#blackened-death-metal — Public Fediverse posts

OBSCURA QALMA (Itàlia) presenta nou àlbum: "Immortality Through Ashes" #ObscuraQalma #BlackenedDeathMetal #Octubre2026 #Itàlia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

INRIARCH (Estats Units) presenta nou àlbum: "Thronged on the Forks of Conflagration" #Inriarch #BlackenedDeathMetal #Octubre2026 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

The Law of Diminishing Recordings™ is a cruel mistress. She cares not for the effort put forth into any given work, nor does she show any sympathy for passion or skill. In all endeavors, she looms in shadows, in corners, and in crevices, waiting for a chance to bring down her victims a peg. And sometimes, she misses. So far, Pennsylvania wonky blackened death duo Veilburner evaded her attacks with a slithering swiftness, scrying her every move and staying two steps ahead. Futuristic, primal, and strange, Veilburner’s occult curios always find some portal to an improbable space where identification is immediate but engagement is preserved. Can ninth tome All That Glimmers is Gloam achieve the same feat?

If you’ve heard any Veilburner since Lurkers in the Capsule of Skull, then you know what to expect here. Wiry riffs that bend but never break, cymbals that clink and clang like wind chimes made of bone and brass, morphing utterances as inhuman as they are enticing, and an occult atmosphere that burns the air with devilish spice await in every chamber of Glimmers’ constructs. Familiar song structures build upon the more accessible patterns heard in Longing for Triumph, Reeking of Tragedy but the pace and aggression more closely resemble the animalistic The Duality of Decapitation and Wisdom or A Sire to the Ghouls of Lunacy. Psychedelia still establishes a strong foothold as always, which scaffolds the intensity of Veilburner’s writing with a sinewy fluidity that belies its unhinged personality.

For the first time, however, there aren’t as many deviations from prior installments as I expected, which in turn gives the impression that maybe Veilburner is running out of steam. That comes as no surprise to me, after watching the duo drop an album nearly every year since Lurkers.1 Opening duo “Here is Thine Sabbath, So Mote It Chasm” and “Oblivion Is Yours to Labyrinth,” along with later cuts like “Phænomena Obscura,” “Of Godslave and Blood Mortar,” and to some extent the title track closer stuff themselves with trademark Veilburner riffs and evil vocals heavily modulated with effects and other production wizardry, but don’t offer a voice unique to this release. Consequently, each of these numbers could be swapped into one or more of Veilburner’s other records and effortlessly blend into the crowd. They simultaneously lack memorability. Even if I make a conscious effort to recall a riff, a solo, a hooky vocal refrain, precious few come into focus. True to the Law of Diminishing Recordings, I also noticed Veilburner’s application of repetition in this release to make their measures sticky isn’t as effective as it once was. In stronger cuts like “Vitriolic Hiss,” the twangy refrain that gives the song its core still lacks a mutagenic quality that would allow it to evolve over the course of six minutes, robbing the moment of depth and engagement.

On the other hand, Veilburner still constitute a creative force highly capable and willing to take risks and do things just a bit differently. Album highlights “Dis’ Obedient Woe” and “Golgothic Holocaust” are perfect examples therein. In the former, a focus on gentleness, low-frequency clean vocals, and a lulling atmosphere uncovers a new element to Veilburner’s sound that I haven’t heard before—and the remarkable effectiveness with which it’s delivered is refreshing. The latter cut, on the other hand, is one of Veilburner’s wildest and most daring excursions. Twisting, writhing burls trade blows with a howling falsetto wail that I’ve never heard from Veilburner before. It’s terrifying and exciting in equal measure. Somehow, both of these unusual offshoots from the expected formula still give off an unmistakable scent that draws me in like a fly to fruit. Veilburner could hone in on these tracks, break down and discern exactly what makes them stand apart from the others, and use that data to build another high water mark in their discography down the line.

For now, All That Glimmers is Gloam is a competent and familiar work from one of the most recognizable and reliable entities in experimental extreme metal. Yet, it might be the weakest installment in their discography simply because most of what you hear they’ve done before, and often better. The exceptions housed inside this work save me from feeling disappointed with the final product. In fact, they stoke a fire of excitement and interest in me that leads me to believe that Veilburner might be on to something special if they capitalize on those riskier choices going forward. A newfound success is in their hands. All Veilburner need to do is firmly grasp it!

Rating: Mixed
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Transcending Obscurity Records
Websites: Bandcamp | Facebook
Releases Worldwide: October 16th, 2026

DEATHBANE (Croàcia) presenta nou àlbum: "Festering Darkness" #Deathbane #Technical #BlackenedDeathMetal #Octubre2026 #Croàcia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

SELENOPLEXIA (Estats Units) presenta nou àlbum: "Beneath the Lunar Tyrant" #Selenoplexia #BlackenedDeathMetal #Octubre2026 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

LAMENTING SATANAS (Estats Units) presenta nou àlbum: "Lotus" #LamentingSatanas #BlackenedDeathMetal #Octubre2026 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

SANCTUS NOSFERATU (Portugal) presenta nou single: "Axioma" #SanctusNosferatu #BlackenedDeathMetal #Octubre2026 #Portugal #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

Recensioni ✍️

👤 Ignobleth 📈 4 👥 1K
🔗 Manor Of Primitive Anticreation 7️⃣
📅 17-4-2026
🏠 2026 (Caligari)
#️⃣ Blackeneddeathmetal Deathmetal Warmetal

Uno dei dischi metal del 2026 arriva da Modena

#Ondarock #MusicianSky #MusicSky #Music

Manor of Primitive Anticreatio...

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St. October - BURN

https://youtu.be/kEkTg6IOIak

#metal #BlackenedDeathMetal #usa #music #np #NowPlaying #MastoMusic

GORESKINCOFFIN (Estats Units) presenta nou àlbum: "Echoes from the Crypt" #Goreskincoffin #BlackenedDeathMetal #Octubre2026 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

Review: Offernat – The Ecstasy of Death

Published by Clay on 2026/09/232026/09/23 Artwork by Adam Burke Style: Doom metal, blackened death metal, melodic death metal…
#NewsBeep #News #Music #2026 #7.5 #BlackenedDeathMetal #denmark #DoomMetal #Englishlyrics #Entertainment #harshvocals #independent #MelodicDeathMetal #september #UK #UnitedKingdom
https://www.newsbeep.com/uk/780174/

https://www.europesays.com/uk/1219059/ Review: Offernat – The Ecstasy of Death #2026 #75 #BlackenedDeathMetal #Denmark #DoomMetal #EnglishLyrics #Entertainment #HarshVocals #independent #MelodicDeathMetal #music #September #UK #UnitedKingdom

https://www.europesays.com/ie/699142/ Mittags-Abgrund – Mittags-Abgrund Review | Angry Metal Guy #20 #2026 #Absu #BlackMetal #BlackenedDeathMetal #CMPT #DarknessShallRiseProductions #DeathMetal #Éire #Entertainment #IE #Immortal #Ireland #MittagsAbgrund #Music #Review #Reviews #RussianMetal #Sep26

At face value, Mittags-Abgrund appear to be an act after my own heart. Their name—which translates from German approximately to “Midday Abyss”—references what else but Thus Spoke Zarathustra (though the lyrics are penned in progenitor Sch.’s native Russian). Promo material even contains the source quote where Zarathustra proclaims with a kind of prophetic joy, “when, O well of eternity! you serene and ghastly midday-abyss! when will you drink my soul back into you?”1 This epigraph, in conjunction with artwork depicting a ringlike serpent surrounding a dramatically rent sky, points towards the theme of Eternal Recurrence, an idea that forms the philosophical center of the book and which is to many an important piece of Nietzsche’s thought overall.2 But it’s one whose true relevance to the music of Mittags-Abgrund is ultimately vague. Mittags-Abgrund have me on side immediately, but can the music win over its audience in the same way?

Mittags-Abgrund play a style of blackened death that strays just occasionally outside of the lines separating second-wave and melo-black into the territory of dissonant and even old-school death. Bookended by instrumentals that progress from acoustics into something more like atmo-black, its main body is characterised by an almost grandiose, ugly heaviness that quickly recalls Absu, Immortal, and Sch.’s own Cmpt. Sch. pulls from several places across the spectrum of vocal styles in this sphere: croaking, growling, snarling, and chanting in more or less equal measure. Guest musician F takes charge of percussion in a performance that begins as quite standard, but becomes noticeably more complex and dynamic as the record progresses. So does the rest of the music, as the largely unremarkable black metal evolves and we get more overt signs of Sch.’s history in hardcore brutal death metal groups (“Пой со мной (Грусть в глазах бога) ,” “Паруса крыльев простёрты”); there are even a few toe-dips into more experimental territory (“В городе”).

Mittags-Abgrund could hardly match the profundity of its possible inspiration, but killer riffs and a dramatic atmosphere can make up for that to some extent. These aren’t abundant. The former mostly come in the form of fleeting dissonant scales (“Портреты моих предков”) and arpeggios that dance snakelike above the stalwart barrages (“Высокомерие над пропастью червей”), guitars otherwise persisting in less colourful repetitions. This dominant multi-influence style of blackened death can be gnarly and thrilling when it wants to be (“Высокомерие над пропастью червей,” “Паруса крыльев простёрты”), and the increasing degree of fluctuations and flourishes in the drumming gives a notable edge to proceedings (“Паруса крыльев простёрты,” “Ignis Subterraneus”). The inconsistency of such edges is therefore a pity, the cause of an uneven listening experience requiring patience and close attention to achieve a questionable reward. When not confined to forceful vocal reverb, atmosphere via synths and spaciousness help the music reach some vaguely epic heights (“Aurora Consurgens”) and nuanced spooky pensiveness (“В городе”) I wouldn’t have minded hearing more of and wish were blended better and earlier on with the heavier instrumentation.

Mittags-Abgrund also perplexes in certain compositional and mixing choices. The music varies in volume depending on the dominant element, with lead guitars typically drawing the short straw except for a few notable occasions on which they appear with particular prominence. This is frustrating when they carry melodic lines and would develop the mood and add tangible layers if they were more audible. Speaking of layers, the use of vocal multitracking takes that idea to a literal extreme with interpolations of growls and wails that distract rather than enrich the progression of the piece (“Паруса крыльев простёрты,” “В городе”). It is nonetheless possibly better than the dominant croak that rapidly grew grating without a sufficiently wild or engrossing soundscape—which would have been improved with louder leads and better atmospheric integration. The album feels overall like an odd dichotomy between hastily combined flirtation with more original musical elements and dry unremarkability, with too little cohesiveness outside of the latter’s tendency to obscure what’s actually good.

Not for the first time do I find myself lamenting the missed opportunity of a Nietzschean-themed album. Mittags-Abgrund shows glimmers of greatness, but these are close to invisible in the midst of ostensibly heavy and dramatic music one struggles to give adequate attention to. With a better mix, stronger leads, and more confident strides into the unusual shades Mittags-Abgrund display a fondness for, there’s potential. Is it the worst thing an unreserved Amor Fati would have to embrace in embracing the necessity of the totality?3 Absolutely not. But the blend of broadly unstirring blackened death metal and irresolute explorations remains disappointing as they are.

Rating: Disappointing
DR: 8 | Format Reviewed: 320kbps mp3
Label: Darkness Shall Rise
Websites: Bandcamp | Facebook
Releases Worldwide: September 15th, 2026

PATRISTIC (Itàlia) presenta nou àlbum en directe: "Live in Poland" #Patristic #BlackenedDeathMetal #Setembre2026 #Itàlia #NouÀlbumEnDirecte #Metall #Metal #MúsicaMetal #MetalMusic

Thunder rattles the ducts as my minions trudge through heated aluminum and flimsy copper to clean out the detritus left by endless storms. Sometimes I wonder if I should invest in a “health plan” for them to offset the debilitating turnover resulting from various mortal injuries and gruesome deaths this work incurs. And then I think again, and realize that would be a waste of “profits.” There will always be more dummies willing to dive in with the promise of treasure sparkling in their eyes.

Aaaaannnnyyyyway, nobody lost limb or life in the Filter today, but we did manage a decent haul. BEHOLD!

Kenstrosity’s Burning Bastion

Forsmán // Brenndar rústir & fuðrandi fjörur [June 26th, 2026 – Vesperian]

Iceland is where all the cool black metal kids sit. Smeary corpse paint, cloaks, throaty roars, somehow simultaneously wet and dry snare tones, and hooky riffs surrounded in lower-pitched tremolos make the Icelandic scene almost instantly recognizable. Forsmán are no exception, the young foursome abiding by the genre blueprint—in a similar way to bands like Svartidauði and Helfró—on remarkably professional debut Brenndar rústir & fuðrandi fjörur. A deathly kink lightly twists blasty riff freakouts (“Drottinn fyrirgefur allt,” “Valdníðsla”), but when they land their impact cracks the earth underfoot. A dissonant drama further characterizes Forsmán’s black metal core to scaffold riff-driven measures and off-kilter rhythms, and yet everything remains accessible and easily digestible (“Svartir svanir,” “Andvana,” “Barmafylltar fjöldagrafir”). While Forsmán aren’t attempting to redefine the style with this debut, they do earn a spot alongside the genre’s best with tight performances, fiery riff-forward writing, and a writhing personality that is vicious as much as it is beautifully expressed (“Kynjamyndir”). In short, Brenndar rústir & fuðrandi fjörur should not be missed, as it represents with great merit the high quality I’ve come to expect from the modern Icelandic black metal scene.

Owlswald’s Sunlit Secret

Entropist // The Vision [June 26, 2026 – Self Released]

Denver progressive death metal quintet Entropist is the very definition of a Stuck in the Filter unearthing. Their debut album, The Vision, slipped through the cracks amid our June promo flood and resurfaced too late for a standard review. Time to make amends. Mixed and mastered by Jamie King (Between the Buried and Me, The Contortionist), The Vision showcases a group brimming with talent and ambition.1 Blending death with elements of progressive metal, psychedelic rock, metalcore, jazz, and classical, The Vision is a melting pot of influences that thrives on vivid atmospherics and an effective dual-vocal approach from Parker Kitching and guitarist Solomon Smith, creating a sound that is adventurous and rewarding. “Intense Warmth” opens with a bout of hypnotic throat singing that morphs into layered croons. “Desert of Limbo’s” crawling melodies evoke Haken. Elsewhere, “The Ritual’s” eerie atmosphere and its intense bridge throw serious Aeolian-era The Ocean vibes, while “Devour Us” delivers exotic acoustic guitar and violin passages before closing with a swaggering groove and a contorted solo. “Creation” proves what Entropist is capable of when all the pieces lock together. Packed with Exoplanet-like riffs, alternating growls and soaring vocals, and a heaving half-time groove, the track’s eclecticism and momentum never let up. Not every experiment lands—”Revelation” and the aptly named “Wandering” lose sight of their destination—but there’s too much talent and creativity here to ignore. The Vision may be far from flawless, but it’s without a doubt an impressive debut.

Spicie Forrest’s Mathy Morsel

eleventwelfth // 11 [June 26, 2026 – Angular//Momentum Records]

Do you remember when Sithu Aye released that Senpai series?2 Airy, engaging, and wildly emotive, I’ve been chasing that sound ever since. eleventwelfth’s newest LP, 11, scratches that itch as it hasn’t been scratched in years. Part one in a concept duology3 that will serve as the Jakarta, Indonesia-based foursome’s sophomore offering, 11 follows its protagonist as they reckon with the necessary sacrifices one must make in pursuit of a dream. Largely rooted in indie and math rock, 11 unfolds in three acts filtered through aviation metaphors. Hopeful and tender melodies dance on strings like the wind through tall grass (“far away from here,” “collision”), while vocals effortlessly swoop and soar like an albatross on ocean air currents. 7-minute closer “communicate” swells inexorably, wind gathering under its wings until, at the midpoint, it takes off in a beautiful moment of catharsis. Synths and electronic elements evoke Porter Robinson’s Nurture in their gentle and ineffably nostalgic movements (“navigate,” “to fathom the throes”). When eleventwelfth leans into their Reliant K’d rock side, as on “ascending faster than before,” “fear of what’s beyond,” or “last here all alone,” 11 moves as if in a flow state—somehow simultaneously approaching lightspeed and locked in a timeless moment. This certainly isn’t the heaviest thing you’ll hear this year—it might be the lightest—but for those who know what it means to risk it all on hopes and dreams, 11 is not to be missed.

ClarkKent’s Energetic Inputs

Finsmoonth // Chrysalis of Astral Tears [June 13th, 2026 – Disaster Records]

Indonesia’s Finsmoonth puts on a clinic of melancholic atmospheric black metal with some first-rate tremolos and affecting performances. They partake in an aggressive, melodic form of the genre that’s similar to Walg in its relentlessness. Icy cold blast beats pummel your ears while the melodic tremolos prove a soothing balm wrapped in melancholy. The two guitarists, Zulk Adhe and Irwin Ranto, are tremolo wizards, serving quality leads on each song. My favorite, “Embers at Ethereal Dawn,” displays Finsmoonth’s ability to build up to powerful emotional climaxes. Tino Guruh proves an effective and consistent vocalist. His blackened rasps form the emotional core, and on “Embers at Ethereal Dawn,” he breaks into agonized cries that are just heartbreaking. The passing of the band’s bassist, Maulana Fachrul, less than two months ahead of the release of Chrysalis of Astral Tears adds further to the poignancy. Fachrul puts on a first-rate performance, with some stellar lonesome instrumental stretches on “An Endless Depth,” as well as a bit of smooth jazz noodling towards the end of “Foliage of the Wings.” If Indonesian black metal reminds you of Pure Wrath, then it might not be a surprise to learn that Januaryo Hardy contributes the cleans/chants, and even his wife, Isa Bellum, has a couple of small parts. I don’t know what’s going on in Jakarta to make these artists so sad, but they’re writing some damn fine music.

Inherits the Void // The Silent Abscission [June 19th, 2026 – Avantgarde Music]

France’s Antoine Scholtès has been quite busy since forming his solo black metal project, Inherits the Void, in 2020. Thus Spoke had kind words for the previous two, 2023’s The Impending Fall of Stars and 2024’s Scars of Yesteryear, comparing the former to the atmospheric meloblack of Mare Cognitum. This time around, Scholtès brings along some friends, including Romain Negro (Apolaustic, ex-Stortregn) to helm the mic. Romain brings a much more aggressive blackened edge to the vocals, cracking with a relentless energy. Scholtès still contributes backing vocals, and a mysterious Nicolas S. sings cleans on a couple of tracks, including a great soaring bit on the finale, “Inherits the Void.” The Silent Abscission feels a touch more aggressive than what Inherits the Void generally plays. Between the blast beats, furious tremolos, and Romain’s blackened assault, there’s a sense of constant kinetic motion. It’s true that some of this stuff can blend together, but there’s plenty of great melodies to keep it enjoyable from start to finish. While Scholtès continues to use synths and arpeggios as brief reprieves from the blast beat attack, he also invites Kevon S. to play some sax (“Wrath of the Endless Sea,” “Inherits the Void”), bringing to mind Burial in the Sky or White Ward. The Silent Abscission is yet another impressive outing in Inherits the Void’s discography, with Scholtès showing that he’s willing to take some risks in order to make things more interesting.

Grin Reaper’s Nocturnal Nuggets

Hecate // Comment Est la Nuit? [June 12th, 2026 – Self Released]

Since forming in 2009, French ensemble Hecate has steadily released reliable and trve black metal. Fourth album Comment Est la Nuit?4 serves as my introduction to the act, and after visiting earlier albums I’m confident that their latest is their greatest (so far).5 Where debut Chronicles d’un Autre Temps sounds more modern (think 1349 or Watain), subsequent albums gravitate towards raw production that radiates early second-wave energy. Comment Est la Nuit? perpetuates this aesthetic, though Hecate adorns it with classical frills that I find irresistible, such as their seamless integration of piano, flute, and cello with gusts of piercing tremolos and grating rasps. Though Comment Est la Nuit? remains solidly rooted in black metal, the keys function as a core component like never before. Each time I listen, Hecate reveals new facets that only get better with familiarity. The intro to “Aubes aux pâles salives” begins with a beautiful piano refrain supported by clean guitars and a subtle bass thread before tumbling into distorted trems that bear the same melodic framework. Likewise, the range of “Hymne au clair de lune” batters listeners between scathing muscle and delicate respites. I don’t expect Comment Est la Nuit? to change opinions about black metal, but those who enjoy it will find Hecate has written an engrossing experience that wonderfully details the rhythms of the night.

Stormkeep // The Nocturnes of Iswylm [June 12th, 2026 – Vesperian]

Like many, I eagerly awaited a full-length follow-up to Stormkeep’s magnificent debut Tales of Othertime, uncertain if or when it would arrive. Because the band’s other projects consistently enrapture me (Wayfarer and Blood Incantation, in particular), I never worried whether the Denver, Colorado collective’s sophomore platter would satisfy the promises made by Othertime. And while I’m not convinced that The Nocturnes of Iswylm reaches the heights the debut, Stormkeep still unleashes goodies aplenty that litter Nocturnes three-quarters of an hour. Gone are the instrumentals from Tales of Othertime—instead, Stormkeep dials down the cinema in favor of more straightforward meloblack, although drama still seethes beneath the surface. String embellishments dot the arrangements (“The Taste of Immortal Blood,” “Imperious Sanguine Eroticism,” “Carnal Tapestries of Nailtorn Flesh”), imparting dramatic flair and a welcome dimension to Stormkeep’s fantastical atmosphere. And like the cover art, The Nocturnes of Iswylm embraces darker textures that wrestle in doleful gloom, engendering a subtler experience that took time to sink in and appreciate. While this approach doesn’t ply the same epic theatricality as the debut, The Nocturnes of Iswylm nonetheless worms its way into ears and hearts with nefarious glamours that crackle with danger.

Belarus Beaver // Grind af den Brune Bäfver [June 17th, 2026 – Self Released]

Sweden plays host to many metallic endeavors, and I often feel like I’m picking up secondhand geography lessons as a result of listening to its exports. Belarus Beaver, then, supplies a toofer, as they began their journey in melodeath mecca Gothenburg before settling down in Jönköping (also home to Hällas, Rexoria, and Narnia). Rather than progressive rock or power metal, though, Belarus Beaver obliterates listeners with a bucktoothed bombshell of devastating deathgrind that’s at once savagely br00tal and pure fun. Also, it’s all about beavers. On fourth album Grind af den Brune Bäfver, Belarus Beaver weaves together groove-laced blasts with industrial trimmings that recall a mixture of early Anaal Nathrakh (“I Want to Pet a Beaver”) and Exhumed (“Den Gnagande Plågan,” “Begravd i en Flod”). Occasionally, though, Grind af den Brune Bäfver reaches for a twist in their songwriting repertoire that uplifts the music, like the Eastern stringed instrument at the beginning of “Urbävern” or the unexpected melodic guitar support midway through “Mutated Beaver Moose.” These moments and others like them elevate Grind af den Brune Bäfver above sheer novelty, and if you’re not sold on Beaver fever, you’re missing out. So let your hair down and give yourself over to the Grind—it’s dam fun.

Creeping Ivy’s Classic Catch

Dead Kosmonaut // Retrospectre [June 26th, 2026 – Edged Circle Productions]

Dead Kosmonaut conceived a perfect title for their third album. Since 2014, this Swedish quintet has been molding traditional heavy metal hearkening to the late 70s and early 80s. This style—the first wave of metal itself—haunts any and every musician in the genre with aspirations of crafting something trve. With the specter of retro metal hanging over the band’s collective head, Retrospectre delivers 38 minutes of classic goodness, imbued with a somber longing. Dead Kosmonaut is a well-credentialed crew, starting with guitarists Fredrik Folkare (ex-Necrophobic) and Peter Hallgren (Sorcerer), who dole out irresistible guitarmonies and audacious solos in the spirit of Iron Maiden (“Out of the Shadow Rising”). The rhythm section, comprised of bassist Mattias Reinholdsson and drummer Henrik Johansson (both ex-Book of Hours), punches through the mix with power and a bit of grit (“Wake of Aquarius”). And of course, vocalist Per ‘Hellbutcher’ Gustavsson shines, trading his black metal bona fides for commanding cleans that drive some damn fine choruses (“View from the Future”). Lyrically, the album especially develops its theme of retrospection in the latter half, with songs about aging (“Eyes Grow Old”), defeat (“The Battle is Over”), and the inexorable march of time (“The Retrospectre”). Retrospectre will certainly scratch any itches for timeless, classic metal, but Dead Kosmonaut have enough talent, character, and craftmanship to make their third offering more than mere nostalgia.

DIABOLISHER (Finlàndia) presenta nou àlbum: "Astral Presence of Evil" #Diabolisher #BlackenedDeathMetal #Setembre2026 #Finlàndia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

Since getting started in 1989, Finland’s Archgoat have more than earned their place on the Mt. Rushmore of bestial blackened death metal (or “war metal,” for those like-minded fukks who spend too much time on Metal Archives and wear camo shorts to Best Buy). Helmed by twin brothers “Lord Angelslayer” (bass/vocals) and “Ritual Butcherer” (guitars), the group’s formula is simple yet effective: take rushing black metal riffs, add uber-deep growls, downtune the fukk out of the guitars, and throw in a lot of ritualistic, marching breaks that whip live audiences into a godless frenzy. For those who’ve never listened to them, imagine Beherit’s Drawing Down the Moon but more bludgeoning and blasphemous. Since returning from a decade-plus hiatus and releasing their long-awaited debut Whore of Bethlehem in 2006, the band’s albums have shown them honing that core sound while offering minor variations of it, with 2009’s The Light-Devouring Darkness veering closer to the more chaotic side of war metal and 2018’s The Luciferian Crown serving as a career high with its excellent variety and commanding production. Their last album, 2021’s Worship the Eternal Darkness, unfortunately felt a bit like the band was treading water after The Luciferian Crown, making me worried about how their sixth album, Nightbringer, Lightbringer, would fare.

Turns out those worries were for naught, as Nightbringer, Lightbringer shows Archgoat continuing to trample Christianity beneath their hooves with as much conviction as ever. After the requisite ambient intro, the title track blasts forth like a firestorm, scorching your pathetic little ears with stampeding double-bass runs, guttural pigfuck vocals, and pounding mid-paced riffs that force heads to be banged. With lots of pauses and tempo shifts, the track at times feels like it was blown up by a grenade and hastily reassembled, though the grunts of the track title (with dramatic pauses between each word) serve as a catchy anchor that holds everything together. Other than this song, the late-album track, “Reaper of Christianity,” comes the closest to the “classic” Archgoat formula, aside from the pianos that embellish that track’s marching riffs.

Those pianos, it turns out, aren’t the only experimental touches here, as this record shows Archgoat trying more new things than perhaps any other album in the band’s catalog. Several songs feature novel vocal approaches: the relentless assault of “Iconoclasm the Nazarene” has moments of higher-pitched screams that recall Revenge, while “Blood of Jesus Spilling Upon the Earth” employs bits of deep spoken word that might even be pitch-shifted. The latter song also uses passages of spacey, ringing chords that aren’t as powerful as the band’s trademark marching riffs, but are at least different. Perhaps the most notable moment, however, is in “Keys of Hell and Death,” whose epic conclusion is probably the most melodic minute of music the group has ever performed.

Overall, these new touches are welcome, though given how goddamn effective the band’s core sound is, I do wish the record offered a few more “traditional” Archgoat songs. The average tempos also feel slower than usual and, when combined with the heavy use of keyboards, create a sinister, ritualistic feel that may displease those looking for something with more raw bloodthirst. The only real misstep, however, is second proper track, “The Dawn to Armageddon.” The track itself is actually great, with hypnotic mid-paced riffing and keyboard embellishments that together make it sound a bit like old Samael. The problem is that its placement on the tracklist saps the album’s momentum early. Fortunately, songs like “The Light Behind the Horns” and the closing track, “Obsidian Reflection of Anti-Light,” are the perfect antidote, with punky energy and rampaging riffs that make it easy to bang your fukkin head (for the master in hell). Tracks like these are all the more powerful given the clear, full production that lets every layer shine through the darkness while retaining plenty of raw grit.

Apparently, Nightbringer, Lightbringer is about the end of Christianity and the beginning of a new Satanic dawn. The band supports this theme with as much conviction as ever while offering plenty of new embellishments, yet remaining wholly recognizable as the one and only Archgoat. In some ways, Lightbringer, Nightbringer is the epitome of the late-career dilemma: should a band continue doing the same thing or actually try new shit? For Archgoat, the answer is apparently a little bit of both, and the result is yet another Satanic stampede that’s sure to please war metal fans and anyone else looking for a blasphemous good time.

Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kbps
Label: Debemur Morti Productions
Websites: archgoat666.bandcamp.com | facebook.com/archgoat.official
Releases Worldwide: September 11th, 2026

DIABOLISHER (Finlàndia) presenta nou single: "Resurrection by Carnage" #Diabolisher #BlackenedDeathMetal #Setembre2026 #Finlàndia #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

AMBULACRUM presenta nou àlbum: "Historiae Romanae Fragmenta" #Ambulacrum #BlackenedDeathMetal #Agost2026 #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

WARFORGED (Estats Units) presenta nou àlbum: "The Grove | Almanac" #Warforged #ProgressiveMetal #BlackenedDeathMetal #Agost2026 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

Some bands just know what they’re about right away. Australia’s blackened death metal band Complexant poise themselves as a rising star in the continent/country/island’s extreme metal ecosystem, storming the scene with “a sound defined by weight, darkness, and unrelenting intensity.” There’s little fanfare to Complexant’s promo around their debut full-length Apex: in so many words, they merely promise to kick as much ass as they can fit in a thirty-four-minute session. They’ve tormented their home country since 2022, but Apex aims to make Complexant a global menace. But can Apex raise Complexant to the cream of the blackened death crop?

That Apex is a debut isn’t too shocking. Complexant play a dense, modern-sounding brand of brutal death metal dusted with black metal vitriol and (slight) deathcore stank. Think Cordyceps—restless riffing, crushed production, murderous intent, etcetera—but with more human-sounding vocals and a willingness to let their boots off your neck from time to time. Apex is heavy, raw, and blunt, but Complexant’s greenness shows in some undercooked ideas and seriously ham-fisted moments. Clean vocals worm their way onto “No Angels Weep” and “Afterlife,” which aren’t nearly as vital as vocalist Dan Greigsy’s screams and tack on an unwanted Stone Sour butt rockiness to the latter track’s ending. Endings are another issue. Although it’s worth celebrating Complexant’s realization of the power of editing, “Heretical Supremacy” and “Critical Mass” both end before they’ve hit their stride. Add some clumsy lyricism—”Cyclops, you only see through one perspective.” (“Cyclops”), “My head is at critical mass. One more thought and my cranium will surely collapse.” (“Critical Mass”)—and Apex’s rawness sometimes doesn’t work to Complexant’s benefit.

But more often than not, Complexant uses Apex’s bluntness as a proper instrument of devastation. Under the oppressive fury of drummer Seb Su’s blast beats, guitarists Shannon Zivkovic and Gavin Bradley and bassist Chris Tuckley churn out seething, brutish riffs one after the other, underpinning Greigsy’s incensed performance across Apex. Songs like “Swing Myself to Sleep” and “Eye for an Eye” attack with a balanced approach of imposing, dissonant blackened chords and neanderthal death chugs, the former deploying some fucked up noodling bits in the bridge and the latter ending in seriously caustic heaviness. Complexant’s mix highlights Su’s drums, who complements the guitars with a similarly dynamic balance of concussive speed (“No Angels Weep,” “Apex”) and groove (“No Hope for Sanctuary,” “Eye for an Eye”) while littering just enough fills across Apex for good measure. Finally, Complexant utilize breakdowns conservatively and effectively to punctuate dramatic moments in their songs (“Swing Myself to Sleep,” “Cyclops”) rather than writing everything tailored to the breakdown. Apex is a thematically uncompromising record, and thus benefits from the unsophisticated sound Complexant bestows it.

Not to be cruel, but Apex sounds best to these ears when Complexant sound just miserable. Apex features some truly harrowing and uncomfortable lyrics, and these moments usually encompass Complexant’s best material. From the suicidal ideation of “Swing Myself to Sleep,” to the vengeful murder fantasies of “Eye for an Eye,” to the proclamations against life itself on “Afterlife,” Complexant don’t endear themselves to you with their sunny dispositions. When Greigsy screams, “Eye for an eye when you take a man’s life. You brought a weapon, a weapon to a fist fight,” (“Eye for an Eye”), you best believe the instrumentals rise to meet his vitriol. At times Apex reminds me of Whitechapel’s The Valley in both sound and in barefaced confessional lyricism, reaching its emotional zenith on closer and album highlight “No Hope for Sanctuary.” Relaying the speaker’s childhood home life, his early claim of how he “was raised by fucking vandals” is bolstered by scenes of harrowing domestic violence and abuse, offering up an apt metaphor of being trapped under debris for the unstable environment he came up in. Apex doesn’t reach greatness as a whole, but in these uncompromisingly bleak moments Complexant reach the mark.

I had a good time having a bad time with Apex. Proving further that everything from Australia wants to kill you, Complexant can bring the hurt with the best of them, and Apex is a more than adequate exercise in hostility. Even where songwriting faltered, Apex is still enjoyable through the simple joy of the disgusting riff. Now, if Complexant hone their songwriting further by the time they’re ready for album number two, we’ll have something truly worth watching. If for our own safety, at the least.

Rating: Good!
DR: 4 | Format Reviewed: ???1
Labels: Bleeding Art Collective and Blood Blast Distribution
Websites: complexant.bandcamp.com | facebook.com/complexantband
Releases Worldwide: July 31, 2026

Today's music:

St. October - “VVitchcraft”

https://youtu.be/u2cCzoIl2Aw

#metal #BlackenedDeathMetal #usa #music #np #NowPlaying #MastoMusic

Niveous – Cult of the Void Star
#BlackMetal #BlackenedDeathMetal #MelodicBlackMetal #Metal #atmosphericblackmetal #deathdoom #doommetal #postrock #Amadora
CC BY-NC (#CreativeCommons Attribution Non Commercial) #ccmusic
https://hypnoticdirgerecords.bandcamp.com/album/cult-of-the-void-star

Spawned in 2007, Danish quintet Crocell started life as a humble, but prolifically productive melodic death metal troupe, churning out five LPs in a relatively brief decade. Six years passed between their fifth and sixth outings, but only two years span the difference between that and the new Swarm of Insects, distributed by Emanzipation Records. Throughout all of that history, Crocell have gotten progressively more blackened in their riff-centered, deathly dealings, but otherwise remained remarkably stable both in sound and lineup. This begs a question of curiosity: What six-legged horrors await me here?

While it’s still true that Crocell haven’t made great shifts in sound or style over the last few records, Swarm of Insects is a more epic and sprawling affair than, say, the relentlessly aggressive Relics. This puts it more in line with black-metal forward predecessor Of Frost, Of Flame, Of Flesh, which saw Crocell leaning more heavily into sweeping songwriting arcs highly reminiscent of Limbo-era Gaerea by way of Sulphur Aeon, with a twist of Emperor. That said, some of the Dormant Ordeal-but-slower death of Relics returns on Swarm. This reprisal of crushing heft, in turn, affords Swarm a more threatening nature without becoming wholly oppressive or undoing its grand storytelling voice.

If that description gives you pause or causes concern that Crocell lost their edge, one spin of the title track should provide ample reassurance. Its scorching tremolo-forward riffs and spectacular energy bring heat to the blood and buzz to the saw. “Traitor’s Blood,” “Shredded Banners,” and “Wolfen Man” double down on that attack, and the extra 90 seconds Crocell invested into what used to be their standard mid-three-mid-four-minute template suits them well. Using that extra time to fortify serrated riffs built to shred and terrify with ominous bridges soaked in shadow and mist brought a new vocabulary to Crocell’s musical lexicon. Not entirely unexpected from a band of this advanced experience, but also not entirely dissimilar to the welcome progression of songwriting sophistication that Sulphur Aeon displayed across their discography, Crocell’s expansion of scope allows the five-plus minutes of “Labyrinthian Tunnels” and even the somewhat weaker “Volcano” to feel justified and satisfying.

As much as Crocell excel in Swarm of Insects’ more patient songwriting, so too do they leave behind some of the more exciting characteristics of past efforts. Always the show-stealer, undercelebrated drummer Andreas Posselt is more restrained here across the board, and I miss the jaw-dropping acrobatics and scalpel-sharp accuracy of his tom-and-cymbal play displayed on past efforts. His performance is still enviable, of course. However, opener “Sarcophagus” is somewhat forgettable in relation to Swarm’s later offerings, in part due to its more reserved writing and lack of that percussive showmanship that I look for from Crocell. Concurrently, Tommy Christensen and Mads Gath traded some of their riff quota for great, towering arcs of trem-picked melodies and protracted chord work. This allows big moments from “Sculptor of Nations” and “Wolfen Man” to hit with tectonic impact—and also serves as a vehicle to bring audibility to Onkel Kusse’s oft-buried bass burble—but may alienate listeners who hoped for another nonstop barnstormer from these Danes. Asbjörn Steffensen, on the other hand, strikes a great balance between deathly roars, hoarse rasps, and pained chants that feel impassioned without losing control entirely. His technique here might be cribbed directly from the tomes of Sulphur Aeon, resulting in a most minor case of identity theft, but it’s a great technique for this sound regardless.

41 minutes pass, the locusts that once blinded my vision now only dot the horizon and straggle before my feet. Wings gently flutter on either side of my ears, and I’m left standing aghast at what just transpired. Crocell, as I anticipated, brought enough heat to spike my adrenaline with concerning ease. This Swarm of Insects may not pose as mortal a danger as previous attacks, but it nonetheless offered its own kind of excitement. In another world, I might be thankful that this wave was easier to weather. But I can’t deny that I miss the intensity and the terror of experiences past. I won’t begrudge Crocell for this more “pleasant” plague, as it was a fine plague all the same. I just hope, one day soon, to fear for my life again.

Rating: Very Good
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Emanzipation Records
Websites: Bandcamp | Official | Facebook
Releases Worldwide: May 29th, 2026

Escuchando el EP début de Zørza, catarsis brutal

https://zorzapbm.bandcamp.com/album/iei

#blackeneddeathmetal #blackmetal #postblackmetal #music

Free download codes:

DoSounDiable - The Bendtrails Of Doom

"If you like some old school death, check it out !!"

https://getmusic.fm/l/TMbm8S

#metal #blackmetal #blackeneddeathmetal #extrememetal #occultblackmetal #oldschooldeath metal #osdm #music

The spirit of metal has always been transgressive. Even though the genre can no longer be epitomized by a group of men with long hair, wearing all black, screaming about Satan and death,1, there remains an element that threatens an established order or sensibility. This is most obvious in the sound itself, which apparently turns a majority of listeners away even as it attracts weirdos like us. But while we may roll our eyes at metal of any kind being dismissed as ‘just noise’ and ‘horrible’, there are some cases where we can acknowledge that the music in question really is very inaccessible. Then we’re confronted with that same transgressiveness non-metalheads face when they listen to less-extreme metal, and enjoyment—let alone qualitative assessment—becomes complex. So it was when I was faced with Dhrupad Anutpada (ধপদ অন$ৎপ&দ): Apophatic Ragas Of Non-Origination, the debut of Indian/Canadian act Nirriti whose intense blackened noise is paired with a philosophical theme that denies the occurrence of creation. Its heresy is every bit as transcendentally horrifying as it sounds.

Nirriti are fully committed to their unorthodoxy. As members of black/noise circle Kolkata Inner Order Propaganda—along with Tetragrammacide, Necrodeity, among others—the trio demonstrate a level of nightmarishness worthy of the circle’s proclaimed “esoterrorism.” Not only is the lyrical theme bizarre yet intriguing, but the music is some of the most oppressive I’ve ever heard. For context, after finishing my first play-through of Dhrupad Anutpada, I decided to listen to Portal to “wind down.” Nirriti’s use of guitar as something from which to make a shuddering wall of sound, from which the occasional dissonant tremolo scale creeps out, is somewhat similar to Portal’s. Here, this wall feels still more monolithic due to Dodecahedron-on-steroids percussive violence that breaks away from a cacophonous blast, only to smash any hint of quiet with cymbals. Omnipresent vocal reverb, that iterates nigh on every hellish roar into a multiplicity of frightening confusion and chaos, becomes the final smothering layer in Dhrupad Anutpada’s impenetrable shroud of horror.

Up to this point, everything I’ve said about Dhrupad Anutpada could be taken positively or negatively—a quirk of how we often discuss extreme metal. This cognitive dissonance is as central to the proper experience of the album as literal harmonic dissonance. Nirriti’s take on noisy brutality approaches the hypnotic as they infuse passages with a sense of repetition through just-audible repeating scales and the aforementioned flickering echoes of vocals (“Mandukya…,”2 “In the Hallways…”). This creates a viscerally chilling sense of a tape skipping or playing backwards, or of the dizziness you feel just before you faint. It’s strange, but such passages grip the listener more powerfully than those where the reverb and blackened sensibility soften to allow the riffs breathing room (“One Foot…,” “Glissando…”), though the latter do reset the sempiternal rhythm, and inject needed jabs of urgency at their best (“One foot…,” “Golden Yolk…”). The relentless drumming, often more prominent than the guitars, serves primarily as a propeller to churn up these waters, such that it becomes a perverse relief when it settles into a battering, crashing attack (“In the Hallways…,” “Golden Yolk…,” “Vilambit Laya…”); because you can at least count the blows.

Dhrupad Anutpada maintains a consistent level of intensity thanks to these constant, if sometimes subtle, fluctuations. Creeping guitar ascents (“In the Hallways…,”), a rhythmic syncopation between roars and drums (“Mandukya…”), and the sudden breaks into noise (“Glissando…”) or the comparative ease of dissonant death metal (“One Foot…”) keep one hooked, straining one’s ears to catch the nuances in this chthonic chaos. Nirriti display an impressive command of their craft, turning harsh vocals into a weapon of horror, wielding guitars like percussion and percussion like punishment. It’s clearly intended to overwhelm and unsettle its audience. The problem is that it’s perhaps too successful, Dhrupad Anutpada being so exhausting that it can make one feel physically nauseated. After many listens, once the initial shock has passed, it’s easier to spot the places Nirriti reuse their tricks, and the corresponding movements lose a little potency (“In the Hallways…,” “Vilambit Laya…”).

I want to believe Dhrupad Anutpada is as profound as it presents itself. There is something to be said for an album that so powerfully confronts and terrifies its listener—it is the very essence of metal and the heart of philosophical unorthodoxy. Yet Nirriti tread a touch too far into the formless abyss to reach all but the most dedicated acolytes of the heretical metal underground. Dhrupad Anutpada may open your mind, but it’s just as likely to send you scrambling, horrified, away from the nightmare Nirriti have unleashed.

Rating: Mixed
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Iron Bonehead Productions
Websites: Bandcamp
Releases Worldwide: June 19th, 2026

Free download codes:

GREH - Dysphoric Devotion

"Punishing and emotionally charged blackened death assault, fusing groove and dissonance into a devastating statement of rage!"

https://getmusic.fm/l/D7BkhM

#punk #deathmetal #doom #sludge #blackeneddeathmetal #balckmetal #music

You may note that I haven’t published a full review in more than a week. You may also note that my most recent contribution to AMG Productions was a ranking for the best of death metal’s old guard. You may peek at the score below and question my ability to remain objective in light of my recent musical diet. But worry not, dear reader! Objectivity is my prime objective, Fairness and Justice my guiding lights. You can rest assured that this review of Ignobleth’s debut LP, Manor of Primitive Anticreation, contains naught but Unbiased and Very Correct Opinions™.

Hailing from northern Italy, Ignobleth peddles a unique blend of black and death metal. This trio, comprised of A.L. on guitar, A.B. on bass and vocals, and M.O. on drums, combines the esoteric psychosis of Ritual Ascension with the grime and filth of Rotpit and an HM2 pedal. The result is a worship service held in the darkest recesses of a city sewer system. Murky, mangy riffs echo and multiply as they careen down lightless, sweating passageways, and haunted rasps reverberate in the mire. Together, Ignobleth creates an oppressive and turbid atmosphere, most acutely felt on “Proselyte Pig I” and “And the Lunar Mass Shatters.” The loping, swinging main riff of the former evokes gothic, vaudevillian horror, while M.O.’s icy kit work on the latter encourages eldritch panic.

Speaking of M.O., his percussive assault is perhaps the highlight of Manor of Primitive Anticreation, but not for the reason you might think. Indeed, he effortlessly oscillates between blackened blasts, death-infused rhythms, and punky beats (“Warped Abyssal Architecture,” “Forked Tongues”), but the predominance of the drums here is largely a result of a very subpar production job. Vocals and drums are centered on an unnecessarily wide sound stage with strings as far left and right as they can go, and as a result, each track feels less like a cohesive song and more like instruments playing at the same time. And while A.L.’s guitar is fairly clear when spotlighted for leads and hooks, the second the rest of the band joins in, it becomes barely audible mush. Prime examples include “Obelisk of Deformity,” which, during faster paced sections, becomes a wall of indeterminable sound, and “Proselyte Pig II,” which drowns its main riff in vat of sludge, such that I can barely hear more than two notes when I know A.L. is playing several more.

Would that the woes of Manor of Primitive Anticreation stopped there. Ignobleth includes an intro and three separate interludes on an album spanning only 11 tracks (“Intro,” “Spores,” “Interlude: Lecherous Sex Magick,” and “Manor of Primitive Anticreation”1). Interludes and ambient pieces can work, but here, they’re little more than minorly spooky synths, garbled spoken word, and choral bits that annoyingly interrupt the main course. Manor of Primitive Anticreation boldly includes even more ambience in the outro of “And the Lunar Mass Shatters,” and the last two minutes of album closer, “Among the Seventy-Two Embalmed Ekpyrotic Gods.” Even if the pacing were tighter and less stilted, the songwriting itself leaves much to be desired. Repetition runs rampant through the album (“Among…,” “Proselyte Pig I,” “Obelisk of Deformity”), blunting riffs and passages that could have bitten much harder. There’s also an overreliance on wordless howls over mildly furious instrumental sections. It’s so frequent that song structures seem composed almost entirely of bridges and solos with few verses or choruses to be found, compounding the album’s repetitive tendencies.

This has been a frustrating album to work with. While Ignobleth’s tone is deliciously vile, the songwriting and production leave me deeply disappointed. Over several spins, I got the distinct impression that Manor of Primitive Anticreation isn’t blackened death metal so much as something that sounds vaguely like it. It’s fine in the background, but direct attention reveals it to be a shallow imitation. Much of Manor of Primitive Anticreation seems geared toward a live audience—song structures, tone, prevalence of blast beats—and I have no doubt that it fucks quite hard in such a setting. Unfortunately, this style does not translate well to a studio production, much less the review process.

Rating: 1.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Caligari Records
Websites: Bandcamp | Instagram
Releases Worldwide: April 17th, 2026

FROSTMORNER lanza «Orbital Kaos»

FROSTMORNER presenta su primer trabajo en estudio de larga duración «Orbital Kaos» a través de Wormholedeath. El proyecto solista siciliano une la exploración del caos primordial con blackened death atmosférico.

Carlo Bellotti

https://www.youtube.com/watch?v=zdSjeV-THgM

Originario de Sicilia (Italia), el proyecto de blackened atmospheric death metal FROSTMORNER fue fundado por Mario en 2019. Lo que comenzó como un esfuerzo colaborativo evolucionó hasta convertirse en una potencia solista, donde su único integrante se encarga de las guitarras, la batería y el diseño visual. Esta independencia le permitió forjar un sonido distintivo que combina intensidad y capas atmosféricas sin concesiones, logrando una visión artística personal.

Recientemente, la banda anunció su fichaje con el sello Wormholedeath para el lanzamiento mundial de su álbum debut de larga duración, titulado Orbital Kaos. La placa, que tuvo su estreno digital el pasado 6 de febrero de 2026, representa el primer capítulo formal del artista. Este trabajo discográfico consolida años de desarrollo en la escena extrema, captando la atención de revistas, fanzines y radios internacionales de gran relevancia.

https://www.youtube.com/watch?v=43VTbW89Hyc

El disco está compuesto por nueve canciones: «Pillars of Creation», «Necromorph», «Kronvs», «Demiurge», «Arra Agga Bandar», «Gorgone», «Claymore», «Eclipse» y el tema homónimo «Orbital Kaos». Cada pista funciona como un mundo independiente que orbita alrededor del concepto del caos primordial. La obra se construye sobre la fragmentación y la tensión, explorando temáticas ligadas a Lovecraft, la mitología, el espacio y el horror.

Como parte de la promoción de este lanzamiento, FROSTMORNER presentó videos visualizadores para los sencillos «Gorgone» y «Demiurge», además de un teaser oficial del álbum. El track «Gorgone» se sumerge en el mito de Medusa con un enfoque cinematográfico, mientras que «Demiurge» explora la metafísica de la creación. Estas piezas audiovisuales refuerzan la propuesta estética «hazlo tú mismo» que caracteriza al artista siciliano en la actualidad.

Respecto a la visión conceptual de su obra, Mario expresó: «El Demiurgo crea la música, y la música crea el universo. Épico, majestuoso y cósmico, hasta el acto final, donde las estrellas mueren y todo vuelve a la singularidad». Esta cita refleja la ambición narrativa de un disco que busca ir más allá de las estructuras convencionales del género mediante paisajes sonoros densos e inspirados en el cine.

https://youtube.com/playlist?list=OLAK5uy_lrx0Y2-j_ujEOpcyT-WeACirMDjPLE-M4&si=26kMH95AcYRDUnQ0

A lo largo de su trayectoria, FROSTMORNER ha cosechado elogios de medios especializados, lo que facilitó conversaciones con otros artistas del metal extremo. Su presente está marcado por la consolidación tras su reciente firma discográfica, hecho del que puede inferirse una proyección hacia futuras colaboraciones internacionales. El proyecto se mantiene fiel a la esencia impredecible y experimental que define su universo de audio, ganando reconocimiento mundial.

There are few concepts in the Western tradition as misunderstood as that of “the death of God.” It is not a triumphant proclamation, nor a call for apathetic nihilism. What has been coined in recent online discourse as a ‘meaning crisis’ is only barely getting the point. The Loss of Transcendence—some universal, ultimate, mind-independent Truth and set of values—is a beginning, an event that should prompt critical thought and action and confrontation of a human condition that we sedate ourselves out of with belief in a higher power or sense and reason in the universe; hope; or the rescinding of responsibility to the idea that ‘nothing matters.12 The Great Observer seem to have done their homework for the most part, with their debut channeling their thrashy blackened death into a philosophical call to action that blends Existentialism with Stoicism and Epicureanism. Fresh on the scene and immediately going all-in in aggression and storytelling, what can The Great Observer give to us?

On the face of it, Loss of Transcendence is standard black/death/thrash, with a rotating emphasis on each of those three components. Sticking primarily to up-tempo, gritty riffing in a vein somewhere between Necrophobic, Tomb Mold, and Morbid Angel—though a less flashy iteration—The Great Observer do nonetheless find time to linger in some cavernousness that vaguely recalls Disembowelment. They further emphasise their mean streak with a pervasive vocal echo that adds to the grime of the throaty howls and is compounded during the many instances when such vocals are multi-tracked or delivered as a group. But not all of this energy is used in service of evil; there’s a strong anthemic side to these choruses and a jaunty bombast to many a beat. In many ways, it gives off the aura of classical extreme metal—back when Black Metal was an album title, and ugliness, speed, and aggression were the name of the game in a fundamentally different way to how they are now. And yet, under the layers of dirt and behind the malevolence lie small seeds of nuance, and it is to Loss of Transcendence’s great detriment that they remain scattered seeds alone.

Loss of Transcendence flirts with many things—intrigue, atmosphere, tenacity—but never quite wins any of them over. Riffs generally check boxes for pugnacity, but even at their most brutish and slick (“The Great Observer,” “Impervious Creation”), they have no edge, no force. At the worst end, guitar lines are entirely blunt thanks to nondescript, generic-sounding melodies and patterns (“Herald of Thorns,” “How Far the Faithless will Venture”). It’s unfortunate that all of the best guitar sits in the record’s back half, with “Impervious Creation” and “The Weight of Being Free” delivering shimmying, sliding shredding capable of winning over the harshest of critics, and the latter track featuring a genuinely beautiful, buttery smooth solo that combines everything great about grimy yet gorgeous extreme metal. The frequent use of group vocals, which sometimes creates an impressive miasma of harrowing calls (“Impervious Creation,” title track), falls awkwardly flat when delivered as rousing shouts (“Sentenced at High Noon,” “At The Summit of Consciousness,” “The Weight…”) thanks to the latter’s surprising corniness. The Great Observer also experiment in an exasperatingly random manner with distortion, with a liquid, Worm-adjacent effect appearing in random snatches never to develop (“Parénklisis (Fallen Into Existence),” “How Far…,” “The Weight…,” title track); and the worst part is that it’s good! The pace, generally high, is also stymied by not one but two synth-heavy instrumentals as “Parénklisis…” opens the album with a gravitas that never appears again, and “Ékstasis (The Lonesome Path)” needlessly presses pause for two minutes of ambience and whispering.

In reality, Loss of Transcendence feels frustratingly lukewarm. A mix that pushes guitars erratically between the far background and the very forefront, and a baffling decision3 to layer vocal tracks and reverb like lasagna over these riffs (“The Great Observer,” “Sentenced at High Noon,” “The Weight…,” title track) makes what could be decent blackened death sound almost poor. Almost the only time the guitars sound good is when they sound great, soloing in sudden clarity (“Sentenced…,” “Impervious Creation”) and with fluent expressiveness (“The Weight…,”), and these highlights appear exclusively in the second half. Given this, it becomes harder to forgive the swing of strangely upbeat gang shouts (“Sentenced…,” “Herald of Thorns”) and a brusque attitude to riff-writing that tends to shy away from character.

It’s always a shame when a concept I’m particularly interested in is delivered in mediocre form. Loss of Transcendence strikes as an album that would have had heads spinning and Bibles being reached for in the early 90s but now its grit cannot make up for its shortcomings. Failing to develop their best ideas and sidelining their assets far too often, The Great Observer still haven’t seen how to capitalise on their strengths, and Loss of Transcendence loses more than higher values as a result.

Rating: Disappointing
DR: 9 | Format Reviewed: 320 kbps mp3
Label: BlackSeed Productions
Website: Bandcamp | Facebook
Releases Worldwide: April 30th, 2026

https://sepulchralcurse.bandcamp.com/track/swarming-blackness

FUCK! Scheiß auf #DadRock zurück zum guten alten #RAEM. #NowPlaying #SepulchralCurse #OnlyAshesRemain #SwarmingBlackness #BlackenedDeathMetal

Nameless corpses without graves
Bloated bodies filled
With parasitic devil seeds
Ancient curses coming into flesh
If one can be raped in nightmares
Beyond the laws of reason
Where could I ever hide?
Where could I ever hide?

Ich bin wieder da, Baby!

Free download codes:

Entropy Eternal - You Fought Well

"Blackened Death Metal inspired by Hans Zimmer’s Dune suite “You Fought Well”"

https://getmusic.fm/l/SzjQss

#darksynth #blackeneddeathmetal #symphonicdeathmetal #music

#NewRelease #Volcandara

Dude, this new album is amazing! I also liked the last album from them, but I feel like it’s a step forward.
https://volcandra.bandcamp.com/album/beyond-the-will-of-mortals
#blackmetal #deathmetal #blackeneddeathmetal #melodicdeathmetal

Without question, Friday is my favorite day of the week. Even more tantalizing than the conclusion to an often grueling gauntlet of meetings, feedback, and GSD,1 I’m blessed with metal’s new releases. Trying to listen to everything that comes out is a fool’s errand—luckily, I’m a fool. During one of my customary Friday excursions, fortune smiled upon me when I stumbled onto Graufar’s sophomore opus, Via Necropolis. As I listened, the album’s grooves, riffs, and passions bathed me in blackened deathly glory. My luck persisted through the morning—Graufar’s promo still lurked unclaimed in the bin. Yoink! Though I discovered Via Necropolis late, I was powerless to resist the call of a review, especially given the band’s unsigned/independent status. Thus saddled with an unplanned bit of writing and a pocketful of tunes, let us sojourn down Necropolis way.

Too many blackened death metal bands present a mixed bag of half-measures.2 To me, the peak allure of the subgenre promises the brutality and technicality of death metal united with black metal’s icy atmospherics and raw aesthetics. The quintessentially boilerplate BDM band brews a tepid concoction featuring a death metal base with black metal spices; fortunately, Graufar averts getting mired in pedestrian trappings. Honing a sound established on debut Scordalus, Via Necropolis flaunts chilly trems, grating rasps, and a coat of corpse paint that betrays their blackened heart, and it beats with the blood of Dissection, Necrophobic, and Rimfrost. Death metal’s influence is more subtle, skulking in chugging grooves and vicious growls that blend in seamlessly.

Via Necropolis by Graufar

Though Graufar’s performances across Via Necropolis merit praise, vocalist Gernot Graf deserves special recognition. His scathing vocals loose misery and malevolence that arouse a primal reflex, making my throat twinge at the thought of snarling along. Tracks like “Blizzard and Blaze” and “Foltertrog” exhibit Graf’s penchant for wringing out every ounce of emotion, from vitriol to agony. Black metal rasps aren’t his only trick, though. Graf roars with an insatiable fire on “Charon” and “Buried in Flames,” devolving into bestial throes within “Heralds of Doom” and “Via Necropolis” and ensuring that his versatile performance never lacks conviction or fervor. Graf also plays guitar alongside Michael Herber, and together they fashion a glittering heap of licks, leads, and grooves. And it’s the latter that stands out the most, because while death metal regularly brandishes them, black metal rarely deigns to approve the groove. Meanwhile, “Buried in Flames” and “On Your Knees” demonstrate Graufar’s shrewd understanding of songwriting, and bolstered by Thomas Buchmeier’s slinky bass and René Hinum’s precision drumming, Via Necropolis positively thrums.

Throughout Via Necropolis, Graufar dazzles with their ability to conjure dynamic arrangements informed by influences. Kicking off with a Dissection-coded intro on “Blizzard and Blaze,” Graufar mingles with mellow cleans, slithers through second-wave savagery reminiscent of Mayhem,3 and even dabbles in throat-singing before ending back on the cleans. “Heralds of Doom” features a fiery solo that cedes to a pit-ready sway, “Via Necropolis” starts with a sleek Necrophobic-meets-Watain riff that builds to a doomy chorus played over rabid trems, and “On Your Knees” bashes you in the face with a potent Sepultura groove.4 Despite Graufar’s administration of reference points galore, they never linger overlong on any one. The songwriting is deceptively understated, and although this works in Graufar’s favor as a whole, over repeated listens I find my engagement more attuned to Via Necropolis’s back half. Reordering the tracks (“Buried in Flames” would make a fantastic opener) and slightly trimming the longer ones would add an immediacy that brings some of the back-end boom up front.

All told, Graufar delivers a vibrant outing that boasts a refreshing take on blackened death teeming with wonderfully wicked ideas. Via Necropolis sizzles throughout its forty-two minutes and distinguishes the band as an act to watch. Considering both Graufar’s albums have been released independently, the band displays remarkable song craft and self-editing, and Via Necropolis gleams with talented musicians who forge well-crafted metal bangers. Better late than never, I’m glad this gem didn’t slip by.

Rating: Very Good!
DR: NA | Format Reviewed: WAV
Label: Self-Release
Websites: Website | Bandcamp | Facebook
Releases Worldwide: March 20th, 2026

Hagoroth – Fabric
#BlackMetal #BlackenedDeathMetal #DSBM #Metal #progressiveblackmetal
CC BY (#CreativeCommons Attribution) #ccmusic
https://hagoroth.bandcamp.com/album/fabric

For #ThursDeath:

#RiversAblaze: Inexternal Dread

https://album.link/i/1874089287

#BlackenedDeathMetal #ProgressiveDeathMetal

FFO #Bedsore #Phendrana #WhiteWard