#avant-garde-black-metal — Public Fediverse posts

FORSTPHANT (Àustria) presenta nou àlbum: "A mi naprendszerünk" #Forstphant #AvantGardeBlackMetal #Juny2026 #Àustria #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

I initially stumbled across Germany’s Maladie last year with the fifth installment of their Symptoms EP series and immediately fell for their sax-forward, avant-garde black metal. A quick glimpse through Maladie’s back catalog revealed how late I was to the game. Formed in 2009, the band has already released seven full-lengths and five EPs since 2012. Now, eighth LP The Dance of Tragedies is upon us, continuing Maladie’s magnificently nutty approach to black metal by braiding strands of diverse aural fabrics into a singular tapestry that’s far-reaching, fascinating, and fancifully fun. Yet we mustn’t take for granted that just because a band does many things well, they’ve avoided pitfalls along the way. Does Maladie juke major missteps during The Dance of Tragedies?

My first time through The Dance of Tragedies was both exactly what I anticipated from Maladie and an abrupt detonation of my expectations. The outfit’s signature sound persists, finding Hauke Peters slinging the sax with soulful swagger while the rest of the band skitters between full-on black metal fury (the end of “Vortex of Monotony”), AOR tunefulness (“Behind All Suns”), and brief flashes of electronica (“Embrace Our Curse”). The brooding intensity rife throughout Symptoms V subsides on The Dance of Tragedies, dispensing understated moments of levity that delightfully buoy the music in sharp contrast with Maladie’s typically self-serious style.1 This direction surprised me, and though it took several listens to fully digest the album, the result is beautifully refreshing.

As usual, performances across The Dance of Tragedies captivate with titillating zeal. The multi-pronged vocal attack cuts with a serrated edge via emotive cleans, dry barks, and some of the phlegmiest rasps I’ve heard this side of Stenched (“Vortex of Monotony”). Shared by Alexander Wenz and Déhà, the primary vocals inhabit unconventional stylings alongside traditional ones. “Vortex of Monotony” features several variants, including a hip-hop flavored spoken word in the latter half, while “The Dance of Tragedies” runs a marathon of deliveries that keeps The Dance of Tragedies handsomely off-kilter. Björn Köppler plays jack-of-all-trades, supplying chameleonic drums alongside sundry keys and strings, while Déhà contributes even more keys in addition to singing.2 Köppler and Alex Spalvieri share guitar duties, mostly strumming in tasteful restraint while sporadically unfettering a few bars of unbridled shredding (“Too Old to Die”) before yielding the spotlight to other instruments. In totality, The Dance of Tragedies enthralls with an assortment of performances that pulse with intrigue and vivacity, transporting listeners to a vibrant world all Maladie’s own.

Not uncommon for Maladie, The Dance of Tragedies clears the seventy-minute mark without feeling overlong. Sections of lengthier tracks, particularly “The Unknowable” and “On Inaccessible Paths, Pt. II,” dabble in passages that extend to the brink of their charm, yet never run out of gas. I credit this to Maladie’s exploration of atmosphere as they allow rippling riffs and melodies to play out like a stone cast into the middle of a lake, where the ensuing furrows stretch across the smooth horizon until they run their course. Bolstering the momentum of The Dance of Tragedies is the vast array of sounds the band conjures. The refrain played midway through “The Unknowable” reminds me of Mossgiver’s “The Cleansing Waters,” “Behind All Suns” summons comparisons to Hail Spirit Noir, and “Embrace Our Curse” and “On Inaccessible Paths, Pt. I” recall Pensées Nocturnes and Arcturus. Through it all, Maladie never ceases to sound like themselves, grazing other bands as reference points while never jeopardizing their own unmistakable identity.

There’s something about The Dance of Tragedies that ineffably connects with me on an emotional level. Despite the gravity Maladie typically instills in their compositions, The Dance frolics in the face of Tragedies and injects a dimension of playfulness and hope that leaves me spellbound each and every spin. This is an album that works best when absorbed in a single session, and though time is precious, Maladie rewards listeners with utter diversity, meticulously crafting a vibrant musical experience. Swelling strings, electrifying sax, dynamic pacing, and stirring songwriting unite for an absolute blast of avant-garde metal. While it might be weird enough not to appeal to everyone, when it hits, The Dance of Tragedies shakes the room with thunderous abandon. So break out your dancing shoes and get ready to boogie—Maladie has the cure for what ails you.

Rating: Great
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Apostasy Records
Websites: Bandcamp | Facebook
Releases Worldwide: May 29th, 2026

I initially stumbled across Germany’s Maladie last year with the fifth installment of their Symptoms EP series and immediately fell for their sax-forward, avant-garde black metal. A quick glimpse through Maladie’s back catalog revealed how late I was to the game. Formed in 2009, the band has already released seven full-lengths and five EPs since 2012. Now, eighth LP The Dance of Tragedies is upon us, continuing Maladie’s magnificently nutty approach to black metal by braiding strands of diverse aural fabrics into a singular tapestry that’s far-reaching, fascinating, and fancifully fun. Yet we mustn’t take for granted that just because a band does many things well, they’ve avoided pitfalls along the way. Does Maladie juke major missteps during The Dance of Tragedies?

My first time through The Dance of Tragedies was both exactly what I anticipated from Maladie and an abrupt detonation of my expectations. The outfit’s signature sound persists, finding Hauke Peters slinging the sax with soulful swagger while the rest of the band skitters between full-on black metal fury (the end of “Vortex of Monotony”), AOR tunefulness (“Behind All Suns”), and brief flashes of electronica (“Embrace Our Curse”). The brooding intensity rife throughout Symptoms V subsides on The Dance of Tragedies, dispensing understated moments of levity that delightfully buoy the music in sharp contrast with Maladie’s typically self-serious style.1 This direction surprised me, and though it took several listens to fully digest the album, the result is beautifully refreshing.

As usual, performances across The Dance of Tragedies captivate with titillating zeal. The multi-pronged vocal attack cuts with a serrated edge via emotive cleans, dry barks, and some of the phlegmiest rasps I’ve heard this side of Stenched (“Vortex of Monotony”). Shared by Alexander Wenz and Déhà, the primary vocals inhabit unconventional stylings alongside traditional ones. “Vortex of Monotony” features several variants, including a hip-hop flavored spoken word in the latter half, while “The Dance of Tragedies” runs a marathon of deliveries that keeps The Dance of Tragedies handsomely off-kilter. Björn Köppler plays jack-of-all-trades, supplying chameleonic drums alongside sundry keys and strings, while Déhà contributes even more keys in addition to singing.2 Köppler and Alex Spalvieri share guitar duties, mostly strumming in tasteful restraint while sporadically unfettering a few bars of unbridled shredding (“Too Old to Die”) before yielding the spotlight to other instruments. In totality, The Dance of Tragedies enthralls with an assortment of performances that pulse with intrigue and vivacity, transporting listeners to a vibrant world all Maladie’s own.

Not uncommon for Maladie, The Dance of Tragedies clears the seventy-minute mark without feeling overlong. Sections of lengthier tracks, particularly “The Unknowable” and “On Inaccessible Paths, Pt. II,” dabble in passages that extend to the brink of their charm, yet never run out of gas. I credit this to Maladie’s exploration of atmosphere as they allow rippling riffs and melodies to play out like a stone cast into the middle of a lake, where the ensuing furrows stretch across the smooth horizon until they run their course. Bolstering the momentum of The Dance of Tragedies is the vast array of sounds the band conjures. The refrain played midway through “The Unknowable” reminds me of Mossgiver’s “The Cleansing Waters,” “Behind All Suns” summons comparisons to Hail Spirit Noir, and “Embrace Our Curse” and “On Inaccessible Paths, Pt. I” recall Pensées Nocturnes and Arcturus. Through it all, Maladie never ceases to sound like themselves, grazing other bands as reference points while never jeopardizing their own unmistakable identity.

There’s something about The Dance of Tragedies that ineffably connects with me on an emotional level. Despite the gravity Maladie typically instills in their compositions, The Dance frolics in the face of Tragedies and injects a dimension of playfulness and hope that leaves me spellbound each and every spin. This is an album that works best when absorbed in a single session, and though time is precious, Maladie rewards listeners with utter diversity, meticulously crafting a vibrant musical experience. Swelling strings, electrifying sax, dynamic pacing, and stirring songwriting unite for an absolute blast of avant-garde metal. While it might be weird enough not to appeal to everyone, when it hits, The Dance of Tragedies shakes the room with thunderous abandon. So break out your dancing shoes and get ready to boogie—Maladie has the cure for what ails you.

Rating: Great
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Apostasy Records
Websites: Bandcamp | Facebook
Releases Worldwide: May 29th, 2026

MALADIE (Alemanya) presenta nou àlbum: "The Dance of Tragedies" #Maladie #ProgressiveMetal #AvantGardeBlackMetal #Maig2026 #Alemanya #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

TRELLDOM (Noruega) presenta nou àlbum: "...by the Word..." #Trelldom #BlackMetal #AvantGardeBlackMetal #Maig2026 #Noruega #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

BESATT (Noruega) presenta nou single: "Atomkriger" #Besatt #AvantGardeBlackMetal #Maig2026 #Noruega #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

SYNTHRE (Finlàndia) presenta nou EP: "Thus Burns the House of the Sun" #Synthre #AvantGardeBlackMetal #Abril2026 #Finlàndia #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

BESATT (Noruega) presenta nou single: "Viktoria" #Besatt #AvantGardeBlackMetal #Abril2026 #Noruega #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

BONE FRAGMENTS (Estats Units) presenta nou Split: "The Vanishing" #BoneFragments #AvantGardeBlackMetal #Abril2026 #EstatsUnits #NouSplit #Metall #Metal #MúsicaMetal #MetalMusic

Foghazer – He Left The Temple
#BlackMetal #ExperimentalBlackMetal #Metal #ambientblackmetal #atmosphericblackmetal #avantgardeblackmetal #deathdoom #doommetal #postrock #triphop #Amadora
CC BY-NC (#CreativeCommons Attribution Non Commercial) #ccmusic
https://hypnoticdirgerecords.bandcamp.com/album/he-left-the-temple

Foghazer – He Left The Temple
#BlackMetal #ExperimentalBlackMetal #Metal #ambientblackmetal #atmosphericblackmetal #avantgardeblackmetal #deathdoom #doommetal #postrock #triphop #Amadora
CC BY-NC (#CreativeCommons Attribution Non Commercial) #ccmusic
https://hypnoticdirgerecords.bandcamp.com/album/he-left-the-temple

ANTROPOCENO (Brasil) presenta nou àlbum: "No Ritmo da Terra" #Antropoceno #AvantGardeBlackMetal #Samba #BossaNova #Shoegaze #Març2026 #Brasil #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

SLAGMAUR (Noruega) presenta nou àlbum: "Hulders Ritual" #Slagmaur #AvantGardeBlackMetal #Febrer2026 #Noruega #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

FROSTILLICUS (Canadà) presenta nou single: "Frostillicus 2026" #Frostillicus #AvantGardeBlackMetal #Febrer2026 #Canadà #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

I swear I’ve seen that saguaro before, in Pima County, standing just off the side of the road, marked among the millions crowding the bajadas. At that size, the sun rising over the Ajos has cast its strange shadow westward tens of thousands of times, yet it’s still young; a few generations removed from a pre-invasion Sonoran desert that thrived before the mountains had Spanish names, before the concept of the gringo, before the thousands of hung-over ones flattened every snake living within half a mile of Highway 85 driving back from “Rocky Point.” Maybe its great-great-grandmother’s seeds were carried by a coyote, lips stained sticky sanguine, slinking under the monsoon clouds when the only people around were O’Odham, themselves too distracted by the bounty to notice her stealing one more fruit from their baskets. Four generations later, a gray fox takes a pit stop under a creosote, setting a lucky propagule up for seventy years of extension, inch by inch, towards the noon summer sun, until a freak event smears its meristem into a radiate new form, ending this lineage forever.

Just after that point, someone takes its picture, and a couple of Italian guys slap it on a black metal album. A black metal album bent on re-orienting the genre away from a frostbitten North and towards an imaginary sun-bleached South, the saguaro being perhaps the most resilient (and, tellingly, clichéd) symbol thereof. Ambitions often crumble against this landscape; the schemes of miners fall through, the hopeful homesteads dry into rubble, at the bodies of desperate migrants collapse in the canyons. Beauty and hostility, available in such great measure here, produce the romance of the desert, the basis for Radici. Diespnea fail to capture either.

Radici by Diespnea

Diespnea practice oddball black metal in the Dødheimsgard idiom, attempting to reinvigorate a staid sound with odd and abrupt inclusions. At the end of “Radici,” they iron a bass groove flat onto gridded electronic beats, then gradually build vocals, drums, and guitars back into the matrix in what would be the record’s most memorable section if it didn’t feel almost identical to the ending of “Vultures.” When the tactic comes around yet again in “Mescalynia,” the effect is more of annoyance than interest. When the duo isn’t dabbling in dull electronica, they’re often whooping and cackling in what seems to be an awful pastiche of pre-Columbian musical traditions.

But the core failure of Radici isn’t in its lazy discursions but the soporific black metal that they depart from. Say what you will about 666 International, there’s no denying the intensity on display. Radici’s official kvlt tab book leads are usually played at three-quarters speed, and the spaces between them sag even more in tempo. Creative songwriting on cuts like “Radici” and “Mescalynia” is hard to appreciate when dragged out for six minutes, though tediously predictable guitar work, and the dull production and brickwalled master don’t do the record any favors. It’s a bit too on-the-nose for a band called Diespnea to sound this asthmatic.

Diespnea have the creativity to embark on something adventurous, but lack the curiosity to decide on a destination, instead floating around their “imaginary South” totally insulated from the confrontation with the real. It’s a painful missed opportunity; the places and traditions and feelings that the duo smudge at are truly profound, and Diespnea’s lazy Tintin “South” is at best an obfuscation and at worst a downright parody of the beauty that desert landscapes, their life, and their peoples hold.

The key to survival in the desert is specificity. In the Sonoran desert, oaks cling only to shady canyon bottoms; senitas populate only the hottest, sandiest washes; water scorpions flourish in ephemeral pools the size of bathtubs, and whole biotas erupt and disappear with the summer monsoons. The desert’s beauty comes from millions of years of coevolution, from novelty and extinction and cycles of glaciation that have stripped away that which does not belong again and again until everything that remains has its place and is fighting to keep it. Radici’s vagaries have nothing in common with places like this, and what Diespnea offer beyond those vagaries is just as unconvincing. And so, Radici comes nearly dead on arrival.

Rating: 2.0/5.0
DR: 4 | Format Reviewed: 320 kbps MP3
Label: Code 666 Records
Websites: facebook.com/diespnea | diespnea.com | diespnea.bandcamp.com
Releases Worldwide: February 13th, 2026

I swear I’ve seen that saguaro before, in Pima County, standing just off the side of the road, marked among the millions crowding the bajadas. At that size, the run rising over the Ajos has cast its strange shadow westward tens of thousands of times, yet it’s still young; a few generations removed from a pre-invasion Sonoran desert that thrived before the mountains had Spanish names, before the concept of the gringo, before the thousands of hung-over ones flattened every snake living within half a mile of Highway 85 driving back from “Rocky Point.” Maybe its great-great-grandmother’s seeds were carried by a coyote, lips stained sticky sanguine, slinking under the monsoon clouds when the only people around were O’Odham, themselves too distracted by the bounty to notice her stealing one more fruit from their baskets. Four generations later, a gray fox takes a pit stop under a creosote, setting a lucky propagule up for seventy years of extension, inch by inch, towards the noon summer sun, until a freak event smears its meristem into a radiate new form, ending this lineage forever.

Just after that point, someone takes its picture, and a couple of Italian guys slap it on a black metal album. A black metal album bent on re-orienting the genre away from a frostbitten North and towards an imaginary sun-bleached South, the saguaro being perhaps the most resilient (and, tellingly, clichéd) symbol thereof. Ambitions often crumble against this landscape; the schemes of miners fall through, the hopeful homesteads dry into rubble, at the bodies of desperate migrants collapse in the canyons. Beauty and hostility, available in such great measure here, produce the romance of the desert, the basis for Radici. Diespnea fail to capture either.

Radici by Diespnea

Diespnea practice oddball black metal in the Dødheimsgard idiom, attempting to reinvigorate a staid sound with odd and abrupt inclusions. At the end of “Radici,” they iron a bass groove flat onto gridded electronic beats, then gradually build vocals, drums, and guitars back into the matrix in what would be the record’s most memorable section if it didn’t feel almost identical to the ending of “Vultures.” When the tactic comes around yet again in “Mescalynia,” the effect is more of annoyance than interest. When the duo isn’t dabbling in dull electronica, they’re often whooping and cackling in what seems to be an awful pastiche of pre-Columbian musical traditions.

But the core failure of Radici isn’t in its lazy discursions but the soporific black metal that they depart from. Say what you will about 666 International, there’s no denying the intensity on display. Radici’s official kvlt tab book leads are usually played at three-quarters speed, and the spaces between them sag even more in tempo. Creative songwriting on cuts like “Radici” and “Mescalynia” is hard to appreciate when dragged out for six minutes, though tediously predictable guitar work, and the dull production and brickwalled master don’t do the record any favors. It’s a bit too on-the-nose for a band called Diespnea to sound this asthmatic.

Diespnea have the creativity to embark on something adventurous, but lack the curiosity to decide on a destination, instead floating around their “imaginary South” totally insulated from the confrontation with the real. It’s a painful missed opportunity; the places and traditions and feelings that the duo smudge at are truly profound, and Diespnea’s lazy Tintin “South” is at best an obfuscation and at worst a downright parody of the beauty that desert landscapes, their life, and their peoples hold.

The key to survival in the desert is specificity. In the Sonoran desert, oaks cling only to shady canyon bottoms; senitas populate only the hottest, sandiest washes; water scorpions flourish in ephemeral pools the size of bathtubs, and whole biotas erupt and disappear with the summer monsoons. The desert’s beauty comes from millions of years of coevolution, from novelty and extinction and cycles of glaciation that have stripped away that which does not belong again and again until everything that remains has its place and is fighting to keep it. Radici’s vagaries have nothing in common with places like this, and what Diespnea offer beyond those vagaries is just as unconvincing. And so, Radici comes nearly dead on arrival.

Rating: 2.0/5.0
DR: 4 | Format Reviewed: 320 kbps MP3
Label: Code 666 Records
Websites: facebook.com/diespnea | diespnea.com | diespnea.bandcamp.com
Releases Worldwide: February 13th, 2026

A Disorienting Listen for Something So Familiar, as Eldjudnir's Self Titled Remaster Abrades the Cleanliness in Favor of the Grime. If you're not a fan of clean vocals and might have written this album off because of it, it's worth a new listen.

https://cardigansandcorpsepaint.blog/2026/01/31/a-disorienting-listen-for-something-so-familiar-as-eldjudnirs-self-titled-remaster-abrades-the-cleanliness-in-favor-of-the-grime/

#BlackMetal #AvantGardeBlackMetal #DissonantBlackMetal

Kassad – London Orbital
#BlackMetal #Metal #PostBlackMetal #atmosphericblackmetal #avantgardeblackmetal #deathdoom #doommetal #postrock #urbanblackmetal #Amadora
CC BY-NC (#CreativeCommons Attribution Non Commercial) #ccmusic
https://hypnoticdirgerecords.bandcamp.com/album/london-orbital

Kassad – London Orbital
#BlackMetal #Metal #PostBlackMetal #atmosphericblackmetal #avantgardeblackmetal #deathdoom #doommetal #postrock #urbanblackmetal #Amadora
CC BY-NC (#CreativeCommons Attribution Non Commercial) #ccmusic
https://hypnoticdirgerecords.bandcamp.com/album/london-orbital

Hard to decide for an Imperial Triumphant song to share... they are just all so good!

https://www.youtube.com/watch?v=KnNHaH2kfkE

#BlackMetal #AvantGardeBlackMetal #ProgMetal #ProgBlackMetal

Hard to decide for an Imperial Triumphant song to share... they are just all so good!

https://www.youtube.com/watch?v=KnNHaH2kfkE

#BlackMetal #AvantGardeBlackMetal #ProgMetal #ProgBlackMetal

SERPENT COLUMN (Estats Units) presenta nou àlbum: "Aion of Strife" #SerpentColumn #AvantGardeBlackMetal #Gener2026 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

ANTROPOCENO (Brasil) presenta nou single: "Ìranti Odé" #Antropoceno #AvantGardeBlackMetal #Samba #BossaNova #Shoegaze #Gener2026 #Brasil #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

As 2025 winds to a close, the depleted promo pit growls with hunger, eager for the new year and a fresh bucket o’ chum.1 As I sift through the meager mid-December hopefuls, I detect a flash of black and silver. Snatching the promo, I discover clarinet-wielding Vittorio Sabelli and his project Dawn of a Dark Age, along with ninth album Ver Sacrum. Released between 2014 and 2017, the band’s first five albums examined The Six Elements. Ver Sacrum is the conclusion of a tetralogy that explores the Samnites, a Roman-conquered civilization with roots in modern-day central Italy.2 Dear Hollow found the first part of the tetralogy wondrous at its best, but undercut by a tedious, ill-conceived back half. Even so, I couldn’t resist the allure of clarinet metal. After nine albums and a bit of baggage, can Sabelli & Co. bring a warm light to dreary days, or are we left in the dark of a false dawn?

At its core, Dawn of a Dark Age plays avant-garde black metal with folksy instrumentation, and on Ver Sacrum they set aside the scathing hostility found on earlier works to hone mood and atmosphere. Though the speed varies throughout the album, proceedings mostly stick to mid-paced tempos. Sound-wise, Dawn of a Dark Age sits at a crossroads of influences, eliciting the tribal spirit of Wardruna, the wistful temperament of Primordial, and the post-black pangs of White Ward.3 While these comparisons help orient expectations, Dawn of a Dark Age’s milieu is uniquely their own, and despite some imperfections, the band clearly demonstrates lessons learned.

Ver Sacrum by DAWN OF A DARK AGE

In addition to supplying much of the instrumentation throughout Ver Sacrum, Sabelli surrounds himself with a strong cast. Drummer Diego ‘Aeternus’ Tasciotti returns, skillfully supporting Dawn of a Dark Age with subdued cymbals and calculated double-bass rolls. In fact, Aeternus’ subtle kitwork deftly boosts the drama as slower passages accelerate and guitars and bass frolic with clarinets and keys. I particularly enjoy the accordion’s role, conjuring vivid Arcadian imagery as its lilting wheeze plays counter to delicate bass grooves and acoustic strums. Most distinctive, though, are the clarinet and bass clarinet. Outside Van Halen’s “Big Bad Bill (Is Sweet William Now),” I don’t recall any clarinet-centric passages in metal, and Ver Sacrum gives the ol’ licorice stick headlining prominence. Mixing clarinets with metal isn’t a combination I’d ever considered, but on Ver Sacrum, Dawn of a Dark Age convinces me there’s plenty of room for its warm, sulky timbre. Atop the music, new vocalist Ignazio Cuga saunters in with a deep, resonant style that ably treads ground covering croaks, growls, and throat singing.4 All told, Ver Sacrum creates an evocative atmosphere that mostly enchants with its rustic drones and occasional black metal bursts.

While Dawn of a Dark Age sharply demonstrates invigorated songwriting and improvements on the pitfalls from prior outings, Ver Sacrum still encounters a few snags. The 40-minute album length is just right, but the tendency to linger on passages remains, drawing beguiling moments past their prime. And though the awkward transitions found on La Tovola Osca have been largely addressed, a few are present here. Aside from these, performances sizzle, the production suits the music, and the assorted instruments and pacing concoct an engaging, well-manicured experience. The only thing holding back Ver Sacrum from higher praise is the lack of standout moments. I sink into the music every time I spin it, yet once it’s over, I’m left with impressions of the overall sound, absent specific refrains to call me back. Multiple listens reinforce Dawn of a Dark Age’s understated grace, but transitioning away from passages earlier would help build bigger climaxes and elevate Ver Sacrum’s immediacy.

Over eleven years and nine albums, Dawn of a Dark Age has whetted an uncanny aptitude for creating diverse textures and ambiances. Despite my gripes, Ver Sacrum hits more often than misses, and stands as a solid release in a month where good new music is in short supply. Further, this is a must-listen for anyone who wants to like black metal but generally finds it inaccessible. Dawn of a Dark Age takes harsher components of the genre and softens the edges, creating a concise yet engrossing experience for anyone looking to dip their toes into befolkened black waters.

Rating: Good!
DR: 6 | Format Reviewed: 320 kbps mp3
Label: My Kingdom Music
Websites: Bandcamp | Facebook
Releases Worldwide: December 12th, 2025

As 2025 winds to a close, the depleted promo pit growls with hunger, eager for the new year and a fresh bucket o’ chum.1 As I sift through the meager mid-December hopefuls, I detect a flash of black and silver. Snatching the promo, I discover clarinet-wielding Vittorio Sabelli and his project Dawn of a Dark Age, along with ninth album Ver Sacrum. Released between 2014 and 2017, the band’s first five albums examined The Six Elements. Ver Sacrum is the conclusion of a tetralogy that explores the Samnites, a Roman-conquered civilization with roots in modern-day central Italy.2 Dear Hollow found the first part of the tetralogy wondrous at its best, but undercut by a tedious, ill-conceived back half. Even so, I couldn’t resist the allure of clarinet metal. After nine albums and a bit of baggage, can Sabelli & Co. bring a warm light to dreary days, or are we left in the dark of a false dawn?

At its core, Dawn of a Dark Age plays avant-garde black metal with folksy instrumentation, and on Ver Sacrum they set aside the scathing hostility found on earlier works to hone mood and atmosphere. Though the speed varies throughout the album, proceedings mostly stick to mid-paced tempos. Sound-wise, Dawn of a Dark Age sits at a crossroads of influences, eliciting the tribal spirit of Wardruna, the wistful temperament of Primordial, and the post-black pangs of White Ward.3 While these comparisons help orient expectations, Dawn of a Dark Age’s milieu is uniquely their own, and despite some imperfections, the band clearly demonstrates lessons learned.

Ver Sacrum by DAWN OF A DARK AGE

In addition to supplying much of the instrumentation throughout Ver Sacrum, Sabelli surrounds himself with a strong cast. Drummer Diego ‘Aeternus’ Tasciotti returns, skillfully supporting Dawn of a Dark Age with subdued cymbals and calculated double-bass rolls. In fact, Aeternus’ subtle kitwork deftly boosts the drama as slower passages accelerate and guitars and bass frolic with clarinets and keys. I particularly enjoy the accordion’s role, conjuring vivid Arcadian imagery as its lilting wheeze plays counter to delicate bass grooves and acoustic strums. Most distinctive, though, are the clarinet and bass clarinet. Outside Van Halen’s “Big Bad Bill (Is Sweet William Now),” I don’t recall any clarinet-centric passages in metal, and Ver Sacrum gives the ol’ licorice stick headlining prominence. Mixing clarinets with metal isn’t a combination I’d ever considered, but on Ver Sacrum, Dawn of a Dark Age convinces me there’s plenty of room for its warm, sulky timbre. Atop the music, new vocalist Ignazio Cuga saunters in with a deep, resonant style that ably treads ground covering croaks, growls, and throat singing.4 All told, Ver Sacrum creates an evocative atmosphere that mostly enchants with its rustic drones and occasional black metal bursts.

While Dawn of a Dark Age sharply demonstrates invigorated songwriting and improvements on the pitfalls from prior outings, Ver Sacrum still encounters a few snags. The 40-minute album length is just right, but the tendency to linger on passages remains, drawing beguiling moments past their prime. And though the awkward transitions found on La Tovola Osca have been largely addressed, a few are present here. Aside from these, performances sizzle, the production suits the music, and the assorted instruments and pacing concoct an engaging, well-manicured experience. The only thing holding back Ver Sacrum from higher praise is the lack of standout moments. I sink into the music every time I spin it, yet once it’s over, I’m left with impressions of the overall sound, absent specific refrains to call me back. Multiple listens reinforce Dawn of a Dark Age’s understated grace, but transitioning away from passages earlier would help build bigger climaxes and elevate Ver Sacrum’s immediacy.

Over eleven years and nine albums, Dawn of a Dark Age has whetted an uncanny aptitude for creating diverse textures and ambiances. Despite my gripes, Ver Sacrum hits more often than misses, and stands as a solid release in a month where good new music is in short supply. Further, this is a must-listen for anyone who wants to like black metal but generally finds it inaccessible. Dawn of a Dark Age takes harsher components of the genre and softens the edges, creating a concise yet engrossing experience for anyone looking to dip their toes into befolkened black waters.

Rating: Good!
DR: 6 | Format Reviewed: 320 kbps mp3
Label: My Kingdom Music
Websites: Bandcamp | Facebook
Releases Worldwide: December 12th, 2025

#NowPlaying

For the finish line of the first workday after 3,5 weeks off. Some #blackmetal from the #Ukraine

https://song.link/i/1609693486

#WhiteWard #postblackmetal #AvantgardeBlackMetal

#NowPlaying

For the finish line of the first workday after 3,5 weeks off. Some #blackmetal from the #Ukraine

https://song.link/i/1609693486

#WhiteWard #postblackmetal #AvantgardeBlackMetal

Lychgate – Precipice Review

By Grin Reaper

Dense, dark, and demented, Lychgate’s Precipice breaks nearly six years of silence with music as unsettling as the concept it’s built upon. The album’s primary inspiration draws from E. M. Forster’s short story “The Machine Stops,” a dystopian tale first published in 1909 that cautions against over-reliance on technology.1 In it, The Machine enables people to govern their lives from isolated chambers, interacting virtually rather than in person after the Earth’s surface becomes uninhabitable. Integrating notions such as blind obedience to technology, instantaneous communication, and climate change furnishes a lavish backdrop for London’s Lychgate and their fourth LP.2 Given the promise of its premise, does Precipice step off the ledge and soar, or plummet to the depths of obscurity?

Brandishing a broad array of atmospheres and a flair for generating tension, Lychgate conjures oppressive auras that equally frighten and excite. To that end, Precipice’s aural footprint lands somewhere between Blut aus Nord’s dissonant grooves and a decelerated Imperial Triumphant at their most cinematic (think “Transmission to Mercury”), taking the avant-garde trappings of each and devising a mood and character all Lychgate’s own. Emboldened by jazzy flourishes à la Dødheimsgard, Scarcity’s cacophonous, freeform nonconformity, and Morast’s caustic claustrophobia, Lychgate forges an unforgiving yet layered experience that outstrips single reference points. Tensions runs roughshod throughout Precipice, knotting its nine tracks into gnarled enigmas that demand to be sussed out with care. Gone are the clean vocals from The Contagion in Nine Steps and An Antidote for the Glass Pill, and instead vocalist Greg Chandler focuses solely on barks and snarls that remind of Doug Moore’s urgent rasps. Atop it all, Lychgate further embeds the organ into the band’s core sound and discharges potent riffs at key climactic junctures, leaving Precipice crackling with vitality and unpredictability.

Precipice’s varied compositions and instrumentations coalesce to propel Lychgate to new heights. It’s a mature release that exemplifies the prevailing virtues of prior albums, unifying them into an impressively intricate forty-eight minutes. The organ, credited to permanent member J. C. Young and session musician F. A. Young, plays a central role, spanning the gamut from lunatic funhouse (“Anagnorisis”) to Phantom of the Opera gothic drama (“Mausoleum of Steel”). It keenly weaves a calculated stress, plying tension in ebbs and flows that cleverly and constantly push the album forward. Besides organ and piano, loose guitar structures regularly bleed into riffs plucked out of an eldritch ether, oscillating between Zappa’s Jazz from Hell and unearthly, pit-scorching acrobatics (“Renunciation”). A doleful, introspective melody in “The Meeting of Orion and Scorpio” diversifies the sound and pacing, followed by a hectic skittering in “Hive of Parasites” that gives way to a slow-burn passage heavily featuring jazz flute. Myriad components fuse into a whole that should not sound as cohesive as it does, but Lychgate takes their carnival of sounds and crafts a finely-honed album that deserves more attention than it will get with an end-of-year release.

Lychgate employs a satisfying and well-considered array of ideas in service of Precipice, though a few hiccups are present. Besides the musical diversity, Lychgate flaunts remarkable instincts when it comes to pacing. Having the longest track as the midpoint of the album works well and helps establish a clear listening milestone; I only wish the back end of “Hive of Parasites” had been trimmed a touch, as the last three minutes blur together. The mix is another boon, providing ample space for S. D. Lindsley’s guitar, Tom MacLean’s bass, and T. J. F. Vallely’s drums. The only quibble is Precipice’s density, which could put off those lacking the time to absorb its demure gifts. All told, though, Lychgate earns every bit of praise by merging this many ideas so cohesively.

Despite its late release and complex composition, Lychgate delivers a smash success that commands and indisputably warrants your attention. Precipice isn’t easy to understand, but it’s irresistibly easy to spin again and again. And you should, because it takes time to unravel.3 Precipice has been one of my most played albums of the year at a time when I’ve been busiest both personally and professionally, routinely ensnaring me with its enchanting hooks and wiles. For my money, Lychgate has released the best album of their career, and you owe it to yourself to step up to the Precipice and take a leap of faith.

Rating: Great
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Debemur Morti Productions
Websites: Bandcamp | Facebook
Releases Worldwide: December 19th, 2025

#2025 #40 #AvantGardeBlackMetal #BlackMetal #BlutAusNord #DebemurMortiProductions #Dec25 #Dödheimsgard #EnglishMetal #FrankZappa #ImperialTriumphant #Lychgate #Morast #Precipice #Review #Reviews

Lychgate – Precipice Review

By Grin Reaper

Dense, dark, and demented, Lychgate’s Precipice breaks nearly six years of silence with music as unsettling as the concept it’s built upon. The album’s primary inspiration draws from E. M. Forster’s short story “The Machine Stops,” a dystopian tale first published in 1909 that cautions against over-reliance on technology.1 In it, The Machine enables people to govern their lives from isolated chambers, interacting virtually rather than in person after the Earth’s surface becomes uninhabitable. Integrating notions such as blind obedience to technology, instantaneous communication, and climate change furnishes a lavish backdrop for London’s Lychgate and their fourth LP.2 Given the promise of its premise, does Precipice step off the ledge and soar, or plummet to the depths of obscurity?

Brandishing a broad array of atmospheres and a flair for generating tension, Lychgate conjures oppressive auras that equally frighten and excite. To that end, Precipice’s aural footprint lands somewhere between Blut aus Nord’s dissonant grooves and a decelerated Imperial Triumphant at their most cinematic (think “Transmission to Mercury”), taking the avant-garde trappings of each and devising a mood and character all Lychgate’s own. Emboldened by jazzy flourishes à la Dødheimsgard, Scarcity’s cacophonous, freeform nonconformity, and Morast’s caustic claustrophobia, Lychgate forges an unforgiving yet layered experience that outstrips single reference points. Tensions runs roughshod throughout Precipice, knotting its nine tracks into gnarled enigmas that demand to be sussed out with care. Gone are the clean vocals from The Contagion in Nine Steps and An Antidote for the Glass Pill, and instead vocalist Greg Chandler focuses solely on barks and snarls that remind of Doug Moore’s urgent rasps. Atop it all, Lychgate further embeds the organ into the band’s core sound and discharges potent riffs at key climactic junctures, leaving Precipice crackling with vitality and unpredictability.

Precipice’s varied compositions and instrumentations coalesce to propel Lychgate to new heights. It’s a mature release that exemplifies the prevailing virtues of prior albums, unifying them into an impressively intricate forty-eight minutes. The organ, credited to permanent member J. C. Young and session musician F. A. Young, plays a central role, spanning the gamut from lunatic funhouse (“Anagnorisis”) to Phantom of the Opera gothic drama (“Mausoleum of Steel”). It keenly weaves a calculated stress, plying tension in ebbs and flows that cleverly and constantly push the album forward. Besides organ and piano, loose guitar structures regularly bleed into riffs plucked out of an eldritch ether, oscillating between Zappa’s Jazz from Hell and unearthly, pit-scorching acrobatics (“Renunciation”). A doleful, introspective melody in “The Meeting of Orion and Scorpio” diversifies the sound and pacing, followed by a hectic skittering in “Hive of Parasites” that gives way to a slow-burn passage heavily featuring jazz flute. Myriad components fuse into a whole that should not sound as cohesive as it does, but Lychgate takes their carnival of sounds and crafts a finely-honed album that deserves more attention than it will get with an end-of-year release.

Lychgate employs a satisfying and well-considered array of ideas in service of Precipice, though a few hiccups are present. Besides the musical diversity, Lychgate flaunts remarkable instincts when it comes to pacing. Having the longest track as the midpoint of the album works well and helps establish a clear listening milestone; I only wish the back end of “Hive of Parasites” had been trimmed a touch, as the last three minutes blur together. The mix is another boon, providing ample space for S. D. Lindsley’s guitar, Tom MacLean’s bass, and T. J. F. Vallely’s drums. The only quibble is Precipice’s density, which could put off those lacking the time to absorb its demure gifts. All told, though, Lychgate earns every bit of praise by merging this many ideas so cohesively.

Despite its late release and complex composition, Lychgate delivers a smash success that commands and indisputably warrants your attention. Precipice isn’t easy to understand, but it’s irresistibly easy to spin again and again. And you should, because it takes time to unravel.3 Precipice has been one of my most played albums of the year at a time when I’ve been busiest both personally and professionally, routinely ensnaring me with its enchanting hooks and wiles. For my money, Lychgate has released the best album of their career, and you owe it to yourself to step up to the Precipice and take a leap of faith.

Rating: Great
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Debemur Morti Productions
Websites: Bandcamp | Facebook
Releases Worldwide: December 19th, 2025

#2025 #40 #AvantGardeBlackMetal #BlackMetal #BlutAusNord #DebemurMortiProductions #Dec25 #Dödheimsgard #EnglishMetal #FrankZappa #ImperialTriumphant #Lychgate #Morast #Precipice #Review #Reviews

LAETITIA IN HOLOCAUST (Itàlia) presenta nou EP: "I Rise with the Dead" #LaetitiaInHolocaust #AvantGardeBlackMetal #Novembre2025 #Itàlia #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

~ CAŁ● ~ (Polònia) presenta nou àlbum: "Ludzie błądzący w nocy" #~Cał●~ #AvantGardeBlackMetal #Novembre2025 #Polònia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

~ CAŁ● ~ (Polònia) presenta nou àlbum: "Ludzie błądzący w nocy" #~Cał●~ #AvantGardeBlackMetal #Novembre2025 #Polònia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

MALADIE (Alemanya) presenta nou EP: "Symptoms V" #Maladie #ProgressiveMetal #AvantGardeBlackMetal #Octubre2025 #Alemanya #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

MALADIE (Alemanya) presenta nou EP: "Symptoms V" #Maladie #ProgressiveMetal #AvantGardeBlackMetal #Octubre2025 #Alemanya #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

SYNTHRE (Finlàndia) presenta nou EP: "Heterodoxa" #Synthre #AvantGardeBlackMetal #Octubre2025 #Finlàndia #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

SYNTHRE (Finlàndia) presenta nou EP: "Heterodoxa" #Synthre #AvantGardeBlackMetal #Octubre2025 #Finlàndia #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

GORYCZ (Polònia) presenta nou àlbum: "Zasypia" #Gorycz #AvantGardeBlackMetal #Octubre2025 #Polònia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

GORYCZ (Polònia) presenta nou àlbum: "Zasypia" #Gorycz #AvantGardeBlackMetal #Octubre2025 #Polònia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

ULM (Estats Units) presenta nou àlbum: "The Accursed Share" #Ulm #AvantGardeBlackMetal #Setembre2025 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

ULM (Estats Units) presenta nou àlbum: "The Accursed Share" #Ulm #AvantGardeBlackMetal #Setembre2025 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

Free download codes:

Diespnea - Radici

"An Avantgarde Black Metal album inspired by cactuses, result of years of experiments, different influences and deep questionings of one-self"

https://getmusic.fm/l/7Kwdzr

#experimental #blackmetal #electronicmusic #avantgardeblackmetal #avantgardemetal #music

Free download codes:

Diespnea - Radici

"An Avantgarde Black Metal album inspired by cactuses, result of years of experiments, different influences and deep questionings of one-self"

https://getmusic.fm/l/7Kwdzr

#experimental #blackmetal #electronicmusic #avantgardeblackmetal #avantgardemetal #music

HASARD (França) presenta nou àlbum: "Abgnose" #Hasard #AvantGardeBlackMetal #Setembre2025 #França #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

Ashbringer, Mistwalker, Murtenscythe

La Sotterenea, Monday, June 2 at 07:00 PM EDT

Viridian Cult Productions presents:

Minnesota false black metal band Ashbringer will be trekking to Montreal, hot off the heels of their performance at Prepare the Ground this year, for a show at La Sotterenea on Monday, June 2nd!

They will be joined by blackened speed rippers Mistwalker, and progressive death wizards Murtenscythe!

Monday, June 2nd, 2025
@ La Sotterenea
Doors @ 7:00 PM
Show @ 8:00 PM
$15
18+

Ashbringer:
https://ashbringermusic.bandcamp.com/.../we-came-here-to...

Mistwalker:
https://mistwalker.bandcamp.com/album/oceanic-heritage

Murtenscythe:
https://murtenscythe.bandcamp.com/album/vodyanoy

https://montreal.askapunk.net/event/ashbringer-mistwalker-murtenscythe

this must be one of the best performances ever recorded 🇳🇴
https://www.youtube.com/watch?v=tx_TfmEDgas

#Arcturus #AvantgardeBlackMetal #Metal #Norway

PYLAR – Límyte
#BlackMetal #Doom #Experimental #Metal #avantgarde #avantgardeblackmetal #doommetal #dronemetal #speculativepoetry #Sevilla
CC BY-NC-ND (#CreativeCommons Attribution Non Commercial No Derivatives) #ccmusic
https://pylar.bandcamp.com/album/l-myte

Free download codes:

Diespnea - Pneuma (digital only)

"Pneuma mixes black and doom metal in a oceanic environment ready to wash you away"

https://getmusic.fm/l/Awmy2n

#bandcampcodes #blackmetal #avantgardeblackmetal #music

LASHBLOOD (Rússia) presenta nou àlbum: "Spiritual Matter : Denial of Being" #Lashblood #AvantGardeBlackMetal #Març2025 #Rússia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

BESATT (Noruega) presenta nou àlbum: "Renselse" #Besatt #AvantGardeBlackMetal #Febrer2025 #Noruega #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

HOMESKIN (Estats Units) presenta nou àlbum: "Soul Washed Bleach" #Homeskin #AvantGardeBlackMetal #Grindcore #Febrer2025 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

NOX ARDOR (Regne Unit) presenta nova demo: "Carnal Debauchery (Instrumental Demo 2009)" #NoxArdor #AvantGardeBlackMetal #Febrer2025 #RegneUnit #NovaDemo #Metall #Metal #MúsicaMetal #MetalMusic

UNDER THE NIGHT SKY (Alemanya) presenta nou àlbum: "Anneliese (1952-1976)" #UnderTheNightSky #Atmospheric #AvantGardeBlackMetal #Febrer2025 #Alemanya #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic