#amenra — Public Fediverse posts

Non me ne vogliano i gesuiti che mi lessero l’Odissea, ma per me questa forma di funzione è una delle più pure catarsi eucaristiche popolari

metal & post désespérance.

#AmenRa @ Hellfest 2026

Comme l’a très justement crié quelqu’un dans le public à la 24e minute : « Merci les techniciens ! » de scène et de regie
Super qualité audio pour cet enregistrement live, en effet.

L'apport vocal de Amy (also ...Year of the Cobra) in Solitary Reign est juste parfait

Et merci à ARTE pour ce partage, ainsi que pour l’une des descriptions les plus saisissantes que j’aie jamais lues sur la musique et de l’attitude d’Amenra.
⬇️
Amenra explore les tourments les plus profonds de l’âme humaine à travers des compositions post-doom aussi viscérales qu’hypnotiques. Petite séance d’introspection au Hellfest.

Pour susciter l’effroi, certains groupes misent sur le maquillage, la provocation ou les rugissements les plus gutturaux possibles. Et puis il y a Amenra. Loin des artifices et de toute mise en scène excessive, les Belges puisent dans une douleur intime et profondément sincère la matière première de leur musique. Les tempos s’étirent, les voix se font parfois fragiles, mais une menace sourde continue de planer au-dessus de ces compositions mêlant post-metal, doom et sludge.

Entre 2003 et 2017, la formation originaire de Kortrijk publie les six chapitres de la série Mass, autant de messes cathartiques où musique et souffrance ne font plus qu’un. Un cycle que le groupe met en pause en 2021 avec l’arrivée d’un nouveau chapitre discographique : De Doorn, leur septième album, paru chez Relapse Records.

Filmé le 20 juin 2026 au Hellfest Open Air Festival à Clisson, France.
👇
https://www.arte.tv/fr/videos/132692-028-A/amenra/

Révolution au bar dansant: Amenra - Hellfest 2026

Zum Konzertmitschnitt vom 20. Juni 2026 beim Hellfest Open Air Festival in Clisson bitte hier entlang.

#PostMetal #AmenRa #ChurchOfRa #Sludge #Hellfest

#METAL #AMENRA #HELLFESTOPENAIR #FESTIVAL Amenra explore les tourments les plus profonds de l’âme humaine à travers des compositions post-doom aussi viscérales qu’hypnotiques. Petite séance d’introspection au Hellfest. Pour susciter l’effroi, certains groupes misent sur le maquillage, la provocation ou les rugissements les plus gutturaux possibles. Et puis il y a Amenra. Loin des…

› https://feedbot.net/watch/0tB5QLoSePo via @feedbot

When one pictures Rio de Janeiro, Brazil, post-metal is probably not among the imagery that readily springs to mind. But the more I think about it, the more the birthplace of Loneshore makes sense. Just as post-metal is often defined by striking contrasts, so is Rio, a city where mountains and beaches coexist alongside favelas and wealthy communities. This diversity is mirrored in Loneshore’s sophomore record, Nothing Left to Deconstruct, which arrives nearly eight years after their 2018 debut, From Presence to Silence. How have the members of Loneshore matured as musicians during this time?

It turns out that Loneshore wasn’t always primarily a post-metal group. From Presence to Silence blended somber, doomy melodeath similar to Eternal Storm with Opethian melodies. Nothing Left to Deconstruct, however, squarely straddles the line between post-metal and Explosions in the Sky-esque post-rock, while adopting Amenra’s silvery-smooth buildups and releases. Loneshore retains some progressive metal, although this time it’s closer to The Ocean, especially during some of the clean-sung passages in “To Stride the Black Earth.” In fact, Luiz Felipe Netto’s clean and harsh vocal styles both cover a wide array of registers. Nothing Left to Deconstruct is no less lush from an instrumental perspective, making it an enjoyable listen from front to back.

Nothing Left to Deconstruct flows like a river, though don’t expect many whitewater rapids. Intro track “Self Oscillations” is like a gentle tributary, its dreamy vocal harmonies, mild guitar notes, and mesmerizing tom drum percussion rolling fluidly into “Straylight.” Loneshore makes good use of three guitarists and a bassist by overlapping their lines together sumptuously (“Parhelion,” “Of Lost Waters”). The 10-minute centerpiece “Birth of a Mountain” features a laid-back recurring melody that rises and falls like a sea of sand dunes. That said, there are sometimes surges of vehemence in the form of blackened snarls and forceful riffs (“Straylight,” “To Stride the Black Earth,” “Parhelion”). Because Loneshore doesn’t overly favor hooks or heaviness, Nothing Left to Deconstruct is a bit of a slow burn, requiring a few complete spins to sink in for me.

As relaxing as Nothing Left to Deconstruct is overall, most of its individual songs last longer than their contents can support. The majority hover around the 8-minute mark, and all of these have lengthy outros that don’t add much. “Of Lost Waters” begins with a pristine and serene post-rock tune, which is diminished by the minute-and-a-half meandering conclusion of “Birth of a Mountain” that came before. Likewise, concluding track “With Nothing We Part” is the most languid and least memorable despite a momentary injection of vitality at the halfway point. On the other hand, “To Stride the Black Earth” is the punchiest and has no noticeable fluff. While the total runtime sits at a fairly reasonable 52 minutes, there is a stronger 40 to 45-minute record lurking within.

It’s not uncommon for artists’ priorities to shift during a lengthy absence; in this case, Loneshore is the better for it. The post/prog metal hybrid Nothing Left to Deconstruct passes by like a pleasant ocean breeze in Rio de Janeiro. It took some time for me to fully appreciate it, but I’m glad I did. The main deficiencies holding back Nothing Left to Deconstruct are a lack of decisive conclusions and a bit of bloat. Nevertheless, if Loneshore continues to develop in this manner, I anticipate great things from album number three.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Willowtip Records
Websites: loneshore.bandcamp.com | facebook.com/Loneshore
Releases Worldwide: June 19th, 2026

AMENRA Live at Rock Werchter 2023

https://www.youtube.com/watch?v=A5bs60ei3k0

AMENRA
Colin H. Van Eeckhout
Lennart Bossu
Tim De Gieter
Mathieu Vandekerckhove
Bjorn Lebon

I will NEVER recover from this moment. Holy ...

#amenra #live #music #churchofra

For #MittwochMetalMix:

#Crouch: Breaking the Catatonic State

https://album.link/i/1868155165

#PostMetal #Sludge

FFO #Amenra #Neurosis #Thumos

Aus Gründen

AMENRA - Salve Mater

https://www.youtube.com/watch?v=WDcKPlRHKQo&start_radio=1

#AMENRA #Music #AusGründen

And if I broke it once, I can break it twice: the title for #BestLivePerformance goes to #Amenra.
The fact that without any extensive physical activity I got soaking wet speaks of the atmosphere and the intensity. It was an exhaustive but deeply satisfying performance, one I can only recommend to experience firsthand.

#DealersChoice: #Dimscûa - Dust Eater

https://album.link/t/438629163

I can break my own rules, can't I? Sure I can: this is technically an EP, not a "full" album.
#Amenra's otherwise excellent"With Fang and Claw" and "De Toorn" dual EPs have been immediately overshadowed by this release: it is emotionally crushing, humbling, scarring, captivating, and terrifying, but not as punishing as your "typical" post metal greats.
If there is a blacker black than vanta, it should be named Dimscûa.

#BellWitch will take a place of honour alongside #Amenra on this year's list of ( #metal ) favourites. My goodness, they really deliver when it comes to #epic #doom. I didn't think they would get me, but this album rocks incredibly! #music

The Told and the Leadened, by ...

Wahnsinn

#amenra
#schlachthof
#Bremen

Stunde der #Kirchenmusik: #AmenRa Live at #Lokerse Feesten 2025

#ChurchOfRa #PostMetal #Metal #Doom #Sludge #Hardcore

Conjurer – Unself Review

By Dear Hollow

I’m beginning to think Mire was a fluke. I’m not saying that as a bad thing, but I remember listening to Conjurer’s debut and thinking that it was a top post-metal album steeped in atmosphere and enigma, tied together with vicious vocals and vindictive weight.1 So then, I was immensely let down by follow-up Páthos because it seemed to shed substance for novelty: if I’m being honest, its stark dichotomy of heartwrenching melodies and kickass riffs felt inauthentic and shoehorned. Thus, I approached Unself carefully, hoping for something like Mire but tentatively expecting Páthos. What I got, however, was neither. You see, Mire was a fluke not in quality but in approach, because Unself proves that Conjurer prioritizes riff, weaponizing it for the very human tale of the deconstruction of self.

The title track enters with what I would expect from an early 2010s metalcore band intro,2 the Americana cover of 1919 gospel song “I Can’t Feel At Home in this World Anymore” morphing into a full-on dissodeath takedown via a barb of squealing dissonance. While this and the final song, “The World is Not My Home” seem to tie up the album into a thematic deconstruction of religion, Unself is a bit more complex than that. It reflects the journey of vocalist/guitarist Dani Nightingale through an autism diagnosis and discovery of them being non-binary. Similarly reflecting this complexity and remaining incredibly difficult to neatly categorize its sonic assault, Conjurer lays a foundation of post-metal’s meandering rhythmic hulk with death metal intensity, sludge tonal abuse, and a sleek modern production built atop, with – in Unself – hints of black metal. It’s not the second coming of Mire – it’s Unself and undeniably on-brand and completely authentic – and that’s perfectly okay for Conjurer.

Unself’s structure shows Conjurer’s devotion to natural growth, a welcome change from the shoehorned Páthos – largely because Nightingale’s sonic struggles with self-discovery undergird the movements. The two halves of the album are divided into three tracks, bookended by the Huntsmen-influenced thematic motif of the aforesaid “I Can’t Feel at Home in This World” morphed into ugly beatdowns and yearning sadness. The meat of the two suites fall into one of three categories: the relatively traditional post-metal waltzing of Amenra’s heavier moments in sprawling weight (“All Apart,” “Foreclosure”), the yearning chord progressions and melodies recalling Páthos’ emotive emphasis to a more effective degree (“There Is No Warmth,” “Let Us Live”), or the outright assaults of blackened sludge and -core breakdowns (“The Searing Glow,” “Hang Them in Your Head”). As the album progresses, so does the intensity. The latter, the most vicious of the bunch, feel like they nearly boil over, nearly forsaking the post-metal attack for an obscure death metal attack a la Convulsing or Adversarial – making interlude “A Plea” truly the eye of the storm in its minimalist approach, distant vocal samples, and acoustic strumming.

The balance between novelty and songwriting remains an issue for Conjurer. Because of the trichotomy of its sounds, Unself offers different levels of quality. At first, the more traditional post-metal cuts (“All Apart,” “Foreclosure”) feel like absolute bangers, touched with darkness and harmony – but then you hear the other two approaches and they suddenly feel overly long and uneventful in comparison. Likewise, there are several tracks that could stand a good trimming, simply because many feature a singular abrupt tonal shift from melodic to dissonant in its last respective third (“There is No Warmth,” “Let Us Live”). A more divisive take is that Conjurer’s production is very modern and sleek, the down-tuned leads more akin to 2010s metalcore acts like The Plot in You or The Sorrow, an accessibility largely contradicting post-metal’s historic opaqueness (Neurosis) and death metal’s hostility (Bolt Thrower), so while I liked its more “loud and ouchy” tones, others may not be so persuaded.

The novelty and the emotion are resolved in Unself, as Conjurer finally feels authentic and realized. No, Unself is not better than Mire, but it feels more genuine and human than Páthos, offering some of the act’s most intense material to date while chronicling the dismantling of the self into something more authentic. Not only does Dani Nightingale embark on a journey of self-discovery, but Conjurer does too. I’m just happy to be along for the ride.

Rating: 3.0/5.0
DR: 4 | Format Reviewed: 320 kb/s mp3
Label: Nuclear Blast Records
Websites: conjureruk.bandcamp.com | conjureruk.com | facebook.com/conjureruk
Releases Worldwide: October 24th, 2025

#2025 #30 #Adversarial #Amenra #BlackMetal #BoltThrower #BritishMetal #Conjurer #Convulsing #DeathMetal #DissonantDeathMetal #Huntsmen #Neurosis #NuclearBlastRecords #Oct25 #PostMetal #Review #Reviews #SludgeMetal #TheOngoingConcept #ThePlotInYou #TheSorrow #Unself #VeilOfMaya

#Amenra: Live at the Lokerse Feesten 2025

https://www.youtube.com/watch?v=dTW3jc6xdI4

https://redirect.invidious.io/watch?v=dTW3jc6xdI4

#NowPlaying

A friend canceled the #Amenra acoustic concert tonight, and I don't feel like driving hundreds of kilometers on my own, so instead I'm listening to their incredible #LeCercle and preparing #TheLordoftheRings: #FateoftheFellowship (de) with another friend. youtu.be/op3YL8ZFpu4 #music #metal #games

#Wolves #movie #trailer? I don’t know what this #film is about?! It‘s somehow related to #metal , and #AMENRA !!! #movies #filmskY #watchlist m.youtube.com/watch?v=bnkd...

WOLVES | Official Teaser

Any questions?! #Amenra also blow everything away with a (classical) #orchestra! Who is surprised? #music #metal #neurosis youtu.be/AGCNM35TyXc

AMENRA x ATOMIC ORCHESTRA Live...

20 Minuten zu #Amenra #Spermbirds und #CultofLuna #Hardcore #Metal #Trampolinhüpfen ist ganz schön anstrengend und überaus schön! Auch ohne die wilde #Music. Highly recommended. #Trampolin

#Amenra live in #Brussels. See and die? Never been there. #Live, this band was a blast. #metal #concert

I think I need to expand my list of this year's #music favourites. Alphabetically: #Amenra #Bambara #Bloodybath (new addition: #postpunk #punk #goth #shoegaze) #ModelActriz youtu.be/bo6rS9VC_yA

bloody/bath - Heather (Live at...

After #Amenra #Bambara #Modelactriz, @iliketrains.co.uk is playing its way into my #music nerd heart right now. #Kompromat evokes associations with #GangofFour and great #80s #pop / #wave and #postpunk. I am very impressed! #goodstuff iliketrains.bandcamp.com/album/kompro...

KOMPROMAT, by I LIKE TRAINS

Acidsloth – Acidsloth Review

By Thus Spoke

Can you guess what genre Acidsloth plays? Yes, that’s right, it’s thrash! Ok, no, obviously not, it’s stoner doom—what else with a name that’s a portmanteau of a drug and a notoriously slow-moving animal? Kicking1 around since 2021, Kraków’s Acidsloth already have two LPs to their name, but it’s their third that they bestow the honor of being self-titled. The reason is that this time, they’re a “full band” (to use their own terminology), totaling eight(!) musicians, five of whom perform vocals. In this sense, Acidsloth is kind of their debut. With a charmingly against-type depiction of their token animal, and the promise of “Eyehategod-level aggression mixed with Conan’s heaviness and Electric Wizard’s psychedelic weight,” Acidsloth are out to show they mean business.

Acidsloth’s more-is-more approach to vocalists sees them hand the mic to a new player on (almost) every track.2 This is a cool and unique way to inject a bit of flavor into what is an infamously monotonous subgenre, as we swap between the shriekier (Julia Markiewicz, Radosław Bury), hoarser (Jan Gajewski, Mateusz Zborowski) and the growlier (Patryk Kozera) interpretations of the sludge scream. Beyond this, their compositions follow a common trajectory, often beginning with atmospheric, slightly ominous plucking and spending most of their time brooding in distorted sludgy chugs to a sedated beat. It’s certainly solid (in literal density as well as aesthetic quality), and sometimes it’s even slick thanks to some beautifully-timed transitions and an elusive solo. But as a whole, it fails to have the weight it needs to support its posture.

The thing about having different vocalists on different songs is that it’s quite important to be able to hear them well enough to appreciate their individual skills. Unfortunately, Acidsloth’s vocal track is so low in the mix compared to the instrumentation that the shouts and screams are often lost in the fuzz and bang of guitar and bass drum (particularly on “Float” and “Sin”). Given this, you’d hope the riffs would make up for it, but here too, Acidsloth fumble the ball. Outside of two pretty sweet solos (“Hole,” “Puke”) the guitars only hint at interesting melodies with some hanging plucks (“Hole,” “Free,” “Puke,” “Satan”), and interspersed passages of up-or-down-tempo strumming (“Float,” “Satan”). There are little moments of brilliance where it seems Acidsloth finally finish coming up and deliver—brutal, sledgehammer sludge screams (“Float,” “Free”); that solo (“Hole”); groovily-tapping post metal tension (“Free,” “Satan”); moody liquid plucks (“Sin”). But it’s at these times when Acidsloth’s odd compositional habits truly hamstring what strength they gained. Frequently, songs switch gears midway, and then again, and yet manage to reprise the least-interesting elements of monotony; the cool parts not given time to command the space they deserve (“Hole,” “Free,” “Sin,” “Puke”). The worst case is “Free,” which could have Amenra-esque levels of bite and solemnity, if the mid-tier galloping sludge didn’t smother the harrowing howls, and the anticipatory build that interrupts it set the tone instead.

Doom of any kind, and sludge for that matter, is at heart designed to be uncomplicated, but its presence—whether through emotional depth or sheer magnitude—is what makes it powerful. Alternatively, maybe it can just make you feel good with some psychedelically lush soundscapes. Acidsloth has no presence beyond its literal noisiness, and there’s but a glimmer of color in the melodies. The near-inaudibility of the vocalists is made worse by the frequent use of reverb, and what is either multi-tracking or group shouts (their muddiness makes it hard to tell). The music isn’t “boring,” as such, it’s just draining to listen to, as all the best riffs, screams, and good use of rhythm and atmosphere are quite quickly ironed over with a return to the plod and a sheen of humming feedback. One thus ends up walking away with the unfair impression that there’s simply nothing going on in the entire record. Even in active listens, I struggled to cling to the positive vibes.

As a stoner doom album, maybe Acidsloth is standard fare, but I would like to think not. As a sludge album, it fares better, thanks to an emphasis on chunky—albeit mostly dull—riffing and the fact that at least some of the vocalists seem to have promise. Acidsloth are finding their feet as an ensemble, and if they can pool their assets, I think they could make something pretty juicy. Hopefully, they make the move faster than the animal they’re named for.

Rating: Disappointing
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Willowtip
Websites: Bandcamp | Facebook
Releases Worldwide: June 20th, 2025

#20 #2025 #Acidsloth #Amenra #Conan #CultOfLuna #DoomMetal #ElectricWizard #Eyehategod #Jun25 #PolishMetal #PostMetal #Review #Reviews #SelfReleases #Sludge #StonerDoom

Saturday! #AmKreuz! #Amenra! #Live. !!! Fucking yes !!! Show me a ( #metal ) band that rocks more in 2025! #music #postmetal #blackmetal www.youtube.com/watch?v=pvN8...

Amenra - Heden & .Am Kreuz. (l...

Astonishing, Utterly divine, Exhilarating, Preciously sublime… #Cinderella I hope #ModelActriz tears up the joint in Cologne tonight! I'm sorry I can't be there! Shitty, besides #Amenra, #Bambara they're killing everything here! #music #industrial #noise #techno #postpunk

Model/Actriz - Cinderella (Off...

!!! #AMENRA !!! #Live at #Hellfest 2023 A video conditionally captures the power of their musical ceremony. I know of nothing comparable, early #Neurosis developed similar power on stage. They are a superpower live! #music #metal #postmetal #blackmetal #alternative youtu.be/jfONoOLwPAs?...

AMENRA Live at Hellfest 2023

Sadie said, "I'm gonna buy us an old house in a big town Where we can start a life and burn it all to the ground" #Serafina by #Bambara Besides #Amenra, #Bambara ignite enthusiasm for their #music and expressiveness, I would love to see them #live. #postpunk #punk #noise #alternative #rock

Bambara - "Serafina" (Lyrics V...