#blackmetal — Public Fediverse posts

MORBID MAGGOT (Xina) presenta nou àlbum: "illusion" #MorbidMaggot #BlackMetal #Grindcore #Maig2026 #Xina #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

MORBID MAGGOT (Xina) presenta nou àlbum: "illusion" #MorbidMaggot #BlackMetal #Grindcore #Maig2026 #Xina #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

Back to more #metal

Pan-Amerikan Native Front - Tecumsehs War

https://pan-amerikannativefront.bandcamp.com/album/tecumsehs-war

#blackmetal

Back to more #metal

Pan-Amerikan Native Front - Tecumsehs War

https://pan-amerikannativefront.bandcamp.com/album/tecumsehs-war

#blackmetal

Back to more #metal

Pan-Amerikan Native Front - Tecumsehs War

https://pan-amerikannativefront.bandcamp.com/album/tecumsehs-war

#blackmetal

NORD (Països Baixos) presenta nou àlbum: "Rust" #Nord #BlackMetal #Maig2026 #PaïsosBaixos #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

NORD (Països Baixos) presenta nou àlbum: "Rust" #Nord #BlackMetal #Maig2026 #PaïsosBaixos #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

ISHIMURA (Estats Units) presenta nou àlbum: "Msster" #Ishimura #BlackMetal #DeathMetal #Noise #Maig2026 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

ISHIMURA (Estats Units) presenta nou àlbum: "Msster" #Ishimura #BlackMetal #DeathMetal #Noise #Maig2026 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

NOX TERROR (Xile) presenta nou àlbum: "Covenant of the Lost Shadows" #NoxTerror #BlackMetal #Maig2026 #Xile #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

NOX TERROR (Xile) presenta nou àlbum: "Covenant of the Lost Shadows" #NoxTerror #BlackMetal #Maig2026 #Xile #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

RE: https://metalhead.club/@Dad_Wood/116612577049223988

Ok. Das Album ist nicht schlecht. Ulvgjeld & Blodsodel, The Qryptfarer oder Repository of Divine Transmutation stechen für mich heraus ohne jedoch als "Übersongs" kategorisiert werden zu können. Die Balance zwischen symphonisch/orchestralem Bombast und klassischerem Black Metal empfinde ich für meinen Geschmack als gelungen. Gleichzeitig ist das Album aber zu lang und zu breit.
#DimmuBorgir #BlackMetal

https://www.europesays.com/hu/116255/ Index – Kultúr – Igazi monumentális óriással tértek vissza a szimfonikus sötétség mesterei #album #BlackMetal #DimmuBorgir #Entertainment #GrandSerpentRising #HU #Hungarian #Hungary #klip #kultúr #Magyar #Magyarország #Norvégia #Szórakozás #Zene

IRAE (Portugal) presenta nou Split: "Tyrants Rise from the Ashes" #Irae #BlackMetal #Maig2026 #Portugal #NouSplit #Metall #Metal #MúsicaMetal #MetalMusic

Faidra - Dies Irae

https://music.youtube.com/watch?v=ShwFodRVBWk

#music #heavymetal #blackmetal #metal

Heute wird gereamped 😎🥳
#Anaphylaxie #BlackMetal #FediBands

Free download codes:

Domini Inferi - Reversed Prayers

"Domini Inferi brings a cacophonic mixture of Raw Satanic Black Metal and Experimental Ritualistic Noise soundscapes, to praise the Devil and to mock the religious adversaries of the Horned One!"

https://getmusic.fm/l/LdGgtM

#noise #blackmetal #deathindustrial #extrememetal #music

'Tis Wednesday. https://unholyaltar666.bandcamp.com/album/veil-of-death-shroud-of-nite

#UnholyAltar #MusicWomenWednesday #MittwochMetalMix #BlackMetal

'Tis Wednesday. https://unholyaltar666.bandcamp.com/album/veil-of-death-shroud-of-nite

#UnholyAltar #MusicWomenWednesday #MittwochMetalMix #BlackMetal

Reading the line up for a festival

"Secrets of the Moon will perform for the 20 year anniversary the full "Antithesis" album"

My mind: wait, i remember that album was 3 years old, when i heard it the first time.

Damn, time flies

https://secrets-of-the-moon.bandcamp.com/album/antithesis

#MittwochMetalMix #metal #blackmetal

Galvanist – The Silence Between Stars Review

I was initially surprised that Galvanist hailed from Bozeman, Montana, but I really have no right to feel…
#NewsBeep #News #Music #2026 #4.5 #AnimalsasLeaders #BellWitch #BlackMetal #CA #Canada #DoomMetal #Entertainment #Galvanist #Huntsmen #Insomnium #May26 #ProgressiveDeath #Ragana #review #reviews #TheSilenceBetweenStars #Thou #Ulcerate
https://www.newsbeep.com/ca/696323/

Atavistia – Old Gods Awaken Review

Melodic death metal had a banner year in 2025, brandishing outstanding releases from Aephanemer,…
#NewsBeep #News #Music #2026 #3.5 #Aephanemer #AttheGates #Atavistia #Aversed #BlackMetal #BuriedRealm #CanadianMetal #ChildrenofBodom #Ensiferum #Entertainment #FolkMetal #Kalmah #May26 #MelodicDeathMetal #OldGodsAwaken #review #Reviews #SelfRelease #SelfReleased #Self-Releases #UK #UnitedKingdom #VikingMetal #Vittra #Wintersun
https://www.newsbeep.com/uk/605623/

Ich habe noch Live-Video Konzert-Mitschnitte aus den 1990ern (in der Studienzeit digitalisiert als DVD), unter anderem vom Abschluß-Gig der Europatour von Behemoth, Svartsyn und Desaster (+ eine weitere Band) aus dem Jakobsplan in Weimar.

Kumpel hatte damals ne Videokamera und mehrere Akkus, die wir alle 15min neu laden mussten. Ladegerät war auch mit im Club 😅.

Behemoth waren maybe gerade volljährig und stark betrunken, spukten Feuer bei niedrigster Deckenhöhe, an der auch noch ein Tarnnetz angebracht war. 🫣

Bild & Ton grottenschlecht. Dafür kvlt. 🤘
Ich sollte es mir mal wieder anschauen.

#Metal4Life
#BlackMetal
#Behemoth
#Svartsyn
#Desaster

I was initially surprised that Galvanist hailed from Bozeman, Montana, but I really have no right to feel that way. Based on its proximity to major outdoor destinations, I thought Bozeman would be like Jackson, Wyoming, where I briefly lived, but Google quickly disabused me of that notion. Suffice it to say, I have no idea what Bozeman’s music scene is like. But I’ll tell you what I do know. I know that Galvanist released debut Connection in 2022 and split Hollowtop with Ulm in 2024. I know they’re returning now with sophomore effort The Silence Between Stars. And after spinning this album every day for weeks, I know that all my expectations, like so much dust beneath the heel of an eldritch god, have been casually and utterly annihilated.

The promo material describes Galvanist as “blackened doom metal, progressive death metal, and experimental textures.” That may outline the canvas upon which Galvanist paints, but it does them little justice. Throughout The Silence Between Stars, I hear Animals as Leaders drowning in sludge (“Atrophy”) and Huntsmen channeling Thou (“Dreich,”1 “Spiorad”2). Woven into the fiber of their sound, I hear the swirling chaos of Ulcerate (“Hauntology”), creating a shifting maelstrom that denies me any safe or solid ground. Synths and keys, courtesy of lead guitarist Micah Tippit, lend Galvanist a threatening, extraterrestrial edge. Over it all, vocalist Tanner Erhart bellows with the raw intensity of acts like Ragana. Galvanist takes these ingredients and filters them through a clear and singular identity to create something entirely their own. Orders of magnitude greater than its descriptors, The Silence Between Stars is a journey by turns and at once deeply rooted in the homestead and violently flung to the darkest reaches of space.3

With every track but the 63-second intro4 clocking in at roughly 8–11 minutes, I worried The Silence Between Stars would suffer from bloat or overly aggressive proggery. My fears were unfounded. The Silence Between Stars demands my attention front to back, and at an easily digestible 40 minutes, I frequently find myself looping back for another spin. This isn’t so singular a work as Winter’s Gate or Mirror Reaper—there’s little need for gapless playback here—but each track flows so naturally into the next that I struggle to start anywhere but the beginning or stop anywhere but the end. I don’t know if this is a concept album, but it’s heady, interconnected subject matter5 demands more than just lyrical exposition. Galvanist is plenty capable, wielding mystifying time signature shifts (“Atrophy,” “Hauntology”), abrupt—but never jarring—compositional transitions, and mid-melody key changes (“Spiorad”) with aplomb. Galvanist adeptly handles such progressive elements to bake their storytelling directly into the music itself.

Even beyond its total disregard for my expectations, The Silence Between Stars continues to awe. Galvanist uses the soundstage to further cultivate that sense of being both grounded and in freefall. Bassist Kevin George’s mix leaves room for each instrument to breathe, but in a good way, only just. With a little added reverb, the result fosters that contradictory atmosphere even more, like suffocating in open air. Erhart’s rhythm guitars hang out on the wings, where microtonal variances between left and right ears create an incredible dissonance, a feeling of infinite liminality. Elements float in and out of the spotlight—like George’s bass at the midpoint of “Atrophy,” Chris Navarro’s drums at the end of “Hauntology,” or Tippit’s astounding leads on the back half of “Spiorad”—constantly redirecting my attention and driving me further into Galvanist’s labyrinth.

It is not often I have no complaints about an album, and rarer still, I have more praise than I can fit on the page. Had I time and space enough, I would still be raving about The Silence Between Stars long after the final keys of “Spiorad” fade to silence. From the cosmic violence of “Atrophy” to the striking bookends of “Dreich,” and from the spine-tingling keys of “Hauntology” to the magnificent, delirious climax of “Spiorad,” Galvanist has created something truly special. Like a will-o’-wisp or a foxfire trail coaxing you into the dark, The Silence Between Stars is disquieting yet tempting, unnerving yet comforting. I didn’t know what I was in for when I picked up Galvanist, but to shamelessly adapt my favorite line from the album,6 I crossed the threshold, and I found myself amidst worlds strange and wonderful.

Rating: 4.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Aeternitas Tenebrarum Musicae Fundamentum
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: May 27th, 2026

I was initially surprised that Galvanist hailed from Bozeman, Montana, but I really have no right to feel that way. Based on its proximity to major outdoor destinations, I thought Bozeman would be like Jackson, Wyoming, where I briefly lived, but Google quickly disabused me of that notion. Suffice it to say, I have no idea what Bozeman’s music scene is like. But I’ll tell you what I do know. I know that Galvanist released debut Connection in 2022 and split Hollowtop with Ulm in 2024. I know they’re returning now with sophomore effort The Silence Between Stars. And after spinning this album every day for weeks, I know that all my expectations, like so much dust beneath the heel of an eldritch god, have been casually and utterly annihilated.

The promo material describes Galvanist as “blackened doom metal, progressive death metal, and experimental textures.” That may outline the canvas upon which Galvanist paints, but it does them little justice. Throughout The Silence Between Stars, I hear Animals as Leaders drowning in sludge (“Atrophy”) and Huntsmen channeling Thou (“Dreich,”1 “Spiorad”2). Woven into the fiber of their sound, I hear the swirling chaos of Ulcerate (“Hauntology”), creating a shifting maelstrom that denies me any safe or solid ground. Synths and keys, courtesy of lead guitarist Micah Tippit, lend Galvanist a threatening, extraterrestrial edge. Over it all, vocalist Tanner Erhart bellows with the raw intensity of acts like Ragana. Galvanist takes these ingredients and filters them through a clear and singular identity to create something entirely their own. Orders of magnitude greater than its descriptors, The Silence Between Stars is a journey by turns and at once deeply rooted in the homestead and violently flung to the darkest reaches of space.3

With every track but the 63-second intro4 clocking in at roughly 8–11 minutes, I worried The Silence Between Stars would suffer from bloat or overly aggressive proggery. My fears were unfounded. The Silence Between Stars demands my attention front to back, and at an easily digestible 40 minutes, I frequently find myself looping back for another spin. This isn’t so singular a work as Winter’s Gate or Mirror Reaper—there’s little need for gapless playback here—but each track flows so naturally into the next that I struggle to start anywhere but the beginning or stop anywhere but the end. I don’t know if this is a concept album, but it’s heady, interconnected subject matter5 demands more than just lyrical exposition. Galvanist is plenty capable, wielding mystifying time signature shifts (“Atrophy,” “Hauntology”), abrupt—but never jarring—compositional transitions, and mid-melody key changes (“Spiorad”) with aplomb. Galvanist adeptly handles such progressive elements to bake their storytelling directly into the music itself.

Even beyond its total disregard for my expectations, The Silence Between Stars continues to awe. Galvanist uses the soundstage to further cultivate that sense of being both grounded and in freefall. Bassist Kevin George’s mix leaves room for each instrument to breathe, but in a good way, only just. With a little added reverb, the result fosters that contradictory atmosphere even more, like suffocating in open air. Erhart’s rhythm guitars hang out on the wings, where microtonal variances between left and right ears create an incredible dissonance, a feeling of infinite liminality. Elements float in and out of the spotlight—like George’s bass at the midpoint of “Atrophy,” Chris Navarro’s drums at the end of “Hauntology,” or Tippit’s astounding leads on the back half of “Spiorad”—constantly redirecting my attention and driving me further into Galvanist’s labyrinth.

It is not often I have no complaints about an album, and rarer still, I have more praise than I can fit on the page. Had I time and space enough, I would still be raving about The Silence Between Stars long after the final keys of “Spiorad” fade to silence. From the cosmic violence of “Atrophy” to the striking bookends of “Dreich,” and from the spine-tingling keys of “Hauntology” to the magnificent, delirious climax of “Spiorad,” Galvanist has created something truly special. Like a will-o’-wisp or a foxfire trail coaxing you into the dark, The Silence Between Stars is disquieting yet tempting, unnerving yet comforting. I didn’t know what I was in for when I picked up Galvanist, but to shamelessly adapt my favorite line from the album,6 I crossed the threshold, and I found myself amidst worlds strange and wonderful.

Rating: 4.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Aeternitas Tenebrarum Musicae Fundamentum
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: May 27th, 2026

I was initially surprised that Galvanist hailed from Bozeman, Montana, but I really have no right to feel that way. Based on its proximity to major outdoor destinations, I thought Bozeman would be like Jackson, Wyoming, where I briefly lived, but Google quickly disabused me of that notion. Suffice it to say, I have no idea what Bozeman’s music scene is like. But I’ll tell you what I do know. I know that Galvanist released debut Connection in 2022 and split Hollowtop with Ulm in 2024. I know they’re returning now with sophomore effort The Silence Between Stars. And after spinning this album every day for weeks, I know that all my expectations, like so much dust beneath the heel of an eldritch god, have been casually and utterly annihilated.

The promo material describes Galvanist as “blackened doom metal, progressive death metal, and experimental textures.” That may outline the canvas upon which Galvanist paints, but it does them little justice. Throughout The Silence Between Stars, I hear Animals as Leaders drowning in sludge (“Atrophy”) and Huntsmen channeling Thou (“Dreich,”1 “Spiorad”2). Woven into the fiber of their sound, I hear the swirling chaos of Ulcerate (“Hauntology”), creating a shifting maelstrom that denies me any safe or solid ground. Synths and keys, courtesy of lead guitarist Micah Tippit, lend Galvanist a threatening, extraterrestrial edge. Over it all, vocalist Tanner Erhart bellows with the raw intensity of acts like Ragana. Galvanist takes these ingredients and filters them through a clear and singular identity to create something entirely their own. Orders of magnitude greater than its descriptors, The Silence Between Stars is a journey by turns and at once deeply rooted in the homestead and violently flung to the darkest reaches of space.3

With every track but the 63-second intro4 clocking in at roughly 8–11 minutes, I worried The Silence Between Stars would suffer from bloat or overly aggressive proggery. My fears were unfounded. The Silence Between Stars demands my attention front to back, and at an easily digestible 40 minutes, I frequently find myself looping back for another spin. This isn’t so singular a work as Winter’s Gate or Mirror Reaper—there’s little need for gapless playback here—but each track flows so naturally into the next that I struggle to start anywhere but the beginning or stop anywhere but the end. I don’t know if this is a concept album, but it’s heady, interconnected subject matter5 demands more than just lyrical exposition. Galvanist is plenty capable, wielding mystifying time signature shifts (“Atrophy,” “Hauntology”), abrupt—but never jarring—compositional transitions, and mid-melody key changes (“Spiorad”) with aplomb. Galvanist adeptly handles such progressive elements to bake their storytelling directly into the music itself.

Even beyond its total disregard for my expectations, The Silence Between Stars continues to awe. Galvanist uses the soundstage to further cultivate that sense of being both grounded and in freefall. Bassist Kevin George’s mix leaves room for each instrument to breathe, but in a good way, only just. With a little added reverb, the result fosters that contradictory atmosphere even more, like suffocating in open air. Erhart’s rhythm guitars hang out on the wings, where microtonal variances between left and right ears create an incredible dissonance, a feeling of infinite liminality. Elements float in and out of the spotlight—like George’s bass at the midpoint of “Atrophy,” Chris Navarro’s drums at the end of “Hauntology,” or Tippit’s astounding leads on the back half of “Spiorad”—constantly redirecting my attention and driving me further into Galvanist’s labyrinth.

It is not often I have no complaints about an album, and rarer still, I have more praise than I can fit on the page. Had I time and space enough, I would still be raving about The Silence Between Stars long after the final keys of “Spiorad” fade to silence. From the cosmic violence of “Atrophy” to the striking bookends of “Dreich,” and from the spine-tingling keys of “Hauntology” to the magnificent, delirious climax of “Spiorad,” Galvanist has created something truly special. Like a will-o’-wisp or a foxfire trail coaxing you into the dark, The Silence Between Stars is disquieting yet tempting, unnerving yet comforting. I didn’t know what I was in for when I picked up Galvanist, but to shamelessly adapt my favorite line from the album,6 I crossed the threshold, and I found myself amidst worlds strange and wonderful.

Rating: 4.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Aeternitas Tenebrarum Musicae Fundamentum
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: May 27th, 2026

I was initially surprised that Galvanist hailed from Bozeman, Montana, but I really have no right to feel that way. Based on its proximity to major outdoor destinations, I thought Bozeman would be like Jackson, Wyoming, where I briefly lived, but Google quickly disabused me of that notion. Suffice it to say, I have no idea what Bozeman’s music scene is like. But I’ll tell you what I do know. I know that Galvanist released debut Connection in 2022 and split Hollowtop with Ulm in 2024. I know they’re returning now with sophomore effort The Silence Between Stars. And after spinning this album every day for weeks, I know that all my expectations, like so much dust beneath the heel of an eldritch god, have been casually and utterly annihilated.

The promo material describes Galvanist as “blackened doom metal, progressive death metal, and experimental textures.” That may outline the canvas upon which Galvanist paints, but it does them little justice. Throughout The Silence Between Stars, I hear Animals as Leaders drowning in sludge (“Atrophy”) and Huntsmen channeling Thou (“Dreich,”1 “Spiorad”2). Woven into the fiber of their sound, I hear the swirling chaos of Ulcerate (“Hauntology”), creating a shifting maelstrom that denies me any safe or solid ground. Synths and keys, courtesy of lead guitarist Micah Tippit, lend Galvanist a threatening, extraterrestrial edge. Over it all, vocalist Tanner Erhart bellows with the raw intensity of acts like Ragana. Galvanist takes these ingredients and filters them through a clear and singular identity to create something entirely their own. Orders of magnitude greater than its descriptors, The Silence Between Stars is a journey by turns and at once deeply rooted in the homestead and violently flung to the darkest reaches of space.3

With every track but the 63-second intro4 clocking in at roughly 8–11 minutes, I worried The Silence Between Stars would suffer from bloat or overly aggressive proggery. My fears were unfounded. The Silence Between Stars demands my attention front to back, and at an easily digestible 40 minutes, I frequently find myself looping back for another spin. This isn’t so singular a work as Winter’s Gate or Mirror Reaper—there’s little need for gapless playback here—but each track flows so naturally into the next that I struggle to start anywhere but the beginning or stop anywhere but the end. I don’t know if this is a concept album, but it’s heady, interconnected subject matter5 demands more than just lyrical exposition. Galvanist is plenty capable, wielding mystifying time signature shifts (“Atrophy,” “Hauntology”), abrupt—but never jarring—compositional transitions, and mid-melody key changes (“Spiorad”) with aplomb. Galvanist adeptly handles such progressive elements to bake their storytelling directly into the music itself.

Even beyond its total disregard for my expectations, The Silence Between Stars continues to awe. Galvanist uses the soundstage to further cultivate that sense of being both grounded and in freefall. Bassist Kevin George’s mix leaves room for each instrument to breathe, but in a good way, only just. With a little added reverb, the result fosters that contradictory atmosphere even more, like suffocating in open air. Erhart’s rhythm guitars hang out on the wings, where microtonal variances between left and right ears create an incredible dissonance, a feeling of infinite liminality. Elements float in and out of the spotlight—like George’s bass at the midpoint of “Atrophy,” Chris Navarro’s drums at the end of “Hauntology,” or Tippit’s astounding leads on the back half of “Spiorad”—constantly redirecting my attention and driving me further into Galvanist’s labyrinth.

It is not often I have no complaints about an album, and rarer still, I have more praise than I can fit on the page. Had I time and space enough, I would still be raving about The Silence Between Stars long after the final keys of “Spiorad” fade to silence. From the cosmic violence of “Atrophy” to the striking bookends of “Dreich,” and from the spine-tingling keys of “Hauntology” to the magnificent, delirious climax of “Spiorad,” Galvanist has created something truly special. Like a will-o’-wisp or a foxfire trail coaxing you into the dark, The Silence Between Stars is disquieting yet tempting, unnerving yet comforting. I didn’t know what I was in for when I picked up Galvanist, but to shamelessly adapt my favorite line from the album,6 I crossed the threshold, and I found myself amidst worlds strange and wonderful.

Rating: 4.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Aeternitas Tenebrarum Musicae Fundamentum
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: May 27th, 2026

I was initially surprised that Galvanist hailed from Bozeman, Montana, but I really have no right to feel that way. Based on its proximity to major outdoor destinations, I thought Bozeman would be like Jackson, Wyoming, where I briefly lived, but Google quickly disabused me of that notion. Suffice it to say, I have no idea what Bozeman’s music scene is like. But I’ll tell you what I do know. I know that Galvanist released debut Connection in 2022 and split Hollowtop with Ulm in 2024. I know they’re returning now with sophomore effort The Silence Between Stars. And after spinning this album every day for weeks, I know that all my expectations, like so much dust beneath the heel of an eldritch god, have been casually and utterly annihilated.

The promo material describes Galvanist as “blackened doom metal, progressive death metal, and experimental textures.” That may outline the canvas upon which Galvanist paints, but it does them little justice. Throughout The Silence Between Stars, I hear Animals as Leaders drowning in sludge (“Atrophy”) and Huntsmen channeling Thou (“Dreich,”1 “Spiorad”2). Woven into the fiber of their sound, I hear the swirling chaos of Ulcerate (“Hauntology”), creating a shifting maelstrom that denies me any safe or solid ground. Synths and keys, courtesy of lead guitarist Micah Tippit, lend Galvanist a threatening, extraterrestrial edge. Over it all, vocalist Tanner Erhart bellows with the raw intensity of acts like Ragana. Galvanist takes these ingredients and filters them through a clear and singular identity to create something entirely their own. Orders of magnitude greater than its descriptors, The Silence Between Stars is a journey by turns and at once deeply rooted in the homestead and violently flung to the darkest reaches of space.3

With every track but the 63-second intro4 clocking in at roughly 8–11 minutes, I worried The Silence Between Stars would suffer from bloat or overly aggressive proggery. My fears were unfounded. The Silence Between Stars demands my attention front to back, and at an easily digestible 40 minutes, I frequently find myself looping back for another spin. This isn’t so singular a work as Winter’s Gate or Mirror Reaper—there’s little need for gapless playback here—but each track flows so naturally into the next that I struggle to start anywhere but the beginning or stop anywhere but the end. I don’t know if this is a concept album, but it’s heady, interconnected subject matter5 demands more than just lyrical exposition. Galvanist is plenty capable, wielding mystifying time signature shifts (“Atrophy,” “Hauntology”), abrupt—but never jarring—compositional transitions, and mid-melody key changes (“Spiorad”) with aplomb. Galvanist adeptly handles such progressive elements to bake their storytelling directly into the music itself.

Even beyond its total disregard for my expectations, The Silence Between Stars continues to awe. Galvanist uses the soundstage to further cultivate that sense of being both grounded and in freefall. Bassist Kevin George’s mix leaves room for each instrument to breathe, but in a good way, only just. With a little added reverb, the result fosters that contradictory atmosphere even more, like suffocating in open air. Erhart’s rhythm guitars hang out on the wings, where microtonal variances between left and right ears create an incredible dissonance, a feeling of infinite liminality. Elements float in and out of the spotlight—like George’s bass at the midpoint of “Atrophy,” Chris Navarro’s drums at the end of “Hauntology,” or Tippit’s astounding leads on the back half of “Spiorad”—constantly redirecting my attention and driving me further into Galvanist’s labyrinth.

It is not often I have no complaints about an album, and rarer still, I have more praise than I can fit on the page. Had I time and space enough, I would still be raving about The Silence Between Stars long after the final keys of “Spiorad” fade to silence. From the cosmic violence of “Atrophy” to the striking bookends of “Dreich,” and from the spine-tingling keys of “Hauntology” to the magnificent, delirious climax of “Spiorad,” Galvanist has created something truly special. Like a will-o’-wisp or a foxfire trail coaxing you into the dark, The Silence Between Stars is disquieting yet tempting, unnerving yet comforting. I didn’t know what I was in for when I picked up Galvanist, but to shamelessly adapt my favorite line from the album,6 I crossed the threshold, and I found myself amidst worlds strange and wonderful.

Rating: 4.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Aeternitas Tenebrarum Musicae Fundamentum
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: May 27th, 2026

PALE SPEKTRE (DE) + PELOROUS (DE) + BLOED

OCCII, Friday, May 29 at 08:30 PM GMT+2

Thurifer Promotions presents a night of vicious savagery, courtesy of: PALE SPEKTRE (DE) + PELOROUS (DE) + BLOED

Pale Spektre (DE)
Like the announcement of a long series of disgraces, Pale Spektre veils the sky in gloom and despair. A glob of malevolence spawning from the astral world. A transcendental experience of oblivion of the Self. A pounding beat dictating your descent into the mouth of a starving hellish beast.
https://palespektre.bandcamp.com/

Pelorous (DE)
There’s something strangely enchanting about Pelorous‘s music. At its rotting core, it is pummelling black metal punk. But it’s delivered with such a hallucinatory energy that it transcends into an elegant beast, like roaring hymns sung over a church in ruins. At last, this kaleidoscopic spirit is making its way to Amsterdam, to bestow its blessings upon the Low Lands.
https://pelorous.bandcamp.com/album/hyphic-dissolution

Bloed
One of Amsterdam’s most recent regurgitations will initiate the night. Groovy and abrasive black death cascading over the impure. No agenda. No trve kvlt bullshit. Only heartfelt hostility.
https://bloed.bandcamp.com/album/t-regent

Artwork by Thurifer

Presale/door prices adjusted: our events are set up by volunteers in favour of supporting DIY touring acts, but it is getting ever more risky to plan and book events – please support the community and buy your tickets early! Presale closes 18.00 on day of the show.

https://offbeat.amsterdam/event/pale-spektre-de-pelorous-de-bloed

BLOODY VENGEANCE (DE) + INFAUSTES (PY) + EJECUTOR (CL)

OCCII, Sunday, June 7 at 08:00 PM GMT+2

BLOODY VENGEANCE (DE) + INFAUSTES (PY) + EJECUTOR (CL)

Enter the gates of OCCII for the Amsterdam siege of the ABOMINABLE TRINITY OF WARFARE NOISE. Come witness a night of blasphemous worship, demonic riffs and killer destruction. Blood shall be spilled and crosses will be turned...

Bloody Vengeance (Germany)

Blistering death-thrash mayhem, vulcanic worship. Featuring members of Ross Bay legends Blasphemy and Death Worship.

https://www.instagram.com/bloody.vengeance.absolute/

https://bloodyvengeance.bandcamp.com/album/ru-do-de-guerra

Watch this video on YouTube

Infaustes (Paraguay)

From the Paraguayan planes come Infaustes, 3 evil sorceresses conjuring punishing war metal. Don’t miss their first onslaught on Europe!

https://www.instagram.com/infaustes

Watch this video on YouTube

Ejecutor (Chile)

Chilean black-thrash legends Ejecutor are bringing occult riffs to the stage, blasting old tunes as well as material from their new album ‘Medium... La daga de la iniciación’

https://darkrecollectionsprods.bandcamp.com/album/split

Watch this video on YouTube

Presale/door prices adjusted: our events are set up by volunteers in favour of supporting DIY touring acts, but it is getting ever more risky to plan and book events – please support the community and buy your tickets early! Presale closes 18.00 on day of the show.

https://offbeat.amsterdam/event/bloody-vengeance-de-infaustes-py-ejecutor-cl

INCINITOR (Indonèsia) presenta nou EP: "Black Invocation Conquest" #Incinitor #BlackMetal #DeathMetal #Maig2026 #Indonèsia #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

Melodic death metal had a banner year in 2025, brandishing outstanding releases from Aephanemer, Vittra, Buried Realm, Aversed, and others. Given that many of melodeth’s top tier releases came out in the back half of last year, there’s no cause for alarm yet, but with the exception of At the Gates’ opus The Ghost of a Future Dead, I can’t help feeling 2026 is off to a slow start.1 Throwing down the gauntlet with Old Gods Awaken, Vancouver collective Atavistia stakes their claim on this year’s melodeath throne. In his review of Cosmic Warfare, Doom_et_al noted that Atavistia made meaningful strides in songwriting since The Winter Way, but that plenty of room exists to further define an identity outside of Wintersun’s shadow. With the spotlight shining on folk metal influences throughout Old Gods Awaken, can Atavistia maintain their velocity after Cosmic Warfare, or would it have been better to let sleeping gods lie?

For anyone who’s read about Atavistia at AMG before, you know there’s one band whose temple even these Old Gods pray at.2 If you expected that to change, shame on you. With their most flagrant foray into folk metal to date, Atavistia doubles down on Wintersun worship with Old Gods Awaken while succumbing to a feverish case of Ensiferumania. On the surface, this may sound like Atavistia regressing back towards The Winter Way, but instead the band continues to refine the overwrought compositions that Doomy dinged in that review and delivers a succinct forty-three minutes of symphonic melodeath. And though Wintersun and Ensiferum cast the longest shadows, shades of Children of Bodom and Kalmah broaden Old Gods Awaken’s footprint and enrich its well of influences.

Despite Atavistia’s new musical folk-us and turning over half the band since Cosmic Warfare, they submit well-conceived orchestrations and tight performances throughout Old Gods Awaken. Specifically, Atavistia bade farewell to guitarist Dalton Meaden and bassist D’wayne Murray in 2024, welcoming Elia Baghbaniyan and Spencer Budworth in their stead. The quality of instrumentation remains consistent with previous albums, where guitars and synths steal the show as they trade earwormy melodic lines (“Mystic Tavern,” “I Skogens Djup”) that lead into heartfelt solos (“Goddess of My Dreams,” “Ride the White Storm”) and stirring, rustic breaks (“To a New World”). The haunting choirs on Cosmic Warfare have also been replaced by viking gang chants, which makes sense stylistically, but loses some of the flair that helped the former stand out. Longtime drummer Max Sepulveda lays down a commendable performance as well, spicing songs up with well-crafted fills that never overpower Old Gods Awaken’s dense compositions. Besides contributing guitar and supplying his best vocal performance to date, Atavistia ringleader Matt Sippola weaves together a rousing album that stands beside its inspirations.

While Atavistia successfully plunges headlong into folk, the move erodes some of the identity they established previously. Tracks on Cosmic Warfare recalled Wintersun, but just as much reminded me of Brymir and the choral arrangements in The Phantom Menace. Old Gods Awaken forsakes these subtle nods, and though that isn’t bad on its own, the Ensiferum influence is a safer path that deteriorates some of Atavistia’s idiosyncrasies. Additionally, some of the melodies and song structures on Old Gods Awaken blur together. “Mystic Tavern,” “Seeker of Time,” and “Goddess of My Dreams”3 all have similar-sounding leads, and the first two also have somewhat predictable compositions that stand out since the songs are back-to-back, particularly in terms of pacing and the timing of more subdued moments. Ultimately, these are minor complaints on very well-executed material, but diversifying the song structures could unveil even greater heights.

Old Gods Awaken subverts my expectations of what I thought a new Atavistia record would sound like, and even though they lean into a well-defined arena, they do so capably. Monster hooks and intricate, engaging arrangements keep the replay value of Old Gods Awaken tantalizingly high, especially with tight songwriting across the album. I’m curious where Atavistia goes next, as there’s no clear indication of what direction they’ll take. Whatever it is, the persistent urge to evolve their songcraft proves Atavistia will make it interesting and fun, and that every once in a while, you can teach Old Gods new tricks.

Rating: Very Good
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: Website | Bandcamp | Facebook
Releases Worldwide: May 15th, 2026

Melodic death metal had a banner year in 2025, brandishing outstanding releases from Aephanemer, Vittra, Buried Realm, Aversed, and others. Given that many of melodeth’s top tier releases came out in the back half of last year, there’s no cause for alarm yet, but with the exception of At the Gates’ opus The Ghost of a Future Dead, I can’t help feeling 2026 is off to a slow start.1 Throwing down the gauntlet with Old Gods Awaken, Vancouver collective Atavistia stakes their claim on this year’s melodeath throne. In his review of Cosmic Warfare, Doom_et_al noted that Atavistia made meaningful strides in songwriting since The Winter Way, but that plenty of room exists to further define an identity outside of Wintersun’s shadow. With the spotlight shining on folk metal influences throughout Old Gods Awaken, can Atavistia maintain their velocity after Cosmic Warfare, or would it have been better to let sleeping gods lie?

For anyone who’s read about Atavistia at AMG before, you know there’s one band whose temple even these Old Gods pray at.2 If you expected that to change, shame on you. With their most flagrant foray into folk metal to date, Atavistia doubles down on Wintersun worship with Old Gods Awaken while succumbing to a feverish case of Ensiferumania. On the surface, this may sound like Atavistia regressing back towards The Winter Way, but instead the band continues to refine the overwrought compositions that Doomy dinged in that review and delivers a succinct forty-three minutes of symphonic melodeath. And though Wintersun and Ensiferum cast the longest shadows, shades of Children of Bodom and Kalmah broaden Old Gods Awaken’s footprint and enrich its well of influences.

Despite Atavistia’s new musical folk-us and turning over half the band since Cosmic Warfare, they submit well-conceived orchestrations and tight performances throughout Old Gods Awaken. Specifically, Atavistia bade farewell to guitarist Dalton Meaden and bassist D’wayne Murray in 2024, welcoming Elia Baghbaniyan and Spencer Budworth in their stead. The quality of instrumentation remains consistent with previous albums, where guitars and synths steal the show as they trade earwormy melodic lines (“Mystic Tavern,” “I Skogens Djup”) that lead into heartfelt solos (“Goddess of My Dreams,” “Ride the White Storm”) and stirring, rustic breaks (“To a New World”). The haunting choirs on Cosmic Warfare have also been replaced by viking gang chants, which makes sense stylistically, but loses some of the flair that helped the former stand out. Longtime drummer Max Sepulveda lays down a commendable performance as well, spicing songs up with well-crafted fills that never overpower Old Gods Awaken’s dense compositions. Besides contributing guitar and supplying his best vocal performance to date, Atavistia ringleader Matt Sippola weaves together a rousing album that stands beside its inspirations.

While Atavistia successfully plunges headlong into folk, the move erodes some of the identity they established previously. Tracks on Cosmic Warfare recalled Wintersun, but just as much reminded me of Brymir and the choral arrangements in The Phantom Menace. Old Gods Awaken forsakes these subtle nods, and though that isn’t bad on its own, the Ensiferum influence is a safer path that deteriorates some of Atavistia’s idiosyncrasies. Additionally, some of the melodies and song structures on Old Gods Awaken blur together. “Mystic Tavern,” “Seeker of Time,” and “Goddess of My Dreams”3 all have similar-sounding leads, and the first two also have somewhat predictable compositions that stand out since the songs are back-to-back, particularly in terms of pacing and the timing of more subdued moments. Ultimately, these are minor complaints on very well-executed material, but diversifying the song structures could unveil even greater heights.

Old Gods Awaken subverts my expectations of what I thought a new Atavistia record would sound like, and even though they lean into a well-defined arena, they do so capably. Monster hooks and intricate, engaging arrangements keep the replay value of Old Gods Awaken tantalizingly high, especially with tight songwriting across the album. I’m curious where Atavistia goes next, as there’s no clear indication of what direction they’ll take. Whatever it is, the persistent urge to evolve their songcraft proves Atavistia will make it interesting and fun, and that every once in a while, you can teach Old Gods new tricks.

Rating: Very Good
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: Website | Bandcamp | Facebook
Releases Worldwide: May 15th, 2026

Melodic death metal had a banner year in 2025, brandishing outstanding releases from Aephanemer, Vittra, Buried Realm, Aversed, and others. Given that many of melodeth’s top tier releases came out in the back half of last year, there’s no cause for alarm yet, but with the exception of At the Gates’ opus The Ghost of a Future Dead, I can’t help feeling 2026 is off to a slow start.1 Throwing down the gauntlet with Old Gods Awaken, Vancouver collective Atavistia stakes their claim on this year’s melodeath throne. In his review of Cosmic Warfare, Doom_et_al noted that Atavistia made meaningful strides in songwriting since The Winter Way, but that plenty of room exists to further define an identity outside of Wintersun’s shadow. With the spotlight shining on folk metal influences throughout Old Gods Awaken, can Atavistia maintain their velocity after Cosmic Warfare, or would it have been better to let sleeping gods lie?

For anyone who’s read about Atavistia at AMG before, you know there’s one band whose temple even these Old Gods pray at.2 If you expected that to change, shame on you. With their most flagrant foray into folk metal to date, Atavistia doubles down on Wintersun worship with Old Gods Awaken while succumbing to a feverish case of Ensiferumania. On the surface, this may sound like Atavistia regressing back towards The Winter Way, but instead the band continues to refine the overwrought compositions that Doomy dinged in that review and delivers a succinct forty-three minutes of symphonic melodeath. And though Wintersun and Ensiferum cast the longest shadows, shades of Children of Bodom and Kalmah broaden Old Gods Awaken’s footprint and enrich its well of influences.

Despite Atavistia’s new musical folk-us and turning over half the band since Cosmic Warfare, they submit well-conceived orchestrations and tight performances throughout Old Gods Awaken. Specifically, Atavistia bade farewell to guitarist Dalton Meaden and bassist D’wayne Murray in 2024, welcoming Elia Baghbaniyan and Spencer Budworth in their stead. The quality of instrumentation remains consistent with previous albums, where guitars and synths steal the show as they trade earwormy melodic lines (“Mystic Tavern,” “I Skogens Djup”) that lead into heartfelt solos (“Goddess of My Dreams,” “Ride the White Storm”) and stirring, rustic breaks (“To a New World”). The haunting choirs on Cosmic Warfare have also been replaced by viking gang chants, which makes sense stylistically, but loses some of the flair that helped the former stand out. Longtime drummer Max Sepulveda lays down a commendable performance as well, spicing songs up with well-crafted fills that never overpower Old Gods Awaken’s dense compositions. Besides contributing guitar and supplying his best vocal performance to date, Atavistia ringleader Matt Sippola weaves together a rousing album that stands beside its inspirations.

While Atavistia successfully plunges headlong into folk, the move erodes some of the identity they established previously. Tracks on Cosmic Warfare recalled Wintersun, but just as much reminded me of Brymir and the choral arrangements in The Phantom Menace. Old Gods Awaken forsakes these subtle nods, and though that isn’t bad on its own, the Ensiferum influence is a safer path that deteriorates some of Atavistia’s idiosyncrasies. Additionally, some of the melodies and song structures on Old Gods Awaken blur together. “Mystic Tavern,” “Seeker of Time,” and “Goddess of My Dreams”3 all have similar-sounding leads, and the first two also have somewhat predictable compositions that stand out since the songs are back-to-back, particularly in terms of pacing and the timing of more subdued moments. Ultimately, these are minor complaints on very well-executed material, but diversifying the song structures could unveil even greater heights.

Old Gods Awaken subverts my expectations of what I thought a new Atavistia record would sound like, and even though they lean into a well-defined arena, they do so capably. Monster hooks and intricate, engaging arrangements keep the replay value of Old Gods Awaken tantalizingly high, especially with tight songwriting across the album. I’m curious where Atavistia goes next, as there’s no clear indication of what direction they’ll take. Whatever it is, the persistent urge to evolve their songcraft proves Atavistia will make it interesting and fun, and that every once in a while, you can teach Old Gods new tricks.

Rating: Very Good
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: Website | Bandcamp | Facebook
Releases Worldwide: May 15th, 2026

Melodic death metal had a banner year in 2025, brandishing outstanding releases from Aephanemer, Vittra, Buried Realm, Aversed, and others. Given that many of melodeth’s top tier releases came out in the back half of last year, there’s no cause for alarm yet, but with the exception of At the Gates’ opus The Ghost of a Future Dead, I can’t help feeling 2026 is off to a slow start.1 Throwing down the gauntlet with Old Gods Awaken, Vancouver collective Atavistia stakes their claim on this year’s melodeath throne. In his review of Cosmic Warfare, Doom_et_al noted that Atavistia made meaningful strides in songwriting since The Winter Way, but that plenty of room exists to further define an identity outside of Wintersun’s shadow. With the spotlight shining on folk metal influences throughout Old Gods Awaken, can Atavistia maintain their velocity after Cosmic Warfare, or would it have been better to let sleeping gods lie?

For anyone who’s read about Atavistia at AMG before, you know there’s one band whose temple even these Old Gods pray at.2 If you expected that to change, shame on you. With their most flagrant foray into folk metal to date, Atavistia doubles down on Wintersun worship with Old Gods Awaken while succumbing to a feverish case of Ensiferumania. On the surface, this may sound like Atavistia regressing back towards The Winter Way, but instead the band continues to refine the overwrought compositions that Doomy dinged in that review and delivers a succinct forty-three minutes of symphonic melodeath. And though Wintersun and Ensiferum cast the longest shadows, shades of Children of Bodom and Kalmah broaden Old Gods Awaken’s footprint and enrich its well of influences.

Despite Atavistia’s new musical folk-us and turning over half the band since Cosmic Warfare, they submit well-conceived orchestrations and tight performances throughout Old Gods Awaken. Specifically, Atavistia bade farewell to guitarist Dalton Meaden and bassist D’wayne Murray in 2024, welcoming Elia Baghbaniyan and Spencer Budworth in their stead. The quality of instrumentation remains consistent with previous albums, where guitars and synths steal the show as they trade earwormy melodic lines (“Mystic Tavern,” “I Skogens Djup”) that lead into heartfelt solos (“Goddess of My Dreams,” “Ride the White Storm”) and stirring, rustic breaks (“To a New World”). The haunting choirs on Cosmic Warfare have also been replaced by viking gang chants, which makes sense stylistically, but loses some of the flair that helped the former stand out. Longtime drummer Max Sepulveda lays down a commendable performance as well, spicing songs up with well-crafted fills that never overpower Old Gods Awaken’s dense compositions. Besides contributing guitar and supplying his best vocal performance to date, Atavistia ringleader Matt Sippola weaves together a rousing album that stands beside its inspirations.

While Atavistia successfully plunges headlong into folk, the move erodes some of the identity they established previously. Tracks on Cosmic Warfare recalled Wintersun, but just as much reminded me of Brymir and the choral arrangements in The Phantom Menace. Old Gods Awaken forsakes these subtle nods, and though that isn’t bad on its own, the Ensiferum influence is a safer path that deteriorates some of Atavistia’s idiosyncrasies. Additionally, some of the melodies and song structures on Old Gods Awaken blur together. “Mystic Tavern,” “Seeker of Time,” and “Goddess of My Dreams”3 all have similar-sounding leads, and the first two also have somewhat predictable compositions that stand out since the songs are back-to-back, particularly in terms of pacing and the timing of more subdued moments. Ultimately, these are minor complaints on very well-executed material, but diversifying the song structures could unveil even greater heights.

Old Gods Awaken subverts my expectations of what I thought a new Atavistia record would sound like, and even though they lean into a well-defined arena, they do so capably. Monster hooks and intricate, engaging arrangements keep the replay value of Old Gods Awaken tantalizingly high, especially with tight songwriting across the album. I’m curious where Atavistia goes next, as there’s no clear indication of what direction they’ll take. Whatever it is, the persistent urge to evolve their songcraft proves Atavistia will make it interesting and fun, and that every once in a while, you can teach Old Gods new tricks.

Rating: Very Good
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: Website | Bandcamp | Facebook
Releases Worldwide: May 15th, 2026

Melodic death metal had a banner year in 2025, brandishing outstanding releases from Aephanemer, Vittra, Buried Realm, Aversed, and others. Given that many of melodeth’s top tier releases came out in the back half of last year, there’s no cause for alarm yet, but with the exception of At the Gates’ opus The Ghost of a Future Dead, I can’t help feeling 2026 is off to a slow start.1 Throwing down the gauntlet with Old Gods Awaken, Vancouver collective Atavistia stakes their claim on this year’s melodeath throne. In his review of Cosmic Warfare, Doom_et_al noted that Atavistia made meaningful strides in songwriting since The Winter Way, but that plenty of room exists to further define an identity outside of Wintersun’s shadow. With the spotlight shining on folk metal influences throughout Old Gods Awaken, can Atavistia maintain their velocity after Cosmic Warfare, or would it have been better to let sleeping gods lie?

For anyone who’s read about Atavistia at AMG before, you know there’s one band whose temple even these Old Gods pray at.2 If you expected that to change, shame on you. With their most flagrant foray into folk metal to date, Atavistia doubles down on Wintersun worship with Old Gods Awaken while succumbing to a feverish case of Ensiferumania. On the surface, this may sound like Atavistia regressing back towards The Winter Way, but instead the band continues to refine the overwrought compositions that Doomy dinged in that review and delivers a succinct forty-three minutes of symphonic melodeath. And though Wintersun and Ensiferum cast the longest shadows, shades of Children of Bodom and Kalmah broaden Old Gods Awaken’s footprint and enrich its well of influences.

Despite Atavistia’s new musical folk-us and turning over half the band since Cosmic Warfare, they submit well-conceived orchestrations and tight performances throughout Old Gods Awaken. Specifically, Atavistia bade farewell to guitarist Dalton Meaden and bassist D’wayne Murray in 2024, welcoming Elia Baghbaniyan and Spencer Budworth in their stead. The quality of instrumentation remains consistent with previous albums, where guitars and synths steal the show as they trade earwormy melodic lines (“Mystic Tavern,” “I Skogens Djup”) that lead into heartfelt solos (“Goddess of My Dreams,” “Ride the White Storm”) and stirring, rustic breaks (“To a New World”). The haunting choirs on Cosmic Warfare have also been replaced by viking gang chants, which makes sense stylistically, but loses some of the flair that helped the former stand out. Longtime drummer Max Sepulveda lays down a commendable performance as well, spicing songs up with well-crafted fills that never overpower Old Gods Awaken’s dense compositions. Besides contributing guitar and supplying his best vocal performance to date, Atavistia ringleader Matt Sippola weaves together a rousing album that stands beside its inspirations.

While Atavistia successfully plunges headlong into folk, the move erodes some of the identity they established previously. Tracks on Cosmic Warfare recalled Wintersun, but just as much reminded me of Brymir and the choral arrangements in The Phantom Menace. Old Gods Awaken forsakes these subtle nods, and though that isn’t bad on its own, the Ensiferum influence is a safer path that deteriorates some of Atavistia’s idiosyncrasies. Additionally, some of the melodies and song structures on Old Gods Awaken blur together. “Mystic Tavern,” “Seeker of Time,” and “Goddess of My Dreams”3 all have similar-sounding leads, and the first two also have somewhat predictable compositions that stand out since the songs are back-to-back, particularly in terms of pacing and the timing of more subdued moments. Ultimately, these are minor complaints on very well-executed material, but diversifying the song structures could unveil even greater heights.

Old Gods Awaken subverts my expectations of what I thought a new Atavistia record would sound like, and even though they lean into a well-defined arena, they do so capably. Monster hooks and intricate, engaging arrangements keep the replay value of Old Gods Awaken tantalizingly high, especially with tight songwriting across the album. I’m curious where Atavistia goes next, as there’s no clear indication of what direction they’ll take. Whatever it is, the persistent urge to evolve their songcraft proves Atavistia will make it interesting and fun, and that every once in a while, you can teach Old Gods new tricks.

Rating: Very Good
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: Website | Bandcamp | Facebook
Releases Worldwide: May 15th, 2026

The C60 Mixtape Show 26th May 2026
First broadcast on Hard Rock Hell Radio on 26th May 2026. From hard rock to southern metal, symphonic metal to
https://hardrockhellradio.com/2026/05/26/6a0994dfefd1f558b02a49f7/
#BlackMetal #DeathMetal #doom #HeavyMetal #Podcast #thrash
#hrhrocks

𝐃𝐚𝐫𝐤 𝐈𝐧𝐝𝐮𝐬𝐭𝐫𝐢𝐚𝐥 𝐌𝐞𝐭𝐚𝐥 // 𝐆𝐨𝐭𝐡𝐢𝐜 𝐇𝐨𝐫𝐫𝐨𝐫 𝐂𝐲𝐛𝐞𝐫𝐏𝐮𝐧𝐤 // 𝐄𝐱𝐩𝐞𝐫𝐢𝐦𝐞𝐧𝐭𝐚𝐥 𝐃𝐚𝐫𝐤𝐰𝐚𝐯𝐞
-

𝐓𝐇𝐄 𝐃𝐎𝐎𝐌 𝐌𝐀𝐂𝐇𝐈𝐍𝐄𝐒

𝘕𝘖 𝘔𝘖𝘙𝘌 𝘚𝘐𝘓𝘌𝘕𝘛
-

https://music.apple.com/us/artist/the-doom-machines/1896332768

#metal #industrial #industrialmetal #darkwave #cyberpunk #horror #music #cybermetal #technomusic #electronicmusic #heavymetal #darkmusic #gothic #gothicmetal #gothicrock #blackmetal #deathmetal #techno #alternative #experimental #electronic #dancemusic #playlist #sound #trance #experimentalmusic #metalmusic #song #songoftheday #apple #thedoommachines

𝐃𝐚𝐫𝐤 𝐈𝐧𝐝𝐮𝐬𝐭𝐫𝐢𝐚𝐥 𝐌𝐞𝐭𝐚𝐥 // 𝐆𝐨𝐭𝐡𝐢𝐜 𝐇𝐨𝐫𝐫𝐨𝐫 𝐂𝐲𝐛𝐞𝐫𝐏𝐮𝐧𝐤 // 𝐄𝐱𝐩𝐞𝐫𝐢𝐦𝐞𝐧𝐭𝐚𝐥 𝐃𝐚𝐫𝐤𝐰𝐚𝐯𝐞
-

𝐓𝐇𝐄 𝐃𝐎𝐎𝐌 𝐌𝐀𝐂𝐇𝐈𝐍𝐄𝐒

𝘕𝘖 𝘔𝘖𝘙𝘌 𝘚𝘐𝘓𝘌𝘕𝘛
-

https://music.apple.com/us/artist/the-doom-machines/1896332768

#metal #industrial #industrialmetal #darkwave #cyberpunk #horror #music #cybermetal #technomusic #electronicmusic #heavymetal #darkmusic #gothic #gothicmetal #gothicrock #blackmetal #deathmetal #techno #alternative #experimental #electronic #dancemusic #playlist #sound #trance #experimentalmusic #metalmusic #song #songoftheday #apple #thedoommachines

𝐃𝐚𝐫𝐤 𝐈𝐧𝐝𝐮𝐬𝐭𝐫𝐢𝐚𝐥 𝐌𝐞𝐭𝐚𝐥 // 𝐆𝐨𝐭𝐡𝐢𝐜 𝐇𝐨𝐫𝐫𝐨𝐫 𝐂𝐲𝐛𝐞𝐫𝐏𝐮𝐧𝐤 // 𝐄𝐱𝐩𝐞𝐫𝐢𝐦𝐞𝐧𝐭𝐚𝐥 𝐃𝐚𝐫𝐤𝐰𝐚𝐯𝐞
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𝐓𝐇𝐄 𝐃𝐎𝐎𝐌 𝐌𝐀𝐂𝐇𝐈𝐍𝐄𝐒

𝘕𝘖 𝘔𝘖𝘙𝘌 𝘚𝘐𝘓𝘌𝘕𝘛
-

https://music.apple.com/us/artist/the-doom-machines/1896332768

#metal #industrial #industrialmetal #darkwave #cyberpunk #horror #music #cybermetal #technomusic #electronicmusic #heavymetal #darkmusic #gothic #gothicmetal #gothicrock #blackmetal #deathmetal #techno #alternative #experimental #electronic #dancemusic #playlist #sound #trance #experimentalmusic #metalmusic #song #songoftheday #apple #thedoommachines

𝐃𝐚𝐫𝐤 𝐈𝐧𝐝𝐮𝐬𝐭𝐫𝐢𝐚𝐥 𝐌𝐞𝐭𝐚𝐥 // 𝐆𝐨𝐭𝐡𝐢𝐜 𝐇𝐨𝐫𝐫𝐨𝐫 𝐂𝐲𝐛𝐞𝐫𝐏𝐮𝐧𝐤 // 𝐄𝐱𝐩𝐞𝐫𝐢𝐦𝐞𝐧𝐭𝐚𝐥 𝐃𝐚𝐫𝐤𝐰𝐚𝐯𝐞
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𝐓𝐇𝐄 𝐃𝐎𝐎𝐌 𝐌𝐀𝐂𝐇𝐈𝐍𝐄𝐒

𝘕𝘖 𝘔𝘖𝘙𝘌 𝘚𝘐𝘓𝘌𝘕𝘛
-

https://music.apple.com/us/artist/the-doom-machines/1896332768

#metal #industrial #industrialmetal #darkwave #cyberpunk #horror #music #cybermetal #technomusic #electronicmusic #heavymetal #darkmusic #gothic #gothicmetal #gothicrock #blackmetal #deathmetal #techno #alternative #experimental #electronic #dancemusic #playlist #sound #trance #experimentalmusic #metalmusic #song #songoftheday #apple #thedoommachines

𝐃𝐚𝐫𝐤 𝐈𝐧𝐝𝐮𝐬𝐭𝐫𝐢𝐚𝐥 𝐌𝐞𝐭𝐚𝐥 // 𝐆𝐨𝐭𝐡𝐢𝐜 𝐇𝐨𝐫𝐫𝐨𝐫 𝐂𝐲𝐛𝐞𝐫𝐏𝐮𝐧𝐤 // 𝐄𝐱𝐩𝐞𝐫𝐢𝐦𝐞𝐧𝐭𝐚𝐥 𝐃𝐚𝐫𝐤𝐰𝐚𝐯𝐞
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𝐓𝐇𝐄 𝐃𝐎𝐎𝐌 𝐌𝐀𝐂𝐇𝐈𝐍𝐄𝐒

𝘕𝘖 𝘔𝘖𝘙𝘌 𝘚𝘐𝘓𝘌𝘕𝘛
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https://music.apple.com/us/artist/the-doom-machines/1896332768

#metal #industrial #industrialmetal #darkwave #cyberpunk #horror #music #cybermetal #technomusic #electronicmusic #heavymetal #darkmusic #gothic #gothicmetal #gothicrock #blackmetal #deathmetal #techno #alternative #experimental #electronic #dancemusic #playlist #sound #trance #experimentalmusic #metalmusic #song #songoftheday #apple #thedoommachines

ZWARTALDER (Bèlgica) presenta nou EP: "Bovenhuids" #Zwartalder #BlackMetal #SludgeMetal #Maig2026 #Bèlgica #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

ZWARTALDER (Bèlgica) presenta nou EP: "Bovenhuids" #Zwartalder #BlackMetal #SludgeMetal #Maig2026 #Bèlgica #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

No way.

https://www.youtube.com/watch?v=b8xPUBUk6BM

#industrial #darkwave #cyberpunk #horror #music #cyber #thedoommachines #electronicmusic #heavymetal #dark #gothic #blackmetal #metal #techno #alternative #experimental #electronic #dancemusic #playlist #workout #song #songoftheday #spotify #youtube #playlist

No way.

https://www.youtube.com/watch?v=b8xPUBUk6BM

#industrial #darkwave #cyberpunk #horror #music #cyber #thedoommachines #electronicmusic #heavymetal #dark #gothic #blackmetal #metal #techno #alternative #experimental #electronic #dancemusic #playlist #workout #song #songoftheday #spotify #youtube #playlist