#blackenedhardcore — Public Fediverse posts

There are a few phrases that I could theoretically read in a promo blurb that would get me to instantly pick it up.1 When my eyes landed on the line “Lord Carrion seeks to usher in 1000 years of ruin to fascists and authoritarians of all stripes,” I thought “say less,” and took Man Made Hell without any care for the fact that its black metal comes with a significant dose of southern hardcore—not my preferred subgenre. I’m glad I did. Their debut LP after two years honing their craft with an EP and a split, Man Made Hell is Lord Carrion’s first big chance to bring about the promised destruction to oppressors. The stark redness of the cover, the marrying of some of metal’s noisiest styles, and the band’s proud antifascism make for a loud statement that the music must live up to. And does it?

Man Made Hell certainly does not flinch away from the implicit violence of its influences. A crusty, second-wave black metal base meets with the boundless energy and acidity of rampaging hardcore for a sound that’s both aurally and spiritually raw as fuck. Jonross Maddog2 Maddox’s d-beats and the clattering pivots of snare rollovers and cymbal smashes drag you by the scruff of your neck behind a rampaging train of Matthew Price and Miguel Hallare’s riffs, as Jake Plissken screams in your face through a mouthful of barbed wire. Sometimes, it’s no more than this: sanguine yet standard noisy rampaging that doesn’t break any moulds (“Suicide Planet,” “Billions Dead”). At others, Lord Carrion pull back from showing their teeth just enough for some layers and gripping melodicism to show their heart.

Lord Carrion display their passion best when they stray outside of the lines. It’s tangible in the ballistic extremities—the snippets of solo drums (“Billions Dead,” “Yaldabaoth”) and the passages of particularly intense extended, repeated, throat-shredding screams (“Plutocrat Slaughter Ritual,” “The Walls are Closing In”). Most notably, the feeling on Man Made Hell is strongest in every place Lord Carrion make the sound entirely their own. Resonance that goes beyond its obvious atmo-black inspiration to transform a previously granite riff into a shadowy refrain (“Plutocrat…,” “Peace is a Bloody Sword”) when it isn’t blurring a tremolo melody for some randomly gorgeous meloblack (“What Remains”). Such buoyant, mournful melodies sprinkled around work together with punchy syncopation and aforementioned hellish vocals for compelling, satisfyingly sharp declarations (“Desperate Cruelty,” “What Remains”). Disso-death drips into arachnid arpeggios (“Billions Dead”) and drawling, sinister chords (“Peace…), injecting a cruel edge that just works. Rhythmic turns often take the best of both black metal and hardcore for fun (“Suicide Planet,” “The Walls are Closing In”) and darkly groovy (“Plutocrat…”) moments.

The greatest issue with Man Made Hell is that its brilliance is a little unevenly distributed. So fiery at its jawbreaking, moody, best, the (over-)use of more “standard” second-wave black/hardcore riffing risks the loss of any audience turned off by such mundanities.3 Similarly, the album would probably benefit from a smidge more time to fully integrate the many great ideas and segments it contains. As an example: the jumpscare of full-volume white noise that splits the doom-drone of “Peace…”‘s first act is visceral, and will probably split listeners into a love/hate dichotomy. The gentle beauty of “What Remains,” rising from carefully-placed strums and the hushed howling of wind to an emotional meloblack finale, though I love it, feels slightly out of place. I can hear the hints of atmosphere and nuance that Lord Carrion drop beforehand, and it seems like minor tweaks would integrate these aspects better.

Man Made Hell divides me, leaving me affected but uncommitted. It’s pretty fun in a satisfyingly gronky way, whilst also possessing a gravitas that portends—even though it doesn’t execute—greatness. What is certain is that Lord Carrion have got something; their ardour oozes out of most-every fuzz-choked note, and I think they make their point just fine for now.

Rating: Good
DR: 6 | Format Reviewed: wav
Label: Self-Released
Websites: Bandcamp | Instagram
Releases Worldwide: August 24th, 2026

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Salt Divination - The Boiled Sorceress

https://getmusic.fm/l/2IkRSQ

#blackmetal #hardcore #blackenedhardcore #music

Do you want to know how angry Lithuanians sound like?

#Erdve: Epigrama

https://erdvesom.bandcamp.com/album/epigrama

#BlackenedHardcore #DeathMetal #Thall

FFO #Aortes #Nightmarer #Yashira

HEATHE – Vir076: Control Your Souls Desire For Freedom
#Experimental #Rock #blackenedhardcore #darkfolk #doom #drone #posthardcore #Copenhagen
CC BY-NC-SA (#CreativeCommons Attribution Non Commercial Share Alike) #ccmusic
https://virkelighedsfjern.bandcamp.com/album/vir076-control-your-souls-desire-for-freedom

Naturale – Vir031: Live 2018
#Drone #Experimental #Live #Noise #Recitation #Rock #blackenedhardcore #darkfolk #doom #drone #Copenhagen
CC BY-NC-SA (#CreativeCommons Attribution Non Commercial Share Alike) #ccmusic
https://virkelighedsfjern.bandcamp.com/album/vir031-live-2018

Do you ever hear a punk song and think, “Sure, I’d also like to overthrow the establishment, but couldn’t you learn to play guitar a bit better?” Have you ever found yourself embarrassed to be banging your head to a sick black metal riff written and performed by one of the world’s most repugnant lowlifes? Yes. So have thousands of our brethren in every squat and co-op from Greece to Iceland; and as is their wont, they have taken matters into their own grubby hands, pressing a huge variety of records that radiate out from the collision of metal and hardcore in every hue and shade, from the bilious How Hate is Hard to Define to the cerulean Archivist. Rosa Faenskap, unsurprisingly, fit themselves into the long-wavelength end of that rainbow.

Practicing a particularly dark and frostbitten form of Euro-Lefty-Black-Hardcore, Rosa Faenskap find themselves between the vicious pallor of Thurm and the sanguine rage of Svalbard, on occasion reflecting a few fleeting tones from the early Plebeian Grandstand records. Emil Vestre grinds out icy tremolo leads as jagged as they come, crashing and crackling in coupled cacaphony with vocalist Håvard Solli’s snarling bass; in the pre-breakdown chug and pick-scrape of “Faenskap for alltid,” you’d swear you were standing six feet away from their amplifier in a damp Oslo basement. Drummer Anders Jansvik’s performance is likewise big and booming. Whatever the trio might lack, it’s not energy.

Ingenting Forblir by Rosa Faenskap

Though Rosa Faenskap are pretty green, this sophomore record is remarkably focused, holding its space through force and fury, hammering a few riffs as harshly as possible before their close. “Den Svake Mannen” rides a rung-out arpeggio so continuously that you can still hear it when Vestre switches over to tremolos, but I’m never disappointed to hear them return to it halfway through the song. “Faenskap for Alltid” pursues a more straightforward black metal at first, expertly executing a couple of stock tremolo metal riffs with a panache that I’m surprised to hear outside of a Spectral Wound record before the band shift from blackened to bruising, stomping through a breakdown and proclaiming “faenskap for alltid!” again and again.

Ingenting Forblir’s success stands in part on the band’s canny writing, but is far more indebted to its quality of sound. The record’s production and mix, handled by the band in collaboration with Oskar Johnsen Ryd and Torfinn Sommerfeldt Lysne, respects the vitality of the material, sounding live and livid. My only complaint is that Jansvik’s drums can get buried during busy sections, in part due to a muffled snare tone. Despite a low-DR master, the record is dynamic where it needs to be; when the band leave Vestre alone and pensive with their guitar, the quiet registers, and I feel myself slipping a bit closer in towards the record.

“Jeg Våkner Snart” closes Ingenting Forblir as the band’s most ambitious and successful song, layering tremolo leads over gang vocals, retreating into quiet, reverberating melody, and ending in a boiling conflagration of noise. For a sophomore record leaner and meaner than the band’s 2023 debut, it’s just the right ending. Ingenting Forblir hardly breaks new musical ground, but Rosa Faenskap’s sour determination will likely propel it into my regular listening rotation this year. In practice, I might not be up for faenskap for alltid, but I’ll happily recommend faenskap for lenge.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps MP3
Label: Fysisk Format
Websites: rosafaenskap.com | rosafaenskap.bandcamp.com
Releases Worldwide: March 6th, 2026

Herba – ideación suicida
#Punk #blackenedhardcore #blackenedscreamo #blackenedskramz #emocrust #emocrust #emoviolence #screamo #skramz #Pontevedra
CC BY-NC-ND (#CreativeCommons Attribution Non Commercial No Derivatives) #ccmusic
https://herbaemoviolence.bandcamp.com/album/ideaci-n-suicida

Asteriæ – Miejsce, które nazywam sobą CD EP (D.I.Y. Kolo Records)

Let’s be honest, Poland has always been a special place for heavy music. It’s a country that has always produced some of the finest European bands, but while the world usually looks to the Polish scene for pure death metal and black metal, there is a bleeding-heart underground that is currently redefining what heavy actually means. Asteriæ’s second studio release, the EP Miejsce, które nazywam sobą, this five-piece has delivered one of the most intense, vulnerable, and technically impressive records I’ve heard in years. Released through D.I.Y Koło Records, it’s a 1000-watt spotlight on the internal struggle. If you’ve been following our blog, you know we have a massive soft spot for music that refuses to pick a lane. Asteriæ is the definition of that refusal. They work at the intersection of blackened hardcore, neocrust, and post-metal, mixing the frantic, nihilistic speed of black metal with the atmospheric sprawl of post-metal. It’s a volatile alloy that feels like it could shatter at any moment, yet it is held together by a level of compositional discipline that is frankly marvelous. This is music that serves as a vessel for every bad emotion, allowing the creators and the listeners to find some kind of peace in the aftermath of the noise.

Asteriæ has made the conscious, bold choice to forgo English in favor of their native Polish. English is often the easy route. It’s percussive, familiar, and a universal shorthand, but by sticking to Polish, Asteriæ has unlocked a level of raw, unfiltered emotional resonance that simply cannot be translated. You don’t need to speak the language to feel the weight of it. The phonetics of the Polish tongue add a rough rhythmic edge to the vocals that perfectly complements the music. It makes the internal struggle feel more personal, more grounded, and more authentic. Vocals sound phenomenal from scratch to finish. This is an exceptional, fierce performance that defines the blackened element of their sound. These are aggressive, soul-shredding screams that sound like they are being ripped directly from the chest. The delivery is relentless, guiding the chaotic blast beats and the spacious atmospheric sections with a hypnotic presence. There is a sense of desperate haste in the voice, a guiding authority that leads you through the labyrinthine emotional core of the record. It’s a human being placing every bad emotion into the microphone so they don’t have to carry it in their daily life. It’s catharsis in its purest, loudest form. The guitar work is absolutely marvelous and serves as the primary engine for the album’s shifting moods. Asteriæ mastered friction and consonance. On one hand, you have the furious, blackened riffs, themes, and lines that cut through the mix. On the other hand, the guitars frequently open up into these beautiful, spacious motifs. These post-metal-influenced passages are drenched in reverb and atmosphere, providing a much-needed breath of air before the next descent into chaos. This duality gives the EP its incredible dynamic range. The guitars are never just showy, because every arpeggio and every wall of noise is a carefully placed brick in the place they are building.

Asteriæ has wisely chosen to drown the entire project in distorted bass. The basslines are sludgy, raw, and abrasive, offering a thick, rumbling undercurrent that gives the music its massive physical weight. It injects a noticeable heaviness and warmth into the soundscape, acting as the essential glue that binds the high-pitched guitar melodies to the relentless drumming. The fuzz on the bass is delicious; it’s the sonic abrasiveness that makes the album feel so feral and real. Also, we are treated to impressive rhythmic maneuvers. The drummer handles the transition from frantic, breakneck blast beats to slow-lurching post-metal grooves with effortless precision. The fills are energetic and precise, filled with marvelous accentuations that highlight the shifts in guitar textures. The double-bass work is a rolling thunder backdrop that keeps the energy pinned in the red, but it’s the drummer’s ability to let the music breathe during the atmospheric sections that really shows their skill. They dictate the emotional tempo of the record, making sure that even in the most chaotic moments, there is a sense of intentional structure. Asteriæ created a singular, continuous burst of energy, a relentless exploration of what happens when blackened hardcore velocity meets post-metal’s soul. Despite the extreme nature of the music, the clarity of the production allows every instrument to cut through. You can appreciate the detail in the distorted bass, the intricacy of the drumming, and the layers in the guitar work, even as the whole thing attempts to steamroll you. Miejsce, które nazywam sobą is a comprehensive demonstration of how extreme music can be used as a tool for survival and self-improvement. Asteriæ crafted an album that will resonate with fans of progressive, blackened extremity across the globe. It is a mandatory listen for anyone who believes that the loudest music should also be the most honest. This is a must-have for your collection, a sludgy, abrasive, and beautifully crafted trip into the self. Get ready to lose yourself in Asteriæ’s world. It’s a masterpiece of modern emotional hardcore.

#ASTERIAE #BLACKMETAL #BLACKENEDHARDCORE #DIYKOLORECORDS #METAL #MUSIC #NEOCRUST #POSTMETAL #REVIEWS

Kikimora – Vir066: Kikimora
#Experimental #Rock #blackenedhardcore #darkfolk #doom #doomfolk #drone #Copenhagen
CC BY-NC-SA (#CreativeCommons Attribution Non Commercial Share Alike) #ccmusic
https://virkelighedsfjern.bandcamp.com/album/vir066-kikimora

Akira – Demo 2008
#BlackenedCrust #Experimental #ambient #blackmetal #blackenedhardcore #crust #crustpunk #darkhardcore #drone #hardcorepunk #neocrust #noise #punkrock #screamo #sludge #Saratov
CC BY-NC-ND (#CreativeCommons Attribution Non Commercial No Derivatives) #ccmusic
https://boilyourangel.bandcamp.com/album/demo-2008

All out now from #SatanNotHatin participants - Ancst with album 'Dominion', Lähdön Aika with single 'Teuraaksi Kastettu' and Voland with album 'The Grieving Fields'. All on Bandcamp #Music #NewMusic #MetalMusic #BlackenedHardcore #BlackMetal #s8nnoth8n #ProtectedByThePitchfork

Prefix Suffix – Vir053: Qualities of Naught
#Experimental #Rock #blackenedhardcore #darkfolk #doom #drone #Copenhagen
CC BY-NC-SA (#CreativeCommons Attribution Non Commercial Share Alike) #ccmusic
https://virkelighedsfjern.bandcamp.com/album/vir053-qualities-of-naught

Throwe – Vir065: Forfald
#Experimental #Rock #blackenedhardcore #darkfolk #doom #drone #posthardcore #Copenhagen
CC BY-NC-SA (#CreativeCommons Attribution Non Commercial Share Alike) #ccmusic
https://virkelighedsfjern.bandcamp.com/album/vir065-forfald

зелёный дядя u сёрферы чёрной дыры (Green Uncle and the Black Hole Surfers) – Vir063: In the Animal World
#Experimental #Rock #blackenedhardcore #darkfolk #doom #drone #krautrock #neopsychedelia #synthpunk #Copenhagen
CC BY-NC-SA (#CreativeCommons Attribution Non Commercial Share Alike) #ccmusic
https://virkelighedsfjern.bandcamp.com/album/vir063-in-the-animal-world

#SerotoninZero • La Casa Fantom 📣 @adapulawska • 16.10

https://youtu.be/8oBXUvwApDY?si=hzzUu-9MvNGFM9-x

Więcej info https://songkick.com/concerts/41942369-la-casa-fantom-at-ada-pulawska

#blackenedhardcore #darkhardcore #muzyka #hardcore #musicvideo #warszawa

ELDER DEVIL - ENDLESS NEED (OFFICIAL VIDEO)

https://youtu.be/uOrMvBCBGuY

#music #metal #blackenedhardcore #elderdevil #prostheticrecords