#belakor — Public Fediverse posts

Way back in the year before the Great Plague, I took a chance and reviewed an unheralded, self-released album by a one-man band from Belgium called Ethereal Darkness. We received the promo from the AMG contact forms without fanfare or fluff, but what I heard on Smoke and Shadows really impressed me. Project mastermind Lars created a monumental slab of melancholic, melodic doom in the vein of Insomnium, Rapture, and Before the Dawn, and the material had depth, power, and gravitas. It seemed like the work of a seasoned and polished group of musicians despite some rough edges. The years have drifted by since that review, and I’d all but given up Ethereal Darkness for dead. Imagine my surprise when Lars reached out recently to alert me to the pending release of his second album, Echoes. 6 years on, the solo project is now a full-fledged band ready to tour in support of their latest release. And what a large release it is! At 60 minutes, Echoes takes the style from the debut and goes way bigger, with much longer compositions and greater ambition in the writing. If that’s not big enough, it also features cover art from Adam Burke and a production from Dan “The Fücking Man” Swanö!1 Is bigger better in this case? Can more really be MOAR? And how are these guys still unsigned?? These are the questions of our time.

It takes ample ballsack to open with a nearly 11-minute song, but Ethereal Darkness do just that with “Gone With the Tide.” If the atmosphere on Smoke and Shadows impressed you, this will knock you into the next multiverse. It’s an epic, sweeping tableau of massive melodoom that holds nothing back as it transports you to majestic forests and towering mountains of snow and ice. It recalls the best works of Be’lakor and Black Sun Aeon, but there’s plenty of Insomnium in the DNA too. The guitarwork is phenomenal, full of sadboi trilling and doomy weight. The death vocals by Lars are very effective, the clean singing by acoustic guitarist Brecht hits the right way, and the lapses into blastbeating blackness are well-timed adrenaline spikes. This is a stupendous song and one of the best so far this year, and it goes by in a flash despite its girth. “The Cycle” continues to maintain the sky-high quality. It’s like a crazy mash-up of Eneferens and modern Amorphis, and you should pay big money for such a potent potable. It’s the kind of song you get lost in and lose track of time, and when you write songs in the 8-10 minute window, this is essential.

Elsewhere, “Winter” moves toward more blackened environs, channeling Saor and Nechochwen as epic soundscapes are raised and explored. The guitars here are beautifully rendered, and it’s another triumph for this unheralded project. Equally monolithic is “On the Edge of the Cliff,” where the music turns more aggressive and urgent, merging black and melodeath idioms adroitly for maximum impact. There’s an epic Viking metal energy here that makes you want to conquer and rule the weak, and it feels dangerously powerful. Despite so much magnificent opulence and aural decadence, there are some weaker moments. “IV” is very, very good and hints at my beloved Rapture, but it ends up feeling too long at 9:45, and trimming it by a few minutes would have helped. Ginormous closer “Realization” runs over 13 minutes, and despite good to great moments throughout, it’s undone by its sheer width and breadth. In its final minutes, I find it increasingly difficult to stay locked in and attentive. At just over 60 minutes, Echoes can be a daunting listen due to its density and length, but the reward is well worth the effort. I can’t find fault with the Swanö-ified production, as everything sounds lush, gorgeous, and heavy without being loud or oppressive.

Lars handles guitar, bass, keyboards, and harsh vocals, and to say he did an amazing job across the board doesn’t begin to cover it. There are some big, emotional moments here courtesy of his 6-string heroics, referencing the works of Tuomas Saukkonen without imitating. His deep death roars punctuate the music with force, and his blackened cackles and screams pierce through like lasers. His restrained use of keyboards should be a case study for other acts in the genre. They add atmosphere but rarely rise out of the distant background. Becht provides soothing acoustic guitar passages and clean vocals that deliver pathos and emotion. Peter’s drumming is a vast improvement over the programmed percussion from the debut, imbuing the material with vibrancy and weight. Applause all around for this crew!

Echoes is a bigger, better album than Smoke and Shadows in every way, with several tracks worthy of Song o’ the Year consideration. The album length and the bloat on a few tracks hold it back from even greater heights, but just barely. This is a sumptuous feast for the ears and mind, and I get the feeling I’ll be spending a lot of time with this over the next few months. Ethereal Darkness are about to get a lot more attention in the metalverse, and they deserve it. Hear this massive monster or be a lesser mortal. Somebody better sign these guys toot-sweet!



Rating: 4.0/5.0
DR: NA | Format Reviewed: WAV
Label: Self-Release
Websites: etherealdarkness.bandcamp.com | facebook.com/etherealplace | instagram.com/etherealdarknessband
Releases Worldwide: March 20th, 2026

Way back in the year before the Great Plague, I took a chance and reviewed an unheralded, self-released album by a one-man band from Belgium called Ethereal Darkness. We received the promo from the AMG contact forms without fanfare or fluff, but what I heard on Smoke and Shadows really impressed me. Project mastermind Lars created a monumental slab of melancholic, melodic doom in the vein of Insomnium, Rapture, and Before the Dawn, and the material had depth, power, and gravitas. It seemed like the work of a seasoned and polished group of musicians despite some rough edges. The years have drifted by since that review, and I’d all but given up Ethereal Darkness for dead. Imagine my surprise when Lars reached out recently to alert me to the pending release of his second album, Echoes. 6 years on, the solo project is now a full-fledged band ready to tour in support of their latest release. And what a large release it is! At 60 minutes, Echoes takes the style from the debut and goes way bigger, with much longer compositions and greater ambition in the writing. If that’s not big enough, it also features cover art from Adam Burke and a production from Dan “The Fücking Man” Swanö!1 Is bigger better in this case? Can more really be MOAR? And how are these guys still unsigned?? These are the questions of our time.

It takes ample ballsack to open with a nearly 11-minute song, but Ethereal Darkness do just that with “Gone With the Tide.” If the atmosphere on Smoke and Shadows impressed you, this will knock you into the next multiverse. It’s an epic, sweeping tableau of massive melodoom that holds nothing back as it transports you to majestic forests and towering mountains of snow and ice. It recalls the best works of Be’lakor and Black Sun Aeon, but there’s plenty of Insomnium in the DNA too. The guitarwork is phenomenal, full of sadboi trilling and doomy weight. The death vocals by Lars are very effective, the clean singing by acoustic guitarist Brecht hits the right way, and the lapses into blastbeating blackness are well-timed adrenaline spikes. This is a stupendous song and one of the best so far this year, and it goes by in a flash despite its girth. “The Cycle” continues to maintain the sky-high quality. It’s like a crazy mash-up of Eneferens and modern Amorphis, and you should pay big money for such a potent potable. It’s the kind of song you get lost in and lose track of time, and when you write songs in the 8-10 minute window, this is essential.

Elsewhere, “Winter” moves toward more blackened environs, channeling Saor and Nechochwen as epic soundscapes are raised and explored. The guitars here are beautifully rendered, and it’s another triumph for this unheralded project. Equally monolithic is “On the Edge of the Cliff,” where the music turns more aggressive and urgent, merging black and melodeath idioms adroitly for maximum impact. There’s an epic Viking metal energy here that makes you want to conquer and rule the weak, and it feels dangerously powerful. Despite so much magnificent opulence and aural decadence, there are some weaker moments. “IV” is very, very good and hints at my beloved Rapture, but it ends up feeling too long at 9:45, and trimming it by a few minutes would have helped. Ginormous closer “Realization” runs over 13 minutes, and despite good to great moments throughout, it’s undone by its sheer width and breadth. In its final minutes, I find it increasingly difficult to stay locked in and attentive. At just over 60 minutes, Echoes can be a daunting listen due to its density and length, but the reward is well worth the effort. I can’t find fault with the Swanö-ified production, as everything sounds lush, gorgeous, and heavy without being loud or oppressive.

Lars handles guitar, bass, keyboards, and harsh vocals, and to say he did an amazing job across the board doesn’t begin to cover it. There are some big, emotional moments here courtesy of his 6-string heroics, referencing the works of Tuomas Saukkonen without imitating. His deep death roars punctuate the music with force, and his blackened cackles and screams pierce through like lasers. His restrained use of keyboards should be a case study for other acts in the genre. They add atmosphere but rarely rise out of the distant background. Becht provides soothing acoustic guitar passages and clean vocals that deliver pathos and emotion. Peter’s drumming is a vast improvement over the programmed percussion from the debut, imbuing the material with vibrancy and weight. Applause all around for this crew!

Echoes is a bigger, better album than Smoke and Shadows in every way, with several tracks worthy of Song o’ the Year consideration. The album length and the bloat on a few tracks hold it back from even greater heights, but just barely. This is a sumptuous feast for the ears and mind, and I get the feeling I’ll be spending a lot of time with this over the next few months. Ethereal Darkness are about to get a lot more attention in the metalverse, and they deserve it. Hear this massive monster or be a lesser mortal. Somebody better sign these guys toot-sweet!



Rating: 4.0/5.0
DR: NA | Format Reviewed: WAV
Label: Self-Release
Websites: etherealdarkness.bandcamp.com | facebook.com/etherealplace | instagram.com/etherealdarknessband
Releases Worldwide: March 20th, 2026

Way back in the year before the Great Plague, I took a chance and reviewed an unheralded, self-released album by a one-man band from Belgium called Ethereal Darkness. We received the promo from the AMG contact forms without fanfare or fluff, but what I heard on Smoke and Shadows really impressed me. Project mastermind Lars created a monumental slab of melancholic, melodic doom in the vein of Insomnium, Rapture, and Before the Dawn, and the material had depth, power, and gravitas. It seemed like the work of a seasoned and polished group of musicians despite some rough edges. The years have drifted by since that review, and I’d all but given up Ethereal Darkness for dead. Imagine my surprise when Lars reached out recently to alert me to the pending release of his second album, Echoes. 6 years on, the solo project is now a full-fledged band ready to tour in support of their latest release. And what a large release it is! At 60 minutes, Echoes takes the style from the debut and goes way bigger, with much longer compositions and greater ambition in the writing. If that’s not big enough, it also features cover art from Adam Burke and a production from Dan “The Fücking Man” Swanö!1 Is bigger better in this case? Can more really be MOAR? And how are these guys still unsigned?? These are the questions of our time.

It takes ample ballsack to open with a nearly 11-minute song, but Ethereal Darkness do just that with “Gone With the Tide.” If the atmosphere on Smoke and Shadows impressed you, this will knock you into the next multiverse. It’s an epic, sweeping tableau of massive melodoom that holds nothing back as it transports you to majestic forests and towering mountains of snow and ice. It recalls the best works of Be’lakor and Black Sun Aeon, but there’s plenty of Insomnium in the DNA too. The guitarwork is phenomenal, full of sadboi trilling and doomy weight. The death vocals by Lars are very effective, the clean singing by acoustic guitarist Brecht hits the right way, and the lapses into blastbeating blackness are well-timed adrenaline spikes. This is a stupendous song and one of the best so far this year, and it goes by in a flash despite its girth. “The Cycle” continues to maintain the sky-high quality. It’s like a crazy mash-up of Eneferens and modern Amorphis, and you should pay big money for such a potent potable. It’s the kind of song you get lost in and lose track of time, and when you write songs in the 8-10 minute window, this is essential.

Elsewhere, “Winter” moves toward more blackened environs, channeling Saor and Nechochwen as epic soundscapes are raised and explored. The guitars here are beautifully rendered, and it’s another triumph for this unheralded project. Equally monolithic is “On the Edge of the Cliff,” where the music turns more aggressive and urgent, merging black and melodeath idioms adroitly for maximum impact. There’s an epic Viking metal energy here that makes you want to conquer and rule the weak, and it feels dangerously powerful. Despite so much magnificent opulence and aural decadence, there are some weaker moments. “IV” is very, very good and hints at my beloved Rapture, but it ends up feeling too long at 9:45, and trimming it by a few minutes would have helped. Ginormous closer “Realization” runs over 13 minutes, and despite good to great moments throughout, it’s undone by its sheer width and breadth. In its final minutes, I find it increasingly difficult to stay locked in and attentive. At just over 60 minutes, Echoes can be a daunting listen due to its density and length, but the reward is well worth the effort. I can’t find fault with the Swanö-ified production, as everything sounds lush, gorgeous, and heavy without being loud or oppressive.

Lars handles guitar, bass, keyboards, and harsh vocals, and to say he did an amazing job across the board doesn’t begin to cover it. There are some big, emotional moments here courtesy of his 6-string heroics, referencing the works of Tuomas Saukkonen without imitating. His deep death roars punctuate the music with force, and his blackened cackles and screams pierce through like lasers. His restrained use of keyboards should be a case study for other acts in the genre. They add atmosphere but rarely rise out of the distant background. Becht provides soothing acoustic guitar passages and clean vocals that deliver pathos and emotion. Peter’s drumming is a vast improvement over the programmed percussion from the debut, imbuing the material with vibrancy and weight. Applause all around for this crew!

Echoes is a bigger, better album than Smoke and Shadows in every way, with several tracks worthy of Song o’ the Year consideration. The album length and the bloat on a few tracks hold it back from even greater heights, but just barely. This is a sumptuous feast for the ears and mind, and I get the feeling I’ll be spending a lot of time with this over the next few months. Ethereal Darkness are about to get a lot more attention in the metalverse, and they deserve it. Hear this massive monster or be a lesser mortal. Somebody better sign these guys toot-sweet!



Rating: 4.0/5.0
DR: NA | Format Reviewed: WAV
Label: Self-Release
Websites: etherealdarkness.bandcamp.com | facebook.com/etherealplace | instagram.com/etherealdarknessband
Releases Worldwide: March 20th, 2026

Way back in the year before the Great Plague, I took a chance and reviewed an unheralded, self-released album by a one-man band from Belgium called Ethereal Darkness. We received the promo from the AMG contact forms without fanfare or fluff, but what I heard on Smoke and Shadows really impressed me. Project mastermind Lars created a monumental slab of melancholic, melodic doom in the vein of Insomnium, Rapture, and Before the Dawn, and the material had depth, power, and gravitas. It seemed like the work of a seasoned and polished group of musicians despite some rough edges. The years have drifted by since that review, and I’d all but given up Ethereal Darkness for dead. Imagine my surprise when Lars reached out recently to alert me to the pending release of his second album, Echoes. 6 years on, the solo project is now a full-fledged band ready to tour in support of their latest release. And what a large release it is! At 60 minutes, Echoes takes the style from the debut and goes way bigger, with much longer compositions and greater ambition in the writing. If that’s not big enough, it also features cover art from Adam Burke and a production from Dan “The Fücking Man” Swanö!1 Is bigger better in this case? Can more really be MOAR? And how are these guys still unsigned?? These are the questions of our time.

It takes ample ballsack to open with a nearly 11-minute song, but Ethereal Darkness do just that with “Gone With the Tide.” If the atmosphere on Smoke and Shadows impressed you, this will knock you into the next multiverse. It’s an epic, sweeping tableau of massive melodoom that holds nothing back as it transports you to majestic forests and towering mountains of snow and ice. It recalls the best works of Be’lakor and Black Sun Aeon, but there’s plenty of Insomnium in the DNA too. The guitarwork is phenomenal, full of sadboi trilling and doomy weight. The death vocals by Lars are very effective, the clean singing by acoustic guitarist Brecht hits the right way, and the lapses into blastbeating blackness are well-timed adrenaline spikes. This is a stupendous song and one of the best so far this year, and it goes by in a flash despite its girth. “The Cycle” continues to maintain the sky-high quality. It’s like a crazy mash-up of Eneferens and modern Amorphis, and you should pay big money for such a potent potable. It’s the kind of song you get lost in and lose track of time, and when you write songs in the 8-10 minute window, this is essential.

Elsewhere, “Winter” moves toward more blackened environs, channeling Saor and Nechochwen as epic soundscapes are raised and explored. The guitars here are beautifully rendered, and it’s another triumph for this unheralded project. Equally monolithic is “On the Edge of the Cliff,” where the music turns more aggressive and urgent, merging black and melodeath idioms adroitly for maximum impact. There’s an epic Viking metal energy here that makes you want to conquer and rule the weak, and it feels dangerously powerful. Despite so much magnificent opulence and aural decadence, there are some weaker moments. “IV” is very, very good and hints at my beloved Rapture, but it ends up feeling too long at 9:45, and trimming it by a few minutes would have helped. Ginormous closer “Realization” runs over 13 minutes, and despite good to great moments throughout, it’s undone by its sheer width and breadth. In its final minutes, I find it increasingly difficult to stay locked in and attentive. At just over 60 minutes, Echoes can be a daunting listen due to its density and length, but the reward is well worth the effort. I can’t find fault with the Swanö-ified production, as everything sounds lush, gorgeous, and heavy without being loud or oppressive.

Lars handles guitar, bass, keyboards, and harsh vocals, and to say he did an amazing job across the board doesn’t begin to cover it. There are some big, emotional moments here courtesy of his 6-string heroics, referencing the works of Tuomas Saukkonen without imitating. His deep death roars punctuate the music with force, and his blackened cackles and screams pierce through like lasers. His restrained use of keyboards should be a case study for other acts in the genre. They add atmosphere but rarely rise out of the distant background. Becht provides soothing acoustic guitar passages and clean vocals that deliver pathos and emotion. Peter’s drumming is a vast improvement over the programmed percussion from the debut, imbuing the material with vibrancy and weight. Applause all around for this crew!

Echoes is a bigger, better album than Smoke and Shadows in every way, with several tracks worthy of Song o’ the Year consideration. The album length and the bloat on a few tracks hold it back from even greater heights, but just barely. This is a sumptuous feast for the ears and mind, and I get the feeling I’ll be spending a lot of time with this over the next few months. Ethereal Darkness are about to get a lot more attention in the metalverse, and they deserve it. Hear this massive monster or be a lesser mortal. Somebody better sign these guys toot-sweet!



Rating: 4.0/5.0
DR: NA | Format Reviewed: WAV
Label: Self-Release
Websites: etherealdarkness.bandcamp.com | facebook.com/etherealplace | instagram.com/etherealdarknessband
Releases Worldwide: March 20th, 2026

Way back in the year before the Great Plague, I took a chance and reviewed an unheralded, self-released album by a one-man band from Belgium called Ethereal Darkness. We received the promo from the AMG contact forms without fanfare or fluff, but what I heard on Smoke and Shadows really impressed me. Project mastermind Lars created a monumental slab of melancholic, melodic doom in the vein of Insomnium, Rapture, and Before the Dawn, and the material had depth, power, and gravitas. It seemed like the work of a seasoned and polished group of musicians despite some rough edges. The years have drifted by since that review, and I’d all but given up Ethereal Darkness for dead. Imagine my surprise when Lars reached out recently to alert me to the pending release of his second album, Echoes. 6 years on, the solo project is now a full-fledged band ready to tour in support of their latest release. And what a large release it is! At 60 minutes, Echoes takes the style from the debut and goes way bigger, with much longer compositions and greater ambition in the writing. If that’s not big enough, it also features cover art from Adam Burke and a production from Dan “The Fücking Man” Swanö!1 Is bigger better in this case? Can more really be MOAR? And how are these guys still unsigned?? These are the questions of our time.

It takes ample ballsack to open with a nearly 11-minute song, but Ethereal Darkness do just that with “Gone With the Tide.” If the atmosphere on Smoke and Shadows impressed you, this will knock you into the next multiverse. It’s an epic, sweeping tableau of massive melodoom that holds nothing back as it transports you to majestic forests and towering mountains of snow and ice. It recalls the best works of Be’lakor and Black Sun Aeon, but there’s plenty of Insomnium in the DNA too. The guitarwork is phenomenal, full of sadboi trilling and doomy weight. The death vocals by Lars are very effective, the clean singing by acoustic guitarist Brecht hits the right way, and the lapses into blastbeating blackness are well-timed adrenaline spikes. This is a stupendous song and one of the best so far this year, and it goes by in a flash despite its girth. “The Cycle” continues to maintain the sky-high quality. It’s like a crazy mash-up of Eneferens and modern Amorphis, and you should pay big money for such a potent potable. It’s the kind of song you get lost in and lose track of time, and when you write songs in the 8-10 minute window, this is essential.

Elsewhere, “Winter” moves toward more blackened environs, channeling Saor and Nechochwen as epic soundscapes are raised and explored. The guitars here are beautifully rendered, and it’s another triumph for this unheralded project. Equally monolithic is “On the Edge of the Cliff,” where the music turns more aggressive and urgent, merging black and melodeath idioms adroitly for maximum impact. There’s an epic Viking metal energy here that makes you want to conquer and rule the weak, and it feels dangerously powerful. Despite so much magnificent opulence and aural decadence, there are some weaker moments. “IV” is very, very good and hints at my beloved Rapture, but it ends up feeling too long at 9:45, and trimming it by a few minutes would have helped. Ginormous closer “Realization” runs over 13 minutes, and despite good to great moments throughout, it’s undone by its sheer width and breadth. In its final minutes, I find it increasingly difficult to stay locked in and attentive. At just over 60 minutes, Echoes can be a daunting listen due to its density and length, but the reward is well worth the effort. I can’t find fault with the Swanö-ified production, as everything sounds lush, gorgeous, and heavy without being loud or oppressive.

Lars handles guitar, bass, keyboards, and harsh vocals, and to say he did an amazing job across the board doesn’t begin to cover it. There are some big, emotional moments here courtesy of his 6-string heroics, referencing the works of Tuomas Saukkonen without imitating. His deep death roars punctuate the music with force, and his blackened cackles and screams pierce through like lasers. His restrained use of keyboards should be a case study for other acts in the genre. They add atmosphere but rarely rise out of the distant background. Becht provides soothing acoustic guitar passages and clean vocals that deliver pathos and emotion. Peter’s drumming is a vast improvement over the programmed percussion from the debut, imbuing the material with vibrancy and weight. Applause all around for this crew!

Echoes is a bigger, better album than Smoke and Shadows in every way, with several tracks worthy of Song o’ the Year consideration. The album length and the bloat on a few tracks hold it back from even greater heights, but just barely. This is a sumptuous feast for the ears and mind, and I get the feeling I’ll be spending a lot of time with this over the next few months. Ethereal Darkness are about to get a lot more attention in the metalverse, and they deserve it. Hear this massive monster or be a lesser mortal. Somebody better sign these guys toot-sweet!



Rating: 4.0/5.0
DR: NA | Format Reviewed: WAV
Label: Self-Release
Websites: etherealdarkness.bandcamp.com | facebook.com/etherealplace | instagram.com/etherealdarknessband
Releases Worldwide: March 20th, 2026

In Mourning – The Immortal Review

By Kenstrosity

Swedish sadboi staples In Mourning have had quite the journey over the 25 years since their founding. From the early days of doom-laden, gothic-tinged pall to the current era of dramatic, crooning melodic death, In Mourning’s trajectory arcs over one of the more unsung careers in a world filled with Insomniums, Be’lakors, and Omnium Gatherums. Yet, theirs is the one that stuck with me. I witnessed the majesty of Monolith as a breakout high-water mark, the uncertainty of transitional records like Afterglow, and the resurgence of Garden of Storms followed by an absolute triumph in The Bleeding Veil. And through it all, In Mourning always delivered material of rich depth, considerable nuance, and highly developed songwriting. Their seventh, The Immortal, is no exception.

Immediately identifiable as an In Mourning special, The Immortal sees these Swedes expanding and elevating their repertoire of sound and style further than ever, but still grounding themselves in the chunky riffs, multifaceted vocals, and soaring melodies I’ve come to expect. Integrating a mild proggy slant that reminds of The Meaning of I-era Voyager (“Song of the Cranes,” “The Sojourner”); scorching the flesh with second-wave black metal melodies that recall …and Oceans and Mare Cognitum (“Staghorn” and “The Hounding,” respectively); and utilizing a wide gamut of rhythms and percussive patterns pulling from all over the metallic spectrum1 mark a few key ways In Mourning play with this more varied palette, and to great effect. Pulling it all together, The Immortal’s crisp and clear mix showcases every performance, spotlights each vibrant tone and stimulating texture, and deftly balances soft ruminations against ferocious outbursts.

To my great delight, In Mourning’s best compositions here are those which challenge what I expect to experience. In particular, “As Long as the Twilight Stays” and “Staghorn” elicit intense frisson in my system as I cycle through each spin. In the former’s case, it is the chorus’ tremolo melody tumbling to the foreground from a wonderfully smooth percussive fill that lights up my skin. In the latter, the shock of an aggressive old-school black metal riff surprises me with a most enticing burst of velocity. Yet, each song offers much more than just a single moment of radiating pleasure. Smartly written, honed compositions like those aforementioned highlights writhe between shapes and styles in such a way as to create excitement and intrigue at every turn. Other contenders like “Silver Crescent,” “The Sojourner,” and “North Star” offer reminders of what In Mourning always excelled at, balancing syncopated riffs with weeping guitar melodies and clean vocals that evoke a synesthetic vision of sepia-toned fields of wheat brushing against a gentle breeze. More importantly, though, the effectiveness of these cuts illuminates how successfully closer “The Hounding” compiles all of In Mourning’s strengths, both proven and newfound, into a shimmering tearjerker that demands my rapt attention.

At a tight 47 minutes, The Immortal flies by with an effortless grace, leaving very little opportunity for me to capture and identify negatives. With persistence, however, I started noticing that gentle quasi-ballad quasi-interlude “Moonless Sky” is the only number that leaves my memory all too quickly. It’s gorgeous, just like everything The Immortal exhibits, but simply lacks staying power. In a similar vein, I call into question the function of opening intro “The Immortal.” It’s so short and blends so seamlessly into first track proper, “Silver Crescent,” that I wonder why the two aren’t merged into one. To reach for another nit to pick, “Song of the Cranes,” while a rock-solid song on its own, does feel less inspired and more in line with the majority of In Mourning’s existing catalog than its neighbors. It’s not so stark an outlier that it feels out of place in the tracklist. Rather, it simply feels a touch weaker by comparison.

With The Immortal, In Mourning further solidify their status as an elite act in the melodeath pantheon. It is well known to the readers and writers here that they have become my personal favorite in this particular subset, but I was still pleasantly surprised. A modest, but notable departure from their usual approach, and still unquestionably rooted in their established identity, The Immortal is on par with In Mourning’s best work. You owe it to yourselves to hear it.

Rating: Great!
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Supreme Chaos Records
Websites: inmourning.bandcamp.com | facebook.com/inmourningband
Releases Worldwide: August 29th, 2025

#AndOceans #2025 #40 #Aug25 #BeLakor #InMourning #Insomnium #MareCognitum #MelodicBlackMetal #MelodicDeathMetal #OmniumGatherum #ProgressiveDeathMetal #Review #Reviews #SupremeChaosRecords #SwedishMetal #TheImmortal #Voyager

Be'lakor, the Dark Master
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This has always been one of my favorite sculpts from GW. I even have the new one waiting to be built but I wanted to play with this one first.
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#holyfireminis #warhammer #warhammercommunity #chaosdaemons #belakor #miniaturepainting #minipainting #painting #art #oldhammer #middlehammer

WIP Wednesday
Oldhammer (Middlehammer?) Be'lakor. Looking forward to adding some fluorescent orange to that sword! Maybe some OSL🤔
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#holyfireminis #warhammer #warhammer40k #warhammercommunity #chaosdaemons #belakor #oldhammer #middlehammer #wip #wipwednesday #miniaturepainting #minipainting #Painting #art

Ich weiß dass die Chancen nicht so hoch sind, aber hat noch jemand ein Ticket für #belakor in #Hannover im Café #Glocksee am Sonntag abzugeben?