#amor-fati-productions — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #amor-fati-productions, aggregated by home.social.
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https://www.europesays.com/be-nl/138175/ Charnel Spirit – Blood Prophecy #albumreview #AmorFatiProductions #Amusement #BE #België #Belgium #BlackMetal #BloodProphecy #CharnelSpirit #Entertainment #Music #Muziek #ZwareMetalen
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https://www.europesays.com/be-nl/78178/ Diabolus, Mecum Semperterne! – Diabolus, Mecum Semperterne! #albumrecensie #AmorFatiProductions #Amusement #BE #België #Belgium #BlackMetal #cernunnus #DiabolusMecumSemperterne! #Entertainment #EskilBlix #KjellRambech #MikaelKjellman #misotheist #Music #Muziek #NidrosianBlackMetal #Noorwegen #OcculteBlackMetal #recensie #review #TerraturPossessions #trondheim #WhoredomRife #ZwareMetalen
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https://www.europesays.com/nl/232216/ Diabolus, Mecum Semperterne! – Diabolus, Mecum Semperterne! #albumrecensie #AmorFatiProductions #Amusement #BlackMetal #cernunnus #DiabolusMecumSemperterne! #Dutch #Entertainment #EskilBlix #KjellRambech #MikaelKjellman #misotheist #Music #Muziek #Nederland #Nederlanden #Nederlands #Netherlands #NidrosianBlackMetal #NL #Noorwegen #OcculteBlackMetal #recensie #review #TerraturPossessions #trondheim #WhoredomRife #ZwareMetalen
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https://www.europesays.com/be-nl/72452/ Dauþuz – Todeswerk: Uranium II #albumreview #AmorFatiProductions #Amusement #BE #België #Belgium #BlackMetal #dauthuz #Entertainment #galibot #Music #Muziek #Todeswerk:UraniumIi #ZwareMetalen
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https://www.europesays.com/be-nl/60113/ Hajduk – Хвърковата чета | Zware Metalen #albumreview #AmorFatiProductions #Amusement #BE #België #Belgium #BlackMetal #Entertainment #hajduk #Music #Muziek #ZwareMetalen #Хвърковатачета
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https://www.europesays.com/be-nl/45851/ Mylingar – Út | Zware Metalen #2026 #abyssal #albumreview #altarage #AmorFatiProductions #Amusement #BE #België #Belgium #BlackMetal #Entertainment #ImpetuousRitual #Music #Muziek #mylingar #recensie #Út #ZwareMetalen
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https://www.europesays.com/nl/154104/ Erbeet Azhak – Only The Vile Will Remain #albumreview #AmorFatiProductions #Amusement #België #BlackMetal #déhà #Dutch #Entertainment #ErbeetAzhak #Music #Muziek #Nederland #Nederlanden #Nederlands #Netherlands #NL #OnlyTheVileWillRemain #ZwareMetalen
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https://www.europesays.com/be-nl/20385/ Erbeet Azhak – Only The Vile Will Remain #albumreview #AmorFatiProductions #Amusement #BE #België #Belgium #BlackMetal #déhà #Entertainment #ErbeetAzhak #Music #Muziek #OnlyTheVileWillRemain #ZwareMetalen
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Erbeet Azhak – Only the Vile Will Remain Review
I’ll take “Global Notables” for $600, please, Ken—The clue: Country famous for its waffles, chocolate, beer, and castles.…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2026 #3.0 #AmorFatiProductions #Aosoth #BelgianMetal #BlackMetal #BlutAusNord #Darkthrone #Entertainment #ErbeetAzhak #Mar26 #OnlytheVileWillRemain #review #Sargeist
https://www.newsbeep.com/us/503697/ -
https://www.europesays.com/ie/367690/ Erbeet Azhak – Only the Vile Will Remain Review #2026 #30 #AmorFatiProductions #Aosoth #BelgianMetal #BlackMetal #BlutAusNord #Darkthrone #Éire #Entertainment #ErbeetAzhak #IE #Ireland #Mar26 #Music #OnlyTheVileWillRemain #Review #Sargeist
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Erbeet Azhak – Only the Vile Will Remain Review By TymeI’ll take “Global Notables” for $600, please, Ken—The clue: Country famous for its waffles, chocolate, beer, and castles. The answer—What is Belgium?! Correct! Belgium is also home to some pretty decent black metal bands—Lugubrum, Enthroned, and Wiegedood, to name a few. Here to add another branch to that blackened Belgian family tree is Erbeet Azhak, the side project of one pretty busy Corvus von Burtle—C.V.B.(Cult of Erinyes, Wolvennest, LVTHN, Aerdryk). Erbeet Azhak’s debut album, Only the Vile Will Remain, helmed by his Cult of Erinyes bandmate and all-around metal maestro Déhà at Blackout Studio, promises to stand “as a manifesto in which hatred and chaos coexist under the dominion of a faceless yet resolute entity.” Let’s plant the dark seed of Erbeet Azhak’s Only the Vile Will Remain together and see what slithering roots sprout from within.
Erbeet Azhak’s black metal is desolate and chaotic, but doesn’t stray far from trails travelled by C.V.B.’s other projects. Still, it finds him further flexing his vocal muscles, which are a mix of everyman blackened rasps alongside tonal shouts and growls that sound a lot like F.O.A.D.-era Nocturno Culto. Even as Erbeet Azhak brings C.V.B.’s own guitar and bass talents to bear, guest musicians S. Iblis’s (Possession) lead guitar, Onbra Oscoura’s (Abyssal Vacuum) bass, and Laye’s (Putrid Offal) drumming flesh out a sound palette that explores several black metal styles. Sargeist lurks in the riffs of galloping melodicism present on “The Wings of Liberation,” just as Blut Aus Nord fans can belly up to a bar stocked with blasting beats and decaying dissonance (“Lecherous Angels,” “Death to the Self”).1 Further examination finds traces of Aosoth in the near blackened war metal of “Only the Vile Will Remain,” while devotees of doomier plods ala late-era Darkthrone should find comfort in the folds of “Erbeet Azhak.” Despite what seems such a mixed bag, Only the Vile Will Remain encases its twists and turns in a production that provides sonic consistency.
Raw but nuanced, Erbeet Azhak packs as many interesting details into Only the Vile Will Remain as Luciana Nedelea did her excellent cover art. I particularly enjoyed the engaging guitar leads that creep amongst the riffs and blast beats of “The Weakness of Our Cycle” as much as I did the intriguing riff patterns and spacy, atmospheric interlude that hijacks “The Inner Circle” around the 2:45 mark, segueing into a really nice melodic guitar solo. Iblis’s performance warrants particular note, as he peppers the whole of Only the Vile Will Remain with lots of satisfying, melodically intricate solo work not present on most black metal of this ilk (“The Wings of Liberation,” “Death to Self”). C.V.B.’s performance on the mic also deserves a nod. While he’s never contributed in this way on any of the other projects he’s involved with, save Aerdryk, his vocals fit what Erbeet Azhak does well and add a layer of gravelly, gothic tension and menace. The vocal cherry on top, however, belongs to Zd from LVTHN, whose inhuman screeches absolutely haunt the back-end passages of “Lecherous Angels.”
While Only the Vile Will Remain isn’t a sprawling, over-bloated behemoth by any means, it could benefit from a little nip and tuck. Erbeet Azkhak traverses the many planes of its black metal existence with relative ease and is most compelling when song lengths provide enough room for all the transitions to develop. Evident even on the albums second shortest song, “The Wings of Liberation,” which transitions from a galloping mid-pace to a blast-furnace passage before moving on toward a guitar solo flowing with melodicism and then back again, all within the span of 4:06. Ironically, this leaves the 3:46’s of the title track stuck in my craw as the album’s most boring; its straight-forward, blast-beat-overloaded war-metal approach sticking out sorely amidst the much more atmospheric fare on display. Cutting this and the mostly superfluous intro would have left Only the Vile Will Remain a more lethal beast.
Erbeet Azhak hasn’t revolutionized the landscape of black metal, neither in Belgium nor in the broader, raw-as-misanthropic scene in which Only the Vile Will Remain operates. Those intrigued by the name drops above should find something of value here. I know I got more than I was expecting. For now, I’d say there’s a fresh sprout on the Belgian black metal family tree with Erbeet Azhak’s name on it; whether that grows into a sturdy branch or not, only time will tell.
Rating: 3.0/5.0
#2026 #30 #AmorFatiProductions #Aosoth #BelgianMetal #BlackMetal #BlutAusNord #Darkthrone #ErbeetAzhak #Mar26 #OnlyTheVileWillRemain #Review #Sargeist
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Amor Fati Productions
Websites: Bandcamp
Releases Worldwide: March 7th, 20262 -
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https://www.europesays.com/nl/41299/ Akolyth – Ecstatic Kingdom | Zware Metalen #albumreview #AmorFatiProductions #Amusement #BlackMetal #Dutch #EcstaticKingdom #Entertainment #Music #Muziek #Nederland #Nederlanden #Nederlands #Netherlands #NL #ZwareMetalen
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By Kenstrosity
At the risk of making light of a serious situation, I’ve been on the struggle bus as of late. My mental health nosedived somewhere in late February, for what reason I still don’t comprehend, and it’s been a trial and a tribulation to claw my way back out. Needless to say, during this difficult time, I haven’t been the best person to be around—lashing out against even the smallest jest, forgetfully neglecting my friends when they message to check on me, and isolating myself from everyone and everything out of shame and embarrassment. You’d think that, in the midst of all of this, I would reach for something uplifting to compensate. Instead, I cling to emotionally dour and violently depressive material, as it brings me a specific and rare kind of catharsis. Serendipity bore a cosmic kindness to me, then, when it delivered international depressive atmoblack project Acathexis’ long-awaited sophomore record, Immerse, into my clutches.
After the immensely affecting self-titled debut released at the end of 2018, Acathexis rapidly became one of my more closely watched new acts. A dream team of Mare Cognitum‘s Jacob Buczarski (drums), Déhà (guitars, bass), and Los Males del Mundo’s Dany Tee (vocals, lyrics) comprises the talent, and melancholic black metal rife with weeping melodies and misty atmosphere makes up the content. Long-form epics are the band’s bread and butter, with expansive, tremolo-laden tidal waves crashing down on the listener with devastating impact. If you’re looking for straightforward riffing and pumping rhythms, you won’t find them here. You will, on the other hand, find a trove of soaring leads, smooth blasts and double-bass runs, and a cavalcade of soul-rending wails, heart-wrenching rasps, and subterranean roars.
Over the course of these four songs, spanning across fifty minutes, the wonderfully collaborative nature of Immerse becomes crystal clear. At every turn, a gorgeous, shimmering lead blooms from the record’s core, bearing a conjoined Déhà/Mare Cognitum imprint that lights up the spine (“Dreams of Scorched Mirrors”). Coursing through the record’s veins, an undercurrent of Silver Knife‘s scathing character coalesces with Slow‘s woeful melody that, in tandem with the aforementioned shimmers, forms a lush and deeply immersive soundscape which handily lives up to the album’s title (“Adrift in Endless Tides,” “A Slow, Weary Wind”). Dany’s simply unhinged delivery not only marks him as one of the best vocalists in the style, but also often elevates these songs to a higher tier, particularly when unleashing high-pitched howls that seem to contain the tortured cries of a thousand haunted spirits (“Dreams of Scorched Mirrors,” “The Other”).
Much of my critique for Immerse falls under the same umbrella as that garnered by the majority of atmospheric black metal: overly strict adherence to limited songwriting formulas. Primarily invigorated by Jacob’s brilliant rhythmic pacing and percussive creativity (note the cymbal acrobatics in “Adrift in Endless Tides”), Déhà’s uncanny merger of each player’s respective sounds into deeply affecting melodies and sweeps, and Dany’s haunting voice, a lot of this material unfortunately presents a generic interpretation of the genre. Songwriting frameworks that challenge the genre standards or move the field into new territory just don’t occur over much of Immerse’s runtime. Instead, Acathexis banked on emotional immersion, immaculate detailing, and expressive delivery from each performer to bolster material that otherwise feels homogenous (“The Other”) or sounds repetitive (“A Slow, Weary Wind”). This is a risky move when playing a style maligned for its lack of dynamics or creativity, and while Acathexis just pulled it off this time, I worry that future efforts won’t fare so well without more concerted effort allotted to robust, evolving songwriting approaches.
Despite my misgivings regarding the continued application of a well-worn set of songwriting structures in this genre, there are precious few I trust more to build it well than those in Acathexis. Immerse doesn’t challenge any standards, and certainly won’t convert any naysayers. At the same time, I consider this record a beautiful, harrowing piece of depressive music. Moreover, it came to me at just the right time to strike at the heart. So, even though Immerse isn’t the game-changing record it could’ve been, that tempered bond I formed with it ensures that even after the fog lifts and the sun shines again, I’ll come back to Immerse without reservation.
Rating: Good!
DR: 8 | Format Reviewed: 320 kb/s mp3
Labels: Amor Fati Productions (Physical) | Extraconscious Records (Digital)
Websites: facebook.com/acathexisband | acathexis.bandcamp.com
Releases worldwide: March 20th, 2024#2024 #30 #Acathexis #AmericanMetal #AmorFatiProductions #ArgentinianMetal #AtmosphericBlackMetal #BelgianMetal #BlackMetal #Déhà #DepressiveBlackMetal #DSBM #ExtraconsciousRecords #Immerse #InternationalMetal #LosMalesDelMundo #Mar24 #MareCognitum #Review #Reviews #SilverKnife #Slow
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Dear Hollow’s Prava Kollektiv Collection [Things You Might Have Missed 2023]
By Dear Hollow
Look, I get this shit is niche. Like real fuckin’ niche. Cherd of Doom‘s excellent Black Metal Muster from 2022 enabled a new generation of us black metal wanderers to flip off the doom and prog aficionados, emerge from our corpsepainted closets, and shriek in indecipherable tones until that Methodist church down the street burned to the ground. Here we are, praising black metal twice in one year, and it doesn’t get much better than the enigmatic Prava Kollektiv, an enigmatic and anonymous congregation based probably in Russia or Slavic states, whose releases are unleashed, often simultaneously, in conjunction with Amor Fati Records and Fallen Empire Records. It is known that its five bands share members, and as you may have guessed, they all share the black metal tag. It is unknown, however, what thread courses through all the releases, as themes of the void, consciousness, the cosmos, and other abstract concepts plague the sound and lyrics. What is more important is that the Prava Kollektiv is an unfuckwithable and unmissable collection of blackened tunes, with 2023 offering their most formidable array yet. Without further ado, let’s get kvlt.
Arkhtinn // 三度目の災害 – The Prava Kollektiv’s flagship act is perhaps one of the more traditional of the bunch, conjuring the isolation of ice-crusted stars through its use of raw black and ambiance. The release of 三度目の災害 also coincides with Arkhtinn’s ten-year anniversary. Reconciling both the iciness and star-borne darkness of Wintherr’s projects, Arkhtinn’s “third disaster” (in Japanese) proves far from it. Through its two tracks and forty-four-minute runtime, you will feel smothered by darkness then exposed to the vacuum in the course of every ebb and flow of the cosmic winds of tracks “一番” and “二番,” shifting from lonely ambiance to blasting raw black intensity fused with symphonic and crystalline ambiance that recalls Emperor or Vordven. As evident in the 2020 split Astrophobia with and in contrast to Starless Domain, Arkhtinn is also here unafraid to embrace a scathing quality that spits in the face of modern atmoblack’s stereotypical warmth. 三度目の災害 is atmospheric and otherworldly, but uncompromisingly punishing work from the act that proves its mettle again and again.
Voidsphere // To Infect | To Inflict – Like Wintherr’s Darkspace to his Paysage d’Hiver, Voidsphere dwells in vicious and suffocating darkness, while Arkhtinn largely concerns itself with isolation and frigidity. You will see the tricks of swelling synth and ambiance, but the claustrophobic ambivalence of noise saturates empty space and adds a weight all its own in Voidsphere’s sixth full-length. The act’s forty-three-minute dive into darkness is less an experiment but a sharpening of craft, as the riffs are stronger and the honed melodies are less a reprieve to the punishment but a last scream cut short. As its name suggests, “To Infect” is far more creeping and subtle while “To Inflict” offers a no-holds-barred assault of blackened intensity. What the void-worshipers have long done above shoulders better than their counterparts is conjure the claustrophobia and darkness of its source material and the colossal quality of its artwork. It has long felt that Voidsphere is hurtling toward some grand and earth-shattering conclusion, and we should all tremble to ponder it.
Mahr // Odium – The denser and darker sibling of the Prava Kollektiv, Mahr separates itself by incorporating a more deathened and industrial take on second-wave worship. Odium is a furious offering, as its hate-themed title indicates, grinding and relentless throughout its forty-minute beatdown. Even its moments of placidity balance the onslaught with scorched earth ambient compositions that survey the wreckage, basking in obsidian tones and subtle industrial electronic beats. “Infames” offers a slowly unraveling structure, layer after layer being stripped across its blastbeats and thick tremolo, culminating in the central riff: suddenly death metal clarity punches through the blackened murk in a downtuned skull-crushing riff paired with death metal vocals that drags the entire industrial black palette to hell and back. Mahr dials the dread up in “Maledicti” with a nearly impenetrable fog of sound that makes the vicious attack even more devastating. Odium finds Mahr distinguishing itself from the Prava Kollektiv’s more household acts with a relentlessly bleak and brutally unforgiving attack.
Hwwauoch // Under the Gaze of Dissolution – While Voidsphere conjures the weight of the void and Mahr channels hate, Hwwauoch’s dissonant and fluid-structure has always felt like a twisted and perverse image of Freud’s unconscious “id.” The dissonance conjured from the act’s catalog has always hinted at something beyond simple menace of or even unknowable hugeness: they play the music of distorted consciousness and humans made in God’s corrupted image. What their fourth full-length constitutes, however, is a radical departure from the dense impenetrability of Hwwauoch’s catalog. They brighten vocals and scathing melody into something resembling free jazz, but into a crippled and limping image unlike the decadence of Imperial Triumphant. A rare semblance of humanity in a chunky riff or tangible vocal appears beneath the howls (i.e. “Voluntary Trepanation”), but across its six-track acid trip they stumble through wonky compositions, complete with jazzy basslines, tortured layers of vocals, wonky ambiance, and dissonant punk riffs. Hwwauoch accomplishes an album that stands out due to its shining clarity and the ultimate descent into insanity.
Pharmakeia // Maenadic Ecstasy – While the tricks don’t necessarily feel earthshaking, the Prava Kollektiv’s newest addition manages to sound the most traditionally “kvlt” while still reveling in devastating density. No frills black metal with no reprieve from the scathing tremolo and blastbeats, there is an undeniable rawness here that recalls the borderline noise of Upir or even Portal’s twisted guitar tone. However, in the refusal to succumb to atmoblack tropes, the breaks in the chaos are more like the raised fist between blows. There’s undeniable psychedelia and otherworldliness woven into Pharmakeia’s approach, which fits them neatly among the Prava Kollektiv’s ranks, while its sparsely used clean baritone adds a haunting liturgical weight. It adheres to the second-wave worship most consistently, that although “Execration” features a sliding riff, “Furore” and “Lunacy” offer viciously chunky riffs, and “Zeal” kicks you in the face with a synth passage, it never feels as if it departs from black metal’s roots. Perhaps the only Prava Kollektiv offering that strays from the “atmospheric black metal” tag, don’t let its youth fool you: Pharmakeia is worth all the pain it inflicts.
#2023 #AmorFatiProductions #Arkhtinn #AtmosphericBlackMetal #BlackMetal #Darkspace #DissonantBlackMetal #Emperor #ExperimentalBlackMetal #FallenEmpireRecords #Hwwauoch #ImperialTriumphant #IndustrialBlackMetal #Mahr #PaysageDHiver #Pharmakeia #Portal #PravaKollektiv #StarlessDomain #ThingsYouMightHaveMissed2023 #TYMHM #Upir #Voidsphere #Vordven