#blackmetal — Public Fediverse posts

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.

Je commence un fil de groupes que J'ai découvert ou confirmé en #live cette année

Il y aura du #metal du #rock du #BlackMetal du #DeathMetal du #Prog du #Grind oui mes gouts sont variés

1/n

AMTHRŸA presenta nou single: "Shudan Borei" #Amthrÿa #BlackMetal #Setembre2026 #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

AMTHRŸA presenta nou single: "Shudan Borei" #Amthrÿa #BlackMetal #Setembre2026 #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

MITTAGS-ABGRUND (Rússia) presenta nou àlbum: "Mittags-Abgrund" #MittagsAbgrund #BlackMetal #Setembre2026 #Rússia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

MITTAGS-ABGRUND (Rússia) presenta nou àlbum: "Mittags-Abgrund" #MittagsAbgrund #BlackMetal #Setembre2026 #Rússia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

TRAUER (Alemanya) presenta nou àlbum: "Ursprung und Natur" #Trauer #BlackMetal #Setembre2026 #Alemanya #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

TRAUER (Alemanya) presenta nou àlbum: "Ursprung und Natur" #Trauer #BlackMetal #Setembre2026 #Alemanya #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

40 Year Old Virgin: Black Metal edition

#BlackMetal #MetalMemes

AZAN presenta nou àlbum: "Gods of Death Heralding the End" #Azan #BlackMetal #DeathMetal #Setembre2026 #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

AZAN presenta nou àlbum: "Gods of Death Heralding the End" #Azan #BlackMetal #DeathMetal #Setembre2026 #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

Le 18 septembre au #Fermenté.e à #ClermontFerrand, soirée #Sludge / #Doom / #BlackMetal avec Blód et Weedblind

#Copinage
#SoutienAuxOrgas

Le 18 septembre au #Fermenté.e à #ClermontFerrand, soirée #Sludge / #Doom / #BlackMetal avec Blód et Weedblind

#Copinage
#SoutienAuxOrgas

Le 18 septembre au #Fermenté.e à #ClermontFerrand, soirée #Sludge / #Doom / #BlackMetal avec Blód et Weedblind

#Copinage
#SoutienAuxOrgas

Le 18 septembre au #Fermenté.e à #ClermontFerrand, soirée #Sludge / #Doom / #BlackMetal avec Blód et Weedblind

#Copinage
#SoutienAuxOrgas

Le 9 octobre au #GrrrndZero à Vaulx-en-Velin, soirée #BlackMetal avec Ardente, Velumium et Vosser.

#Copinage #Lyon #SoutienAuxOrgas

Le 9 octobre au #GrrrndZero à Vaulx-en-Velin, soirée #BlackMetal avec Ardente, Velumium et Vosser.

#Copinage #Lyon #SoutienAuxOrgas

Le 9 octobre au #GrrrndZero à Vaulx-en-Velin, soirée #BlackMetal avec Ardente, Velumium et Vosser.

#Copinage #Lyon #SoutienAuxOrgas

Le 9 octobre au #GrrrndZero à Vaulx-en-Velin, soirée #BlackMetal avec Ardente, Velumium et Vosser.

#Copinage #Lyon #SoutienAuxOrgas

❗ Retour 30 ans en arrière, à une époque où le Black Metal se cherchait encore tout en délivrant une musique rapide, cru et brute avec "Dark Waters Stir" d'𝗜𝘀𝘃𝗶𝗻𝗱

https://www.coreandco.fr/chroniques/isvind-dark-waters-stir-11014.html

#review #chronique #oldbutgold #blackmetal #norway

Also announcing the second day of our birthday raid train:

hrh* ginsterbusch's Level Up Celebration - Day 2 - 18th of September, 2026.

Starting with https://twitch.tv/ClubVibeOfficial at 20:00 CEST / 2 pm EDT

Full line up: https://gothic-forest-troll/level-up-2026/day-2

FB Event: https://fb.me/e/kSpwK8TDr

#dj #raidtrain #darkscene #gothic #goth #postpunk #industrial #metal #blackmetal #pagan #vikingmetal #doommetal #ebm #rhythmicnoise #powernoise #breakcore #techno #hardcore #avantgarde

Also announcing the second day of our birthday raid train:

hrh* ginsterbusch's Level Up Celebration - Day 2 - 18th of September, 2026.

Starting with https://twitch.tv/ClubVibeOfficial at 20:00 CEST / 2 pm EDT

Full line up: https://gothic-forest-troll/level-up-2026/day-2

FB Event: https://fb.me/e/kSpwK8TDr

#dj #raidtrain #darkscene #gothic #goth #postpunk #industrial #metal #blackmetal #pagan #vikingmetal #doommetal #ebm #rhythmicnoise #powernoise #breakcore #techno #hardcore #avantgarde

Also announcing the second day of our birthday raid train:

hrh* ginsterbusch's Level Up Celebration - Day 2 - 18th of September, 2026.

Starting with https://twitch.tv/ClubVibeOfficial at 20:00 CEST / 2 pm EDT

Full line up: https://gothic-forest-troll/level-up-2026/day-2

FB Event: https://fb.me/e/kSpwK8TDr

#dj #raidtrain #darkscene #gothic #goth #postpunk #industrial #metal #blackmetal #pagan #vikingmetal #doommetal #ebm #rhythmicnoise #powernoise #breakcore #techno #hardcore #avantgarde

Also announcing the second day of our birthday raid train:

hrh* ginsterbusch's Level Up Celebration - Day 2 - 18th of September, 2026.

Starting with https://twitch.tv/ClubVibeOfficial at 20:00 CEST / 2 pm EDT

Full line up: https://gothic-forest-troll/level-up-2026/day-2

FB Event: https://fb.me/e/kSpwK8TDr

#dj #raidtrain #darkscene #gothic #goth #postpunk #industrial #metal #blackmetal #pagan #vikingmetal #doommetal #ebm #rhythmicnoise #powernoise #breakcore #techno #hardcore #avantgarde

https://plakkaggio.bandcamp.com/album/cosmo-2

-Cosmo- Plakkaggio

#blackmetal
#metal
# thrash
#punk
#music
#nowplayng

https://plakkaggio.bandcamp.com/album/cosmo-2

-Cosmo- Plakkaggio

#blackmetal
#metal
# thrash
#punk
#music
#nowplayng

#BlackMetalMonday today and of course you might already know what I’m going to share;

👥 Fluisteraars
💿 Jacht der Mysterieën
:bandcamp: https://fluisteraars.bandcamp.com/album/jacht-der-mysteri-n
🔗 https://musiccloud.io/9v6-x69h

Dutch black metal duo Fluisteraars are back with an amazing record. Atmospheric black metal that is at the same time mesmerising and harsh whilst always sounding good. This band is peak Dutch black metal.

I think @Kitty and @miona will like this for sure. I already know @HailsandAles does!

#BlackMetal #DutchBlackMetal #AtmosphericBlackMetal

#BlackMetalMonday today and of course you might already know what I’m going to share;

👥 Fluisteraars
💿 Jacht der Mysterieën
:bandcamp: https://fluisteraars.bandcamp.com/album/jacht-der-mysteri-n
🔗 https://musiccloud.io/9v6-x69h

Dutch black metal duo Fluisteraars are back with an amazing record. Atmospheric black metal that is at the same time mesmerising and harsh whilst always sounding good. This band is peak Dutch black metal.

I think @Kitty and @miona will like this for sure. I already know @HailsandAles does!

#BlackMetal #DutchBlackMetal #AtmosphericBlackMetal

#BlackMetalMonday today and of course you might already know what I’m going to share;

👥 Fluisteraars
💿 Jacht der Mysterieën
:bandcamp: https://fluisteraars.bandcamp.com/album/jacht-der-mysteri-n
🔗 https://musiccloud.io/9v6-x69h

Dutch black metal duo Fluisteraars are back with an amazing record. Atmospheric black metal that is at the same time mesmerising and harsh whilst always sounding good. This band is peak Dutch black metal.

I think @Kitty and @miona will like this for sure. I already know @HailsandAles does!

#BlackMetal #DutchBlackMetal #AtmosphericBlackMetal

#BlackMetalMonday today and of course you might already know what I’m going to share;

👥 Fluisteraars
💿 Jacht der Mysterieën
:bandcamp: https://fluisteraars.bandcamp.com/album/jacht-der-mysteri-n
🔗 https://musiccloud.io/9v6-x69h

Dutch black metal duo Fluisteraars are back with an amazing record. Atmospheric black metal that is at the same time mesmerising and harsh whilst always sounding good. This band is peak Dutch black metal.

I think @Kitty and @miona will like this for sure. I already know @HailsandAles does!

#BlackMetal #DutchBlackMetal #AtmosphericBlackMetal

#BlackMetalMonday today and of course you might already know what I’m going to share;

👥 Fluisteraars
💿 Jacht der Mysterieën
:bandcamp: https://fluisteraars.bandcamp.com/album/jacht-der-mysteri-n
🔗 https://musiccloud.io/9v6-x69h

Dutch black metal duo Fluisteraars are back with an amazing record. Atmospheric black metal that is at the same time mesmerising and harsh whilst always sounding good. This band is peak Dutch black metal.

I think @Kitty and @miona will like this for sure. I already know @HailsandAles does!

#BlackMetal #DutchBlackMetal #AtmosphericBlackMetal

Announcing our birthday raid train on #twitch hrh* ginsterbusch's Level Up Celebration - 17th of September, 2026.

Start: 17:00 CEST / 11 am EDT over at twitch.tv/never_the_le55

Full line up: https://gothic-forest-troll.org/level-up-2026/day-1

#dj #raidtrain #darkscene #gothic #goth #postpunk #industrial #metal #blackmetal #pagan #vikingmetal #doommetal #ebm #rhythmicnoise #powernoise #breakcore #techno #hardcore #avantgarde #birthday

Announcing our birthday raid train on #twitch hrh* ginsterbusch's Level Up Celebration - 17th of September, 2026.

Start: 17:00 CEST / 11 am EDT over at twitch.tv/never_the_le55

Full line up: https://gothic-forest-troll.org/level-up-2026/day-1

#dj #raidtrain #darkscene #gothic #goth #postpunk #industrial #metal #blackmetal #pagan #vikingmetal #doommetal #ebm #rhythmicnoise #powernoise #breakcore #techno #hardcore #avantgarde #birthday

Announcing our birthday raid train on #twitch hrh* ginsterbusch's Level Up Celebration - 17th of September, 2026.

Start: 17:00 CEST / 11 am EDT over at twitch.tv/never_the_le55

Full line up: https://gothic-forest-troll.org/level-up-2026/day-1

#dj #raidtrain #darkscene #gothic #goth #postpunk #industrial #metal #blackmetal #pagan #vikingmetal #doommetal #ebm #rhythmicnoise #powernoise #breakcore #techno #hardcore #avantgarde #birthday

Announcing our birthday raid train on #twitch hrh* ginsterbusch's Level Up Celebration - 17th of September, 2026.

Start: 17:00 CEST / 11 am EDT over at twitch.tv/never_the_le55

Full line up: https://gothic-forest-troll.org/level-up-2026/day-1

#dj #raidtrain #darkscene #gothic #goth #postpunk #industrial #metal #blackmetal #pagan #vikingmetal #doommetal #ebm #rhythmicnoise #powernoise #breakcore #techno #hardcore #avantgarde #birthday

Before the world was known, streams fed rivers, not wallets, and clouds held rain, not data. There was a time when natural phenomena birthed myth and wonder, not funding opportunities dressed up as scientific studies. It is this era, when Homo sapiens still crawled, and magic yet breathed, that drives and inspires Wyrdstæf.1 Based in the United Kingdom, Wyrdstæf harkens back to an era of great change, when Paleolithic frosts gave way to Mesolithic mists. Channeling the Stone Age through modern instruments, Wyrdstæf invites you to return to the dawn of humankind and remember what was forgotten. Is debut LP Primordial Bloodlines a doorway to a bygone age, or is all this sound and fury for naught?

Primordial Bloodlines kicks off with a ceremonial invocation, “White Spring.” Urzhan’s fierce chants and Malang’s ritualistic drums sanctify the ground and stir the blood. Strings join in the last third, adding fuel to an already potent fire. Wyrdstæf’s theatrical sensibilities here strongly evoke the likes of Nytt Land, positioning the listener amidst the proceedings, enhancing immersion. Searing black metal in the veins of Wiegedood and Kampfar erupts from the flames in the form of “Great Migrations.” Shaman and Revenant unleash descending, frostbitten riffs and determined mid-paced marches, backed by hammering double bass and blast beats. After a slightly overlong ambient intro, “Hyperborean” treks further north, adding icy synths and atavistic shouts to an already vicious, blackened brew. If Wyrdstæf continued with this formula, Primordial Bloodlines would be a very strong debut offering.

Alas, that is not the case. Primordial Bloodlines’ two longest tracks—“Parhelion” and “Primordial Bloodlines”—bring things grinding to a halt. Similar to “White Spring,” “Parhelion” focuses on ritualistic ambience, but rather than placing the listener in the middle of the action, it sounds removed, like a field recording or a documentary. As a result, the first four minutes just feel like an egregiously long sample. Two additional passages round out the track’s nine-minute runtime, but none of the three sections seem strongly connected, giving “Parhelion” a Frankenstein-esque feel. “Primordial Bloodlines” shifts to a more cinematic, heavy metal sound. While it does have a more modern and accessible musical structure, it struggles under the weight of a nine-minute runtime, as well. The title track strives for culminating, emotional poignancy, but without strong prior material to support it, “Primordial Bloodlines” falls flat, feeling toothless and hollow.

These last two tracks drive notable pacing and momentum issues on Primordial Bloodlines, but that’s not my biggest gripe here. Ranging from black metal to grandiose heavy/post-metal and incorporating tribal ambience, both immersive and detached, shows Wyrdstæf to be quite talented and committed, but they’re terribly unfocused. The promo material hints at a loosely conceptual nature to the album, but had I not already known, I certainly wouldn’t have gleaned that from the music itself. Even allowing for the compositional flexibility of a concept album, Wyrdstæf doesn’t establish a baseline from which to branch out. Playing three or four separate styles across five tracks feels more like an ill-advised compilation than a cohesive album. Focusing on any one of these would have lent Primordial Bloodlines some much-needed stability.

Primordial Bloodlines started incredibly strong. “White Spring” and “Great Migrations” are both killer tracks that work well together. Red flags began to appear with “Hyperborean,” but its blackened fury was enough to sit through a questionable, sample-adjacent front half. It’s the back half of the album where Wyrdstæf really drops the ball. “Parhelion” feels aimless and nearly anthropological, and the overly ambitious title track fails to achieve its goal and ultimately feels like another waste of time. Combined, they cover more than half of Primordial Bloodlines’ 32-minute runtime. When Wyrdstæf hits, they really hit, but with precipitously diminishing returns past the 14-minute mark, Primordial Bloodlines fails as an album. If the band can settle on a singular compositional identity and use that as a base to incorporate other elements moving forward, there’s potential for a much more impressive offering. But as it stands, the most I’ll recommend is cutting out choice tracks for playlist fodder.

Rating: 2.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Apocalyptic Witchcraft Recordings
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: September 4th, 2026

Before the world was known, streams fed rivers, not wallets, and clouds held rain, not data. There was a time when natural phenomena birthed myth and wonder, not funding opportunities dressed up as scientific studies. It is this era, when Homo sapiens still crawled, and magic yet breathed, that drives and inspires Wyrdstæf.1 Based in the United Kingdom, Wyrdstæf harkens back to an era of great change, when Paleolithic frosts gave way to Mesolithic mists. Channeling the Stone Age through modern instruments, Wyrdstæf invites you to return to the dawn of humankind and remember what was forgotten. Is debut LP Primordial Bloodlines a doorway to a bygone age, or is all this sound and fury for naught?

Primordial Bloodlines kicks off with a ceremonial invocation, “White Spring.” Urzhan’s fierce chants and Malang’s ritualistic drums sanctify the ground and stir the blood. Strings join in the last third, adding fuel to an already potent fire. Wyrdstæf’s theatrical sensibilities here strongly evoke the likes of Nytt Land, positioning the listener amidst the proceedings, enhancing immersion. Searing black metal in the veins of Wiegedood and Kampfar erupts from the flames in the form of “Great Migrations.” Shaman and Revenant unleash descending, frostbitten riffs and determined mid-paced marches, backed by hammering double bass and blast beats. After a slightly overlong ambient intro, “Hyperborean” treks further north, adding icy synths and atavistic shouts to an already vicious, blackened brew. If Wyrdstæf continued with this formula, Primordial Bloodlines would be a very strong debut offering.

Alas, that is not the case. Primordial Bloodlines’ two longest tracks—“Parhelion” and “Primordial Bloodlines”—bring things grinding to a halt. Similar to “White Spring,” “Parhelion” focuses on ritualistic ambience, but rather than placing the listener in the middle of the action, it sounds removed, like a field recording or a documentary. As a result, the first four minutes just feel like an egregiously long sample. Two additional passages round out the track’s nine-minute runtime, but none of the three sections seem strongly connected, giving “Parhelion” a Frankenstein-esque feel. “Primordial Bloodlines” shifts to a more cinematic, heavy metal sound. While it does have a more modern and accessible musical structure, it struggles under the weight of a nine-minute runtime, as well. The title track strives for culminating, emotional poignancy, but without strong prior material to support it, “Primordial Bloodlines” falls flat, feeling toothless and hollow.

These last two tracks drive notable pacing and momentum issues on Primordial Bloodlines, but that’s not my biggest gripe here. Ranging from black metal to grandiose heavy/post-metal and incorporating tribal ambience, both immersive and detached, shows Wyrdstæf to be quite talented and committed, but they’re terribly unfocused. The promo material hints at a loosely conceptual nature to the album, but had I not already known, I certainly wouldn’t have gleaned that from the music itself. Even allowing for the compositional flexibility of a concept album, Wyrdstæf doesn’t establish a baseline from which to branch out. Playing three or four separate styles across five tracks feels more like an ill-advised compilation than a cohesive album. Focusing on any one of these would have lent Primordial Bloodlines some much-needed stability.

Primordial Bloodlines started incredibly strong. “White Spring” and “Great Migrations” are both killer tracks that work well together. Red flags began to appear with “Hyperborean,” but its blackened fury was enough to sit through a questionable, sample-adjacent front half. It’s the back half of the album where Wyrdstæf really drops the ball. “Parhelion” feels aimless and nearly anthropological, and the overly ambitious title track fails to achieve its goal and ultimately feels like another waste of time. Combined, they cover more than half of Primordial Bloodlines’ 32-minute runtime. When Wyrdstæf hits, they really hit, but with precipitously diminishing returns past the 14-minute mark, Primordial Bloodlines fails as an album. If the band can settle on a singular compositional identity and use that as a base to incorporate other elements moving forward, there’s potential for a much more impressive offering. But as it stands, the most I’ll recommend is cutting out choice tracks for playlist fodder.

Rating: 2.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Apocalyptic Witchcraft Recordings
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: September 4th, 2026

Before the world was known, streams fed rivers, not wallets, and clouds held rain, not data. There was a time when natural phenomena birthed myth and wonder, not funding opportunities dressed up as scientific studies. It is this era, when Homo sapiens still crawled, and magic yet breathed, that drives and inspires Wyrdstæf.1 Based in the United Kingdom, Wyrdstæf harkens back to an era of great change, when Paleolithic frosts gave way to Mesolithic mists. Channeling the Stone Age through modern instruments, Wyrdstæf invites you to return to the dawn of humankind and remember what was forgotten. Is debut LP Primordial Bloodlines a doorway to a bygone age, or is all this sound and fury for naught?

Primordial Bloodlines kicks off with a ceremonial invocation, “White Spring.” Urzhan’s fierce chants and Malang’s ritualistic drums sanctify the ground and stir the blood. Strings join in the last third, adding fuel to an already potent fire. Wyrdstæf’s theatrical sensibilities here strongly evoke the likes of Nytt Land, positioning the listener amidst the proceedings, enhancing immersion. Searing black metal in the veins of Wiegedood and Kampfar erupts from the flames in the form of “Great Migrations.” Shaman and Revenant unleash descending, frostbitten riffs and determined mid-paced marches, backed by hammering double bass and blast beats. After a slightly overlong ambient intro, “Hyperborean” treks further north, adding icy synths and atavistic shouts to an already vicious, blackened brew. If Wyrdstæf continued with this formula, Primordial Bloodlines would be a very strong debut offering.

Alas, that is not the case. Primordial Bloodlines’ two longest tracks—“Parhelion” and “Primordial Bloodlines”—bring things grinding to a halt. Similar to “White Spring,” “Parhelion” focuses on ritualistic ambience, but rather than placing the listener in the middle of the action, it sounds removed, like a field recording or a documentary. As a result, the first four minutes just feel like an egregiously long sample. Two additional passages round out the track’s nine-minute runtime, but none of the three sections seem strongly connected, giving “Parhelion” a Frankenstein-esque feel. “Primordial Bloodlines” shifts to a more cinematic, heavy metal sound. While it does have a more modern and accessible musical structure, it struggles under the weight of a nine-minute runtime, as well. The title track strives for culminating, emotional poignancy, but without strong prior material to support it, “Primordial Bloodlines” falls flat, feeling toothless and hollow.

These last two tracks drive notable pacing and momentum issues on Primordial Bloodlines, but that’s not my biggest gripe here. Ranging from black metal to grandiose heavy/post-metal and incorporating tribal ambience, both immersive and detached, shows Wyrdstæf to be quite talented and committed, but they’re terribly unfocused. The promo material hints at a loosely conceptual nature to the album, but had I not already known, I certainly wouldn’t have gleaned that from the music itself. Even allowing for the compositional flexibility of a concept album, Wyrdstæf doesn’t establish a baseline from which to branch out. Playing three or four separate styles across five tracks feels more like an ill-advised compilation than a cohesive album. Focusing on any one of these would have lent Primordial Bloodlines some much-needed stability.

Primordial Bloodlines started incredibly strong. “White Spring” and “Great Migrations” are both killer tracks that work well together. Red flags began to appear with “Hyperborean,” but its blackened fury was enough to sit through a questionable, sample-adjacent front half. It’s the back half of the album where Wyrdstæf really drops the ball. “Parhelion” feels aimless and nearly anthropological, and the overly ambitious title track fails to achieve its goal and ultimately feels like another waste of time. Combined, they cover more than half of Primordial Bloodlines’ 32-minute runtime. When Wyrdstæf hits, they really hit, but with precipitously diminishing returns past the 14-minute mark, Primordial Bloodlines fails as an album. If the band can settle on a singular compositional identity and use that as a base to incorporate other elements moving forward, there’s potential for a much more impressive offering. But as it stands, the most I’ll recommend is cutting out choice tracks for playlist fodder.

Rating: 2.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Apocalyptic Witchcraft Recordings
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: September 4th, 2026

Before the world was known, streams fed rivers, not wallets, and clouds held rain, not data. There was a time when natural phenomena birthed myth and wonder, not funding opportunities dressed up as scientific studies. It is this era, when Homo sapiens still crawled, and magic yet breathed, that drives and inspires Wyrdstæf.1 Based in the United Kingdom, Wyrdstæf harkens back to an era of great change, when Paleolithic frosts gave way to Mesolithic mists. Channeling the Stone Age through modern instruments, Wyrdstæf invites you to return to the dawn of humankind and remember what was forgotten. Is debut LP Primordial Bloodlines a doorway to a bygone age, or is all this sound and fury for naught?

Primordial Bloodlines kicks off with a ceremonial invocation, “White Spring.” Urzhan’s fierce chants and Malang’s ritualistic drums sanctify the ground and stir the blood. Strings join in the last third, adding fuel to an already potent fire. Wyrdstæf’s theatrical sensibilities here strongly evoke the likes of Nytt Land, positioning the listener amidst the proceedings, enhancing immersion. Searing black metal in the veins of Wiegedood and Kampfar erupts from the flames in the form of “Great Migrations.” Shaman and Revenant unleash descending, frostbitten riffs and determined mid-paced marches, backed by hammering double bass and blast beats. After a slightly overlong ambient intro, “Hyperborean” treks further north, adding icy synths and atavistic shouts to an already vicious, blackened brew. If Wyrdstæf continued with this formula, Primordial Bloodlines would be a very strong debut offering.

Alas, that is not the case. Primordial Bloodlines’ two longest tracks—“Parhelion” and “Primordial Bloodlines”—bring things grinding to a halt. Similar to “White Spring,” “Parhelion” focuses on ritualistic ambience, but rather than placing the listener in the middle of the action, it sounds removed, like a field recording or a documentary. As a result, the first four minutes just feel like an egregiously long sample. Two additional passages round out the track’s nine-minute runtime, but none of the three sections seem strongly connected, giving “Parhelion” a Frankenstein-esque feel. “Primordial Bloodlines” shifts to a more cinematic, heavy metal sound. While it does have a more modern and accessible musical structure, it struggles under the weight of a nine-minute runtime, as well. The title track strives for culminating, emotional poignancy, but without strong prior material to support it, “Primordial Bloodlines” falls flat, feeling toothless and hollow.

These last two tracks drive notable pacing and momentum issues on Primordial Bloodlines, but that’s not my biggest gripe here. Ranging from black metal to grandiose heavy/post-metal and incorporating tribal ambience, both immersive and detached, shows Wyrdstæf to be quite talented and committed, but they’re terribly unfocused. The promo material hints at a loosely conceptual nature to the album, but had I not already known, I certainly wouldn’t have gleaned that from the music itself. Even allowing for the compositional flexibility of a concept album, Wyrdstæf doesn’t establish a baseline from which to branch out. Playing three or four separate styles across five tracks feels more like an ill-advised compilation than a cohesive album. Focusing on any one of these would have lent Primordial Bloodlines some much-needed stability.

Primordial Bloodlines started incredibly strong. “White Spring” and “Great Migrations” are both killer tracks that work well together. Red flags began to appear with “Hyperborean,” but its blackened fury was enough to sit through a questionable, sample-adjacent front half. It’s the back half of the album where Wyrdstæf really drops the ball. “Parhelion” feels aimless and nearly anthropological, and the overly ambitious title track fails to achieve its goal and ultimately feels like another waste of time. Combined, they cover more than half of Primordial Bloodlines’ 32-minute runtime. When Wyrdstæf hits, they really hit, but with precipitously diminishing returns past the 14-minute mark, Primordial Bloodlines fails as an album. If the band can settle on a singular compositional identity and use that as a base to incorporate other elements moving forward, there’s potential for a much more impressive offering. But as it stands, the most I’ll recommend is cutting out choice tracks for playlist fodder.

Rating: 2.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Apocalyptic Witchcraft Recordings
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: September 4th, 2026

Before the world was known, streams fed rivers, not wallets, and clouds held rain, not data. There was a time when natural phenomena birthed myth and wonder, not funding opportunities dressed up as scientific studies. It is this era, when Homo sapiens still crawled, and magic yet breathed, that drives and inspires Wyrdstæf.1 Based in the United Kingdom, Wyrdstæf harkens back to an era of great change, when Paleolithic frosts gave way to Mesolithic mists. Channeling the Stone Age through modern instruments, Wyrdstæf invites you to return to the dawn of humankind and remember what was forgotten. Is debut LP Primordial Bloodlines a doorway to a bygone age, or is all this sound and fury for naught?

Primordial Bloodlines kicks off with a ceremonial invocation, “White Spring.” Urzhan’s fierce chants and Malang’s ritualistic drums sanctify the ground and stir the blood. Strings join in the last third, adding fuel to an already potent fire. Wyrdstæf’s theatrical sensibilities here strongly evoke the likes of Nytt Land, positioning the listener amidst the proceedings, enhancing immersion. Searing black metal in the veins of Wiegedood and Kampfar erupts from the flames in the form of “Great Migrations.” Shaman and Revenant unleash descending, frostbitten riffs and determined mid-paced marches, backed by hammering double bass and blast beats. After a slightly overlong ambient intro, “Hyperborean” treks further north, adding icy synths and atavistic shouts to an already vicious, blackened brew. If Wyrdstæf continued with this formula, Primordial Bloodlines would be a very strong debut offering.

Alas, that is not the case. Primordial Bloodlines’ two longest tracks—“Parhelion” and “Primordial Bloodlines”—bring things grinding to a halt. Similar to “White Spring,” “Parhelion” focuses on ritualistic ambience, but rather than placing the listener in the middle of the action, it sounds removed, like a field recording or a documentary. As a result, the first four minutes just feel like an egregiously long sample. Two additional passages round out the track’s nine-minute runtime, but none of the three sections seem strongly connected, giving “Parhelion” a Frankenstein-esque feel. “Primordial Bloodlines” shifts to a more cinematic, heavy metal sound. While it does have a more modern and accessible musical structure, it struggles under the weight of a nine-minute runtime, as well. The title track strives for culminating, emotional poignancy, but without strong prior material to support it, “Primordial Bloodlines” falls flat, feeling toothless and hollow.

These last two tracks drive notable pacing and momentum issues on Primordial Bloodlines, but that’s not my biggest gripe here. Ranging from black metal to grandiose heavy/post-metal and incorporating tribal ambience, both immersive and detached, shows Wyrdstæf to be quite talented and committed, but they’re terribly unfocused. The promo material hints at a loosely conceptual nature to the album, but had I not already known, I certainly wouldn’t have gleaned that from the music itself. Even allowing for the compositional flexibility of a concept album, Wyrdstæf doesn’t establish a baseline from which to branch out. Playing three or four separate styles across five tracks feels more like an ill-advised compilation than a cohesive album. Focusing on any one of these would have lent Primordial Bloodlines some much-needed stability.

Primordial Bloodlines started incredibly strong. “White Spring” and “Great Migrations” are both killer tracks that work well together. Red flags began to appear with “Hyperborean,” but its blackened fury was enough to sit through a questionable, sample-adjacent front half. It’s the back half of the album where Wyrdstæf really drops the ball. “Parhelion” feels aimless and nearly anthropological, and the overly ambitious title track fails to achieve its goal and ultimately feels like another waste of time. Combined, they cover more than half of Primordial Bloodlines’ 32-minute runtime. When Wyrdstæf hits, they really hit, but with precipitously diminishing returns past the 14-minute mark, Primordial Bloodlines fails as an album. If the band can settle on a singular compositional identity and use that as a base to incorporate other elements moving forward, there’s potential for a much more impressive offering. But as it stands, the most I’ll recommend is cutting out choice tracks for playlist fodder.

Rating: 2.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Apocalyptic Witchcraft Recordings
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: September 4th, 2026

Song: Smile of hate
Band: #Vreid
Album: The skies turn black
Year: 2026
Genre: #BlackMetal

"Don't mistake shyness
For tender and weak
Memories are fickle
What you see
Is not what you get
Some days I save the world
Other days I let it burn"

https://www.youtube.com/watch?v=qgoQc2V-QsU

Full playlist here:
https://open.spotify.com/playlist/14jd7IW32OZtlmXiOfz4eG
https://youtube.com/playlist?list=PLAFxPuhOACrVE1yZPBg-3twxbf-xNw012

MOOSEGUT (Canadà) presenta nou single: "He the Beast & Coyote 'Ol" #Moosegut #Folk #BlackMetal #Setembre2026 #Canadà #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

MOOSEGUT (Canadà) presenta nou single: "He the Beast & Coyote 'Ol" #Moosegut #Folk #BlackMetal #Setembre2026 #Canadà #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

ABARTACH (Estats Units) presenta nou Split: "Abyssal Terror; Sanguine Regret" #Abartach #BlackMetal #Setembre2026 #EstatsUnits #NouSplit #Metall #Metal #MúsicaMetal #MetalMusic

ABARTACH (Estats Units) presenta nou Split: "Abyssal Terror; Sanguine Regret" #Abartach #BlackMetal #Setembre2026 #EstatsUnits #NouSplit #Metall #Metal #MúsicaMetal #MetalMusic

INQUISITION (Colòmbia) presenta nou àlbum en directe: "For the Burning of All Holiness" #Inquisition #ThrashMetal #BlackMetal #Setembre2026 #Colòmbia #NouÀlbumEnDirecte #Metall #Metal #MúsicaMetal #MetalMusic

INQUISITION (Colòmbia) presenta nou àlbum en directe: "For the Burning of All Holiness" #Inquisition #ThrashMetal #BlackMetal #Setembre2026 #Colòmbia #NouÀlbumEnDirecte #Metall #Metal #MúsicaMetal #MetalMusic

https://www.europesays.com/ie/686793/ Nihil Admiral – The Axes, the Flesh Hooks and the Spits Review #20 #2026 #Aug26 #BlackMetal #Corroder #Darkthrone #Éire #Entertainment #GameOfThrones #GoatTheHead #Hellripper #IE #Ireland #Misotheist #Music #NihilAdmiral #NorwegianMetal #PaysageD'Hiver #RaminDjawadi #RawBlackMetal #Rekviem #Review #Reviews #Satyricon #TheAxesTheFleshHooksAndTheSpits

#CurrentlyListeningTo Sigh - Shiki #HeavyMetal #BlackMetal #Avantgarde 🇯🇵

#CurrentlyListeningTo Sigh - Shiki #HeavyMetal #BlackMetal #Avantgarde 🇯🇵