizzard on a desolate mountainside. The groove of Geister collides with the trademark atmosphere in riffs that sound bigger and more commanding than anything Paysage d’Hiver has ever written, sounding both jagged and majestic in their conjuration of snowy peaks (“Urgrund,” “Verinnerlichung”). As per the trademark, these riffs and melodies sway ominously between its triune of grim, dissonant, and beautiful – its range of emotions conveyed exquisitely across its mammoth 103-minute runtime. Contrary to earlier material, Die Berge feels remarkably more patient, its riffs beating to a nearly doom pulse, the grandeur enacted more commanding than the traditional blastbeats-and-tremolo duo that has pervaded Paysage’s catalog.
What has made Paysage d’Hiver so effective is its ability to progress the music forward without forsaking its trademark,3 and Die Berge is no exception. While the opening two tracks fit snugly into the act’s history of ice-crusted blasting, the final hour and ten minutes takes on new life. The “Transzendenz” trilogy revolves around the same chord progression, but each installment is a diminuendo and dissolution of scathing raw guitar (“Transzendenz I”) with a growth of icy synth, concluding entirely in synth-forward beauty (“Transzendenz III”). The conclusions of Die Berge are wonders unto themselves, aptly epic and bombastic closers that revel in both the desperation and denial, then beauty and clarity of a frozen death in synth- and piano-forward meditations (“Ausstieg”) and the ultimate succumbing to the colossus of frigidity at the summit with tragedy and gloom at its center (“Gipfel”).4 The demise of the wanderer is beautifully communicated without sacrificing the grimness so central to Paysage d’Hiver’s raw black metal aesthetic.
Die Berge is a beautiful end to the wanderer’s tortured life. Like all Paysage d’Hiver albums, it is a mammoth undertaking, and certain melodies can grow wearisome for some listeners after so many iterations (“Verinnerlichung,” “Transzendenz II”), but it’s more about the experience than riffs and highlights. Somehow, Die Berge doesn’t feel as bombastic as its spiritual predecessor Im Wald, but its subtlety and tragedy make it all more intriguing and its central storyline of the spiritual pilgrimage to the wanderer’s final breaths atop jagged peaks more tangible. While this may be the end of Paysage d’Hiver’s central character, Die Berge ensures his memory lives on in a grim and beautiful collusion of storytelling and raw black metal. We can only hope to never see the end of winter.
Rating: 4.0/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Kunsthall Produktionen
Websites: paysagedhiver.bandcamp.com | facebook.com/PaysagedHiver.Official
Releases Worldwide: November 8th, 2024Show 4 footnotes
- Also of Darkspace and owner of Kunsthall Produktionen. ↩
- Reports are mixed if this is the end of Paysage d’Hiver, however. ↩
- One reason why Geister was so divisive. ↩
- Aptly, these two tracks translate as “exit” and “summit,” respectively. ↩
#2024 #40 #AmbientBlackMetal #BlackMetal #Darkspace #DieBerge #KunsthallProduktionen #Nov24 #PaysageDHiver #RawBlackMetal #Review #Reviews #SwissMetal
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#BlackMetalMonday #(dolch) #dolch
https://dolch.bandcamp.com/album/nacht
I am looking forward to see them live. Did not manage it so far. 🤷♂️
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Sepulchre by the Sea – Seven Chambers Review
By Dear Hollow
As a high school English teacher in America, it’s actually a crime not to teach Edgar Allan Poe. Dude needs no introduction, his influence felt from basic literature and film, to even the Baltimore’s NFL team mascot, the Ravens – and of course, metal music. As I grumbled my way through middle school and high school English, pursued college work, and hereafter, I became familiar with the gamut, including but not limited to “The Tell-Tale Heart,” “The Black Cat,” “The Purloined Letter,” “The Fall of the House of Usher,” “Murders in the Rue Morgue,” The Narrative of Arthur Gordon Pym, and, relevant to Sepulchre by the Sea’s sophomore effort Seven Chambers, “The Masque of the Red Death.” Will Seven Chambers embrace the undeniably Gothic and insane of the author or die alone and desolate in a gutter in Baltimore?
Sepulchre by the Sea, named after the Poe-m of the same name, is a Bristol-based one-man project masterminded by Ashley Shannon, having released a demo, an EP, and a full-length since its inception in 2019. Straddling the line between post-black and atmospheric black metal, Seven Chambers attempts to distinguish its moods, each of the seven tracks represented by a color. Simultaneously raw and punishing, shimmering melodies and synths shower the proceedings, with a patience that conjures the likes of Envy or So Hideous. Ultimately, Sepulchre by the Sea hints at greatness with Seven Chambers but is hindered by bloat and complicated by rawness.
Seven Chambers is less a sonic reflection of Poe’s work than it first appears. Rather, Sepulchre by the Sea opts for a far more sanguine post-rock template that reflects yearning rather than horror. This thread courses through its seven movements: three lengthy black metal tracks, three instrumentals, and one acoustic conclusion. “Purple Pestilence,” “Orange Opulence,” and “Violet Visions” are tasteful post-black affairs, the guitar tone raw and grungy, rumbling bass audible, and more melodic pieces able to soar above the biting repetition. Shannon utilizes repetition well, as the background vocals add to the yearning baritone he exhibits in acoustic closer “Scarlet Dreams,” the morphing melody of “Purple Pestilence,” the reverb-laden guitar overlays of “Orange Opulence.” Movements are a crucial component of Seven Chambers, as metallic tracks morph from blackened sections to chuggy death metal to melodic sprawls, growling bass tastefully worming through each, with transitions securing each firmly. Shannon’s vocals rely more on a fiery sermonic bark rather than the traditional shriek for the better, injecting an intensity found in post-black’s more aggressive yeasayers like Au-Dessus or Decline of the I. Sepulchre by the Sea benefits from its more raw and self-released nature with a more cutthroat edge amplified by ambient noise and thick bass that recalls both black metal’s kvlt history and the more traditional crystalline melody you expect from post-black or blackgaze.
Sepulchre by the Sea’s most glaring issue is the instrumentals and their protracted length. While opener “Blue Hubris” sets the dual tone with a tasteful crescendo of piano, blastbeats, and tremolo, “Green Bath” and “White Death” are far too lengthy to add to the tone, and instead feel like four minutes of wandering plucking with insufficient dynamics. While Shannon does a good job with the movements and transitions, the rawer template nonetheless robs the seamlessness with somewhat jarring shifts, especially in “Purple Pestilence” between starker tones, or the melodic midsection to the chuggy conclusion of “Orange Opulence.” The more organ-like ambiance of “Violet Visions” feels like a stark departure into Skepticism territory, clashing. While the raw nature does Seven Chambers justice, the more melodic portions clash with the macabre atmosphere of its source material. This is a nitpick at best, but Poe’s work is often sonically captured in bleaker or more gothic stylings, such as symphonic black or death metal. Post-black is an odd choice for its source material, although Sepulchre by the Sea does well for what it’s worth.
Sepulchre by the Sea’s only glaring weakness is also its greatest strength: its rawness. While it adds a heavier edge rarely seen in this particular traditionally optimistic style, it also makes the series of movements feel rather stitched together haphazardly. The tonal differences through Shannon’s songwriting are unique, the performances are solid across the board, and every instrument is audible and singularly punishing. Hindered by excessive interludes and that rawness being a blessing and a curse, we land squarely in the middle. Seven Chambers is not bland and its creator, if nothing else, is loaded with spectacular promise.
Rating: 2.5/5.0
DR: 9 | Format Reviewed: PCM
Label: Self-Released
Website: facebook.com/sepulchrebytheseamusic | sepulchrebythesea.bandcamp.com
Releases Worldwide: August 2nd, 2024#25 #2024 #AmbientBlackMetal #AmbientNoise #AtmosphericBlackMetal #AuDessus #BlackMetal #BritishMetal #DeclineOfTheI #Envy #PostBlackMetal #Review #Reviews #SelfRelease #SepulchreByTheSea #SevenChambers #SoHideous
