#bindrunerecordings — Public Fediverse posts

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

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

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

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

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

…and again into the light

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

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

Weft – The Splintered Oar Review

Black metal and the violin go together like peanut butter and jelly, which makes it particularly exciting when…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2025 #3.0 #AmericanMetal #americana #BindruneRecordings #BlackMetal #Dec25 #Dzö-nga #Entertainment #FolkMetal #Panopticon #ProgressiveBlackMetal #ProgressiveMetal #review #reviews #Saor #TheSplinteredOar #Weft #Windfaerer
https://www.newsbeep.com/us/429351/

Weft – The Splintered Oar Review

Black metal and the violin go together like peanut butter and jelly, which makes it particularly exciting when…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2025 #3.0 #AmericanMetal #americana #BindruneRecordings #BlackMetal #Dec25 #Dzö-nga #Entertainment #FolkMetal #Panopticon #ProgressiveBlackMetal #ProgressiveMetal #review #reviews #Saor #TheSplinteredOar #Weft #Windfaerer
https://www.newsbeep.com/us/429351/

Black metal and the violin go together like peanut butter and jelly, which makes it particularly exciting when an artist who is accomplished in both steps forward. Weft is the solo endeavor of Charlie Anderson, the live violinist for Panopticon. His debut album, The Splintered Oar, is one of two releases by Bindrune Recordings on the weekend before the beginning of Listurnalia 2025.1 Nevertheless, this is a record that should not go unnoticed during the time of year when many of us have adopted either a backward- or forward-looking mindset.

Weft integrates the violin in a variety of clever ways that will sound comfortably familiar to fans of folk/black metal. The obvious comparison is Panopticon, particularly in the sublime acoustic guitar and violin pairing of the intro track “Leaves.” It also dances with the electric guitar in a wild, rugged manner like unto Windfaerer and Saor (“The Hull”). At the same time, Weft doesn’t allow the violin to become too overwhelming or dominant. Rather than solely relying on the customary trem-picking, the fierce guitar riffs and chord progressions of The Splintered Oar often prefer to wander into progressive death metal territory. Another surprising musical influence is Americana, featured briefly in “The Hull” and prominently in “Dream of Oaks.”

The Splintered Oar by Weft

Once things get going, the bulk of The Splintered Oar is quite exhilarating. “False Kingdoms,” the first full song, opens with a great buildup, facilitated by Austin Lunn’s purposeful tom rhythms. After this point, the intensity ebbs and flows, but rarely lets up completely. The demonic violin lines and frenzied shrieks in “Red Dawn” cut through the listener’s defenses like wind chill. Anderson’s deep growls are usually effective as well, though they sometimes lack force and come across as more of a croak. Andrea Morgan’s guest vocals in “The Hull” help compensate for this, joining with the soothing strings in a manner reminiscent of Dzö-nga, which is a very good thing.

What holds The Splintered Oar back the most is a shaky beginning and ending. “Leaves” would have been a much more effective intro if it hadn’t repeated itself and dragged out its runtime to 5 minutes. On the other hand, 12-minute closer “Dream of Oaks” struggles to remain coherent. The entire first half is dreamy Americana, which later morphs into sleek Opethian prog and then death/doom before finally resuming Weft’s signature violin-driven black metal. These individual components are enjoyable enough on their own, but they become confusing when considered together. “Dream of Oaks” might have been an epic conclusion if it had the same degree of cohesion between The Splintered Oar’s disparate musical influences that the preceding tracks display.

Weft is a rare example of what is possible when a violinist creates black metal. Charlie Anderson’s compositional versatility is immediately obvious. While it doesn’t quite stick the landing—or the launch—The Splintered Oar’s midsection is very promising and even goosebump-inducing at times. If the less conventional musical genres can be consistently integrated in a potential sophomore record, Weft will be a force of nature to behold.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Bindrune Recordings
Websites: weftmusic.bandcamp.com | instagram.com/weft_music
Releases Worldwide: December 19th, 2025

Black metal and the violin go together like peanut butter and jelly, which makes it particularly exciting when an artist who is accomplished in both steps forward. Weft is the solo endeavor of Charlie Anderson, the live violinist for Panopticon. His debut album, The Splintered Oar, is one of two releases by Bindrune Recordings on the weekend before the beginning of Listurnalia 2025.1 Nevertheless, this is a record that should not go unnoticed during the time of year when many of us have adopted either a backward- or forward-looking mindset.

Weft integrates the violin in a variety of clever ways that will sound comfortably familiar to fans of folk/black metal. The obvious comparison is Panopticon, particularly in the sublime acoustic guitar and violin pairing of the intro track “Leaves.” It also dances with the electric guitar in a wild, rugged manner like unto Windfaerer and Saor (“The Hull”). At the same time, Weft doesn’t allow the violin to become too overwhelming or dominant. Rather than solely relying on the customary trem-picking, the fierce guitar riffs and chord progressions of The Splintered Oar often prefer to wander into progressive death metal territory. Another surprising musical influence is Americana, featured briefly in “The Hull” and prominently in “Dream of Oaks.”

The Splintered Oar by Weft

Once things get going, the bulk of The Splintered Oar is quite exhilarating. “False Kingdoms,” the first full song, opens with a great buildup, facilitated by Austin Lunn’s purposeful tom rhythms. After this point, the intensity ebbs and flows, but rarely lets up completely. The demonic violin lines and frenzied shrieks in “Red Dawn” cut through the listener’s defenses like wind chill. Anderson’s deep growls are usually effective as well, though they sometimes lack force and come across as more of a croak. Andrea Morgan’s guest vocals in “The Hull” help compensate for this, joining with the soothing strings in a manner reminiscent of Dzö-nga, which is a very good thing.

What holds The Splintered Oar back the most is a shaky beginning and ending. “Leaves” would have been a much more effective intro if it hadn’t repeated itself and dragged out its runtime to 5 minutes. On the other hand, 12-minute closer “Dream of Oaks” struggles to remain coherent. The entire first half is dreamy Americana, which later morphs into sleek Opethian prog and then death/doom before finally resuming Weft’s signature violin-driven black metal. These individual components are enjoyable enough on their own, but they become confusing when considered together. “Dream of Oaks” might have been an epic conclusion if it had the same degree of cohesion between The Splintered Oar’s disparate musical influences that the preceding tracks display.

Weft is a rare example of what is possible when a violinist creates black metal. Charlie Anderson’s compositional versatility is immediately obvious. While it doesn’t quite stick the landing—or the launch—The Splintered Oar’s midsection is very promising and even goosebump-inducing at times. If the less conventional musical genres can be consistently integrated in a potential sophomore record, Weft will be a force of nature to behold.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Bindrune Recordings
Websites: weftmusic.bandcamp.com | instagram.com/weft_music
Releases Worldwide: December 19th, 2025

Black metal and the violin go together like peanut butter and jelly, which makes it particularly exciting when an artist who is accomplished in both steps forward. Weft is the solo endeavor of Charlie Anderson, the live violinist for Panopticon. His debut album, The Splintered Oar, is one of two releases by Bindrune Recordings on the weekend before the beginning of Listurnalia 2025.1 Nevertheless, this is a record that should not go unnoticed during the time of year when many of us have adopted either a backward- or forward-looking mindset.

Weft integrates the violin in a variety of clever ways that will sound comfortably familiar to fans of folk/black metal. The obvious comparison is Panopticon, particularly in the sublime acoustic guitar and violin pairing of the intro track “Leaves.” It also dances with the electric guitar in a wild, rugged manner like unto Windfaerer and Saor (“The Hull”). At the same time, Weft doesn’t allow the violin to become too overwhelming or dominant. Rather than solely relying on the customary trem-picking, the fierce guitar riffs and chord progressions of The Splintered Oar often prefer to wander into progressive death metal territory. Another surprising musical influence is Americana, featured briefly in “The Hull” and prominently in “Dream of Oaks.”

The Splintered Oar by Weft

Once things get going, the bulk of The Splintered Oar is quite exhilarating. “False Kingdoms,” the first full song, opens with a great buildup, facilitated by Austin Lunn’s purposeful tom rhythms. After this point, the intensity ebbs and flows, but rarely lets up completely. The demonic violin lines and frenzied shrieks in “Red Dawn” cut through the listener’s defenses like wind chill. Anderson’s deep growls are usually effective as well, though they sometimes lack force and come across as more of a croak. Andrea Morgan’s guest vocals in “The Hull” help compensate for this, joining with the soothing strings in a manner reminiscent of Dzö-nga, which is a very good thing.

What holds The Splintered Oar back the most is a shaky beginning and ending. “Leaves” would have been a much more effective intro if it hadn’t repeated itself and dragged out its runtime to 5 minutes. On the other hand, 12-minute closer “Dream of Oaks” struggles to remain coherent. The entire first half is dreamy Americana, which later morphs into sleek Opethian prog and then death/doom before finally resuming Weft’s signature violin-driven black metal. These individual components are enjoyable enough on their own, but they become confusing when considered together. “Dream of Oaks” might have been an epic conclusion if it had the same degree of cohesion between The Splintered Oar’s disparate musical influences that the preceding tracks display.

Weft is a rare example of what is possible when a violinist creates black metal. Charlie Anderson’s compositional versatility is immediately obvious. While it doesn’t quite stick the landing—or the launch—The Splintered Oar’s midsection is very promising and even goosebump-inducing at times. If the less conventional musical genres can be consistently integrated in a potential sophomore record, Weft will be a force of nature to behold.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Bindrune Recordings
Websites: weftmusic.bandcamp.com | instagram.com/weft_music
Releases Worldwide: December 19th, 2025

Black metal and the violin go together like peanut butter and jelly, which makes it particularly exciting when an artist who is accomplished in both steps forward. Weft is the solo endeavor of Charlie Anderson, the live violinist for Panopticon. His debut album, The Splintered Oar, is one of two releases by Bindrune Recordings on the weekend before the beginning of Listurnalia 2025.1 Nevertheless, this is a record that should not go unnoticed during the time of year when many of us have adopted either a backward- or forward-looking mindset.

Weft integrates the violin in a variety of clever ways that will sound comfortably familiar to fans of folk/black metal. The obvious comparison is Panopticon, particularly in the sublime acoustic guitar and violin pairing of the intro track “Leaves.” It also dances with the electric guitar in a wild, rugged manner like unto Windfaerer and Saor (“The Hull”). At the same time, Weft doesn’t allow the violin to become too overwhelming or dominant. Rather than solely relying on the customary trem-picking, the fierce guitar riffs and chord progressions of The Splintered Oar often prefer to wander into progressive death metal territory. Another surprising musical influence is Americana, featured briefly in “The Hull” and prominently in “Dream of Oaks.”

The Splintered Oar by Weft

Once things get going, the bulk of The Splintered Oar is quite exhilarating. “False Kingdoms,” the first full song, opens with a great buildup, facilitated by Austin Lunn’s purposeful tom rhythms. After this point, the intensity ebbs and flows, but rarely lets up completely. The demonic violin lines and frenzied shrieks in “Red Dawn” cut through the listener’s defenses like wind chill. Anderson’s deep growls are usually effective as well, though they sometimes lack force and come across as more of a croak. Andrea Morgan’s guest vocals in “The Hull” help compensate for this, joining with the soothing strings in a manner reminiscent of Dzö-nga, which is a very good thing.

What holds The Splintered Oar back the most is a shaky beginning and ending. “Leaves” would have been a much more effective intro if it hadn’t repeated itself and dragged out its runtime to 5 minutes. On the other hand, 12-minute closer “Dream of Oaks” struggles to remain coherent. The entire first half is dreamy Americana, which later morphs into sleek Opethian prog and then death/doom before finally resuming Weft’s signature violin-driven black metal. These individual components are enjoyable enough on their own, but they become confusing when considered together. “Dream of Oaks” might have been an epic conclusion if it had the same degree of cohesion between The Splintered Oar’s disparate musical influences that the preceding tracks display.

Weft is a rare example of what is possible when a violinist creates black metal. Charlie Anderson’s compositional versatility is immediately obvious. While it doesn’t quite stick the landing—or the launch—The Splintered Oar’s midsection is very promising and even goosebump-inducing at times. If the less conventional musical genres can be consistently integrated in a potential sophomore record, Weft will be a force of nature to behold.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Bindrune Recordings
Websites: weftmusic.bandcamp.com | instagram.com/weft_music
Releases Worldwide: December 19th, 2025

Black metal and the violin go together like peanut butter and jelly, which makes it particularly exciting when an artist who is accomplished in both steps forward. Weft is the solo endeavor of Charlie Anderson, the live violinist for Panopticon. His debut album, The Splintered Oar, is one of two releases by Bindrune Recordings on the weekend before the beginning of Listurnalia 2025.1 Nevertheless, this is a record that should not go unnoticed during the time of year when many of us have adopted either a backward- or forward-looking mindset.

Weft integrates the violin in a variety of clever ways that will sound comfortably familiar to fans of folk/black metal. The obvious comparison is Panopticon, particularly in the sublime acoustic guitar and violin pairing of the intro track “Leaves.” It also dances with the electric guitar in a wild, rugged manner like unto Windfaerer and Saor (“The Hull”). At the same time, Weft doesn’t allow the violin to become too overwhelming or dominant. Rather than solely relying on the customary trem-picking, the fierce guitar riffs and chord progressions of The Splintered Oar often prefer to wander into progressive death metal territory. Another surprising musical influence is Americana, featured briefly in “The Hull” and prominently in “Dream of Oaks.”

The Splintered Oar by Weft

Once things get going, the bulk of The Splintered Oar is quite exhilarating. “False Kingdoms,” the first full song, opens with a great buildup, facilitated by Austin Lunn’s purposeful tom rhythms. After this point, the intensity ebbs and flows, but rarely lets up completely. The demonic violin lines and frenzied shrieks in “Red Dawn” cut through the listener’s defenses like wind chill. Anderson’s deep growls are usually effective as well, though they sometimes lack force and come across as more of a croak. Andrea Morgan’s guest vocals in “The Hull” help compensate for this, joining with the soothing strings in a manner reminiscent of Dzö-nga, which is a very good thing.

What holds The Splintered Oar back the most is a shaky beginning and ending. “Leaves” would have been a much more effective intro if it hadn’t repeated itself and dragged out its runtime to 5 minutes. On the other hand, 12-minute closer “Dream of Oaks” struggles to remain coherent. The entire first half is dreamy Americana, which later morphs into sleek Opethian prog and then death/doom before finally resuming Weft’s signature violin-driven black metal. These individual components are enjoyable enough on their own, but they become confusing when considered together. “Dream of Oaks” might have been an epic conclusion if it had the same degree of cohesion between The Splintered Oar’s disparate musical influences that the preceding tracks display.

Weft is a rare example of what is possible when a violinist creates black metal. Charlie Anderson’s compositional versatility is immediately obvious. While it doesn’t quite stick the landing—or the launch—The Splintered Oar’s midsection is very promising and even goosebump-inducing at times. If the less conventional musical genres can be consistently integrated in a potential sophomore record, Weft will be a force of nature to behold.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Bindrune Recordings
Websites: weftmusic.bandcamp.com | instagram.com/weft_music
Releases Worldwide: December 19th, 2025

Panopticon – Laurentian Blue Review

By Mystikus Hugebeard

With the mammoth1 Panopticon ranking and the electrifying Månegarm review behind us, we can now look towards the album that the ranking was made in anticipation of: Laurentian Blue. What we weren’t quite expecting was that Laurentian Blue would be an unusual album to follow the ranking. After ten albums of post-black metal, this is the first standalone Panopticon work of purely dark, folksy Americana.2 It goes without saying that Americana has ever been a key component to the Panopticon soundscape, so do not mistake “unusual” for “unwelcome.” After all, Laurentian Blue is unquestionably a Panopticon album, for it embodies the same soul of Panopticon’s music that Thus Spoke eloquently illuminated in her introduction to the ranking: “an immense sense of drama, emotional intensity, and an unpretentious, honest heart.”

Not only is Laurentian Blue a dark folk/americana album, it is unapologetic about it. Laurentian Blue is confidently written and deliberate in its minimalism. The instrumentation is kept strictly to the bare necessities: Lunn picks and strums away at his guitar as he sings with the warmth of a crackling fire, with sparse, harmonizing violins as accompaniment. The consecutive exceptions come in the twang of “An Argument with God” (which is also the only song with any percussion) and the bluegrass “Irony and Causality,” which serve as welcome jolts to the pacing, but the bulk of Laurentian Blue is the sort of somber Americana in “Ever North” and “This Mortal Coil’s Rusted.” It reminds one of the Appalachia iteration of Osi and the Jupiter, with a stronger country lilt heard most clearly in “Down Along the Border.” While the guitarwork in Laurentian Blue is enjoyable, whether it takes the form of wistful melodies (“The Poetry in Roadkill”) or steely strumming (“Ever North,”) the focus cannot help but rest on Lunn’s voice and lyrical work.

As always, Lunn is a commanding songwriter fluent in the emotions he wants a song to convey. Nary a note or a word wasted, cutting straight to the heart of what he wants to express. Laurentian Blue is resolute in its deeply depressive lyricism, which becomes inescapable due to the music’s minimalist nature.3 Lines like “And if I needed you to watch me slip away // I’ll find you on the other side some day” (“Down Along the Border”) and “the lie that I forced myself to believe // that I never wasted a breath…” (“Ever North”) carry a catharsis that engulfs you, further strengthened by the preternaturally well-timed violins. Sparse though they may be, they’re beautifully implemented, often swelling at just the right moment like in the chorus of “The Poetry of Roadkill.” With focus this unhindered, lyrics that fail to connect are a greater danger to a song’s impact. The Hemingway-esque bluntness of “And morality ain’t dogmatic // but instead practical // and an individual // type of thing” is compelling, but it lacks the poetry present in the rest of the album, and the accompanying music doesn’t sustain the six-minute runtime.

Through the poetic lyrical work and musical minimalism, Laurentian Blue is emotionally consistent, yet therein lies what also makes it a more challenging album. Lunn’s voice is kept adamantly deadpan throughout, indifferently asking you to engage with Laurentian Blue according to its own terms rather than manipulating your emotions. This can create a disconnect; as the violins swell and the notes ascend when Lunn sings the first “Look for me // ever north,” (“Ever North”), I selfishly feel unfulfilled when the notes dispassionately descend in the second. Other times, his singing style makes for some compelling friction. “Irony and Causality” is easily the most energetic song, and is a fascinating backdrop for the deadpan delivery of “Nothing matters when you die // you can only hope time flies // and someone will visit your grave.” Maintaining such a somber tone across the album is a deliberate choice, one that works through Lunn’s songwriting finesse. But it’s a sadness that’s more aptly felt when you’re already predisposed to such feelings.

Laurentian Blue will not be for everyone. It’s a singular emotional work that doesn’t guide your feelings, but rather presents its own emotions with understated grace and indifference. But it’s only natural that the appeal of a work this personal will ultimately come down to personal preference. Regardless of one’s taste for Americana and dark folk, Laurentian Blue is nevertheless a well-written collection of songs by a well-proven songwriter with a strong connection and understanding of the genre. You might need to be in the right mood for Laurentian Blue, but if that mood should find you, then Laurentian Blue will be a knowing, empathetic embrace.

Rating: Very Good
DR: 12 | Format Reviewed: 320 kbps
Label: Bindrune Recordings
Websites: facebook | bandcamp
Releases Worldwide: August 15th, 2025

#2025 #35 #AmericanMetal #Americana #Aug25 #BindruneRecordings #Country #DarkFolk #LaurentianBlue #Panopticon #Review #Reviews

Numinous – Returning Review

By Twelve

Cascadian black metal is not a term you hear too often (unless you’re some kind of Cascadian black metal fan who regularly searches the term), but that’s what I was offered when I started looking into Returning. After I was done being enamored by the lovely cover art over there, I had to remind myself what it meant—and when I did, I was more than happy to dive in blind. The sophomore full-length from Numinous, Returning aims at a wild sound, boasting “emotional melodies, introspective ritual elements, and deeply thoughtful lyrics.”1 That checks all of the boxes for me—how does this particular branch of atmospheric black metal hold up to its inspiration and its contemporaries?

The natural imagery and theme to Returning is its most notable quality, and is expressed in several different ways throughout. Black metal this may well be, but it takes several minutes for the metal bit to get started and it makes up less of the album whole than you’d think. Still, I don’t mind a slow build, nor am I opposed to heightened thematic relevance. I don’t mind nature noises, acoustic guitars, plucked passages, tremolo riffs, all of which Numinous happily provide. The ambient passages are reminiscent of Wolves in the Throne Room, while the metal bits remind me, curiously, of October Falls—rough around the edges, but lively and spirited, with the tremolo leads in particular carrying melody and passion in a thematic, evocative way.

If only there were more of them! The lead guitar carries the emotional weight of Numinous, but gets little time to shine throughout, mostly on opener “Sacred Decay.” So much of Returning is dedicated to ambient passages or nature noises; so much of the metal songs use the same-sounding bludgeoning bass riff; and so much of the vocal approach is in a hoarse, not-a-growl, not-a-shout style that doesn’t land for me. When Numinous isn’t rocking an emotive, melodic lead, their music is often blending in with itself, losing memorability and impact. “Offerings to the Great Circle” has some strong ideas: an acoustic build to a thundering riff, an effectively creepy break around the one-third mark. These all represent great moments, but too often, they feel like they’re only moments—here one second, and gone the next, swept up by the next new idea that doesn’t make quite the same impact.

It doesn’t help that the full album is only three songs long, nor that “Offerings to the Great Circle” alone is twenty minutes out of forty-six. The three pieces are fairly distinct from one another, too—”Endless Dance” has no metal in it at all, but rather cycles through traditional drumming, nature samples, Forndom-style strings passages, and finally an acoustic build to the next song. All of this would be fine were the song not eleven minutes long, or maybe if it wasn’t following a thirteen-minute-long black metal song—or if didn’t “end” each time it introduces a new idea (it could easily be three distinct songs, with the acoustic end being far and away the best one). I mentioned earlier that “Offerings to the Great Circle” has some strong moments, but it similarly creaks under its weight, and could have been both shortened and split.2 All of this creates for me an image of an unrealized ambition, a vision Numinous has for Returning that I lost somewhere in the translation.

And it’s an honest shame, because I do think that somewhere or, perhaps, in several places—along the way, this band with a sound I like made some choices that I don’t care for, and now they and I are looking at two different things. The vision, passion, and technical skill are largely present, but as I listen to the four-minute-long ambient outro to “Offerings to the Great Circle” for what will be the final time, I can’t help but feel disappointed by the result.

Rating: 2.0/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Bindrune Recordings
Website: bindrunerecordings.bandcamp.com/album/numinous
Releases Worldwide: June 20th, 2025

#20 #2025 #AmericanMetal #BindruneRecordings #BlackMetal #Forndom #Jun25 #Numinous #OctoberFalls #Returning #Review #Reviews #WolvesInTheThroneRoom

Numinous – Returning Review

By Twelve

Cascadian black metal is not a term you hear too often (unless you’re some kind of Cascadian black metal fan who regularly searches the term), but that’s what I was offered when I started looking into Returning. After I was done being enamored by the lovely cover art over there, I had to remind myself what it meant—and when I did, I was more than happy to dive in blind. The sophomore full-length from Numinous, Returning aims at a wild sound, boasting “emotional melodies, introspective ritual elements, and deeply thoughtful lyrics.”1 That checks all of the boxes for me—how does this particular branch of atmospheric black metal hold up to its inspiration and its contemporaries?

The natural imagery and theme to Returning is its most notable quality, and is expressed in several different ways throughout. Black metal this may well be, but it takes several minutes for the metal bit to get started and it makes up less of the album whole than you’d think. Still, I don’t mind a slow build, nor am I opposed to heightened thematic relevance. I don’t mind nature noises, acoustic guitars, plucked passages, tremolo riffs, all of which Numinous happily provide. The ambient passages are reminiscent of Wolves in the Throne Room, while the metal bits remind me, curiously, of October Falls—rough around the edges, but lively and spirited, with the tremolo leads in particular carrying melody and passion in a thematic, evocative way.

If only there were more of them! The lead guitar carries the emotional weight of Numinous, but gets little time to shine throughout, mostly on opener “Sacred Decay.” So much of Returning is dedicated to ambient passages or nature noises; so much of the metal songs use the same-sounding bludgeoning bass riff; and so much of the vocal approach is in a hoarse, not-a-growl, not-a-shout style that doesn’t land for me. When Numinous isn’t rocking an emotive, melodic lead, their music is often blending in with itself, losing memorability and impact. “Offerings to the Great Circle” has some strong ideas: an acoustic build to a thundering riff, an effectively creepy break around the one-third mark. These all represent great moments, but too often, they feel like they’re only moments—here one second, and gone the next, swept up by the next new idea that doesn’t make quite the same impact.

It doesn’t help that the full album is only three songs long, nor that “Offerings to the Great Circle” alone is twenty minutes out of forty-six. The three pieces are fairly distinct from one another, too—”Endless Dance” has no metal in it at all, but rather cycles through traditional drumming, nature samples, Forndom-style strings passages, and finally an acoustic build to the next song. All of this would be fine were the song not eleven minutes long, or maybe if it wasn’t following a thirteen-minute-long black metal song—or if didn’t “end” each time it introduces a new idea (it could easily be three distinct songs, with the acoustic end being far and away the best one). I mentioned earlier that “Offerings to the Great Circle” has some strong moments, but it similarly creaks under its weight, and could have been both shortened and split.2 All of this creates for me an image of an unrealized ambition, a vision Numinous has for Returning that I lost somewhere in the translation.

And it’s an honest shame, because I do think that somewhere or, perhaps, in several places—along the way, this band with a sound I like made some choices that I don’t care for, and now they and I are looking at two different things. The vision, passion, and technical skill are largely present, but as I listen to the four-minute-long ambient outro to “Offerings to the Great Circle” for what will be the final time, I can’t help but feel disappointed by the result.

Rating: 2.0/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Bindrune Recordings
Website: bindrunerecordings.bandcamp.com/album/numinous
Releases Worldwide: June 20th, 2025

#20 #2025 #AmericanMetal #BindruneRecordings #BlackMetal #Forndom #Jun25 #Numinous #OctoberFalls #Returning #Review #Reviews #WolvesInTheThroneRoom

Numinous – Returning Review

By Twelve

Cascadian black metal is not a term you hear too often (unless you’re some kind of Cascadian black metal fan who regularly searches the term), but that’s what I was offered when I started looking into Returning. After I was done being enamored by the lovely cover art over there, I had to remind myself what it meant—and when I did, I was more than happy to dive in blind. The sophomore full-length from Numinous, Returning aims at a wild sound, boasting “emotional melodies, introspective ritual elements, and deeply thoughtful lyrics.”1 That checks all of the boxes for me—how does this particular branch of atmospheric black metal hold up to its inspiration and its contemporaries?

The natural imagery and theme to Returning is its most notable quality, and is expressed in several different ways throughout. Black metal this may well be, but it takes several minutes for the metal bit to get started and it makes up less of the album whole than you’d think. Still, I don’t mind a slow build, nor am I opposed to heightened thematic relevance. I don’t mind nature noises, acoustic guitars, plucked passages, tremolo riffs, all of which Numinous happily provide. The ambient passages are reminiscent of Wolves in the Throne Room, while the metal bits remind me, curiously, of October Falls—rough around the edges, but lively and spirited, with the tremolo leads in particular carrying melody and passion in a thematic, evocative way.

If only there were more of them! The lead guitar carries the emotional weight of Numinous, but gets little time to shine throughout, mostly on opener “Sacred Decay.” So much of Returning is dedicated to ambient passages or nature noises; so much of the metal songs use the same-sounding bludgeoning bass riff; and so much of the vocal approach is in a hoarse, not-a-growl, not-a-shout style that doesn’t land for me. When Numinous isn’t rocking an emotive, melodic lead, their music is often blending in with itself, losing memorability and impact. “Offerings to the Great Circle” has some strong ideas: an acoustic build to a thundering riff, an effectively creepy break around the one-third mark. These all represent great moments, but too often, they feel like they’re only moments—here one second, and gone the next, swept up by the next new idea that doesn’t make quite the same impact.

It doesn’t help that the full album is only three songs long, nor that “Offerings to the Great Circle” alone is twenty minutes out of forty-six. The three pieces are fairly distinct from one another, too—”Endless Dance” has no metal in it at all, but rather cycles through traditional drumming, nature samples, Forndom-style strings passages, and finally an acoustic build to the next song. All of this would be fine were the song not eleven minutes long, or maybe if it wasn’t following a thirteen-minute-long black metal song—or if didn’t “end” each time it introduces a new idea (it could easily be three distinct songs, with the acoustic end being far and away the best one). I mentioned earlier that “Offerings to the Great Circle” has some strong moments, but it similarly creaks under its weight, and could have been both shortened and split.2 All of this creates for me an image of an unrealized ambition, a vision Numinous has for Returning that I lost somewhere in the translation.

And it’s an honest shame, because I do think that somewhere or, perhaps, in several places—along the way, this band with a sound I like made some choices that I don’t care for, and now they and I are looking at two different things. The vision, passion, and technical skill are largely present, but as I listen to the four-minute-long ambient outro to “Offerings to the Great Circle” for what will be the final time, I can’t help but feel disappointed by the result.

Rating: 2.0/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Bindrune Recordings
Website: bindrunerecordings.bandcamp.com/album/numinous
Releases Worldwide: June 20th, 2025

#20 #2025 #AmericanMetal #BindruneRecordings #BlackMetal #Forndom #Jun25 #Numinous #OctoberFalls #Returning #Review #Reviews #WolvesInTheThroneRoom

Numinous – Returning Review

By Twelve

Cascadian black metal is not a term you hear too often (unless you’re some kind of Cascadian black metal fan who regularly searches the term), but that’s what I was offered when I started looking into Returning. After I was done being enamored by the lovely cover art over there, I had to remind myself what it meant—and when I did, I was more than happy to dive in blind. The sophomore full-length from Numinous, Returning aims at a wild sound, boasting “emotional melodies, introspective ritual elements, and deeply thoughtful lyrics.”1 That checks all of the boxes for me—how does this particular branch of atmospheric black metal hold up to its inspiration and its contemporaries?

The natural imagery and theme to Returning is its most notable quality, and is expressed in several different ways throughout. Black metal this may well be, but it takes several minutes for the metal bit to get started and it makes up less of the album whole than you’d think. Still, I don’t mind a slow build, nor am I opposed to heightened thematic relevance. I don’t mind nature noises, acoustic guitars, plucked passages, tremolo riffs, all of which Numinous happily provide. The ambient passages are reminiscent of Wolves in the Throne Room, while the metal bits remind me, curiously, of October Falls—rough around the edges, but lively and spirited, with the tremolo leads in particular carrying melody and passion in a thematic, evocative way.

If only there were more of them! The lead guitar carries the emotional weight of Numinous, but gets little time to shine throughout, mostly on opener “Sacred Decay.” So much of Returning is dedicated to ambient passages or nature noises; so much of the metal songs use the same-sounding bludgeoning bass riff; and so much of the vocal approach is in a hoarse, not-a-growl, not-a-shout style that doesn’t land for me. When Numinous isn’t rocking an emotive, melodic lead, their music is often blending in with itself, losing memorability and impact. “Offerings to the Great Circle” has some strong ideas: an acoustic build to a thundering riff, an effectively creepy break around the one-third mark. These all represent great moments, but too often, they feel like they’re only moments—here one second, and gone the next, swept up by the next new idea that doesn’t make quite the same impact.

It doesn’t help that the full album is only three songs long, nor that “Offerings to the Great Circle” alone is twenty minutes out of forty-six. The three pieces are fairly distinct from one another, too—”Endless Dance” has no metal in it at all, but rather cycles through traditional drumming, nature samples, Forndom-style strings passages, and finally an acoustic build to the next song. All of this would be fine were the song not eleven minutes long, or maybe if it wasn’t following a thirteen-minute-long black metal song—or if didn’t “end” each time it introduces a new idea (it could easily be three distinct songs, with the acoustic end being far and away the best one). I mentioned earlier that “Offerings to the Great Circle” has some strong moments, but it similarly creaks under its weight, and could have been both shortened and split.2 All of this creates for me an image of an unrealized ambition, a vision Numinous has for Returning that I lost somewhere in the translation.

And it’s an honest shame, because I do think that somewhere or, perhaps, in several places—along the way, this band with a sound I like made some choices that I don’t care for, and now they and I are looking at two different things. The vision, passion, and technical skill are largely present, but as I listen to the four-minute-long ambient outro to “Offerings to the Great Circle” for what will be the final time, I can’t help but feel disappointed by the result.

Rating: 2.0/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Bindrune Recordings
Website: bindrunerecordings.bandcamp.com/album/numinous
Releases Worldwide: June 20th, 2025

#20 #2025 #AmericanMetal #BindruneRecordings #BlackMetal #Forndom #Jun25 #Numinous #OctoberFalls #Returning #Review #Reviews #WolvesInTheThroneRoom

Stuck in the Filter – November/December’s Angry Misses

By Kenstrosity

It is time for the new year, and yet we spend its initial moments reflecting on works of the past. That’s because the works of the past are clogging up our damn Filter, and we need that to breathe in this hellhole we call a headquarters. We toil in the snow and the slush, freezing as the gunk clings to our definitely OSHA compliant protective suits and face masks. All so that you can maybe like but more likely dunk on the nuggets of treasure we find here.

Regardless of whether you enjoy what we find, we expect payment for our services. You can submit tithes via Venmo, Paypal, Bitcoin, hobo wine, unicorns, and/or goat sacrifices. Anything less will result in summary dismissal from the Hall!

Kenstrosity’s Heaving Husks

Void // Jadjow [December 8th, 2023 – Brucia Records]

Weird shit is my shit. Challenging albums that dare to subvert my expectations of the music held therein will always garner my respect. Enter UK avant-garde black metal outfit Void and their fourth LP Jadjow. A bizarrely short window spanned between this release and their previous record—only two years compared to eight years between albums one and two, ten between albums two and three. Despite the tight turnaround, the quality of the writing here is nothing to dismiss offhand. Opening duo “Fables From a Post-Truth Era” and “Interdaementional” showcase twisted songwriting dynamics, haunting vocals, squealing black metal riffs, woody blasts, and funky transitions. Consequently, they remind me of Ved Buens Ende, DHG, and Khôra. Yet, Void prove that the art of the riff is not lost in a sea of weirdness, throwing in headbangable themes and windmill-worthy whirlwinds left and right (“Only For You,” “Self Isolation,” “Swamp Dog”). Striking this balance between engaging hooks (“Fables From a Post-Truth Era,” “Swamp Dog”), danceable grooves (“Oduduwa’s Chain”), and intelligent songwriting dynamics (“When Lucifer Dies,” “Iniquitous Owl”) is tricky business, and yet Void take on the task with effortless grace and poise. In turn, fifty-six minutes of oddball progressive black metal fly by in a flash. You blink, you miss it. Don’t blink!

Irityll // Schlafes Bruder [November 23rd, 2023 – Self Release]

Do you ever wonder what melodic black metal would sound like if it had the same HM-2 tone as the filthiest Swedeath around? I sure never have. Yet, Vienna, Austria’s Irityll chose that exact combination to craft their debut LP, Schlafes Bruder. Comprising of two musicians with notable experience in the deathcore and brutal death metal worlds (Spire of Lazarus, Monument of Misanthropy), Irityll unexpectedly nail the icy black metal sound which defines Schlafes Bruder, but enhanced by the novel twist of an HM-2 buzzsaw tone. Ominous melodies and vicious blasting abound, as choice cuts like “Leichnam aus Überzeugung,” “Deppade Leit,” and “Sternengeiβel” all demonstrate with aplomb. Written in the same epic style of bands like Immortal or Dark Funeral, Schlafes Bruder succeeds primarily thanks to a tasty combination of minimalist drama and riff-focused intensity. The way it ebbs and flows between soft passages and ripping black metal, blistering speed and militant marches, all feels natural, effortless, and leads to satisfying payoffs across the forty-four-minute runtime (“Schlafes Bruder,” “Reiter des Sturmes,” “Epitaphion”). And yet, it feels like just the beginning for Irityll. With more refinement and tightening of the screws, the duo could take even greater advantage of their novel sound profile with more distinct, individualized songwriting. I’m excited by that prospect, and you should be too.

Dolphin Whisperer’s Unparalleled Uncoverings

Closet Witch // Chiaroscuro [November 3rd, 2023 – Zegema Beach Records]

If you’re familiar with Closet Witch already, or the closely related in sound and style Cloud Rat, then you’ll know that the brand of caustically-styled, emotionally-chiseled grind that they represent wastes no moment. Equally weighted by the slowing churns of powerviolence and piercing tones of screamo, Chiaroscuro, a name taken from the classical art technique of shadow-use/darkness contrast that creates wholeness, depth, and tone in a piece, uses each of its identities to drill eighteen minutes of caustic music to your memory. Unfortunately for newcomers or passerbys to the sonic assault that Closet Witch embodies, either the fuzz-rattled and blackened riffage, the clanging and splashing kit abuse, or the shrill and shrieking throat sacrifice build like a wall of bleeding noise. But in practice, Chiaroscuro contains an uncanny ebb and flow, finding footing in rhythmic refocusing (“My Words Are Sacred,” “Well-Fed Machine”), noise-assisted tip-offs (“You, Me, and the Venus in Decay,” “To the Cauldron”), and pedal-down thrusts (“Haunting,” “Arlington Cemetary”) to dog ear its shifts and landmarks. In this case, a horror-synth “Intro” and de-escalating, crinkled found-sound “Outro” are necessary to respectively set the stage and close the curtains. You don’t want to go into this cold, but Chiaroscuro burns so hot that you need a cooldown.

Exulansis // Overtures of Uprising [November 17th, 2023 – Bindrune Recordings]

You ever sit there and wonder when you’re finally gonna find a melodic black metal album that’s actually cool? No? How about one that at least incorporates vibrant violin melodies, guitar identities outside of tremolo progressions, and actual growling bass presence? Well, if so, look no further than Exulansis, a folk-inspired four-piece who finds just as much home in the creeping doom of the string work that you’d hear in an old SubRosa jam as they do in the forested black metal of Wolves in the Throne Room. But in this case, Overtures of Uprising’s four tracks will require only thirty-two minutes (it’s not enough!!) of your hard-to-earn time, a healthy balance of two standard-length numbers against two longer explorations. Whereas their previous album, 2019’s Sequestered Symphony attempted to meld a lot more gothic folk into their sound, Exulansis went and trimmed that into a whole separate album (Hymns of Collapse) this go, which has left absolutely nothing to stand in the way of the bell-hammering drive of “Of Nature & Hatred” or the eerie and screeching “A Movement in Silence”.1 And when they do slow it down for the fanciful, classical violin melodies that signal the triumphant title track or the lurching doom of “Dawning,” Exulansis finds a way to capture the beat of an anxious heart. Unified by a melodic dread, Overtures of Uprising pushes this act closer to record that’ll grab me by the hand and never let go. Fortunately, I know these strong voices have more to say.

Saunders’ Slippery Subjects

Deathcode Society // Unlightenment [November 24th, 2023 – Osmose Productions]

My end-of-year filter was badly clogged amidst the rush to finalize Listurnalia and absorb the mammoth number of releases that either flooded through late or had been backlogged. Nevertheless, in the end-of-year wash-up, I stumbled across the sophomore platter from French symphonic black metal act Deathcode Society, and their powerful, bombastic LP, Unlightenment. Traditionally, I am incredibly picky with my modern black metal, and much of the overly symphonic variety tends to fall flat or overdo the cheese. Comprised of seasoned players, Deathcode Society balances the elements deftly to craft an intriguing platter, with modern sheen and orchestral flair roughened up by second-wave influences and whiffs of later-era Emperor. The sympho-black formula can sometimes veer too drastically into melodramatic territory, adding too much fluff to soften the black metal bite. Thankfully, Deathcode Society generally nail things just right. Within the style, Deathcode Society exhibit a versatile and confident approach, as their epic, carefully layered sound ebbs and flows through diverse pastures. A technical edge permeates material that blisters and tears with speed and aggression, contrasting these pleasingly vicious assaults with mostly tasteful symphonic layers, a varied vocal palette, and long, twisty arrangements. Highlights include the potent, blasty one-two opening punch of “Scolopendra” and “Shards” dominate with sheer scope, ferocity and memorability, while the stellar “Mazed Interior” and “Scales” offer in-your-face aggression and more ambitious, head-spinning turns with maximum impact.

#2023 #AvantGarde #AvantGardeBlackMetal #BindruneRecordings #BlackMetal #BlackenedDeathMetal #BruciaRecords #Chiaroscuro #ClosetWitch #CloudRat #DarkFuneral #DeathMetal #DeathcodeSociety #Dec23 #DHG #Emperor #Exulansis #Grind #Immortal #Irityll #Jadjow #Khôra #MelodicBlackMetal #MonumentOfMisanthropy #Nov23 #OrchestralBlackMetal #OsmoseProductions #OverturesOfUprising #ProgressiveBlackMetal #SchlafesBruder #SelfRelease #SpireOfLazarus #StuckInTheFilter #Subrosa #SymphonicBlackMetal #SymphonicMetal #Unlightenment #VedBuensEnde #Vøid #WolvesInTheThroneRoom #ZegemaBeachRecords

Stuck in the Filter – November/December’s Angry Misses

By Kenstrosity

It is time for the new year, and yet we spend its initial moments reflecting on works of the past. That’s because the works of the past are clogging up our damn Filter, and we need that to breathe in this hellhole we call a headquarters. We toil in the snow and the slush, freezing as the gunk clings to our definitely OSHA compliant protective suits and face masks. All so that you can maybe like but more likely dunk on the nuggets of treasure we find here.

Regardless of whether you enjoy what we find, we expect payment for our services. You can submit tithes via Venmo, Paypal, Bitcoin, hobo wine, unicorns, and/or goat sacrifices. Anything less will result in summary dismissal from the Hall!

Kenstrosity’s Heaving Husks

Void // Jadjow [December 8th, 2023 – Brucia Records]

Weird shit is my shit. Challenging albums that dare to subvert my expectations of the music held therein will always garner my respect. Enter UK avant-garde black metal outfit Void and their fourth LP Jadjow. A bizarrely short window spanned between this release and their previous record—only two years compared to eight years between albums one and two, ten between albums two and three. Despite the tight turnaround, the quality of the writing here is nothing to dismiss offhand. Opening duo “Fables From a Post-Truth Era” and “Interdaementional” showcase twisted songwriting dynamics, haunting vocals, squealing black metal riffs, woody blasts, and funky transitions. Consequently, they remind me of Ved Buens Ende, DHG, and Khôra. Yet, Void prove that the art of the riff is not lost in a sea of weirdness, throwing in headbangable themes and windmill-worthy whirlwinds left and right (“Only For You,” “Self Isolation,” “Swamp Dog”). Striking this balance between engaging hooks (“Fables From a Post-Truth Era,” “Swamp Dog”), danceable grooves (“Oduduwa’s Chain”), and intelligent songwriting dynamics (“When Lucifer Dies,” “Iniquitous Owl”) is tricky business, and yet Void take on the task with effortless grace and poise. In turn, fifty-six minutes of oddball progressive black metal fly by in a flash. You blink, you miss it. Don’t blink!

Irityll // Schlafes Bruder [November 23rd, 2023 – Self Release]

Do you ever wonder what melodic black metal would sound like if it had the same HM-2 tone as the filthiest Swedeath around? I sure never have. Yet, Vienna, Austria’s Irityll chose that exact combination to craft their debut LP, Schlafes Bruder. Comprising of two musicians with notable experience in the deathcore and brutal death metal worlds (Spire of Lazarus, Monument of Misanthropy), Irityll unexpectedly nail the icy black metal sound which defines Schlafes Bruder, but enhanced by the novel twist of an HM-2 buzzsaw tone. Ominous melodies and vicious blasting abound, as choice cuts like “Leichnam aus Überzeugung,” “Deppade Leit,” and “Sternengeiβel” all demonstrate with aplomb. Written in the same epic style of bands like Immortal or Dark Funeral, Schlafes Bruder succeeds primarily thanks to a tasty combination of minimalist drama and riff-focused intensity. The way it ebbs and flows between soft passages and ripping black metal, blistering speed and militant marches, all feels natural, effortless, and leads to satisfying payoffs across the forty-four-minute runtime (“Schlafes Bruder,” “Reiter des Sturmes,” “Epitaphion”). And yet, it feels like just the beginning for Irityll. With more refinement and tightening of the screws, the duo could take even greater advantage of their novel sound profile with more distinct, individualized songwriting. I’m excited by that prospect, and you should be too.

Dolphin Whisperer’s Unparalleled Uncoverings

Closet Witch // Chiaroscuro [November 3rd, 2023 – Zegema Beach Records]

If you’re familiar with Closet Witch already, or the closely related in sound and style Cloud Rat, then you’ll know that the brand of caustically-styled, emotionally-chiseled grind that they represent wastes no moment. Equally weighted by the slowing churns of powerviolence and piercing tones of screamo, Chiaroscuro, a name taken from the classical art technique of shadow-use/darkness contrast that creates wholeness, depth, and tone in a piece, uses each of its identities to drill eighteen minutes of caustic music to your memory. Unfortunately for newcomers or passerbys to the sonic assault that Closet Witch embodies, either the fuzz-rattled and blackened riffage, the clanging and splashing kit abuse, or the shrill and shrieking throat sacrifice build like a wall of bleeding noise. But in practice, Chiaroscuro contains an uncanny ebb and flow, finding footing in rhythmic refocusing (“My Words Are Sacred,” “Well-Fed Machine”), noise-assisted tip-offs (“You, Me, and the Venus in Decay,” “To the Cauldron”), and pedal-down thrusts (“Haunting,” “Arlington Cemetary”) to dog ear its shifts and landmarks. In this case, a horror-synth “Intro” and de-escalating, crinkled found-sound “Outro” are necessary to respectively set the stage and close the curtains. You don’t want to go into this cold, but Chiaroscuro burns so hot that you need a cooldown.

Exulansis // Overtures of Uprising [November 17th, 2023 – Bindrune Recordings]

You ever sit there and wonder when you’re finally gonna find a melodic black metal album that’s actually cool? No? How about one that at least incorporates vibrant violin melodies, guitar identities outside of tremolo progressions, and actual growling bass presence? Well, if so, look no further than Exulansis, a folk-inspired four-piece who finds just as much home in the creeping doom of the string work that you’d hear in an old SubRosa jam as they do in the forested black metal of Wolves in the Throne Room. But in this case, Overtures of Uprising’s four tracks will require only thirty-two minutes (it’s not enough!!) of your hard-to-earn time, a healthy balance of two standard-length numbers against two longer explorations. Whereas their previous album, 2019’s Sequestered Symphony attempted to meld a lot more gothic folk into their sound, Exulansis went and trimmed that into a whole separate album (Hymns of Collapse) this go, which has left absolutely nothing to stand in the way of the bell-hammering drive of “Of Nature & Hatred” or the eerie and screeching “A Movement in Silence”.1 And when they do slow it down for the fanciful, classical violin melodies that signal the triumphant title track or the lurching doom of “Dawning,” Exulansis finds a way to capture the beat of an anxious heart. Unified by a melodic dread, Overtures of Uprising pushes this act closer to record that’ll grab me by the hand and never let go. Fortunately, I know these strong voices have more to say.

Saunders’ Slippery Subjects

Deathcode Society // Unlightenment [November 24th, 2023 – Osmose Productions]

My end-of-year filter was badly clogged amidst the rush to finalize Listurnalia and absorb the mammoth number of releases that either flooded through late or had been backlogged. Nevertheless, in the end-of-year wash-up, I stumbled across the sophomore platter from French symphonic black metal act Deathcode Society, and their powerful, bombastic LP, Unlightenment. Traditionally, I am incredibly picky with my modern black metal, and much of the overly symphonic variety tends to fall flat or overdo the cheese. Comprised of seasoned players, Deathcode Society balances the elements deftly to craft an intriguing platter, with modern sheen and orchestral flair roughened up by second-wave influences and whiffs of later-era Emperor. The sympho-black formula can sometimes veer too drastically into melodramatic territory, adding too much fluff to soften the black metal bite. Thankfully, Deathcode Society generally nail things just right. Within the style, Deathcode Society exhibit a versatile and confident approach, as their epic, carefully layered sound ebbs and flows through diverse pastures. A technical edge permeates material that blisters and tears with speed and aggression, contrasting these pleasingly vicious assaults with mostly tasteful symphonic layers, a varied vocal palette, and long, twisty arrangements. Highlights include the potent, blasty one-two opening punch of “Scolopendra” and “Shards” dominate with sheer scope, ferocity and memorability, while the stellar “Mazed Interior” and “Scales” offer in-your-face aggression and more ambitious, head-spinning turns with maximum impact.

#2023 #AvantGarde #AvantGardeBlackMetal #BindruneRecordings #BlackMetal #BlackenedDeathMetal #BruciaRecords #Chiaroscuro #ClosetWitch #CloudRat #DarkFuneral #DeathMetal #DeathcodeSociety #Dec23 #DHG #Emperor #Exulansis #Grind #Immortal #Irityll #Jadjow #Khôra #MelodicBlackMetal #MonumentOfMisanthropy #Nov23 #OrchestralBlackMetal #OsmoseProductions #OverturesOfUprising #ProgressiveBlackMetal #SchlafesBruder #SelfRelease #SpireOfLazarus #StuckInTheFilter #Subrosa #SymphonicBlackMetal #SymphonicMetal #Unlightenment #VedBuensEnde #Vøid #WolvesInTheThroneRoom #ZegemaBeachRecords