#belgianmetal — Public Fediverse posts

A year before Slayer started their thrash party, Paul “Shorty” Van Camp and Fat Leo formed their band, Killer. However, their names are the only things these two bands have in common—instead of thrash, Killer play an energetic style of classic heavy metal that has drawn plenty of comparisons to Motörhead. One can also hear NWOBHM influences from Saxon to Iron Maiden as well as some Def Leppard, AC/DC, and Thin Lizzy. What some consider Belgium’s first metal band, Killer struggled to imitate the success of their influences, with lineup changes wreaking havoc and financial struggles leading to lengthy hiatuses. After 1990’s Fatal Attraction, the ’90s were a quiet decade for the crew until a burst of energy following a 20th anniversary reunion that led to the release of two records in 2003 and 2005. The Grand Finale marks their third album since 2005’s Immortal, their ninth overall, and, as the album title and tongue-in-cheek cover art suggest, the last of their career. Despite their age, these guys prove they aren’t too olde to rock.

On The Grand Finale, Killer embrace the Motörhead within them. The record doubles as their swan song and as a tribute to Lemmy Kilmister, including guest performances from Lloyd “Lemmy,” the vocalist of a Motörhead tribute band called Motörheadz.1 Things start off with that Motörhead energy on the catchy “Loaded Gun,” which also has the economic flair of AC/DC. It establishes the sort of simple, yet distinctive, riffs that give each track a memorable spark. It’s not all Motörhead all the time, however. “Welcome in the Real World”2 has the classic heavy metal feel of Judas Priest, and structurally the songs play out in a Def Leppard fashion with stripped-down yet catchy choruses. Yet, Motörhead does dominate the thematic content of The Grand Finale. The centerpiece, “Roll the Dice,” takes clear influence from “Ace of Spades,” using the same “life as a gamble” metaphor. Shorty and Lloyd “Lemmy” sing, “Life’s a casino” and “If you don’t play you never can win.” Yes it’s a bit on the nose for “Ace of Spades,” but still plenty fun.

Shorty is the only remaining member from the ’80s days, but these guys play with plenty of spunk for a trio that’s been together for 15 years. The 70-year-old lead singer proves the adage that age is just a number. Sure, his voice has a bit of a huskiness that weighs it down, but he sings with gusto and spirit. There’s no pity in his final performance—on “The Grand Finale,” he sings “Stop! The show is over” with the cheerful abandon of someone satisfied with their lot. He sees the silver lining in performing this finale: “It’s our very last chance to enjoy the passion, the treasure.” The joy is catching. The ballad “Gone Too Soon” is the true heart of the album, serving as a tribute to Lemmy. It’s a heartfelt piece that genuinely expresses Killer’s grief in a down-to-earth way that isn’t overly sappy. Along with the charismatic vocal performance, the memorable riffs and fun solos prove that The Grand Finale was borne from a spark of true passion.

Though The Grand Finale harks back to the days when Killer wrote tighter records, wrapping up in a concise 38 minutes,3 it does begin to grow stale in the back half. “Hard Day Coming” is one of the more interesting songs thematically, taking the “grand finale” theme in a more sinister and global direction by warning of a coming “hard day” ravaged by raging seas and “violence and hate.” It’s a fine tune, but it leads to a string of structurally similar songs that feel repetitive, following one after the other. Rescuing the record from a sluggish ending is the return of Lloyd “Lemmy” on the highly energetic “What You See is What You Get.” Frenetic riffs and blast beats snap awake sleepy musicians and listeners alike, allowing this one to end on a high note and keep the good vibes flowing.

They may lack the influence of many of their peers and won’t draw the same amount of attention as another “grand finale” released earlier this year, but it’s still bittersweet to witness the end of such a long career. Killer face this ending with such good spirits that it’s more sweet than bitter, however. I won’t speculate on where this one sits in their discog,4 but what matters is that it’s an enjoyable send-off, something fans will appreciate as well as newcomers who enjoy classic heavy metal.

Rating: 3.0/5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: High Roller Records
Websites: Facebook | Official Site
Releases Worldwide: September 11th, 2026

A year before Slayer started their thrash party, Paul “Shorty” Van Camp and Fat Leo formed their band, Killer. However, their names are the only things these two bands have in common—instead of thrash, Killer play an energetic style of classic heavy metal that has drawn plenty of comparisons to Motörhead. One can also hear NWOBHM influences from Saxon to Iron Maiden as well as some Def Leppard, AC/DC, and Thin Lizzy. What some consider Belgium’s first metal band, Killer struggled to imitate the success of their influences, with lineup changes wreaking havoc and financial struggles leading to lengthy hiatuses. After 1990’s Fatal Attraction, the ’90s were a quiet decade for the crew until a burst of energy following a 20th anniversary reunion that led to the release of two records in 2003 and 2005. The Grand Finale marks their third album since 2005’s Immortal, their ninth overall, and, as the album title and tongue-in-cheek cover art suggest, the last of their career. Despite their age, these guys prove they aren’t too olde to rock.

On The Grand Finale, Killer embrace the Motörhead within them. The record doubles as their swan song and as a tribute to Lemmy Kilmister, including guest performances from Lloyd “Lemmy,” the vocalist of a Motörhead tribute band called Motörheadz.1 Things start off with that Motörhead energy on the catchy “Loaded Gun,” which also has the economic flair of AC/DC. It establishes the sort of simple, yet distinctive, riffs that give each track a memorable spark. It’s not all Motörhead all the time, however. “Welcome in the Real World”2 has the classic heavy metal feel of Judas Priest, and structurally the songs play out in a Def Leppard fashion with stripped-down yet catchy choruses. Yet, Motörhead does dominate the thematic content of The Grand Finale. The centerpiece, “Roll the Dice,” takes clear influence from “Ace of Spades,” using the same “life as a gamble” metaphor. Shorty and Lloyd “Lemmy” sing, “Life’s a casino” and “If you don’t play you never can win.” Yes it’s a bit on the nose for “Ace of Spades,” but still plenty fun.

Shorty is the only remaining member from the ’80s days, but these guys play with plenty of spunk for a trio that’s been together for 15 years. The 70-year-old lead singer proves the adage that age is just a number. Sure, his voice has a bit of a huskiness that weighs it down, but he sings with gusto and spirit. There’s no pity in his final performance—on “The Grand Finale,” he sings “Stop! The show is over” with the cheerful abandon of someone satisfied with their lot. He sees the silver lining in performing this finale: “It’s our very last chance to enjoy the passion, the treasure.” The joy is catching. The ballad “Gone Too Soon” is the true heart of the album, serving as a tribute to Lemmy. It’s a heartfelt piece that genuinely expresses Killer’s grief in a down-to-earth way that isn’t overly sappy. Along with the charismatic vocal performance, the memorable riffs and fun solos prove that The Grand Finale was borne from a spark of true passion.

Though The Grand Finale harks back to the days when Killer wrote tighter records, wrapping up in a concise 38 minutes,3 it does begin to grow stale in the back half. “Hard Day Coming” is one of the more interesting songs thematically, taking the “grand finale” theme in a more sinister and global direction by warning of a coming “hard day” ravaged by raging seas and “violence and hate.” It’s a fine tune, but it leads to a string of structurally similar songs that feel repetitive, following one after the other. Rescuing the record from a sluggish ending is the return of Lloyd “Lemmy” on the highly energetic “What You See is What You Get.” Frenetic riffs and blast beats snap awake sleepy musicians and listeners alike, allowing this one to end on a high note and keep the good vibes flowing.

They may lack the influence of many of their peers and won’t draw the same amount of attention as another “grand finale” released earlier this year, but it’s still bittersweet to witness the end of such a long career. Killer face this ending with such good spirits that it’s more sweet than bitter, however. I won’t speculate on where this one sits in their discog,4 but what matters is that it’s an enjoyable send-off, something fans will appreciate as well as newcomers who enjoy classic heavy metal.

Rating: 3.0/5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: High Roller Records
Websites: Facebook | Official Site
Releases Worldwide: September 11th, 2026

A year before Slayer started their thrash party, Paul “Shorty” Van Camp and Fat Leo formed their band, Killer. However, their names are the only things these two bands have in common—instead of thrash, Killer play an energetic style of classic heavy metal that has drawn plenty of comparisons to Motörhead. One can also hear NWOBHM influences from Saxon to Iron Maiden as well as some Def Leppard, AC/DC, and Thin Lizzy. What some consider Belgium’s first metal band, Killer struggled to imitate the success of their influences, with lineup changes wreaking havoc and financial struggles leading to lengthy hiatuses. After 1990’s Fatal Attraction, the ’90s were a quiet decade for the crew until a burst of energy following a 20th anniversary reunion that led to the release of two records in 2003 and 2005. The Grand Finale marks their third album since 2005’s Immortal, their ninth overall, and, as the album title and tongue-in-cheek cover art suggest, the last of their career. Despite their age, these guys prove they aren’t too olde to rock.

On The Grand Finale, Killer embrace the Motörhead within them. The record doubles as their swan song and as a tribute to Lemmy Kilmister, including guest performances from Lloyd “Lemmy,” the vocalist of a Motörhead tribute band called Motörheadz.1 Things start off with that Motörhead energy on the catchy “Loaded Gun,” which also has the economic flair of AC/DC. It establishes the sort of simple, yet distinctive, riffs that give each track a memorable spark. It’s not all Motörhead all the time, however. “Welcome in the Real World”2 has the classic heavy metal feel of Judas Priest, and structurally the songs play out in a Def Leppard fashion with stripped-down yet catchy choruses. Yet, Motörhead does dominate the thematic content of The Grand Finale. The centerpiece, “Roll the Dice,” takes clear influence from “Ace of Spades,” using the same “life as a gamble” metaphor. Shorty and Lloyd “Lemmy” sing, “Life’s a casino” and “If you don’t play you never can win.” Yes it’s a bit on the nose for “Ace of Spades,” but still plenty fun.

Shorty is the only remaining member from the ’80s days, but these guys play with plenty of spunk for a trio that’s been together for 15 years. The 70-year-old lead singer proves the adage that age is just a number. Sure, his voice has a bit of a huskiness that weighs it down, but he sings with gusto and spirit. There’s no pity in his final performance—on “The Grand Finale,” he sings “Stop! The show is over” with the cheerful abandon of someone satisfied with their lot. He sees the silver lining in performing this finale: “It’s our very last chance to enjoy the passion, the treasure.” The joy is catching. The ballad “Gone Too Soon” is the true heart of the album, serving as a tribute to Lemmy. It’s a heartfelt piece that genuinely expresses Killer’s grief in a down-to-earth way that isn’t overly sappy. Along with the charismatic vocal performance, the memorable riffs and fun solos prove that The Grand Finale was borne from a spark of true passion.

Though The Grand Finale harks back to the days when Killer wrote tighter records, wrapping up in a concise 38 minutes,3 it does begin to grow stale in the back half. “Hard Day Coming” is one of the more interesting songs thematically, taking the “grand finale” theme in a more sinister and global direction by warning of a coming “hard day” ravaged by raging seas and “violence and hate.” It’s a fine tune, but it leads to a string of structurally similar songs that feel repetitive, following one after the other. Rescuing the record from a sluggish ending is the return of Lloyd “Lemmy” on the highly energetic “What You See is What You Get.” Frenetic riffs and blast beats snap awake sleepy musicians and listeners alike, allowing this one to end on a high note and keep the good vibes flowing.

They may lack the influence of many of their peers and won’t draw the same amount of attention as another “grand finale” released earlier this year, but it’s still bittersweet to witness the end of such a long career. Killer face this ending with such good spirits that it’s more sweet than bitter, however. I won’t speculate on where this one sits in their discog,4 but what matters is that it’s an enjoyable send-off, something fans will appreciate as well as newcomers who enjoy classic heavy metal.

Rating: 3.0/5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: High Roller Records
Websites: Facebook | Official Site
Releases Worldwide: September 11th, 2026

A year before Slayer started their thrash party, Paul “Shorty” Van Camp and Fat Leo formed their band, Killer. However, their names are the only things these two bands have in common—instead of thrash, Killer play an energetic style of classic heavy metal that has drawn plenty of comparisons to Motörhead. One can also hear NWOBHM influences from Saxon to Iron Maiden as well as some Def Leppard, AC/DC, and Thin Lizzy. What some consider Belgium’s first metal band, Killer struggled to imitate the success of their influences, with lineup changes wreaking havoc and financial struggles leading to lengthy hiatuses. After 1990’s Fatal Attraction, the ’90s were a quiet decade for the crew until a burst of energy following a 20th anniversary reunion that led to the release of two records in 2003 and 2005. The Grand Finale marks their third album since 2005’s Immortal, their ninth overall, and, as the album title and tongue-in-cheek cover art suggest, the last of their career. Despite their age, these guys prove they aren’t too olde to rock.

On The Grand Finale, Killer embrace the Motörhead within them. The record doubles as their swan song and as a tribute to Lemmy Kilmister, including guest performances from Lloyd “Lemmy,” the vocalist of a Motörhead tribute band called Motörheadz.1 Things start off with that Motörhead energy on the catchy “Loaded Gun,” which also has the economic flair of AC/DC. It establishes the sort of simple, yet distinctive, riffs that give each track a memorable spark. It’s not all Motörhead all the time, however. “Welcome in the Real World”2 has the classic heavy metal feel of Judas Priest, and structurally the songs play out in a Def Leppard fashion with stripped-down yet catchy choruses. Yet, Motörhead does dominate the thematic content of The Grand Finale. The centerpiece, “Roll the Dice,” takes clear influence from “Ace of Spades,” using the same “life as a gamble” metaphor. Shorty and Lloyd “Lemmy” sing, “Life’s a casino” and “If you don’t play you never can win.” Yes it’s a bit on the nose for “Ace of Spades,” but still plenty fun.

Shorty is the only remaining member from the ’80s days, but these guys play with plenty of spunk for a trio that’s been together for 15 years. The 70-year-old lead singer proves the adage that age is just a number. Sure, his voice has a bit of a huskiness that weighs it down, but he sings with gusto and spirit. There’s no pity in his final performance—on “The Grand Finale,” he sings “Stop! The show is over” with the cheerful abandon of someone satisfied with their lot. He sees the silver lining in performing this finale: “It’s our very last chance to enjoy the passion, the treasure.” The joy is catching. The ballad “Gone Too Soon” is the true heart of the album, serving as a tribute to Lemmy. It’s a heartfelt piece that genuinely expresses Killer’s grief in a down-to-earth way that isn’t overly sappy. Along with the charismatic vocal performance, the memorable riffs and fun solos prove that The Grand Finale was borne from a spark of true passion.

Though The Grand Finale harks back to the days when Killer wrote tighter records, wrapping up in a concise 38 minutes,3 it does begin to grow stale in the back half. “Hard Day Coming” is one of the more interesting songs thematically, taking the “grand finale” theme in a more sinister and global direction by warning of a coming “hard day” ravaged by raging seas and “violence and hate.” It’s a fine tune, but it leads to a string of structurally similar songs that feel repetitive, following one after the other. Rescuing the record from a sluggish ending is the return of Lloyd “Lemmy” on the highly energetic “What You See is What You Get.” Frenetic riffs and blast beats snap awake sleepy musicians and listeners alike, allowing this one to end on a high note and keep the good vibes flowing.

They may lack the influence of many of their peers and won’t draw the same amount of attention as another “grand finale” released earlier this year, but it’s still bittersweet to witness the end of such a long career. Killer face this ending with such good spirits that it’s more sweet than bitter, however. I won’t speculate on where this one sits in their discog,4 but what matters is that it’s an enjoyable send-off, something fans will appreciate as well as newcomers who enjoy classic heavy metal.

Rating: 3.0/5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: High Roller Records
Websites: Facebook | Official Site
Releases Worldwide: September 11th, 2026

A year before Slayer started their thrash party, Paul “Shorty” Van Camp and Fat Leo formed their band, Killer. However, their names are the only things these two bands have in common—instead of thrash, Killer play an energetic style of classic heavy metal that has drawn plenty of comparisons to Motörhead. One can also hear NWOBHM influences from Saxon to Iron Maiden as well as some Def Leppard, AC/DC, and Thin Lizzy. What some consider Belgium’s first metal band, Killer struggled to imitate the success of their influences, with lineup changes wreaking havoc and financial struggles leading to lengthy hiatuses. After 1990’s Fatal Attraction, the ’90s were a quiet decade for the crew until a burst of energy following a 20th anniversary reunion that led to the release of two records in 2003 and 2005. The Grand Finale marks their third album since 2005’s Immortal, their ninth overall, and, as the album title and tongue-in-cheek cover art suggest, the last of their career. Despite their age, these guys prove they aren’t too olde to rock.

On The Grand Finale, Killer embrace the Motörhead within them. The record doubles as their swan song and as a tribute to Lemmy Kilmister, including guest performances from Lloyd “Lemmy,” the vocalist of a Motörhead tribute band called Motörheadz.1 Things start off with that Motörhead energy on the catchy “Loaded Gun,” which also has the economic flair of AC/DC. It establishes the sort of simple, yet distinctive, riffs that give each track a memorable spark. It’s not all Motörhead all the time, however. “Welcome in the Real World”2 has the classic heavy metal feel of Judas Priest, and structurally the songs play out in a Def Leppard fashion with stripped-down yet catchy choruses. Yet, Motörhead does dominate the thematic content of The Grand Finale. The centerpiece, “Roll the Dice,” takes clear influence from “Ace of Spades,” using the same “life as a gamble” metaphor. Shorty and Lloyd “Lemmy” sing, “Life’s a casino” and “If you don’t play you never can win.” Yes it’s a bit on the nose for “Ace of Spades,” but still plenty fun.

Shorty is the only remaining member from the ’80s days, but these guys play with plenty of spunk for a trio that’s been together for 15 years. The 70-year-old lead singer proves the adage that age is just a number. Sure, his voice has a bit of a huskiness that weighs it down, but he sings with gusto and spirit. There’s no pity in his final performance—on “The Grand Finale,” he sings “Stop! The show is over” with the cheerful abandon of someone satisfied with their lot. He sees the silver lining in performing this finale: “It’s our very last chance to enjoy the passion, the treasure.” The joy is catching. The ballad “Gone Too Soon” is the true heart of the album, serving as a tribute to Lemmy. It’s a heartfelt piece that genuinely expresses Killer’s grief in a down-to-earth way that isn’t overly sappy. Along with the charismatic vocal performance, the memorable riffs and fun solos prove that The Grand Finale was borne from a spark of true passion.

Though The Grand Finale harks back to the days when Killer wrote tighter records, wrapping up in a concise 38 minutes,3 it does begin to grow stale in the back half. “Hard Day Coming” is one of the more interesting songs thematically, taking the “grand finale” theme in a more sinister and global direction by warning of a coming “hard day” ravaged by raging seas and “violence and hate.” It’s a fine tune, but it leads to a string of structurally similar songs that feel repetitive, following one after the other. Rescuing the record from a sluggish ending is the return of Lloyd “Lemmy” on the highly energetic “What You See is What You Get.” Frenetic riffs and blast beats snap awake sleepy musicians and listeners alike, allowing this one to end on a high note and keep the good vibes flowing.

They may lack the influence of many of their peers and won’t draw the same amount of attention as another “grand finale” released earlier this year, but it’s still bittersweet to witness the end of such a long career. Killer face this ending with such good spirits that it’s more sweet than bitter, however. I won’t speculate on where this one sits in their discog,4 but what matters is that it’s an enjoyable send-off, something fans will appreciate as well as newcomers who enjoy classic heavy metal.

Rating: 3.0/5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: High Roller Records
Websites: Facebook | Official Site
Releases Worldwide: September 11th, 2026

#ThursDeath this week is one man project GATEWAY from Bruges. This is some heavy, crushing shit from Belgium. What an LP this is. This is 'Galgendood' from 2023.

https://gatewayband.bandcamp.com/album/galgendood

Churning, galloping OSDM vibes on this, but also some black metal-esque screeching. 6 tracks of super cavernous, brutal death doom about blood oaths and bog bodies.

#metal #DeathMetal #Belgium #Bruges #BelgianMetal #doom #DeathDoom @HailsandAles @wendigo @rtw @guffo @AlfeeDee @c0m4 @Kitty @umrk @flockofnazguls @swampgas @nnenov @ttntm @Affekt

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