#bolverk-collective — Public Fediverse posts

I don’t know what’s up with our dear readers around the world, but in this lion’s den, it’s hotter than an unshaven sheep in a bread bakery. It’s hotter than Steel‘s withering gaze every time Dear Hollow gives good reviews to deathcore. It’s hotter than your sexy crush telling you her parents completely approve of you, and that she wants a wholesome marriage and a family. My AC has been broken for over a month now, which means my only companions are sweat, misery, and the promo pit. Consequently, my personal enjoyment of much more wintry (or even fall) black metal has fallen by the wayside, as bands like Coldworld or Panopticon just don’t hit the same way when you spend every night praying for sleep and basting in your own juices. As if a spiritual answer to my cries, new outfit Sunscorched have arrived with a dollop of Old-West-themed, Arizona-originated atmospheric black metal. Needless to say, one glance at that name had me snatching this one up immediately, so saddle up your horses and get ready to circle the wagons as we see just how bad these bloody lands are.

The Blood of the Badlands sound is that of a slightly more straightforward Wayfarer album as produced by Nechochwen. While the compositional approaches lend themselves to comparisons with the seminal American Gothic, the chord progressions are more straightforward, and the production much more raw. The Heart of Akamon has itself all over the actual sound, with full chords which ring out in treble-heavy presentation but never lose themselves in tinny warbles, still sounding thick and full. The drumming of Rory James is well articulated, with good thunk and clang in his kit as he alternates between his fills and rolls, with a lot of fun to be had in his hi-hat and china beats which often evoke the galloping of wagons cascading down the hills. Vocalist Austin Kruger has an excellent bellowing shriek, mixed between the arpeggios and tremolos and containing enough reverb to evoke the mood of long-forgotten souls wandering the hills. Remarkably light on the expected gimmicky instrumentation—beyond the bookending instrumentals, which feature smatterings of acoustic guitars among what sounds like unplugged electric—Sunscorched wield their songwriting skills to suit the mood and atmosphere of the Badlands.

In those songs, Sunscorched manage to paint a vivid aural picture without ever doing anything out of the ordinary. “Vultures that Circle my Grave” transitions into a delightful major chord progression which sounds optimistic in the face of oppression and daily struggle without losing an ounce of its moshability. Highlight “Slaughter at Camp Grant” features a punk-infused main refrain which sounds violent while evoking the vastness of an Old West starry sky, transitioning from rapid-fire melodies to a progression which comes with brute force and necessary antagonism. “The Gallows Tree” features a depressive lead which does most of the talking before the vocals ever kick in. While repetition is a major tool in the box of Sunscorched, the majority of these riffs and melodies justify running themselves back as they emphasize the all-encompassing nature of the violence and exploration of that time period. Every single song comes decorated with a key melodic theme, from the inevitability of “Gallows…” to the full-speed-ahead onslaught of “Slaughter…”, firmly evoking a narrative to the listener which would be just as serviceable were Blood of the Badlands served as an instrumental piece.

There’s only one thing stopping Sunscorched from landing on true greatness in their first outing: Both penultimate track “Thousand Year Drought” and the instrumental title track “Blood of the Badlands” are far too repetitive and self-referential, and it’s genuinely disappointing. In the case of the former, there’s what seems to be a melodic reference1 to the Styx song “Renegade”, with a very familiar tune coded in the main lead, which is dope, but is promptly beaten right into the desert sand. Additionally, the main chugging climax features the exact same root notes as the one found in “Slaughter…”, making it smack of the earlier riff, but somehow more violent and less interesting. Closing track “Blood of the Badlands” is gorgeous, mood-setting, and eerie, but repeats itself an unneeded amount of times without genuinely evolving into anything.

Normally, an album is held down by an overall lack of quality. My saying “these last two songs don’t pass muster” only speaks to the sheer quality of all that comes before, and is by no means a major detraction in the overall experience. Sunscorched have made me ready to join their posse on my first listen, enduring the sweltering radiation and pavement-amplifying heatwaves with their soundtrack of melancholy by my side. Some course corrections on their repetitive habits will have their pistols loaded and ready to strike gold and oil, and I, for one, have gleefully hitched my wagon up to see where we will explore from here.

Rating: 3.5/5.0
DR: 11 | Format Reviewed: 320 kbps mp3
Label: The Bölverk Collective
Website: Album Bandcamp
Releases Worldwide: August 28th, 2026

I don’t know what’s up with our dear readers around the world, but in this lion’s den, it’s hotter than an unshaven sheep in a bread bakery. It’s hotter than Steel‘s withering gaze every time Dear Hollow gives good reviews to deathcore. It’s hotter than your sexy crush telling you her parents completely approve of you, and that she wants a wholesome marriage and a family. My AC has been broken for over a month now, which means my only companions are sweat, misery, and the promo pit. Consequently, my personal enjoyment of much more wintry (or even fall) black metal has fallen by the wayside, as bands like Coldworld or Panopticon just don’t hit the same way when you spend every night praying for sleep and basting in your own juices. As if a spiritual answer to my cries, new outfit Sunscorched have arrived with a dollop of Old-West-themed, Arizona-originated atmospheric black metal. Needless to say, one glance at that name had me snatching this one up immediately, so saddle up your horses and get ready to circle the wagons as we see just how bad these bloody lands are.

The Blood of the Badlands sound is that of a slightly more straightforward Wayfarer album as produced by Nechochwen. While the compositional approaches lend themselves to comparisons with the seminal American Gothic, the chord progressions are more straightforward, and the production much more raw. The Heart of Akamon has itself all over the actual sound, with full chords which ring out in treble-heavy presentation but never lose themselves in tinny warbles, still sounding thick and full. The drumming of Rory James is well articulated, with good thunk and clang in his kit as he alternates between his fills and rolls, with a lot of fun to be had in his hi-hat and china beats which often evoke the galloping of wagons cascading down the hills. Vocalist Austin Kruger has an excellent bellowing shriek, mixed between the arpeggios and tremolos and containing enough reverb to evoke the mood of long-forgotten souls wandering the hills. Remarkably light on the expected gimmicky instrumentation—beyond the bookending instrumentals, which feature smatterings of acoustic guitars among what sounds like unplugged electric—Sunscorched wield their songwriting skills to suit the mood and atmosphere of the Badlands.

In those songs, Sunscorched manage to paint a vivid aural picture without ever doing anything out of the ordinary. “Vultures that Circle my Grave” transitions into a delightful major chord progression which sounds optimistic in the face of oppression and daily struggle without losing an ounce of its moshability. Highlight “Slaughter at Camp Grant” features a punk-infused main refrain which sounds violent while evoking the vastness of an Old West starry sky, transitioning from rapid-fire melodies to a progression which comes with brute force and necessary antagonism. “The Gallows Tree” features a depressive lead which does most of the talking before the vocals ever kick in. While repetition is a major tool in the box of Sunscorched, the majority of these riffs and melodies justify running themselves back as they emphasize the all-encompassing nature of the violence and exploration of that time period. Every single song comes decorated with a key melodic theme, from the inevitability of “Gallows…” to the full-speed-ahead onslaught of “Slaughter…”, firmly evoking a narrative to the listener which would be just as serviceable were Blood of the Badlands served as an instrumental piece.

There’s only one thing stopping Sunscorched from landing on true greatness in their first outing: Both penultimate track “Thousand Year Drought” and the instrumental title track “Blood of the Badlands” are far too repetitive and self-referential, and it’s genuinely disappointing. In the case of the former, there’s what seems to be a melodic reference1 to the Styx song “Renegade”, with a very familiar tune coded in the main lead, which is dope, but is promptly beaten right into the desert sand. Additionally, the main chugging climax features the exact same root notes as the one found in “Slaughter…”, making it smack of the earlier riff, but somehow more violent and less interesting. Closing track “Blood of the Badlands” is gorgeous, mood-setting, and eerie, but repeats itself an unneeded amount of times without genuinely evolving into anything.

Normally, an album is held down by an overall lack of quality. My saying “these last two songs don’t pass muster” only speaks to the sheer quality of all that comes before, and is by no means a major detraction in the overall experience. Sunscorched have made me ready to join their posse on my first listen, enduring the sweltering radiation and pavement-amplifying heatwaves with their soundtrack of melancholy by my side. Some course corrections on their repetitive habits will have their pistols loaded and ready to strike gold and oil, and I, for one, have gleefully hitched my wagon up to see where we will explore from here.

Rating: 3.5/5.0
DR: 11 | Format Reviewed: 320 kbps mp3
Label: The Bölverk Collective
Website: Album Bandcamp
Releases Worldwide: August 28th, 2026

I don’t know what’s up with our dear readers around the world, but in this lion’s den, it’s hotter than an unshaven sheep in a bread bakery. It’s hotter than Steel‘s withering gaze every time Dear Hollow gives good reviews to deathcore. It’s hotter than your sexy crush telling you her parents completely approve of you, and that she wants a wholesome marriage and a family. My AC has been broken for over a month now, which means my only companions are sweat, misery, and the promo pit. Consequently, my personal enjoyment of much more wintry (or even fall) black metal has fallen by the wayside, as bands like Coldworld or Panopticon just don’t hit the same way when you spend every night praying for sleep and basting in your own juices. As if a spiritual answer to my cries, new outfit Sunscorched have arrived with a dollop of Old-West-themed, Arizona-originated atmospheric black metal. Needless to say, one glance at that name had me snatching this one up immediately, so saddle up your horses and get ready to circle the wagons as we see just how bad these bloody lands are.

The Blood of the Badlands sound is that of a slightly more straightforward Wayfarer album as produced by Nechochwen. While the compositional approaches lend themselves to comparisons with the seminal American Gothic, the chord progressions are more straightforward, and the production much more raw. The Heart of Akamon has itself all over the actual sound, with full chords which ring out in treble-heavy presentation but never lose themselves in tinny warbles, still sounding thick and full. The drumming of Rory James is well articulated, with good thunk and clang in his kit as he alternates between his fills and rolls, with a lot of fun to be had in his hi-hat and china beats which often evoke the galloping of wagons cascading down the hills. Vocalist Austin Kruger has an excellent bellowing shriek, mixed between the arpeggios and tremolos and containing enough reverb to evoke the mood of long-forgotten souls wandering the hills. Remarkably light on the expected gimmicky instrumentation—beyond the bookending instrumentals, which feature smatterings of acoustic guitars among what sounds like unplugged electric—Sunscorched wield their songwriting skills to suit the mood and atmosphere of the Badlands.

In those songs, Sunscorched manage to paint a vivid aural picture without ever doing anything out of the ordinary. “Vultures that Circle my Grave” transitions into a delightful major chord progression which sounds optimistic in the face of oppression and daily struggle without losing an ounce of its moshability. Highlight “Slaughter at Camp Grant” features a punk-infused main refrain which sounds violent while evoking the vastness of an Old West starry sky, transitioning from rapid-fire melodies to a progression which comes with brute force and necessary antagonism. “The Gallows Tree” features a depressive lead which does most of the talking before the vocals ever kick in. While repetition is a major tool in the box of Sunscorched, the majority of these riffs and melodies justify running themselves back as they emphasize the all-encompassing nature of the violence and exploration of that time period. Every single song comes decorated with a key melodic theme, from the inevitability of “Gallows…” to the full-speed-ahead onslaught of “Slaughter…”, firmly evoking a narrative to the listener which would be just as serviceable were Blood of the Badlands served as an instrumental piece.

There’s only one thing stopping Sunscorched from landing on true greatness in their first outing: Both penultimate track “Thousand Year Drought” and the instrumental title track “Blood of the Badlands” are far too repetitive and self-referential, and it’s genuinely disappointing. In the case of the former, there’s what seems to be a melodic reference1 to the Styx song “Renegade”, with a very familiar tune coded in the main lead, which is dope, but is promptly beaten right into the desert sand. Additionally, the main chugging climax features the exact same root notes as the one found in “Slaughter…”, making it smack of the earlier riff, but somehow more violent and less interesting. Closing track “Blood of the Badlands” is gorgeous, mood-setting, and eerie, but repeats itself an unneeded amount of times without genuinely evolving into anything.

Normally, an album is held down by an overall lack of quality. My saying “these last two songs don’t pass muster” only speaks to the sheer quality of all that comes before, and is by no means a major detraction in the overall experience. Sunscorched have made me ready to join their posse on my first listen, enduring the sweltering radiation and pavement-amplifying heatwaves with their soundtrack of melancholy by my side. Some course corrections on their repetitive habits will have their pistols loaded and ready to strike gold and oil, and I, for one, have gleefully hitched my wagon up to see where we will explore from here.

Rating: 3.5/5.0
DR: 11 | Format Reviewed: 320 kbps mp3
Label: The Bölverk Collective
Website: Album Bandcamp
Releases Worldwide: August 28th, 2026

I don’t know what’s up with our dear readers around the world, but in this lion’s den, it’s hotter than an unshaven sheep in a bread bakery. It’s hotter than Steel‘s withering gaze every time Dear Hollow gives good reviews to deathcore. It’s hotter than your sexy crush telling you her parents completely approve of you, and that she wants a wholesome marriage and a family. My AC has been broken for over a month now, which means my only companions are sweat, misery, and the promo pit. Consequently, my personal enjoyment of much more wintry (or even fall) black metal has fallen by the wayside, as bands like Coldworld or Panopticon just don’t hit the same way when you spend every night praying for sleep and basting in your own juices. As if a spiritual answer to my cries, new outfit Sunscorched have arrived with a dollop of Old-West-themed, Arizona-originated atmospheric black metal. Needless to say, one glance at that name had me snatching this one up immediately, so saddle up your horses and get ready to circle the wagons as we see just how bad these bloody lands are.

The Blood of the Badlands sound is that of a slightly more straightforward Wayfarer album as produced by Nechochwen. While the compositional approaches lend themselves to comparisons with the seminal American Gothic, the chord progressions are more straightforward, and the production much more raw. The Heart of Akamon has itself all over the actual sound, with full chords which ring out in treble-heavy presentation but never lose themselves in tinny warbles, still sounding thick and full. The drumming of Rory James is well articulated, with good thunk and clang in his kit as he alternates between his fills and rolls, with a lot of fun to be had in his hi-hat and china beats which often evoke the galloping of wagons cascading down the hills. Vocalist Austin Kruger has an excellent bellowing shriek, mixed between the arpeggios and tremolos and containing enough reverb to evoke the mood of long-forgotten souls wandering the hills. Remarkably light on the expected gimmicky instrumentation—beyond the bookending instrumentals, which feature smatterings of acoustic guitars among what sounds like unplugged electric—Sunscorched wield their songwriting skills to suit the mood and atmosphere of the Badlands.

In those songs, Sunscorched manage to paint a vivid aural picture without ever doing anything out of the ordinary. “Vultures that Circle my Grave” transitions into a delightful major chord progression which sounds optimistic in the face of oppression and daily struggle without losing an ounce of its moshability. Highlight “Slaughter at Camp Grant” features a punk-infused main refrain which sounds violent while evoking the vastness of an Old West starry sky, transitioning from rapid-fire melodies to a progression which comes with brute force and necessary antagonism. “The Gallows Tree” features a depressive lead which does most of the talking before the vocals ever kick in. While repetition is a major tool in the box of Sunscorched, the majority of these riffs and melodies justify running themselves back as they emphasize the all-encompassing nature of the violence and exploration of that time period. Every single song comes decorated with a key melodic theme, from the inevitability of “Gallows…” to the full-speed-ahead onslaught of “Slaughter…”, firmly evoking a narrative to the listener which would be just as serviceable were Blood of the Badlands served as an instrumental piece.

There’s only one thing stopping Sunscorched from landing on true greatness in their first outing: Both penultimate track “Thousand Year Drought” and the instrumental title track “Blood of the Badlands” are far too repetitive and self-referential, and it’s genuinely disappointing. In the case of the former, there’s what seems to be a melodic reference1 to the Styx song “Renegade”, with a very familiar tune coded in the main lead, which is dope, but is promptly beaten right into the desert sand. Additionally, the main chugging climax features the exact same root notes as the one found in “Slaughter…”, making it smack of the earlier riff, but somehow more violent and less interesting. Closing track “Blood of the Badlands” is gorgeous, mood-setting, and eerie, but repeats itself an unneeded amount of times without genuinely evolving into anything.

Normally, an album is held down by an overall lack of quality. My saying “these last two songs don’t pass muster” only speaks to the sheer quality of all that comes before, and is by no means a major detraction in the overall experience. Sunscorched have made me ready to join their posse on my first listen, enduring the sweltering radiation and pavement-amplifying heatwaves with their soundtrack of melancholy by my side. Some course corrections on their repetitive habits will have their pistols loaded and ready to strike gold and oil, and I, for one, have gleefully hitched my wagon up to see where we will explore from here.

Rating: 3.5/5.0
DR: 11 | Format Reviewed: 320 kbps mp3
Label: The Bölverk Collective
Website: Album Bandcamp
Releases Worldwide: August 28th, 2026

I don’t know what’s up with our dear readers around the world, but in this lion’s den, it’s hotter than an unshaven sheep in a bread bakery. It’s hotter than Steel‘s withering gaze every time Dear Hollow gives good reviews to deathcore. It’s hotter than your sexy crush telling you her parents completely approve of you, and that she wants a wholesome marriage and a family. My AC has been broken for over a month now, which means my only companions are sweat, misery, and the promo pit. Consequently, my personal enjoyment of much more wintry (or even fall) black metal has fallen by the wayside, as bands like Coldworld or Panopticon just don’t hit the same way when you spend every night praying for sleep and basting in your own juices. As if a spiritual answer to my cries, new outfit Sunscorched have arrived with a dollop of Old-West-themed, Arizona-originated atmospheric black metal. Needless to say, one glance at that name had me snatching this one up immediately, so saddle up your horses and get ready to circle the wagons as we see just how bad these bloody lands are.

The Blood of the Badlands sound is that of a slightly more straightforward Wayfarer album as produced by Nechochwen. While the compositional approaches lend themselves to comparisons with the seminal American Gothic, the chord progressions are more straightforward, and the production much more raw. The Heart of Akamon has itself all over the actual sound, with full chords which ring out in treble-heavy presentation but never lose themselves in tinny warbles, still sounding thick and full. The drumming of Rory James is well articulated, with good thunk and clang in his kit as he alternates between his fills and rolls, with a lot of fun to be had in his hi-hat and china beats which often evoke the galloping of wagons cascading down the hills. Vocalist Austin Kruger has an excellent bellowing shriek, mixed between the arpeggios and tremolos and containing enough reverb to evoke the mood of long-forgotten souls wandering the hills. Remarkably light on the expected gimmicky instrumentation—beyond the bookending instrumentals, which feature smatterings of acoustic guitars among what sounds like unplugged electric—Sunscorched wield their songwriting skills to suit the mood and atmosphere of the Badlands.

In those songs, Sunscorched manage to paint a vivid aural picture without ever doing anything out of the ordinary. “Vultures that Circle my Grave” transitions into a delightful major chord progression which sounds optimistic in the face of oppression and daily struggle without losing an ounce of its moshability. Highlight “Slaughter at Camp Grant” features a punk-infused main refrain which sounds violent while evoking the vastness of an Old West starry sky, transitioning from rapid-fire melodies to a progression which comes with brute force and necessary antagonism. “The Gallows Tree” features a depressive lead which does most of the talking before the vocals ever kick in. While repetition is a major tool in the box of Sunscorched, the majority of these riffs and melodies justify running themselves back as they emphasize the all-encompassing nature of the violence and exploration of that time period. Every single song comes decorated with a key melodic theme, from the inevitability of “Gallows…” to the full-speed-ahead onslaught of “Slaughter…”, firmly evoking a narrative to the listener which would be just as serviceable were Blood of the Badlands served as an instrumental piece.

There’s only one thing stopping Sunscorched from landing on true greatness in their first outing: Both penultimate track “Thousand Year Drought” and the instrumental title track “Blood of the Badlands” are far too repetitive and self-referential, and it’s genuinely disappointing. In the case of the former, there’s what seems to be a melodic reference1 to the Styx song “Renegade”, with a very familiar tune coded in the main lead, which is dope, but is promptly beaten right into the desert sand. Additionally, the main chugging climax features the exact same root notes as the one found in “Slaughter…”, making it smack of the earlier riff, but somehow more violent and less interesting. Closing track “Blood of the Badlands” is gorgeous, mood-setting, and eerie, but repeats itself an unneeded amount of times without genuinely evolving into anything.

Normally, an album is held down by an overall lack of quality. My saying “these last two songs don’t pass muster” only speaks to the sheer quality of all that comes before, and is by no means a major detraction in the overall experience. Sunscorched have made me ready to join their posse on my first listen, enduring the sweltering radiation and pavement-amplifying heatwaves with their soundtrack of melancholy by my side. Some course corrections on their repetitive habits will have their pistols loaded and ready to strike gold and oil, and I, for one, have gleefully hitched my wagon up to see where we will explore from here.

Rating: 3.5/5.0
DR: 11 | Format Reviewed: 320 kbps mp3
Label: The Bölverk Collective
Website: Album Bandcamp
Releases Worldwide: August 28th, 2026

https://www.europesays.com/ie/329098/ Ashbringer – Subglacial Review | Angry Metal Guy #2026 #3.5 #AmericanBlackMetal #Ashbringer #AtmosphericBlackMetal #Blackgaze #BölverkCollective #Éire #Entertainment #Feb26 #IE #Ireland #Music #Review #Reviews #Subglacial

We here at AMG are impossible to please. Minnesota’s atmo-black four-piece Ashbringer have learned this the hard way. While we lavished praise across their discography, those who giveth can also taketh away. Ashbringer’s previous outing, We Came Here to Grieve, originally received glowing remarks. Unfortunately for them, resident shark and Ashbringer connoisseur, Carcharodon, decided, upon further reflection, that the clean singing on their previous outing brought the album to a screeching halt after time and distance brought clarity. So, as if in response, Ashbringer has returned with Subglacial, and there isn’t an ounce of clean singing to be found on the album, as it provides an incredibly stripped-back sound in comparison to their previous outings. I welcome artistic experimentation, but I frown upon the wholesale rejection of ideas due to criticism. So, does Subglacial herald a return to form? Creative stagnation? Or something in between altogether for these purveyors of atmospheric and heartfelt black metal?

For starters, Ashbringer went about creating Subglacial in a way I can wholeheartedly commend. Singer Nick Stanger and drummer Andy Meyer rented a house, brought the band in, and wrote, played, and recorded the entire album there. In Stanger’s own words, Ashbringer wanted to create a record that sounded as “us” as they possibly could while doing it in-house and spending no money; an admirable goal if I have ever heard one, and one that is apparent throughout the album. Subglacial is lean, especially compared to We Came Here to Grieve, but even in contrast to their earlier work. Scraping in at just under forty minutes, it makes for an incredibly tight piece that wastes no time. Stanger sticks to his trademark rasping growl, drumming is significantly less jazzy than on Absolution, and overall, it is heavier, hookier, and surprisingly free of auditory left-turns. Stanger and Jackson Catton’s guitarwork sticks to black metal staples: blistering tremolo riffs, cutting hooks, and atmospheric tangents. Subglacial is a no-frills, concise record where every element feels honed to be heavy, hooky, and emotive.

Subglacial by Ashbringer

Subglacial is surprisingly predictable, with “Waning Conviction” being the only track that feels like it has shades of previous experimentation. Opening with ponderous acoustic strumming and laid-back drums, it builds for a while before lurching into a massive lead riff. Still, even this track feels tame (experimentally) compared to anything on We Came Here to Grieve. I agree that Stanger’s clean vocals needed work, but I don’t think the band should have thrown them out completely. Subglacial will likely be seen as a return to form for many, but I can’t help but lament what could have been. This is a record that feels incredibly safe for a band known for throwing out the rulebook. That isn’t to say Subglacial is bad; in fact, it is hard to find anything to complain about otherwise. The production is perfectly raw, keeping Stanger’s vocals fantastically legible while allowing for that atmo-black fuzz to creep in. It just shows you don’t need an expensive studio to record an album with wonderful sound. Every track feels essential, and this is a tight record in every sense of the word.

Subglacial is so concisely put together and so expertly played that it is hard to find flaws when looking at the whole. The opening track, “My Flesh Shows Its Weakness,” features everything you want from an Ashbringer song: atmospherics, a massive final riff, and the emotionality that the band is famous for. The guitar work on Subglacial is a standout, and every track has memorable riffs, monolithic hooks, or ass-kicking speed. Album standout “Send Him to the Lake” is an anthem, as Stanger screams “SEND HIM TO THE LAKE,” you can’t help but feel the conviction. The track features an ascending riff as a throughline, building and building, to an absolutely crushing crescendo, the atmo-black equivalent of an orgasm. Album closer “Vessels” mixes heaviness with the dreamy, ethereal sound of blackgaze alongside some head-spinning drumming from Meyer.

So, time for the part where I make you all upset. I loved the raw emotion, vulnerability, and sincerity of We Came Here to Grieve but Subglacial is too safe a step back. While the album is well-rounded, expertly played, and emotive, it lacks the audacity of their previous work. Ashbringer’s latest is no slouch, though, and while I thoroughly enjoyed their latest record, it didn’t quite blow me away like their previous work. Subglacial is as solid as ice, but time may chip at this berg to reveal something unremarkable when compared to Ashbringer’s larger output.

Rating: Very Good
DR: 11 | Format Reviewed: 320 kbps mp3
Label: Bölverk Collective
Websites: ashbringermusic.com | instagram.com/ashbringermusic
Releases Worldwide: February 13th, 2026

We here at AMG are impossible to please. Minnesota’s atmo-black four-piece Ashbringer have learned this the hard way. While we lavished praise across their discography, those who giveth can also taketh away. Ashbringer’s previous outing, We Came Here to Grieve, originally received glowing remarks. Unfortunately for them, resident shark and Ashbringer connoisseur, Carcharodon, decided, upon further reflection, that the clean singing on their previous outing brought the album to a screeching halt after time and distance brought clarity. So, as if in response, Ashbringer has returned with Subglacial, and there isn’t an ounce of clean singing to be found on the album, as it provides an incredibly stripped-back sound in comparison to their previous outings. I welcome artistic experimentation, but I frown upon the wholesale rejection of ideas due to criticism. So, does Subglacial herald a return to form? Creative stagnation? Or something in between altogether for these purveyors of atmospheric and heartfelt black metal?

For starters, Ashbringer went about creating Subglacial in a way I can wholeheartedly commend. Singer Nick Stanger and drummer Andy Meyer rented a house, brought the band in, and wrote, played, and recorded the entire album there. In Stanger’s own words, Ashbringer wanted to create a record that sounded as “us” as they possibly could while doing it in-house and spending no money; an admirable goal if I have ever heard one, and one that is apparent throughout the album. Subglacial is lean, especially compared to We Came Here to Grieve, but even in contrast to their earlier work. Scraping in at just under forty minutes, it makes for an incredibly tight piece that wastes no time. Stanger sticks to his trademark rasping growl, drumming is significantly less jazzy than on Absolution, and overall, it is heavier, hookier, and surprisingly free of auditory left-turns. Stanger and Jackson Catton’s guitarwork sticks to black metal staples: blistering tremolo riffs, cutting hooks, and atmospheric tangents. Subglacial is a no-frills, concise record where every element feels honed to be heavy, hooky, and emotive.

Subglacial by Ashbringer

Subglacial is surprisingly predictable, with “Waning Conviction” being the only track that feels like it has shades of previous experimentation. Opening with ponderous acoustic strumming and laid-back drums, it builds for a while before lurching into a massive lead riff. Still, even this track feels tame (experimentally) compared to anything on We Came Here to Grieve. I agree that Stanger’s clean vocals needed work, but I don’t think the band should have thrown them out completely. Subglacial will likely be seen as a return to form for many, but I can’t help but lament what could have been. This is a record that feels incredibly safe for a band known for throwing out the rulebook. That isn’t to say Subglacial is bad; in fact, it is hard to find anything to complain about otherwise. The production is perfectly raw, keeping Stanger’s vocals fantastically legible while allowing for that atmo-black fuzz to creep in. It just shows you don’t need an expensive studio to record an album with wonderful sound. Every track feels essential, and this is a tight record in every sense of the word.

Subglacial is so concisely put together and so expertly played that it is hard to find flaws when looking at the whole. The opening track, “My Flesh Shows Its Weakness,” features everything you want from an Ashbringer song: atmospherics, a massive final riff, and the emotionality that the band is famous for. The guitar work on Subglacial is a standout, and every track has memorable riffs, monolithic hooks, or ass-kicking speed. Album standout “Send Him to the Lake” is an anthem, as Stanger screams “SEND HIM TO THE LAKE,” you can’t help but feel the conviction. The track features an ascending riff as a throughline, building and building, to an absolutely crushing crescendo, the atmo-black equivalent of an orgasm. Album closer “Vessels” mixes heaviness with the dreamy, ethereal sound of blackgaze alongside some head-spinning drumming from Meyer.

So, time for the part where I make you all upset. I loved the raw emotion, vulnerability, and sincerity of We Came Here to Grieve but Subglacial is too safe a step back. While the album is well-rounded, expertly played, and emotive, it lacks the audacity of their previous work. Ashbringer’s latest is no slouch, though, and while I thoroughly enjoyed their latest record, it didn’t quite blow me away like their previous work. Subglacial is as solid as ice, but time may chip at this berg to reveal something unremarkable when compared to Ashbringer’s larger output.

Rating: Very Good
DR: 11 | Format Reviewed: 320 kbps mp3
Label: Bölverk Collective
Websites: ashbringermusic.com | instagram.com/ashbringermusic
Releases Worldwide: February 13th, 2026

We here at AMG are impossible to please. Minnesota’s atmo-black four-piece Ashbringer have learned this the hard way. While we lavished praise across their discography, those who giveth can also taketh away. Ashbringer’s previous outing, We Came Here to Grieve, originally received glowing remarks. Unfortunately for them, resident shark and Ashbringer connoisseur, Carcharodon, decided, upon further reflection, that the clean singing on their previous outing brought the album to a screeching halt after time and distance brought clarity. So, as if in response, Ashbringer has returned with Subglacial, and there isn’t an ounce of clean singing to be found on the album, as it provides an incredibly stripped-back sound in comparison to their previous outings. I welcome artistic experimentation, but I frown upon the wholesale rejection of ideas due to criticism. So, does Subglacial herald a return to form? Creative stagnation? Or something in between altogether for these purveyors of atmospheric and heartfelt black metal?

For starters, Ashbringer went about creating Subglacial in a way I can wholeheartedly commend. Singer Nick Stanger and drummer Andy Meyer rented a house, brought the band in, and wrote, played, and recorded the entire album there. In Stanger’s own words, Ashbringer wanted to create a record that sounded as “us” as they possibly could while doing it in-house and spending no money; an admirable goal if I have ever heard one, and one that is apparent throughout the album. Subglacial is lean, especially compared to We Came Here to Grieve, but even in contrast to their earlier work. Scraping in at just under forty minutes, it makes for an incredibly tight piece that wastes no time. Stanger sticks to his trademark rasping growl, drumming is significantly less jazzy than on Absolution, and overall, it is heavier, hookier, and surprisingly free of auditory left-turns. Stanger and Jackson Catton’s guitarwork sticks to black metal staples: blistering tremolo riffs, cutting hooks, and atmospheric tangents. Subglacial is a no-frills, concise record where every element feels honed to be heavy, hooky, and emotive.

Subglacial by Ashbringer

Subglacial is surprisingly predictable, with “Waning Conviction” being the only track that feels like it has shades of previous experimentation. Opening with ponderous acoustic strumming and laid-back drums, it builds for a while before lurching into a massive lead riff. Still, even this track feels tame (experimentally) compared to anything on We Came Here to Grieve. I agree that Stanger’s clean vocals needed work, but I don’t think the band should have thrown them out completely. Subglacial will likely be seen as a return to form for many, but I can’t help but lament what could have been. This is a record that feels incredibly safe for a band known for throwing out the rulebook. That isn’t to say Subglacial is bad; in fact, it is hard to find anything to complain about otherwise. The production is perfectly raw, keeping Stanger’s vocals fantastically legible while allowing for that atmo-black fuzz to creep in. It just shows you don’t need an expensive studio to record an album with wonderful sound. Every track feels essential, and this is a tight record in every sense of the word.

Subglacial is so concisely put together and so expertly played that it is hard to find flaws when looking at the whole. The opening track, “My Flesh Shows Its Weakness,” features everything you want from an Ashbringer song: atmospherics, a massive final riff, and the emotionality that the band is famous for. The guitar work on Subglacial is a standout, and every track has memorable riffs, monolithic hooks, or ass-kicking speed. Album standout “Send Him to the Lake” is an anthem, as Stanger screams “SEND HIM TO THE LAKE,” you can’t help but feel the conviction. The track features an ascending riff as a throughline, building and building, to an absolutely crushing crescendo, the atmo-black equivalent of an orgasm. Album closer “Vessels” mixes heaviness with the dreamy, ethereal sound of blackgaze alongside some head-spinning drumming from Meyer.

So, time for the part where I make you all upset. I loved the raw emotion, vulnerability, and sincerity of We Came Here to Grieve but Subglacial is too safe a step back. While the album is well-rounded, expertly played, and emotive, it lacks the audacity of their previous work. Ashbringer’s latest is no slouch, though, and while I thoroughly enjoyed their latest record, it didn’t quite blow me away like their previous work. Subglacial is as solid as ice, but time may chip at this berg to reveal something unremarkable when compared to Ashbringer’s larger output.

Rating: Very Good
DR: 11 | Format Reviewed: 320 kbps mp3
Label: Bölverk Collective
Websites: ashbringermusic.com | instagram.com/ashbringermusic
Releases Worldwide: February 13th, 2026

We here at AMG are impossible to please. Minnesota’s atmo-black four-piece Ashbringer have learned this the hard way. While we lavished praise across their discography, those who giveth can also taketh away. Ashbringer’s previous outing, We Came Here to Grieve, originally received glowing remarks. Unfortunately for them, resident shark and Ashbringer connoisseur, Carcharodon, decided, upon further reflection, that the clean singing on their previous outing brought the album to a screeching halt after time and distance brought clarity. So, as if in response, Ashbringer has returned with Subglacial, and there isn’t an ounce of clean singing to be found on the album, as it provides an incredibly stripped-back sound in comparison to their previous outings. I welcome artistic experimentation, but I frown upon the wholesale rejection of ideas due to criticism. So, does Subglacial herald a return to form? Creative stagnation? Or something in between altogether for these purveyors of atmospheric and heartfelt black metal?

For starters, Ashbringer went about creating Subglacial in a way I can wholeheartedly commend. Singer Nick Stanger and drummer Andy Meyer rented a house, brought the band in, and wrote, played, and recorded the entire album there. In Stanger’s own words, Ashbringer wanted to create a record that sounded as “us” as they possibly could while doing it in-house and spending no money; an admirable goal if I have ever heard one, and one that is apparent throughout the album. Subglacial is lean, especially compared to We Came Here to Grieve, but even in contrast to their earlier work. Scraping in at just under forty minutes, it makes for an incredibly tight piece that wastes no time. Stanger sticks to his trademark rasping growl, drumming is significantly less jazzy than on Absolution, and overall, it is heavier, hookier, and surprisingly free of auditory left-turns. Stanger and Jackson Catton’s guitarwork sticks to black metal staples: blistering tremolo riffs, cutting hooks, and atmospheric tangents. Subglacial is a no-frills, concise record where every element feels honed to be heavy, hooky, and emotive.

Subglacial by Ashbringer

Subglacial is surprisingly predictable, with “Waning Conviction” being the only track that feels like it has shades of previous experimentation. Opening with ponderous acoustic strumming and laid-back drums, it builds for a while before lurching into a massive lead riff. Still, even this track feels tame (experimentally) compared to anything on We Came Here to Grieve. I agree that Stanger’s clean vocals needed work, but I don’t think the band should have thrown them out completely. Subglacial will likely be seen as a return to form for many, but I can’t help but lament what could have been. This is a record that feels incredibly safe for a band known for throwing out the rulebook. That isn’t to say Subglacial is bad; in fact, it is hard to find anything to complain about otherwise. The production is perfectly raw, keeping Stanger’s vocals fantastically legible while allowing for that atmo-black fuzz to creep in. It just shows you don’t need an expensive studio to record an album with wonderful sound. Every track feels essential, and this is a tight record in every sense of the word.

Subglacial is so concisely put together and so expertly played that it is hard to find flaws when looking at the whole. The opening track, “My Flesh Shows Its Weakness,” features everything you want from an Ashbringer song: atmospherics, a massive final riff, and the emotionality that the band is famous for. The guitar work on Subglacial is a standout, and every track has memorable riffs, monolithic hooks, or ass-kicking speed. Album standout “Send Him to the Lake” is an anthem, as Stanger screams “SEND HIM TO THE LAKE,” you can’t help but feel the conviction. The track features an ascending riff as a throughline, building and building, to an absolutely crushing crescendo, the atmo-black equivalent of an orgasm. Album closer “Vessels” mixes heaviness with the dreamy, ethereal sound of blackgaze alongside some head-spinning drumming from Meyer.

So, time for the part where I make you all upset. I loved the raw emotion, vulnerability, and sincerity of We Came Here to Grieve but Subglacial is too safe a step back. While the album is well-rounded, expertly played, and emotive, it lacks the audacity of their previous work. Ashbringer’s latest is no slouch, though, and while I thoroughly enjoyed their latest record, it didn’t quite blow me away like their previous work. Subglacial is as solid as ice, but time may chip at this berg to reveal something unremarkable when compared to Ashbringer’s larger output.

Rating: Very Good
DR: 11 | Format Reviewed: 320 kbps mp3
Label: Bölverk Collective
Websites: ashbringermusic.com | instagram.com/ashbringermusic
Releases Worldwide: February 13th, 2026

We here at AMG are impossible to please. Minnesota’s atmo-black four-piece Ashbringer have learned this the hard way. While we lavished praise across their discography, those who giveth can also taketh away. Ashbringer’s previous outing, We Came Here to Grieve, originally received glowing remarks. Unfortunately for them, resident shark and Ashbringer connoisseur, Carcharodon, decided, upon further reflection, that the clean singing on their previous outing brought the album to a screeching halt after time and distance brought clarity. So, as if in response, Ashbringer has returned with Subglacial, and there isn’t an ounce of clean singing to be found on the album, as it provides an incredibly stripped-back sound in comparison to their previous outings. I welcome artistic experimentation, but I frown upon the wholesale rejection of ideas due to criticism. So, does Subglacial herald a return to form? Creative stagnation? Or something in between altogether for these purveyors of atmospheric and heartfelt black metal?

For starters, Ashbringer went about creating Subglacial in a way I can wholeheartedly commend. Singer Nick Stanger and drummer Andy Meyer rented a house, brought the band in, and wrote, played, and recorded the entire album there. In Stanger’s own words, Ashbringer wanted to create a record that sounded as “us” as they possibly could while doing it in-house and spending no money; an admirable goal if I have ever heard one, and one that is apparent throughout the album. Subglacial is lean, especially compared to We Came Here to Grieve, but even in contrast to their earlier work. Scraping in at just under forty minutes, it makes for an incredibly tight piece that wastes no time. Stanger sticks to his trademark rasping growl, drumming is significantly less jazzy than on Absolution, and overall, it is heavier, hookier, and surprisingly free of auditory left-turns. Stanger and Jackson Catton’s guitarwork sticks to black metal staples: blistering tremolo riffs, cutting hooks, and atmospheric tangents. Subglacial is a no-frills, concise record where every element feels honed to be heavy, hooky, and emotive.

Subglacial by Ashbringer

Subglacial is surprisingly predictable, with “Waning Conviction” being the only track that feels like it has shades of previous experimentation. Opening with ponderous acoustic strumming and laid-back drums, it builds for a while before lurching into a massive lead riff. Still, even this track feels tame (experimentally) compared to anything on We Came Here to Grieve. I agree that Stanger’s clean vocals needed work, but I don’t think the band should have thrown them out completely. Subglacial will likely be seen as a return to form for many, but I can’t help but lament what could have been. This is a record that feels incredibly safe for a band known for throwing out the rulebook. That isn’t to say Subglacial is bad; in fact, it is hard to find anything to complain about otherwise. The production is perfectly raw, keeping Stanger’s vocals fantastically legible while allowing for that atmo-black fuzz to creep in. It just shows you don’t need an expensive studio to record an album with wonderful sound. Every track feels essential, and this is a tight record in every sense of the word.

Subglacial is so concisely put together and so expertly played that it is hard to find flaws when looking at the whole. The opening track, “My Flesh Shows Its Weakness,” features everything you want from an Ashbringer song: atmospherics, a massive final riff, and the emotionality that the band is famous for. The guitar work on Subglacial is a standout, and every track has memorable riffs, monolithic hooks, or ass-kicking speed. Album standout “Send Him to the Lake” is an anthem, as Stanger screams “SEND HIM TO THE LAKE,” you can’t help but feel the conviction. The track features an ascending riff as a throughline, building and building, to an absolutely crushing crescendo, the atmo-black equivalent of an orgasm. Album closer “Vessels” mixes heaviness with the dreamy, ethereal sound of blackgaze alongside some head-spinning drumming from Meyer.

So, time for the part where I make you all upset. I loved the raw emotion, vulnerability, and sincerity of We Came Here to Grieve but Subglacial is too safe a step back. While the album is well-rounded, expertly played, and emotive, it lacks the audacity of their previous work. Ashbringer’s latest is no slouch, though, and while I thoroughly enjoyed their latest record, it didn’t quite blow me away like their previous work. Subglacial is as solid as ice, but time may chip at this berg to reveal something unremarkable when compared to Ashbringer’s larger output.

Rating: Very Good
DR: 11 | Format Reviewed: 320 kbps mp3
Label: Bölverk Collective
Websites: ashbringermusic.com | instagram.com/ashbringermusic
Releases Worldwide: February 13th, 2026