#belgian-metal — Public Fediverse posts

🔥 NEW INTERVIEW: DAGGERS 🔥

"Daggers: Raw, uncompromising sonic catharsis." ⚡️

We sat down with the masters of Belgian Hardcore Metal to discuss the visceral power behind their sound. A deep dive into pure brutality and emotional release. 🇧🇪

Check out the full conversation now.

👉 Read here: https://roughtimes.net/interviews/daggers-channelling-pain-into-raw-sound-belgium-hardcore-metal-interview-with-thierry-thomas

#Daggers #HardcoreMetal #BelgianMetal #Catharsis #NewMusic #Interview #ExtremeMusic

@daggersband

It’s been some time since Splendidula has visited these pages. The fearsome Carcharodon reviewed their sophomore record, Post Mortem, as a wee n00b long ago in 2018, wherein he saw glimmers of potential in the gothic doom metal. He didn’t cover 2021’s Somnus for unknown reasons, though I think he might have been pleased with the heavier post-metal inclinations that permeated the record. The years since then have been rough for this Belgian group, marred by the passing of several loved ones, including their bassist Peter Chromiak. Absentia emerges in the wake of these tragedies as a means to both express and confront this debilitating heartache and loss.

Chromiak’s absence is felt in the very essence of Absentia. Although drummer Joachim Taminau took up the bassist role, the burly bass presence from the prior two records is all but gone. Splendidula kept much of their gothic doom but, fittingly, chose to fill the void with another of metal’s most expressive subgenres—DSBM. Whereas Kristien Cools previously stuck to clean vocals (for the most part), she now becomes both beauty and beast, dividing her time between sorrowful singing and shrieking. She also leans on a couple of notable guest vocalists. Tim Yatras (Austere) adds blackened snarls and backing cleans to “Absentia,” followed by Aaron Stainthorpe (ex-My Dying Bride, High Parasite), who contributes his rumbling growls and velvety baritone to “Echoes of Quiet Remain.” These guest selections neatly encapsulate the two different aspects of Absentia.

Absentia by Splendidula

While much music (and art in general) is born from a place of grief, Absentia is practically synonymous with it. Underneath the stoic exterior lurks a raw torment that flares up whenever and however it wants. For example, “Donkerte” begins with despondent singing, but as the verse progresses, Cools’s voice escalates until finally a primal scream spills out. Later, the double-tracked cleans and screams give the impression of one putting on a brave face as anguish roils inside. When her voice dips into the lower ranges (particularly in “Absentia” and “Let It Come to an End”), it takes on a sort of nasally drawl which augments the mournful atmosphere, though this likely won’t appeal to everyone. Also like grief, sections of certain songs tend to linger for longer than one might like (“Echoes of Quiet Remain,” “Kilte,” “Absentia”).

Absentia musically conveys the importance of a healthy support system during times of grief. Though much hinges on Cools’s vocal performances, the other two members of Splendidula help to sustain her in subtle but important ways. During “Dalkuldar,” a forlorn respite from the turmoil, the snare rhythms and bass drum beats are akin to a bolstering drumline. The tempestuous percussion also heightens the sense of desperation in “Kilte.” Closing track “Let It Come to an End” flips the script, letting Cools take a backseat and bringing guitarist Guy Van Campenhout’s growls to the forefront, perhaps emblematic of leaning on loved ones during times of crisis.

In terms of emotional devastation, Absentia is as potent a record as you’re likely to find. Kristien Cools keeps improving with each release, and the compositions complement her increasingly diverse vocal styles well. The deeply personal nature of Splendidula’s work of art is both strength and weakness. The intense and authentic expression of grief is harrowingly beautiful, but in a way that seems impossible for an outsider to fully appreciate. Like attending a funeral for someone you didn’t know, it’s easy to empathize with those in mourning but difficult to feel the same deep personal connection. That said, the next time grief comes for me personally, I may be very grateful that I became acquainted with Absentia.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Argonauta Records
Websites: splendidula.bandcamp.com | facebook.com/Splendidula
Releases Worldwide: April 3rd, 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

I’ll take “Global Notables” for $600, please, Ken—The clue: Country famous for its waffles, chocolate, beer, and castles. The answer—What is Belgium?! Correct! Belgium is also home to some pretty decent black metal bands—Lugubrum, Enthroned, and Wiegedood, to name a few. Here to add another branch to that blackened Belgian family tree is Erbeet Azhak, the side project of one pretty busy Corvus von Burtle—C.V.B.(Cult of Erinyes, Wolvennest, LVTHN, Aerdryk). Erbeet Azhak’s debut album, Only the Vile Will Remain, helmed by his Cult of Erinyes bandmate and all-around metal maestro Déhà at Blackout Studio, promises to stand “as a manifesto in which hatred and chaos coexist under the dominion of a faceless yet resolute entity.” Let’s plant the dark seed of Erbeet Azhak’s Only the Vile Will Remain together and see what slithering roots sprout from within.

Erbeet Azhak’s black metal is desolate and chaotic, but doesn’t stray far from trails travelled by C.V.B.’s other projects. Still, it finds him further flexing his vocal muscles, which are a mix of everyman blackened rasps alongside tonal shouts and growls that sound a lot like F.O.A.D.-era Nocturno Culto. Even as Erbeet Azhak brings C.V.B.’s own guitar and bass talents to bear, guest musicians S. Iblis’s (Possession) lead guitar, Onbra Oscoura’s (Abyssal Vacuum) bass, and Laye’s (Putrid Offal) drumming flesh out a sound palette that explores several black metal styles. Sargeist lurks in the riffs of galloping melodicism present on “The Wings of Liberation,” just as Blut Aus Nord fans can belly up to a bar stocked with blasting beats and decaying dissonance (“Lecherous Angels,” “Death to the Self”).1 Further examination finds traces of Aosoth in the near blackened war metal of “Only the Vile Will Remain,” while devotees of doomier plods ala late-era Darkthrone should find comfort in the folds of “Erbeet Azhak.” Despite what seems such a mixed bag, Only the Vile Will Remain encases its twists and turns in a production that provides sonic consistency.

Raw but nuanced, Erbeet Azhak packs as many interesting details into Only the Vile Will Remain as Luciana Nedelea did her excellent cover art. I particularly enjoyed the engaging guitar leads that creep amongst the riffs and blast beats of “The Weakness of Our Cycle” as much as I did the intriguing riff patterns and spacy, atmospheric interlude that hijacks “The Inner Circle” around the 2:45 mark, segueing into a really nice melodic guitar solo. Iblis’s performance warrants particular note, as he peppers the whole of Only the Vile Will Remain with lots of satisfying, melodically intricate solo work not present on most black metal of this ilk (“The Wings of Liberation,” “Death to Self”). C.V.B.’s performance on the mic also deserves a nod. While he’s never contributed in this way on any of the other projects he’s involved with, save Aerdryk, his vocals fit what Erbeet Azhak does well and add a layer of gravelly, gothic tension and menace. The vocal cherry on top, however, belongs to Zd from LVTHN, whose inhuman screeches absolutely haunt the back-end passages of “Lecherous Angels.”

While Only the Vile Will Remain isn’t a sprawling, over-bloated behemoth by any means, it could benefit from a little nip and tuck. Erbeet Azkhak traverses the many planes of its black metal existence with relative ease and is most compelling when song lengths provide enough room for all the transitions to develop. Evident even on the albums second shortest song, “The Wings of Liberation,” which transitions from a galloping mid-pace to a blast-furnace passage before moving on toward a guitar solo flowing with melodicism and then back again, all within the span of 4:06. Ironically, this leaves the 3:46’s of the title track stuck in my craw as the album’s most boring; its straight-forward, blast-beat-overloaded war-metal approach sticking out sorely amidst the much more atmospheric fare on display. Cutting this and the mostly superfluous intro would have left Only the Vile Will Remain a more lethal beast.

Erbeet Azhak hasn’t revolutionized the landscape of black metal, neither in Belgium nor in the broader, raw-as-misanthropic scene in which Only the Vile Will Remain operates. Those intrigued by the name drops above should find something of value here. I know I got more than I was expecting. For now, I’d say there’s a fresh sprout on the Belgian black metal family tree with Erbeet Azhak’s name on it; whether that grows into a sturdy branch or not, only time will tell.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Amor Fati Productions
Websites: Bandcamp
Releases Worldwide: March 7th, 20262

In case you’re unfamiliar, The Epic of Gilgamesh is an ancient Mesopotamian poetic narrative, whose first complete form is dated to approximately 1800 BCE. It follows a story of King Gilgamesh and his dealings with gods and other mythic monsters, culminating in a journey for the secret of immortality.1 What better way could there be to consume this rich, literary epic than have it interpreted by the collection of artists behind From the Waters of Death? Obscure black/doom duo Swords of Dis; death metal veteran and experimenter Serpent Ascending; Neptunian Maximalism’s darker, heavier incarnation Ôros Kaù; and ambient-black dreamer Midnight Odyssey. All are infamous—if you know who they are—for their strange, unconventional styles and love for long-form expression that borders on the self-indulgent, which may make them ideally suited to a Gilgamesh retelling. You may already be experiencing a sinking feeling of dread at those name-drops. But together these artists achieve something that exceeded my expectations even as it met them squarely.

While appearing to be a split, Waters is more of a collaboration as each individual contributes vocal or instrumental talents across multiple songs, including on those they wrote and take the lead in themselves. Spearheading the whole thing are Richard and Alice Corvinus of Swords of Dis, who have a hand in all lyrics and appear on every track. These lyrics, inspired by the words of the epic itself, consist of narration interspersed with dialogue between the various characters, and the five musicians rotate and share roles depending on who is involved in the corresponding part of the story. 2 This improves the album’s internal coherence—which might otherwise be hindered in a split format—whilst also allowing each movement to take on the personality of its lead artist. As a form of adaptation, the five tracks of reverb-filled, noisy, strange, melodramatically or demoniacally vocally-led, black-adjacent fringe metal lean into the grand, frightening side to the tale whose gravity us modern-age folk probably can’t appreciate properly. And it’s that excessive, almost absurd commitment to being different, which—and I can’t believe I’m saying this—actually works.

From The Waters Of Death by SWORDS OF DIS

Drama is at the heart of oral poetic tradition, and it’s Waters’ drama that similarly grounds its best aspects. Utmost credit goes to Alice Corvinus and her fierce (“From Egalmah They Rode…”3, operatic (“Araru Births the Lord of the Wilderness,” “From Egalmah…,” “Blood Stains The Altar…”4), sometimes eerie (“Into the Wailing Darkness”5) vocal performance. Her presence dominates as she provides some narration in addition to voicing every female character (and there are a lot of goddesses involved). Dark, minor tremolo refrains and Middle-Eastern-inspired melodies support her delivery, and the theatrical, flowing style Swords of Dis employ lends itself to this expression perfectly. In a different vein, the inhumanly gurgling snarls of Guillaume Cazalet (Ôros Kaù) make for a barbed contrast to otherwise vague, even beautiful, passages (“Blood…”), and can be genuinely frightening (“Into The Wailing Darkness”). All vocals—clean or harsh—are odd to a degree, sometimes even off-putting (“Araru…”). Yet most breaches of the cringe line are brief, and ameliorated by interesting instrumentation (“Blood…,” “From the Setting…”6). Those totally averse to what we anaemically refer to as ‘avant-garde’ in extreme metal can beg to differ, but the back and forth between dissonance and harmony (“Araru…,” “Blood…”), and between uncomfortable slowness and sudden speed (“From the Setting…”), is not only well-performed, it makes sense for the record’s narrative concept. A journey represented through a monotonous pattern (“From Egalmah…,” “From the Setting…”), the fury of a deity by means of an operatic surge (“From Egalmah…”).

Waters embodies the manner of epic poetry so well, however, that its digestibility is harmed as well as helped. Whether appropriate or not, its near-90-minute runtime makes engaging with its entirety a daunting prospect, and this is a record that fares best when you do give it the time and space to immerse you.7 The very aptness of the compositional style—long repetitive sections on the one hand, and frequent switches between tempo, melody, and vocalist on the other—which mimics recitation amongst orators, can prove taxing. It creates a dynamic of brilliant moments and stand-out performances, scattered unevenly inside overextended filling. It’s perhaps not a coincidence that the album’s midsection—the two tracks led by masterminds Swords of Dis—is by far the best and most even in quality, whereas its final act—Midnight Odyssey’s—is the least engaging and unable to support its length.8

Though Waters cannot escape the idiosyncrasies of the artists behind it—and so inherently restricts its audience—as an expression of this epic poem, these approaches to black metal are surprisingly apt. If you have the time to go on this adventure with Serpent Ascending, Ôros Kaù, Swords of Dis, and Midnight Odyssey, there’s plenty to enjoy. But if nothing else, let it be an excuse to learn about the original myth that inspires such weird, sometimes wonderful music.

Rating: Good(!)
DR: 6 | Format Reviewed: 256 kbps mp3
Label: I, Voidhanger
Websites: Album BC | Serpent Ascending BC | Serpent Ascending FB | Ôros Kaù BC | Ôros Kaù FB | Swords of Dis BC | Swords of Dis FB | Midnight Odyssey BC | Midnight Odyssey FB
Releases Worldwide: February 13th, 2026

Psychonaut – World Maker Review

By Kenstrosity

Over the course of the last five years and change, my estimation of Belgian three-piece Psychonaut has only increased. Where I unfortunately missed out on Violate Consensus Reality for review duties, I didn’t let it slip outside of my listening rotation—certainly not after such an impressive debut, Unfold the God Man. I underrated that outing, citing bloat as the main drawback. Little did I consider that Psychonaut’s music often needs much more time than we’re given as our standard reviewing window to fully bloom. The psychedelic proggy post-metal purveyors boast a thoughtful and deeply layered songwriting approach that can’t be captured by a casual spin or three. Hence why I asked for World Maker, the trio’s third opus, early.

This proved to be a wise choice, as World Maker once again showcases the kind of writing that expands with a seemingly infinite upper limit over the course of time and attention. Less immediate than Violate Consensus Reality and less intimidating than Unfold the God Man, World Maker plucks the ripest fruit from each endeavor to formulate a rich and tantalizing concoction worthy of peddling alongside household names like The Ocean, Pink Floyd, and even Tool. World Maker is in some ways more intense (“Endless Currents”), and in others more relaxed (“…Everything Else is Just the Weather”), and all-around more psychedelic than what I’ve heard from Psychonaut before. Yet, it wholly retains Psychonaut’s uncanny knack for organic, almost primal rhythms, fluid transitions, and captivating phrases that achieves comparable success with or without vocals (“Origins”).

What sets World Maker apart from either of its predecessors is refinement in songwriting. Their base formula remains intact, but the methods with which Psychonaut compose and perform these latest arrangements ooze sophistication and finesse. Epic tracks like “And You Came with Searing Light” and “Stargazer,” in particular, showcase some of Psychonaut’s strongest and most satisfying writing to date. Exploring a wide gamut of textures, tones and tempos, these long-form journeys balance the power of the riff utilized on “You Are the Sky…” and “Endless Erosion” with the introspective post-metal lightness illuminated on “…Everything Else is Just the Weather” and “All in Time.” Generous and varied application of this strategy album-wide affords Psychonaut’s impeccably detailed compositions ample room for natural transformations between the monstrous and the gentle. This, in turn, allows World Maker to feel alive, to grow and evolve with every passing minute, and each subsequent spin.

As such, World Maker takes time and commitment to fully appreciate. It moves with such grace that its hour-long 1 runtime shrinks dramatically before me; that much became evident almost immediately. At the same time, it’s a dense and complex work that unfolds across multiple dimensions more rapidly than any one explorer can keep step. Perhaps this is a reflection of the circumstances surrounding its creation. With guitarist/vocalist Stefan de Graef’s entry into new fatherhood to devastating news of his father’s and bassist/vocalist Thomas Michiels’ father’s advanced cancer diagnoses, a newfound focus on the here and now illuminates the emotional shades that help define and color World Maker’s deeply affecting compositions. Trading off bright glimmers of hope with the looming shadow of grief, and simultaneously carrying the weight of everything that falls between, informs every moment of World Maker. This makes it a much more personal record than its predecessors. Moreover, Psychonaut curated an inviting, vulnerable space so that I might join in their joys and their sorrows through this work, creating a special kind of intimacy that is a privilege to share.

Even for those who lack the context in their own lives yet to fully identify with the stories and messages explored here, World Maker will likely have a substantial impact. It is a record that demands not just your full attention, but also your recurring presence. A single spin, or even three, is wholly insufficient to chart in totality what Psychonaut attempts to communicate here. These are songs meant to somehow, in some way, encapsulate the breadth of life and all of the lessons it teaches, the pains it inflicts, and the exhilaration it inspires. In my opinion, Psychonaut achieved a difficult, delicate balance within that astounding spectrum. All you need to see it for yourself is an open heart and a little time.

Rating: Great!
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Pelagic Records
Websites: psychonautband.bandcamp.com | facebook.com/psychonautband
Releases Worldwide: October 24th, 2025

#2025 #40 #BelgianMetal #Oct25 #PelagicRecords #PinkFloyd #PostMetal #ProgressiveMetal #PsychedelicMetal #Psychonaut #Review #Reviews #TheOcean #Tool #WorldMaker

This week's #ThursDeath is a recent find I've been listening a lot to this week, Belgium's DISCARNATION have re-released their 2023 demo as 'Mournful Incantations of Mortality'. This is a fantastic piece of gloomy, death-doom that's super growly and cavernous, just how I like it-- much like this year's Cave, Ovenhead or Annihilation Cult. Definitely one to try out, for fans of the death-doom - great dynamics and everything else. It hooks you and draws you in.

https://morbidchapelrecords.bandcamp.com/album/mournful-incantations-of-mortality

#metal #DeathMetal #BelgianMetal #BelgianBands #Discarnation #doom #DoomMetal #DeathDoom @HailsandAles @rtw @wendigo @Kitty @umrk @lola @flockofnazguls