#atmospheric-black-metal — Public Fediverse posts

BEYOND SEVENTH DIMENSION (Finlàndia) presenta nou single: "Silurian Seas" #BeyondSeventhDimension #AtmosphericBlackMetal #Juny2026 #Finlàndia #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

BEYOND SEVENTH DIMENSION (Finlàndia) presenta nou single: "Silurian Seas" #BeyondSeventhDimension #AtmosphericBlackMetal #Juny2026 #Finlàndia #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

Free download codes:

Splendidula - Kilte (Single)

"Tormented screams, relentless energy and hauntingly atmospheric passages ultimately unfold into a lingering climax, carrying the listener through a frozen landscape of grief, isolation and inner torment."

https://getmusic.fm/l/w7Ynzn

#metal #blackmetal #doommetal #atmosphericblackmetal #atmosphericdoommetal #atmosphericmetal #music

Free download codes:

Splendidula - Kilte (Single)

"Tormented screams, relentless energy and hauntingly atmospheric passages ultimately unfold into a lingering climax, carrying the listener through a frozen landscape of grief, isolation and inner torment."

https://getmusic.fm/l/w7Ynzn

#metal #blackmetal #doommetal #atmosphericblackmetal #atmosphericdoommetal #atmosphericmetal #music

GORMOTH (Hongria) presenta nou single: "Molecular Clouds" #Gormoth #AtmosphericBlackMetal #Ambient #Juny2026 #Hongria #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

For @HailsandAles' #BlackMetalMonday:

#Apostle: A Splinter in the Infinite Noumenon

https://album.link/dtngq0kjsbff8

#AtmosphericBlackMetal #Blackgaze #PostBlackMetal

FFO #Contempt #RatsWillFeast #TearsOfGaia

Back at it. https://wylk.bandcamp.com/album/archaica

#BlackMetalMonday #Wylk #AtmosphericBlackMetal

Back at it. https://wylk.bandcamp.com/album/archaica

#BlackMetalMonday #Wylk #AtmosphericBlackMetal

It's been a while for me without sharing anything for the #BlackMetalMonday, but that changes today. And with a somewhat local band.

Ultha "Love as we're falling down"
https://www.youtube.com/watch?v=kXQ-FWFpaqU

#atmosphericblackmetal

It's been a while for me without sharing anything for the #BlackMetalMonday, but that changes today. And with a somewhat local band.

Ultha "Love as we're falling down"
https://www.youtube.com/watch?v=kXQ-FWFpaqU

#atmosphericblackmetal

Nordicwinter – Sorrow
#BlackMetal #DSBM #DepressiveSuicidalBlackMetal #Metal #atmosphericblackmetal #deathdoom #depressiveblackmetal #doommetal #metalnoirquebecois #postrock #quebecblackmetal #suicidalblackmetal #Amadora
CC BY-NC (#CreativeCommons Attribution Non Commercial) #ccmusic
https://hypnoticdirgerecords.bandcamp.com/album/sorrow

Nordicwinter – Sorrow
#BlackMetal #DSBM #DepressiveSuicidalBlackMetal #Metal #atmosphericblackmetal #deathdoom #depressiveblackmetal #doommetal #metalnoirquebecois #postrock #quebecblackmetal #suicidalblackmetal #Amadora
CC BY-NC (#CreativeCommons Attribution Non Commercial) #ccmusic
https://hypnoticdirgerecords.bandcamp.com/album/sorrow

WYLK (Alemanya) presenta nou àlbum: "Archaica" #Wylk #AtmosphericBlackMetal #Juny2026 #Alemanya #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

GRAVVÅLNAD (Suècia) presenta nou àlbum: "Dreams of Evernight" #Gravvålnad #AtmosphericBlackMetal #Juny2026 #Suècia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

Black metal veterans Hecate Enthroned have spent decades trying to step out of Cradle of Filth’s shadow—and not without reason. The two are widely credited with helping shape the UK black metal scene, sharing close stylistic similarities and even swapping a member or two at various points. In the late ’90s, they were nearly as inseparable as a pair of sultry vampiric twins until Cradle of Filth’s theatrical bombast launched them into the mainstream, landing their merch in Hot Topic stores and on the backs of angsty teenagers everywhere. Meanwhile, Hecate Enthroned remained largely underground. Over the course of six albums, they’ve largely stayed true to their sound, and while consistent, their discography has often felt average. 2019’s Embrace of the Godless Aeon was no different, receiving a modest rating from these hallowed halls. Their seventh effort, The Corpse of a Titan, A Lament Long Buried, harkens the return of these blackened aficionados after a seven-year break, and given these lads’ history, curiosity led me to snag Corpse from the promo bin.

Continuing the trajectory set by its predecessor, Corpse pushes Hecate Enthroned further into Emperor’s nocturnal, foreboding soundscapes rather than Cradle of Filth’s, injecting some fresh touches that come as a pleasant surprise. Tracks like “Steed of the Still Water,” “Spirits Stir Within Our Ancestors Tombs” and “The Arcane Golem” elicit solid songwriting and build on the same orchestral arrangements Lord Doom previously deemed gutless. This time, however, the symphonics feel more varied, robust, and commanding, often drawing my attention amid the group’s tight and confident performances. Corpse also ventures into atmo-black territory on songs like “Deathless in the Dryad Glade” and “Steed of the Still Water,” while vocalist Joe Stamps adds welcome variety to the classic Dani Filth-esque shrieks of albums past with a smattering of demonic growls and coarse shouts that lend a sharper edge previously missing.

Hecate Enthroned’s sharp performances, well-executed melodic passages, and occasional bursts of groove and heaviness reinforce that these are seasoned veterans who understand their craft. Throughout Corpse—especially in its first half—there are numerous moments that suggest a more focused version of the group is finally emerging. “The Arcane Golem” and “Spirits Stir Within Our Ancestors Tombs” pair incisive tremolos with hooky riffing and cinematic orchestral flourishes, while Stamps’ rasp and growl attack cuts through the mix with authority. Similarly, “Deathless in the Dryad Glade” and “Steed of the Still Water” highlight the sextet’s melodic instincts and sense of dynamics, weaving vulnerable, atmo-black-inspired intros into blazing tremolos, acoustic and violin textures, and piano accents that coalesce into some of the album’s best moments. The latter’s opening groove and added vocal heft make it one of the record’s most complete cuts, standing out clearly from the rest.

While Hecate Enthroned’s musicianship is rarely in doubt, the record’s high points constantly clash with its more persistent shortcomings. Long runtimes, abrupt transitions, and questionable structural choices—like the six‑minute interlude “Pwca,” which builds to nothing, or the jarring segue that kills the momentum of “A Gallery of Rotting Portraits”—are frustrating because they erode Corpse’s potential. And at 53-minutes, the album’s songwriting is often too bloated for the material it contains. Several tracks stretch past seven minutes despite having ideas suited for far shorter runtimes, resulting in repetition and stagnation. Mid-song atmospheric interludes also routinely overstay their welcome and muddled thematic and structural decisions only compound things. The outcome is a record where the standout moments feel like exceptions rather than the rule and where uneven, overextended songwriting undermines Hecate Enthroned’s skill.

The phrase “what you see is what you get” applies perfectly here, as Corpse largely walks the well-trodden path Hecate Enthroned have been treading for over twenty years. A great record has long eluded these Brits, and the streak continues with Corpse. I enjoyed several cuts on this record, and it was close to coalescing into something greater, but inconsistent songwriting, structural missteps, and homogeneity limit its upside. Corpse’s strengths prove Hecate Enthroned still have the technical ability and atmospheric instincts to craft compelling symphonic black metal, even if they appear too sporadically to define Corpse as a whole. Longtime fans will certainly find lots to be excited about here and likely appreciate how faithfully they’ve stayed true to their roots while pushing other aspects forward. For listeners like me, however, Hecate Enthroned remain adrift in a crowded black sea of similarly minded bands that are competent, occasionally compelling, but far from essential.

Rating: Mixed
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: M-Theory
Websites: Bandcamp | hecateenthroned.com | facebook.com/HecateEnthroned
Releases Worldwide: May 29th, 2026

Black metal veterans Hecate Enthroned have spent decades trying to step out of Cradle of Filth’s shadow—and not without reason. The two are widely credited with helping shape the UK black metal scene, sharing close stylistic similarities and even swapping a member or two at various points. In the late ’90s, they were nearly as inseparable as a pair of sultry vampiric twins until Cradle of Filth’s theatrical bombast launched them into the mainstream, landing their merch in Hot Topic stores and on the backs of angsty teenagers everywhere. Meanwhile, Hecate Enthroned remained largely underground. Over the course of six albums, they’ve largely stayed true to their sound, and while consistent, their discography has often felt average. 2019’s Embrace of the Godless Aeon was no different, receiving a modest rating from these hallowed halls. Their seventh effort, The Corpse of a Titan, A Lament Long Buried, harkens the return of these blackened aficionados after a seven-year break, and given these lads’ history, curiosity led me to snag Corpse from the promo bin.

Continuing the trajectory set by its predecessor, Corpse pushes Hecate Enthroned further into Emperor’s nocturnal, foreboding soundscapes rather than Cradle of Filth’s, injecting some fresh touches that come as a pleasant surprise. Tracks like “Steed of the Still Water,” “Spirits Stir Within Our Ancestors Tombs” and “The Arcane Golem” elicit solid songwriting and build on the same orchestral arrangements Lord Doom previously deemed gutless. This time, however, the symphonics feel more varied, robust, and commanding, often drawing my attention amid the group’s tight and confident performances. Corpse also ventures into atmo-black territory on songs like “Deathless in the Dryad Glade” and “Steed of the Still Water,” while vocalist Joe Stamps adds welcome variety to the classic Dani Filth-esque shrieks of albums past with a smattering of demonic growls and coarse shouts that lend a sharper edge previously missing.

Hecate Enthroned’s sharp performances, well-executed melodic passages, and occasional bursts of groove and heaviness reinforce that these are seasoned veterans who understand their craft. Throughout Corpse—especially in its first half—there are numerous moments that suggest a more focused version of the group is finally emerging. “The Arcane Golem” and “Spirits Stir Within Our Ancestors Tombs” pair incisive tremolos with hooky riffing and cinematic orchestral flourishes, while Stamps’ rasp and growl attack cuts through the mix with authority. Similarly, “Deathless in the Dryad Glade” and “Steed of the Still Water” highlight the sextet’s melodic instincts and sense of dynamics, weaving vulnerable, atmo-black-inspired intros into blazing tremolos, acoustic and violin textures, and piano accents that coalesce into some of the album’s best moments. The latter’s opening groove and added vocal heft make it one of the record’s most complete cuts, standing out clearly from the rest.

While Hecate Enthroned’s musicianship is rarely in doubt, the record’s high points constantly clash with its more persistent shortcomings. Long runtimes, abrupt transitions, and questionable structural choices—like the six‑minute interlude “Pwca,” which builds to nothing, or the jarring segue that kills the momentum of “A Gallery of Rotting Portraits”—are frustrating because they erode Corpse’s potential. And at 53-minutes, the album’s songwriting is often too bloated for the material it contains. Several tracks stretch past seven minutes despite having ideas suited for far shorter runtimes, resulting in repetition and stagnation. Mid-song atmospheric interludes also routinely overstay their welcome and muddled thematic and structural decisions only compound things. The outcome is a record where the standout moments feel like exceptions rather than the rule and where uneven, overextended songwriting undermines Hecate Enthroned’s skill.

The phrase “what you see is what you get” applies perfectly here, as Corpse largely walks the well-trodden path Hecate Enthroned have been treading for over twenty years. A great record has long eluded these Brits, and the streak continues with Corpse. I enjoyed several cuts on this record, and it was close to coalescing into something greater, but inconsistent songwriting, structural missteps, and homogeneity limit its upside. Corpse’s strengths prove Hecate Enthroned still have the technical ability and atmospheric instincts to craft compelling symphonic black metal, even if they appear too sporadically to define Corpse as a whole. Longtime fans will certainly find lots to be excited about here and likely appreciate how faithfully they’ve stayed true to their roots while pushing other aspects forward. For listeners like me, however, Hecate Enthroned remain adrift in a crowded black sea of similarly minded bands that are competent, occasionally compelling, but far from essential.

Rating: Mixed
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: M-Theory
Websites: Bandcamp | hecateenthroned.com | facebook.com/HecateEnthroned
Releases Worldwide: May 29th, 2026

NEISHE (Estats Units) presenta nou EP: "Felüth Veinja" #Neishe #AtmosphericBlackMetal #Juny2026 #EstatsUnits #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

FOREVERCOLD (Hongria) presenta nou EP: "Bitterness of Life" #Forevercold #AtmosphericBlackMetal #Juny2026 #Hongria #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

ILLITHOCYTE (Canadà) presenta nou single: "Ireth Psioni Vorm" #Illithocyte #AtmosphericBlackMetal #DungeonSynth #Maig2026 #Canadà #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

INFERNUS PRESENCE (Rússia) presenta nou àlbum: "Thy Restlessness That Follows" #InfernusPresence #AtmosphericBlackMetal #Ambient #Maig2026 #Rússia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

Guten Morgen! ☕️🎧 Sagt mal, welchen #kassettenspieler (mit #bluetooth) könnt ihr denn jemanden empfehlen, der #DungeonSynth und #AtmosphericBlackMetal mag? Ich befürchte, #HeimatDerKatastrophe hat mich endgültig überzeugt…

Guten Morgen! ☕️🎧 Sagt mal, welchen #kassettenspieler (mit #bluetooth) könnt ihr denn jemanden empfehlen, der #DungeonSynth und #AtmosphericBlackMetal mag? Ich befürchte, #HeimatDerKatastrophe hat mich endgültig überzeugt…

ETERNAL SWORD presenta nou àlbum: "Valorous" #EternalSword #AtmosphericBlackMetal #Maig2026 #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

GORMOTH (Hongria) presenta nou EP: "Ash Grey Horizon" #Gormoth #AtmosphericBlackMetal #Ambient #Maig2026 #Hongria #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

🔥 NEW INTERVIEW 🔥

Where shadows turn into sound. 🌑

Dive deep into the atmospheric gloom of German post-black metal act ENTGEIST. We sat down with Tim & Sergej to discuss the haunting vision behind their latest release, Welk.

Read the full interview here: https://roughtimes.net/interviews/entgeist-where-shadows-turn-into-sound-germany-post-black-metal-interview-with-tim-sergej

#ENTGEIST #PostBlackMetal #BlackMetal #NewMusic #Welk #Interview #AtmosphericBlackMetal

AMAETHON (Estats Units) presenta nou single: "Pistol" #Amaethon #AtmosphericBlackMetal #Maig2026 #EstatsUnits #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

April is commonly known in many parts of the Northern hemisphere for bringing on the rain. It’s often a chilling kind of rain, bringing temps down and diffusing light such as to create a gloomy, but not uninviting, atmosphere. This year, it seems the rain came late, falling heavily into the first weeks of May, thus extending that cloudy aesthetic into the warmer months as they creep in. Enter Oregon’s Old Moon, a melancholic melodic black metal quintet whose sound perfectly fits this muggy season, and their upcoming debut LP, Home to Nowhere.

To those familiar with the sadboi side of the metal spectrum, Old Moon will sound quite familiar. Combining Insomnium with more atmospheric acts like Skyborne Reveries or Skyforest, but produced with the warmth of Izthmi, Home to Nowhere is diffuse and cinematic in its melancholy. Like much of the black metal scene, blast beats abound, but thankfully, there’s quite a variety of patterns, deathly and doomy that break it up—even going so far as to explore a gothic rock swagger at key junctures (“Obsidian”). A deep roar trades blows with higher placed rasps to complement Old Moon’s smooth and gradual shifts from sweeping melodeath riffs, weeping leads, and trem-picked atmospherics. Familiar pieces all, and in concert they bring great comfort to these ears.

It’s a shame that Home to Nowhere’s production conspires against that comfort at every turn. The biggest culprit of my woes in this space are the drums, which are placed so far forward in the mix, and adopt the sharpest possible tone for snare pops and bass kicks, that each hit registers as moderately annoying to mildly painful. You may think this an exaggeration, but a song like “Distance,” which flows gently and with the grace of a swan, succumbs entirely to those drums. “My Name is Death” similarly suffers, but its more aggressive songwriting and confrontational vocal mixing helps to offset the imbalance somewhat. Compounding the issue, Home to Nowhere’s boomy engineering offers no modulation in any instrument to give quiet moments breathing room or dramatic swells a sense of growth or depth. As a result, the whole furrows the brow as I struggle to relax into these songs and enjoy its musicality.

Once I did manage to accept Home to Nowhere’s production and move past my frustration with it, I finally began appreciating Old Moon’s songwriting. While nothing here is so exciting and fresh as to bring them into the same conversation as genre icons like Insomnium, songs like “Creations Undone” and “Distance” showcase a beautiful array of mournful melodies and gothic drama. Not to mention “Creations Undone” features one scorcher of a black metal riff that comes out of absolute nowhere and raises the hairs on my neck. Other songs like “A Rest to My Name” and “My Name is Death” boast strong ideas and compelling melodicism, but in their case, the whole feels underbaked. Even after nearly six minutes, I find myself wondering where the rest of “A Rest to My Name” in particular went as it fades to black. Thankfully, opener “Between the Stars” and the title track make up some of that missed potential with well fleshed out motifs that, while on the longer-form side at seven-minute territory, resolve into satisfying conclusions.

In sum, Home to Nowhere is a decent record with some very strong ideas, marred by a punishing production (that still somehow scores into double-digits on my DR meter). With softer drum tones, less volume,1 and a more nuanced mix that allows quieter moments to shine alongside more intense ones, Old Moon could find much greater success in future efforts. Until that time, best to look elsewhere for a melancholy pall to go with that April May rain.

Rating: Disappointing
DR: 11 | Format Reviewed: 320 kb/s mp3
Label: M-Theory Audio
Websites: Bandcamp | Facebook
Releases Worldwide: May 8th, 2026

April is commonly known in many parts of the Northern hemisphere for bringing on the rain. It’s often a chilling kind of rain, bringing temps down and diffusing light such as to create a gloomy, but not uninviting, atmosphere. This year, it seems the rain came late, falling heavily into the first weeks of May, thus extending that cloudy aesthetic into the warmer months as they creep in. Enter Oregon’s Old Moon, a melancholic melodic black metal quintet whose sound perfectly fits this muggy season, and their upcoming debut LP, Home to Nowhere.

To those familiar with the sadboi side of the metal spectrum, Old Moon will sound quite familiar. Combining Insomnium with more atmospheric acts like Skyborne Reveries or Skyforest, but produced with the warmth of Izthmi, Home to Nowhere is diffuse and cinematic in its melancholy. Like much of the black metal scene, blast beats abound, but thankfully, there’s quite a variety of patterns, deathly and doomy that break it up—even going so far as to explore a gothic rock swagger at key junctures (“Obsidian”). A deep roar trades blows with higher placed rasps to complement Old Moon’s smooth and gradual shifts from sweeping melodeath riffs, weeping leads, and trem-picked atmospherics. Familiar pieces all, and in concert they bring great comfort to these ears.

It’s a shame that Home to Nowhere’s production conspires against that comfort at every turn. The biggest culprit of my woes in this space are the drums, which are placed so far forward in the mix, and adopt the sharpest possible tone for snare pops and bass kicks, that each hit registers as moderately annoying to mildly painful. You may think this an exaggeration, but a song like “Distance,” which flows gently and with the grace of a swan, succumbs entirely to those drums. “My Name is Death” similarly suffers, but its more aggressive songwriting and confrontational vocal mixing helps to offset the imbalance somewhat. Compounding the issue, Home to Nowhere’s boomy engineering offers no modulation in any instrument to give quiet moments breathing room or dramatic swells a sense of growth or depth. As a result, the whole furrows the brow as I struggle to relax into these songs and enjoy its musicality.

Once I did manage to accept Home to Nowhere’s production and move past my frustration with it, I finally began appreciating Old Moon’s songwriting. While nothing here is so exciting and fresh as to bring them into the same conversation as genre icons like Insomnium, songs like “Creations Undone” and “Distance” showcase a beautiful array of mournful melodies and gothic drama. Not to mention “Creations Undone” features one scorcher of a black metal riff that comes out of absolute nowhere and raises the hairs on my neck. Other songs like “A Rest to My Name” and “My Name is Death” boast strong ideas and compelling melodicism, but in their case, the whole feels underbaked. Even after nearly six minutes, I find myself wondering where the rest of “A Rest to My Name” in particular went as it fades to black. Thankfully, opener “Between the Stars” and the title track make up some of that missed potential with well fleshed out motifs that, while on the longer-form side at seven-minute territory, resolve into satisfying conclusions.

In sum, Home to Nowhere is a decent record with some very strong ideas, marred by a punishing production (that still somehow scores into double-digits on my DR meter). With softer drum tones, less volume,1 and a more nuanced mix that allows quieter moments to shine alongside more intense ones, Old Moon could find much greater success in future efforts. Until that time, best to look elsewhere for a melancholy pall to go with that April May rain.

Rating: Disappointing
DR: 11 | Format Reviewed: 320 kb/s mp3
Label: M-Theory Audio
Websites: Bandcamp | Facebook
Releases Worldwide: May 8th, 2026

#Saor - The Sylvan Embrace https://musiccloud.io/xyztt

#Atmosphericblackmetal #Music

#Saor - The Sylvan Embrace https://musiccloud.io/xyztt

#Atmosphericblackmetal #Music

AMMANAS (Rússia) presenta nou àlbum: "Anthems from the Ancient Tales" #Ammanas #BlackMetal #Epic #AtmosphericBlackMetal #Maig2026 #Rússia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

DEA ARTIO (Àustria) presenta nou àlbum: "Alpenwut" #DeaArtio #AtmosphericBlackMetal #Maig2026 #Àustria #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

BARREN CANYON (Canadà) presenta nou àlbum: "A Virulent Steam" #BarrenCanyon #AtmosphericBlackMetal #Maig2026 #Canadà #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

MOLH (Ucraïna) presenta nou single: "Winter Triumph" #Molh #AtmosphericBlackMetal #Maig2026 #Ucraïna #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

FOREVERCOLD (Hongria) presenta nou single: "Funeral Speech" #Forevercold #AtmosphericBlackMetal #Maig2026 #Hongria #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

Nearly a decade has passed since Italian black metal project Lorn last graced these halls. Arrayed Claws greatly impressed the sage Eldritch Elitist back in 2017, who praised its “caustic edge and sheer strangeness.” The man behind the project, Radok, seems to have been relatively quiet in the last nine years, but I don’t think he was idle. In the intervening years, I think Radok has been watching and listening, and he’s found the present lacking. In an endless ocean of new content, Radok sees naught but an arid desert, devoid of depth. On Lorn’s fourth full-length, Searing Blood, Radok promises to reject modernity’s vapid content singularity and conceptually return to black metal’s roots. Is Searing Blood an oasis in the desert, or is it just a mirage?

Those returning to Lorn will immediately notice some differences between Arrayed Claws and Searing Blood. First and foremost, Radok’s newest effort actually has a low end. Where Arrayed Claws was almost grating in its shrill and disquieting tone, Searing Blood rumbles and shakes the ground upon which it stands. This makes for a more physically enjoyable experience, avoiding the listener fatigue that threatened Arrayed Claws. Fans will also clock the shift from fairly distilled black metal toward the atmospheric variety. Radok’s 8-string guitar is still a deeply unsettling force to reckon with (“Haderburg”), but there’s an unexpected tenderness to Searing Blood. While it’s not uncommon for atmoblack bands to focus on the majesty of nature, Radok approaches it through a lens of disillusionment with contemporary life, weaving a sense of loss, betrayal, and impotent outrage into Searing Blood.

Change isn’t always a good thing, but it is on Searing Blood. While Lorn does pay homage to the past with brilliantly discordant melodicism (“Searing Blood,” “Leuchtenburg”), an increased prevalence of synths and the introduction of new elements well-suited to atmospheric spaces allow Lorn greater breadth of expression. “Leuchtenburg” channels Panopticon with metal-stringed chords that hint at a synth-backed, acoustic interlude. Draped in the gothic tones of Unto Others, picked leads on “Gallows” float in and out, evoking a beautiful sense of tension and anxiety. Airy, choral synths and ringing melodies bestow instrumental “Ordo Draconis” with a magical, otherworldly quality. Through it all, Searing Blood’s heart of aching tremolos and agonizing screams adeptly evokes the Romantic’s view of Modernity, an indictment of what is and a yearning for what was.

Lorn’s exploration of a new form isn’t without its stumbles, though. The acoustic interlude in “Leuchtenburg” is a little long, and the synths can distract from the strings. At over nine minutes, “Gallows” similarly sags under its own weight, and “Ordo Draconis” features a jarring transition that only leads to a mismatched back half. Sample usage is a bit heavy-handed,1 and Searing Blood wouldn’t suffer for their omission. Lorn also relies heavily on certain compositional decisions, robbing them of their impact. Short lulls that explode into a furious bridge appear far more often than they should, even multiple times in a single track (“Gallows,” “Threshold’s Tragedy”). And while I appreciate a good fade out, ending every song that way grows stale quickly.

Searing Blood isn’t what I expected. I had prepared to be unsettled and challenged, but I was instead guided through a poignant and emotive journey. Both novel and familiar, Searing Blood presents a surprisingly singular vision. Rather than simply refining Lorn’s particular flavor of dissonant black metal, Radok tills new soil with well-worn tools. Lorn’s new direction is compelling, missteps aren’t fatal, and there’s ample room for Radok to both improve and continue exploring this space. A tighter and more varied composition would aid any future efforts. Searing Blood won’t necessarily drop any jaws, but for those on the fence, it should convince you to keep an eye on Lorn.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 256 kbps
Label: I, Voidhanger Records
Websites: Bandcamp | Facebook
Releases Worldwide: May 15th, 2026

Nearly a decade has passed since Italian black metal project Lorn last graced these halls. Arrayed Claws greatly impressed the sage Eldritch Elitist back in 2017, who praised its “caustic edge and sheer strangeness.” The man behind the project, Radok, seems to have been relatively quiet in the last nine years, but I don’t think he was idle. In the intervening years, I think Radok has been watching and listening, and he’s found the present lacking. In an endless ocean of new content, Radok sees naught but an arid desert, devoid of depth. On Lorn’s fourth full-length, Searing Blood, Radok promises to reject modernity’s vapid content singularity and conceptually return to black metal’s roots. Is Searing Blood an oasis in the desert, or is it just a mirage?

Those returning to Lorn will immediately notice some differences between Arrayed Claws and Searing Blood. First and foremost, Radok’s newest effort actually has a low end. Where Arrayed Claws was almost grating in its shrill and disquieting tone, Searing Blood rumbles and shakes the ground upon which it stands. This makes for a more physically enjoyable experience, avoiding the listener fatigue that threatened Arrayed Claws. Fans will also clock the shift from fairly distilled black metal toward the atmospheric variety. Radok’s 8-string guitar is still a deeply unsettling force to reckon with (“Haderburg”), but there’s an unexpected tenderness to Searing Blood. While it’s not uncommon for atmoblack bands to focus on the majesty of nature, Radok approaches it through a lens of disillusionment with contemporary life, weaving a sense of loss, betrayal, and impotent outrage into Searing Blood.

Change isn’t always a good thing, but it is on Searing Blood. While Lorn does pay homage to the past with brilliantly discordant melodicism (“Searing Blood,” “Leuchtenburg”), an increased prevalence of synths and the introduction of new elements well-suited to atmospheric spaces allow Lorn greater breadth of expression. “Leuchtenburg” channels Panopticon with metal-stringed chords that hint at a synth-backed, acoustic interlude. Draped in the gothic tones of Unto Others, picked leads on “Gallows” float in and out, evoking a beautiful sense of tension and anxiety. Airy, choral synths and ringing melodies bestow instrumental “Ordo Draconis” with a magical, otherworldly quality. Through it all, Searing Blood’s heart of aching tremolos and agonizing screams adeptly evokes the Romantic’s view of Modernity, an indictment of what is and a yearning for what was.

Lorn’s exploration of a new form isn’t without its stumbles, though. The acoustic interlude in “Leuchtenburg” is a little long, and the synths can distract from the strings. At over nine minutes, “Gallows” similarly sags under its own weight, and “Ordo Draconis” features a jarring transition that only leads to a mismatched back half. Sample usage is a bit heavy-handed,1 and Searing Blood wouldn’t suffer for their omission. Lorn also relies heavily on certain compositional decisions, robbing them of their impact. Short lulls that explode into a furious bridge appear far more often than they should, even multiple times in a single track (“Gallows,” “Threshold’s Tragedy”). And while I appreciate a good fade out, ending every song that way grows stale quickly.

Searing Blood isn’t what I expected. I had prepared to be unsettled and challenged, but I was instead guided through a poignant and emotive journey. Both novel and familiar, Searing Blood presents a surprisingly singular vision. Rather than simply refining Lorn’s particular flavor of dissonant black metal, Radok tills new soil with well-worn tools. Lorn’s new direction is compelling, missteps aren’t fatal, and there’s ample room for Radok to both improve and continue exploring this space. A tighter and more varied composition would aid any future efforts. Searing Blood won’t necessarily drop any jaws, but for those on the fence, it should convince you to keep an eye on Lorn.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 256 kbps
Label: I, Voidhanger Records
Websites: Bandcamp | Facebook
Releases Worldwide: May 15th, 2026

Free download codes:

Splendidula - Behind My Semblance (Single)

"This atmospheric track dives deep into the hidden struggles behind our public façades, blending doom, black and post metal."

https://getmusic.fm/l/NwrpgH

#bandcampcodes #metal #blackmetal #doommetal #postmetal #atmosphericblackmetal #atmosphericdoommetal #music

Free download codes:

liminalanimal - Mùthadh II

"Atmospheric black metal from Scotland exploring themes from Celtic and Pictish history, myth and legend."

https://getmusic.fm/l/wJzGSd

#blackmetal #atmosphericblackmetal #blackgaze #blackeneddoom #blackeneddoommetal #music

Ìsinkú – Damnatio Memoriae #AtmosphericBlackMetal #CompactDisc #Kombi

What feelings come with an ending? Grief? Gratitude? Hope? As the Laurentian Trilogy comes to a close with Det Hjemsøkte Hjertet,1 the reflections on things passed which each album casts in a different light are at their most poignant. Panopticon turns from personal catharsis (…And Again into the Light) to metaphorical mirroring of individual crisis with that which devastates the natural world (The Rime of Memory), and now the very fabric of every one of us as people—bound inextricably to our experiences and environment. Mourning the loss of a loved one; memories of a people left behind by industrialisation; vanished caribou who once roamed the forests and the trees that grew old before the saw; a losing battle with time; isolation, love, joy. These fragmented, vivid, impressions of The Haunted Heart masterfully draw together an opus as potent musically as it is emotionally, five years almost to the date since it began.

Det Hjemsøkte Hjertet’s conclusiveness is tangible, its every note suffused with nostalgia and closure—even opener, “Woodland Caribou,” feels like a resolution. Drums boil and crash with anguish, tremolos are effervescent with feeling, and strings are more prominent and more stirring than ever before. But even in its finality of reprising themes and devastating climaxes, Det Hjemsøkte Hjertet reveals that everything does not truly end after all. With a chorus of guest vocalists,2 Austin Lunn tells a story of a life coming to a close in chapters that reflect not only on one person’s experiences, but those of a culture and a wilderness extending beyond them. It’s the most immediate Panopticon has ever been: lacking any preamble, moving faster and with assured ardour through every blackened arc, reaching deeper into your soul with every singing string refrain. Det Hjemsøkte Hjertet sees an infusion of characteristic folk, black metal, and magical atmosphere in a way that’s at once so heart-wrenchingly intimate and viscerally overwhelming it can hardly be described as less than perfection.

From the moment it begins, Det Hjemsøkte Hjertet has hold of you, most strikingly because of how breath-catchingly gorgeous it is. Some of the saddest, most profound melodies of Panopticon’s career (“Woodland Caribou,” “Blood and Fur Upon the Melting Snow,” “Ghost Eyes in the Firelight”) combine with some of the wildest (“The Great Silence, Extinct,” “The White Cedars,” “A Culture of Wilderness”). Even the heaviest moments dazzle in their dissonant devastation with mournful urgency (“The Great Silence…,” “A Culture…”). But what takes this beauty and rage into transcendence is how these tides of emotion are so tightly wound together, referencing one another, the refrains of The Laurentian Trilogy, and even all of Panopticon up until this moment. The soft sigh of a violin refrain (“Woodland Caribou”) sobs in precipitating a mid-album climax (“Blood and Fur…”), and the dancing tremolo-string swoops of “The Great Silence…” are mirrored in “Blood and Fur,…” and “The White Cedars.” The shuddering heaviness of “A Culture…” reawakens the gravity of “Moth-Eaten Soul”3 while untamed exuberance (“A Culture…,” “Blood and Fur…”) revives “An Autumn Storm”4 and the spirit of Roads to the North, and flute—accompanied only by the crackling of a fire—brings the acoustic introspection of the trilogy firmly to the forefront (“Lyset”).

But it’s the final act, “Ghost Eyes in the Firelight,” that pulls these threads—and one’s heartstrings—taut. Gracefully drawing in the elements from throughout the trilogy, it then softly and assuredly builds to a conclusion that hums ever more with familiarity. As the shimmering tremolos rise to a steady beat, you realise it’s the central theme of “…And Again into the Light” lifting upwards on their featherlight wings. All the lyrics on Det Hjemsøkte Hjertet sing with poignancy, but in this ascent that poignancy peaks,

The light from the window fades like the winter recently past.
Free of this mortal coil, free at last.
A slight pain in his chest grew as he laid down upon the melting snow.
Gazing upward into the night sky, he closed his eyes to the dark night,
but behind the blackness of his eyelids,
the stars remained
but behind the blackness of his eyelids,
the stars remained

…and again into the light

As cymbals judder and guitars perform a final flourish, the haunting calls of loons signal the completion of this circle, the spilling in of the light to the serenade of violins to a devastating reprise, filling your chest with its warmth and your eyes with tears.5 A more perfect way to end things could not exist. My heart clings longingly to the place evoked by Det Hjemsøkte Hjertet‘s consuming atmosphere and touching humanity. I cry with the empathy of its creator, crying for time gone, for those no longer here, for the lost wilderness, for the empty homes and hearts and the silent forests. But I also cry with a kind of transcendent joy. Because in closing, things begin anew. Just as the final whining strings lead into the beginning of …And Again into the Light, they blur too into that of “Woodland Caribou.” A ring, the renewal of hope. The darkness does not last. The fire will not burn out.

Rating: Iconic
DR: ? | Format Reviewed: Stream
Label: Bindrune Recordings | Nordvis Productions
Websites: Bandcamp | Instagram
Releases Worldwide: May 8th, 2026

Die Truppe bockt übelst ❤

CONJURING - Fragore
https://www.youtube.com/watch?v=_N55eunDTu4

#AtmosphericBlackMetal #BlackMetal #Metal #Music

Conjuring – Memento Mori
#BlackMetal #Metal #atmosphericblackmetal #deathdoom #doom #doommetal #postrock #Amadora
CC BY-NC (#CreativeCommons Attribution Non Commercial) #ccmusic
https://hypnoticdirgerecords.bandcamp.com/album/memento-mori

Written By: Aleken’s Gunstrosity

Every year has one magical moment that I look forward to with great anticipation: the first metal release that wows me enough to think it’ll be my AotY. It’s an electric sensation, and it just so happens that Alekhines Gun brought first lightning to my world this year, in the form of atmospheric post-black metal band Silaera’s debut record, An Aberration of the Void. The Chicagoan triplet, established in 2019 as a one-man project, rounded out their lineup with a bassist and a second guitarist last year as they recorded their striking debut. Complete with a stunning Burke piece adorning its cover, An Aberration of the Void left Gun and I with our jaws on the floor, so much so that we had no choice but to write this review together. Two different voices, one unified piece.

An Aberration of the Void is an apt moniker for Silaera’s first outing, as the band masterfully wields all of black metal’s forms as if they were intrinsic properties of their very being. At once gorgeous, frightening, triumphant, and evil, An Aberration of the Void recalls the sweeping flares of Mare Cognitum (“A Celestial Grave”), the gentle caress of Noltem (the first quarter of “Fall into Cosmic Sleep”), the fervent dissonance of Vimur (“From Entropic Dust”), and the devastating heft of the altogether more vicious Keres (“Abhorring the Lifting of Eyes, the middle third of “Fall into Cosmic Sleep”). Yet, Silaera’s talent for transitions and assembly manage to craft a vision like visiting an alien planet; you’ve seen planets before, but none like this, and trying to classify its place in the cosmos in relation to other stars is a waste of time. This planet simply is. An Aberration’s production conjures specters of the celestial in similar fashion, transversely aligning full, rich chords, cavernous reverb, and a deep low end against crystalline shimmers and bright midranges. The result is a magical composition of unknown and unknowable beauty churning with the destructive energy of a collapsing star.

If you need a quick peak into the nebula awaiting, point your telescopes to “Abhorring the Lifting of Eyes,” a masterstroke of composition, creativity, and unpredictability. Launching with a sparkling1 trem-heavy intro, it glides into a long-form riff of cosmic mysticism before variating into a brutally heavy crush, which then spontaneously combusts into a jagged groove attack liable to snap your neck like a toothpick. Tellingly, vocals take a dumbfounding length of time to kick in, but aren’t noticed in their absence until they make their presence known—this serves only to enhance their impact. Moments of contrast like this abound on An Aberration, giving new meaning to the term “beauty and the beast,” but few hit harder than “From Entropic Dust” and epic closer “Fall into Cosmic Sleep” when they offset their impeccable atmospheric allure with deadly swings and terrifying dissonance. Imagine if Cosmic Putrification wrote an album about their feelings and had it produced by Blackbraid, and you’ll almost get it. Silaera takes their songwriting chiaroscuro even further, morphing and mutating phrases with each repetition so radically as to redefine, but never estrange, the tones and textures of the next measure.

That songwriting makes An Aberration of the Void engaging and stimulating from start to finish in spite of its uniformly long-form construction. You’d expect a record where no song falls below six minutes to feature some bloat, but not here. Not a moment wasted, An Aberration arranges compelling choices and elevating decorations around every corner, on both the songwriting and production front. The snare positively crackles and pops when devolving into ferocious blasts, but sibilates and snaps instead during gentler phrases to emphasize mood and atmosphere to great effect (“A Celestial Gaze”). A throaty rasp informs the more intense sections while guttural roars evoke a lurking monstrosity when the moment calls for something more ominous (“Fall into Cosmic Sleep”). Riffs pummel and pound with the terrible force of black holes, but delicate melodies ascend beyond the heavens in tandem to uplift the listener as the event horizon guarantees their final destination (“Abhorring the Lifting of Eyes,” “Fall into Cosmic Sleep”). This interplay of contrast and complement, paired with meticulous detailing, is the unfathomable core of An Aberration of the Void, and the main reason why it universally captivates my attention.

Criticisms are extremely difficult to commit to, not just for me, but also for Gun. Neither one of us felt any held water for longer than a few moments. We nonetheless noted that, for some, Silaera’s disparate references could feel disjointed in the moment,2 with cohesion only coming after focused spins. An Aberration of the Void also does not escape common genre trappings: maximum reverb, more runtime dedicated to slower paces than outright aggression, arpeggios everywhere. But in execution, these small points of contention feel like inseparable parts of the cosmos Silaera created, and what a wondrous cosmos it is.

Rating Consensus: Great!!3
DR: Lost to the Void | Format Reviewed: Bandcamp Stream
Label: Self Released
Websites: silaera.bandcamp.com | facebook.com/Silaera
Releases Worldwide: April 10th, 2026

Seems like the Filtration system is overburdened once again. Normally, my minions have to scavenge much longer to pick things up this early in the year, but 2026 is proving to be rich in moderately precious metallic ore. That just means I gotta push my team even harder to pull greater loads of filth from the ducts!

As I send them in for yet another round, please enjoy the spoils thus far exploited. BEHOLD!

Kenstrosity’s Tattered Tome

Overtoun // Death Drive Anthropology [February 13th, 2026 – Time to Kill Records]

Chilean progressive death thrash outfit Overtoun is what you get when you mix old school Death and Atheist with the proggier side of Pestilence, then amp the thrash up by a half turn. At a lofty 50 minutes, you’d expect third release Death Drive Anthropology to drag on, but to make that assumption is to criminally underestimate Overtoun’s creativity and versatility. Opening up the throttle in fine form, the one-two punch of “What Unites All (ft. Max Phelps) and “The Final Beat” manages to encompass many of these Chileans’ songwriting and performance skills in a scant 10 minutes. More introspective, nuanced songwriting takes center stage throughout Anthropology’s midsection, balancing smart melodies and minimalist atmosphere with complex guitar layering, proggy structures, and shreddy wizardry (“Dur Khrod,” “Jade, Gold, Obsidian,” “Yurei,” “Weeping”). The three-part “The Waves Suite” suite adds a mystical character to the affair that blends remarkably well with Overtoun’s more overt political messaging and emotional textures, which helps carry the record through its lengthy runtime without causing fatigue. It’s a neat record that’s modestly blemished by a bass presence that begs for more weight and wildness, especially considering the raw talent on hand. Nonetheless, if you’re looking for a creative, thoughtful, and sophisticated entry into the death/thrash progosphere, Death Drive Anthropology makes a strong case.

Andy-War-Hall’s Primordial Pick-Up

The Grand Myth // Of Vultures and Dragons [February 26th, 2026 – Suncrusher Recordings]

I have a grossly limited capacity for seriousness. Yeah, I like my death metal progressive, technical, and thoughtful, much the way Brandon Bordman’s The Grand Myth deliver it on their latest record, Of Vultures and Dragons, but sometimes I just want fun, too. Of Vultures and Dragons, an adaptation of Ethan Pettus’ novel series Primitive War1 in which a rescue team searches a Vietnamese jungle for a missing platoon of Green Berets and fights for their lives against dinosaurs, has fun in spades. Utilizing a many-layered guitar attack (“Symbiotic Death”), shifting and propulsive rhythms (“Through the River Styx”), a wide cast of voice actors for brief narrative bits2 and surprisingly bright tones (“Agony”), The Grand Myth’s approach to progressive death metal isn’t revolutionary, but it’s deeply refreshing and engaging regardless. Though an absolute blast, The Grand Myth doesn’t spew embarrassingly stupid levels of campiness with their sci-fi dinosaur theming like Victorius. Rather, Of Vultures and Dragons can be fairly emotionally effective at times thanks to Bordman’s emotive clean/harsh vocals and elaborate soloing (“Pyre,” “Agony”). Nobody asks about your favorite dinosaur anymore,3 so feed your inner kid with The Grand Myth’s Of Vultures and Dragons now!

Saunders’ Sunken Shards

Puscifer// Normal Isn’t [February 6th, 2026 – Alchemy Recordings]

After losing track of recent offerings, I reacquainted myself with the latest LP from Puscifer, leaving me pleasantly surprised in the aftermath. The project featuring Tool/A Perfect Circle frontman Maynard James Keenan returned for their first hit out since 2020’s Existential Reckoning. Normal Isn’t finds the shape-shifting project embracing its quirky, gothy industrial rock and electronic elements through an angsty filter of guitar-driven arty rock, post-punk, and infectious songcraft. Age should not weary Maynard, as he still sounds angry, cynical, and on point vocally through a mostly engaging, catchy bag of tunes. The dueling vocal melodies with collaborator Carina Round’s ghostly singing work a treat amidst jittery beats, angular riffs and strong electronic overtones. Rhythmically, it is an interesting ride, drummer Gunnar Olsen putting in a top-notch performance, while there is a vaguely progressive edge underlying the hook-centric songwriting. Opener “Thrust” sets the album in motion with sticky hooks, a darkly humorous, unhinged Maynard performance, and a dose of spite. Other key highlights include “Bad Wolf,” “Self Evident,” “A Public Stoning,” and “ImpetuoUs.” Puscifer made a fine return with Normal Isn’t.

Jack Harlon & The Dead Crows // Inexorable Opposites [February 6th, 2026 – Magnetic Eye Records]

You’ve gotta love a sneaky name drop from our trusty commentariat. It has led to many great discoveries over the years. On this occasion, one of our dear commenters enlightened me to Melbourne psych-blues-doomers Jack Harlon & the Dead Crows with fourth LP, Inexorable Opposites. And it didn’t take long absorbing this latest slab of rustic Aussie coolness to be struck by the album’s slow-burning, addictive power, and gritty tones. Boasting an expansive, rugged sound built on layers of distortion and a weighty blend of psych-drenched blues and doom heaviness. Jack Harlon & the Dead Crows features old school, outlaw-driven lyrical content from mastermind and vocalist/guitarist Tim Coutts-Smith, meshing fictional tales of woe and adventure of character Jack Harlon, with relatable real-life struggles. Through the fuzz, thick jammy vibes, and Coutts-Smith distorted, menacing Aussie drawl, catchy songcraft shines through the muck and psych haze. From the tense, stoner-infected grit and catchy hooks of opener “Moss,” through to the stormy outback balladry of closer “To Die,” Inexorable Opposites is a hard-hitting, riffy delight, further evidenced through scorched earth, infectious cuts like “Venomous,” “Seer,” and the trippy, drug-addled “Mt. Macedon.”

Grin Reaper’s Reaped Recluse

Cold Communion // Monuments to Ruin [February 13th, 2026 – Self Released]

Melodic death/doom isn’t a genre I dabble in often, but every now and again, one of its bands thwarts my defenses and wraps their tendrils around my precious listening time. Durham, North Carolina’s Cold Communion is one such band, featuring Barre Gambling (Daylight Dies) on guitar and Tim Rowland (Alchemy of Flesh, Silent Vigil) on everything else. If that sounds like an unfair split, take a spin and reassess, because Gambling’s performance defines Cold Communion’s melancholic character as much as Rowland’s emotive growl. Forgoing any long-form doom epics, Monuments to Ruin’s longest song comes in at five-and-a-half minutes, with the entire album clocking just forty-five. It’s a tidy platter, and both in song composition and mood shares ample common ground with Finnish sadbois Insomnium. Besides Monuments’ superior production, songs like “A Stillness Survival” and “When the Light Breaks” wouldn’t feel out of place on Across the Dark or One for Sorrow. And despite the somber trappings one might expect from doom-adjacency, there’s plenty of lively riffing and solos to find across Monuments to Ruin, adding a touch of boom to the gloom. In the end, Cold Communion doesn’t reinvent the genre or break new ground, but Monuments to Ruin offers a comfy chair by the fireside on a freezing cold day, and I’m perfectly content with that.

Mossgiver // Renewer [February 6th, 2026 – Sij MusicArt]

Atmospheric black metal often contrasts the beautiful with the bestial, typically prioritizing moods over hooks. ‘Twas a delight, then, to unearth Mossgiver’s Renewal, which deftly combines the two. Weaving together hypnotic passages flooded with strings, piano, flute, synths, double bass rolls, and the requisite blackened tremolos,4 Mossgiver’s mastermind Tilen Šimon (Ueldes) delivers the band’s best record to date. Above all, Renewer sounds like a celebration of nature in the vein of Autrest and Cân Bardd, evoking a whispering wind whipping at leaves or sunlight dappling a brook shaded by oaks and maples. Beyond the well-crafted soundtrack for a walk through the woods, Mossgiver etches emotion into the nooks and crannies of Renewer’s five tracks. From rousing string orchestrations (“I Bring the Spring with Me”) to soft-and-heavy tradeoffs pitting clean guitar and pan pipes against distorted guitar and blast beats (“Renewer”), Mossgiver shimmers with a lush backdrop of instrumentation rife with playfulness and pensiveness. The trio of primary songs5 revolve around powerful melodies that evolve over each track’s duration, with assorted instruments coming in and out to push refrains along. Renewer’s brisk thirty-four minutes showcase Mossgiver’s sticky compositions and leave me whistling its melodies for days at a time. Now throw on your hiking boots and get lost in the Moss.

Ossomancer // Banebdjed’s Path [February 28th, 2026 – Esoteric Evocations]

Six-and-a-half years removed from Ossomancer’s debut Artes Magickae, lone wolf and mastermind Kamose returns to tread Banebjed’s Path. Bursting with references to mythology and mysticism, Banebjed’s Path rumbles and shakes with arcane thunder. Although the backdrop and track names might recall the frenzied onslaught of Nile, Ossomancer instead conceives a realm recalling Aeternam, Iotunn, and Naglfar. Despite the scant thirty-four-minute runtime, Banebjed’s Path sprawls across diverse landscapes and textures. Opener “The Ogdoad Arrangement and the Osirian Creation” oscillates between In Flames melodies and a slinky crawl that could pass for a 90s Geddy Lee bass line played over synth injections from Rush’s 80s era. Follow-up track “Sobek – Cosmic Vibrations Devoured” features Kreator-bred riffing, while closing duo “A Sea of Sand, a Silver Star” and “Retraction into Kether” synthesize the ethereal atmospheres of Iotunn with the blackened assault of Naglfar. Through it all, Ossomancer sounds fabulous, as Banebjed’s Path flaunts an enviable DR 8 and a bodacious mix that spotlights its burly bass performance. Ossomancer’s sophomore outing is crammed with meloblack goodies, and though it’s not a long trek, the journey down Banebjed’s Path far transcends its distance.

Tyme’s Danish Dalliance

Ædel Fetich // Ædel Fetich [February 20th, 2026 – Deadbanger Productions]

That blinged-out pink dish-glove-clad hand is what first drew me to Denmark outfit Ædel Fetich’s self-titled debut. Then I clicked play and was taken on one of the more compelling “black” metal rides in recent memory. With roots primarily buried in the soil of the traditional second-wave, Ædel Fetich is rife with moments of rifferous tremolodic speed (“Ridderlig Lider,” “Madras”) and absolutely berserk guitar chaos (“Sort Magi”). There’s a Trhä-like sense of experimentation, and the rawness of the production enhances the oft-changing compositions, which, like weather in the Midwest, often shift on a dime without warning. Luckily, Ædel Fetich’s adept songwriting organically smooths these transitions, which could have easily come off stilted and jarring, but makes drawing direct comparisons to the Ædel Fetich sound difficult, as there’s a spectrum of other influences at play. There are tracks packed with punky punch (“Et Liv Fuld af Fejl,” “Ildtang”) or imbued with folky reverence (“Mit Billede af Dig”) and even some 80s pop—fans of the movie Flashdance shouldn’t have a problem finding the poppy easter egg hiding near the end of “Sort Magi.”6 Far and away the star of the show, however, is singer Skvat, whose performance is filled with as much black metal bravado as it is theatrical exuberance, his arsenal of shrieks, growls, hoots, howls, and operatic baritonations a refreshing treat, akin to if Mike Patton woke up one day deciding to record a Danish black metal album. Bottom line is, I really dig Ædel Fetich and think you will too.

Creeping Ivy’s Ashen Afterthought

Belzebong // The End is High [February 20th, 2026 – Heavy Psych Sounds]

In my humble opinion, lyrics are key to making stoner metal more than novelty music. If you’re referencing reefer in your album art, band name, and song titles, at least keep the reeferisms out of the songs themselves,7 or better yet, avoid vocals altogether. Taking this latter advice to heart is instrumental Polish four-piece Belzebong, who have been at it for almost 20 years now. On The End is High, their fourth full-length, Belzebong deal 35 minutes of fuzzed-out riffery described as “a new sermon for the final days.” While not as highbrow (huh huh) as the instrumental stoner metal of Bongripper, Belzebong are similarly ominous on opener (yes) “Bong & Chain,” which caps its ten-minute burn with creepy, haunting synths. From there, the band settle into material more akin to Bongzilla; sound clips adorn the chill grooves of “420 Horsemen,” “Hempnotized,” and “Reefer Mortis,” which closes things out with some solid Electric Wizard worship. If you instinctively (and understandably) recoil from music with marijuana aesthetics but dig the meditative repetition offered by stoner metal, consider sampling The End is High. It’s not exactly the caricature it advertises itself as.

Baguette’s Bygone Bounty

Sundecay // The Blood Lives Again [February 13th, 2026 – Self Released]

Toronto’s Sundecay has been around for a while. These Canadian doomers spawned sometime prior to 2014, quietly releasing EP material every once in a blue moon. The Blood Lives Again is their first full-length release—their first signs of life since 2018 in general—and the time and care they took to develop their sound and songwriting prowess pays off here in spades. The doom and proto-doom inspirations from Black Sabbath to Saint Vitus are obvious (“Here Comes the Wizard”), complemented by other influences from proto-metal, psychedelic, and progressive music (“Silence Spoken”). The hefty, layered guitars have a nice fuzz without fully landing in stoner territory. Ambitious long-form tracks like “Will Dusk Defy Dawn” flow like water while carrying significant emotional heft. Lastly, a moody, reverb-heavy vocal performance crowns the classic doom trance the band is aiming for. At five tracks and some 43 minutes, The Blood Lives Again is a total vibe and flies by before you’ve even noticed. Fans of the ’70s should take notes!

Temple Balls // Temple Balls [February 13th, 2026 – Frontiers Music]

One of the most authentic ways you can honor rock music tradition is via questionable naming conventions. On an unrelated note, Temple Balls is a Finnish hard rock/glam rock band, and they’re fun as hell! They’re not particularly new around the block, either: the group formed in 2009, and self-titled Temple Balls is already their fifth album since debut Traded Dreams in 2017. 2023’s Avalanche felt like a watershed moment, a welcome surprise that brought some new life and energy to a fairly dated genre of Europeisms and Hanoi Rocks rehashes. Temple Balls proves that Avalanche wasn’t a one-off, continuing their extremely authentic throwback approach. The heavy/power-metal-meets-AOR direction of songwriting (“Flashback Dynamite,” “Soul Survivor”) gives it that extra guitar oomph and energy that melodic music like this requires to be anywhere near competitive. With great all-out vocals from Arde Teronen and gigantic hooks to match, it’s just a damn good time front to back. Though it will sadly be the last time we’ll hear Niko Vuorela’s guitar work on record (R.I.P., and fuck cancer), the self-titled is certainly a worthy final milestone for him—and hopefully, another beginning for his comrades.

ClarkKent’s Enchanting Earworm

Hela // A Reign to Conquer [February 27, 2026 – Ardua Music]

Just as it put a pause on many plans and projects, the COVID pandemic slowed down the output of Spain’s Hela. A Reign to Conquer marks their first record since 2019’s Vegvìsir, which was their third release since 2013. This brief hiatus brought new blood in the form of vocalist Raquel Navarro, though, in truth, the only consistency in Hela’s lineup is the other three members—Tano Giménez on bass, Miguel Fernández (The Holeum) on drums, and Julián Velasco (The Holeum) on guitars. They have a deep bond, first forged in 2009 with The Sand Collector before forming Hela just three years later. Though they brand Hela as melodic doom, and the band does have a little in common with Katatonia, I think it’s more accurate to describe them as dreamy progressive rock. Navarro is a major reason for this, with dreamy croons that guide listeners through breezy soundscapes. She bears a passing resemblance to Maud the Moth, though the music Hela plays is decidedly more metal than our Dolphin friend’s favorite nocturnal insect. Guitarist Velasco plays a hypnotizing mix of atmospheric fuzz, crushing doom, and melodic riffs that add some heft and crunch to the ethereal sound. A Reign to Conquer has plenty of layers to probe, rewarding listeners who bear with it for repeat listens. While my initial spins left me wanting, I’ve since become spellbound. Add to that some gorgeous artwork, and this is a nice addition to anyone’s vinyl collection. Hela yeah!

Spicie Forrest’s Vicious Vittles

A Wilhelm Scream8 // Cheap Heat [February 27th, 2026 – Creator-Destructor Records]

A Wilhelm Scream9 returns after a four-year hiatus with their eighth long player, Cheap Heat. Sounding like the best combination of The Story So Far and Rise Against, A Wilhelm Scream delivers an impressive tour de force so late in their career. Vocalist Nuno Pereira10 is the highlight of Cheap Heat, driving the album with urgency and passion (“Somebody’s Gonna Die,” “Fell Off”), but no one here is a slouch. The rhythm section—bassist Brian J. Robinson, rhythm guitarist Trevor Reilly, and drummer Nicholas Pasquale Angelini—gleefully tosses gas on Pereira’s bonfire (“I Got Tunnel Vision”) and delivers solid grooves (“Poison II”) and searing ragers (“Unsolving the Mystery”) that keep the energy cranked to 11 all through Cheap Heat. Hooks are by far the most common lead duty, and Ben Murray puts on a fucking clinic. Each note that rings out from his axe sounds like it fucking owns the place (“Run,” “Visitor: Unimpressed”). Cheap Heat is a smidge front-loaded with “Midnight Ghost” and “I Got Tunnel Vision” being album highlights, but no song on here is anything short of a barn burner. At a super tight 28 minutes, Cheap Heat hits hard and fast and gets the fuck out of Dodge before you’re even sure what hit you. I didn’t expect a 26-year-old hardcore outfit to knock my teeth out when I queued it up on a whim one morning, but Cheap Heat is proving to be one of my favorite albums of the year.

Lead Injector // Witching Attack [February 20th, 2026 – High Roller Records]

Who doesn’t like the combination of thrash’s unchained aggression and black metal’s cold hate? There’s never been a better pair. Lead Injector hit the ground running on debut LP Witching Attack. From the opening moments of “Siege Upon Heaven” to the closing moments of “Nuclear Antichrist,” Lead Injector is here to do two things: feed high-speed buckshot to God, skeletons, and anything else that gets in their way, and have a Hellripping good time. “Angel Destructor” and “Siege Upon Heaven” barrel pell-mell through searing riffs and blast beats, while groovier tracks like “Evil Executioner” and “Nuclear Antichrist” let black metal’s punk ancestry shine through. Heavy metal influences a la Judas Priest can be found injected into tracks like “Sacrifice This Bitch” and “M.C.C.I.” While nothing about Lead Injector’s sound is particularly new, I’m not sure that’s a bad thing. This debut is a unique and retro spin on a tried-and-true formula that bodes well for a young band. Witching Attack is a killer time that Ash Williams would gladly spin while boomsticking Deadites alongside Lord Arthur’s army.

Free download codes:

BÁL - Dög (Full-length)

"The cover talks for itself. You'll hear what you see."

https://getmusic.fm/l/u9xMZB

#blackmetal #rawblackmetal #atmosphericblackmetal #dissonantblackmetal #music

Free download codes:

Splendidula - Absentia

"“This is our pain…”"

https://getmusic.fm/l/VVpcte

#metal #blackmetal #doommetal #atmosphericblackmetal #dsbm #atmosphericdoommetal #atmosphericmetal #music

I invented #MittwochMetalMix several years ago to have a hashtag to share gems like this:

Kaatayra Caminhos de Água
Bandcamp
https://kaatayra.bandcamp.com/album/caminhos-de-gua

#AtmosphericBlackMetal #FolkMetal

I just discovered Labyrinthus Stellarium and I think I like them!

https://labyrinthusstellarum.bandcamp.com/album/rift-in-reality

#AtmosphericBlackMetal #BlackMetal

Kval – Kval
#BlackMetal #DSBM #Metal #ScandinavianBlackMetal #atmosphericblackmetal #deathdoom #doommetal #finnishblackmetal #postrock #Amadora
CC BY-NC (#CreativeCommons Attribution Non Commercial) #ccmusic
https://hypnoticdirgerecords.bandcamp.com/album/kval