#darkessencerecords — Public Fediverse posts

https://www.europesays.com/nl/274476/ Taake – En skog av nidstang #albumreview #Amusement #BlackMetal #DarkEssenceRecords #Dutch #EnSkogAvNidstang #Entertainment #Music #Muziek #Nederland #Nederlanden #Nederlands #Netherlands #NL #taake #ZwareMetalen

https://www.europesays.com/be-nl/112323/ Taake – En skog av nidstang #albumreview #Amusement #BE #België #Belgium #BlackMetal #DarkEssenceRecords #EnSkogAvNidstang #Entertainment #Music #Muziek #taake #ZwareMetalen

https://www.europesays.com/uk/989403/ Sabotør – Første Aksjon Review #2026 #30 #BrocasHelm #DarkEssenceRecords #Deathhammer #Entertainment #FørsteAksjon #HeavyMetal #Kvelertak #May26 #Metallica #music #NorwegianMetal #Punk #Review #Reviews #Sabotør #ThrashMetal #UK #UnitedKingdom

Sabotør – Første Aksjon Review

Among the foundations of heavy metal are resistance and counterculture. Thus, it makes sense that a young Norwegian…
#NewsBeep #News #Music #2026 #3.0 #BrocasHelm #DarkEssenceRecords #Deathhammer #Entertainment #FørsteAksjon #HeavyMetal #Kvelertak #May26 #Metallica #NorwegianMetal #Punk #review #Reviews #Sabotør #ThrashMetal #UK #UnitedKingdom
https://www.newsbeep.com/uk/607641/

Among the foundations of heavy metal are resistance and counterculture. Thus, it makes sense that a young Norwegian band, Sabotør, decided to create a record regaling tales of the Norwegian resistance against Nazi Germany. This period birthed the term Quisling as synonymous for traitor when Vidkun Quisling attempted to take Norway down a path of Nazism. The Norwegian resistance thwarted his plans by using tactics such as an underground press, “ice fronts” that served to alienate Germans from Norwegian society, and anti-Nazi jokes meant to make the Nazis look foolish. It wasn’t all non-violence, either. They managed to sink a German cruiser called the Bluecher.1 This all sounds like great material for an album, and I’m only saddened I don’t speak Norwegian to understand what these lads are singing about. While I don’t know the words, I can appreciate the music as raucous, fun, and a little deranged.

True to its themes of resistance, Første Aksjon (roughly translated as first action or first strike) features a collection of old school abrasive punk/thrash tunes sure to stir the rebel in you. The raw, high-energy sound brings to mind Kill ’em All era Metallica, and opening song “Jerngrepets Inntog,” could almost be a lost track from that classic debut. There’s a hunger and passion that echoes those early Metallica years, and it brings a freshness and earnestness to the music. I also hear some early Kvelertak, and Sabotør cites the obscure Brocas Helm as a major influence. Like any good resistance movement, the music is unpredictable yet incessantly energetic. This means non-stop riffs, solos, and blasts of the snare drum. Sabotør are not above hooks, with a catchy chorus that appears out of nowhere on “Skyggens Frekvens” and makes you want to sing/shout along with it. Rasmus Strømberg also catches listeners off guard with sudden leaps into vocal harmonizations that just add to the catchiness (“Jerngrepets Inntog”, “Sabotør,” “Flagget”). In all, Første Aksjon is pure fun.

The musicians display a show of raw power and passion that makes Første Aksjon constantly exciting. Strømberg’s deranged vocal performance leads the way. He mixes the abrasion of Kvelertak’s Ivar Nikolaisen, the mania of Sergeant Salsten (Deathhammer), and even some touches of a young James Hetfield, particularly those pre-pubescent screeches. He screeches, shouts, screams, and growls through more than 30 minutes of intense music, and that’s not all. He has an entertaining cadence that proves him to be a superb raconteur. He’s full of surprises, turning the speed to 11 on “Brente Jords Taktikk” and then turning in a raucous bit on “Jevnet Med Jorden” where he sounds like an auctioneer speaking in tongues. The other musicians also contribute to the mania, particularly drummer Mathilde Solemdal. He ensures a non-stop energy with his frequent snare hits, cymbal blasts, and frenetic blast beats. Guitarist Andreas Remmen provides a semblance of sanity with controlled yet energetic riffs. He provides plenty of melody, thrashy riffs, and even some cool arpeggios (“Flagget”).

The only thing holding Sabotør back is the production. This is an instance where the high DR score (12) seems at odds with how the record sounds. In some ways, it sounds great, with crisp and clear instrumentation, including the bass. The lower quality of my promo copy probably contributed to my sound issues. I found the album to be on the quiet side and had to turn the volume up to hear it properly. However, the snare tone is too loud, and its incessant presence proves a headache. While the brief album length makes for easier repeat spins, the mix will make you want to give your ears a rest before long. There are a couple of other distracting bits, including a section on “Flagget,” where a plane engine sounds more like rumbling flatulence. While the rawness is appropriate, Første Aksjon could benefit from better balance in their mixing.

As Sabotør’s own bit of first action, Første Aksjon proves to be an impressive debut. As the Indiana Jones flicks demonstrate, it’s fun to defeat Nazis. These guys continue that tradition, while also demonstrating the effectiveness of resistance in the face of authoritarianism. Sabotør also exhibit the joy of listening to hungry young musicians who just want to play what they love. There’s plenty to love here, and plenty to look forward to as these musicians mature in their songwriting.

Rating: 3.0/5.0
DR: 12 | Format Reviewed: ~165 kbps mp3
Label: Dark Essence Records
Websites: Bandcamp | Facebook
Releases Worldwide: May 8th, 2026

Among the foundations of heavy metal are resistance and counterculture. Thus, it makes sense that a young Norwegian band, Sabotør, decided to create a record regaling tales of the Norwegian resistance against Nazi Germany. This period birthed the term Quisling as synonymous for traitor when Vidkun Quisling attempted to take Norway down a path of Nazism. The Norwegian resistance thwarted his plans by using tactics such as an underground press, “ice fronts” that served to alienate Germans from Norwegian society, and anti-Nazi jokes meant to make the Nazis look foolish. It wasn’t all non-violence, either. They managed to sink a German cruiser called the Bluecher.1 This all sounds like great material for an album, and I’m only saddened I don’t speak Norwegian to understand what these lads are singing about. While I don’t know the words, I can appreciate the music as raucous, fun, and a little deranged.

True to its themes of resistance, Første Aksjon (roughly translated as first action or first strike) features a collection of old school abrasive punk/thrash tunes sure to stir the rebel in you. The raw, high-energy sound brings to mind Kill ’em All era Metallica, and opening song “Jerngrepets Inntog,” could almost be a lost track from that classic debut. There’s a hunger and passion that echoes those early Metallica years, and it brings a freshness and earnestness to the music. I also hear some early Kvelertak, and Sabotør cites the obscure Brocas Helm as a major influence. Like any good resistance movement, the music is unpredictable yet incessantly energetic. This means non-stop riffs, solos, and blasts of the snare drum. Sabotør are not above hooks, with a catchy chorus that appears out of nowhere on “Skyggens Frekvens” and makes you want to sing/shout along with it. Rasmus Strømberg also catches listeners off guard with sudden leaps into vocal harmonizations that just add to the catchiness (“Jerngrepets Inntog”, “Sabotør,” “Flagget”). In all, Første Aksjon is pure fun.

The musicians display a show of raw power and passion that makes Første Aksjon constantly exciting. Strømberg’s deranged vocal performance leads the way. He mixes the abrasion of Kvelertak’s Ivar Nikolaisen, the mania of Sergeant Salsten (Deathhammer), and even some touches of a young James Hetfield, particularly those pre-pubescent screeches. He screeches, shouts, screams, and growls through more than 30 minutes of intense music, and that’s not all. He has an entertaining cadence that proves him to be a superb raconteur. He’s full of surprises, turning the speed to 11 on “Brente Jords Taktikk” and then turning in a raucous bit on “Jevnet Med Jorden” where he sounds like an auctioneer speaking in tongues. The other musicians also contribute to the mania, particularly drummer Mathilde Solemdal. He ensures a non-stop energy with his frequent snare hits, cymbal blasts, and frenetic blast beats. Guitarist Andreas Remmen provides a semblance of sanity with controlled yet energetic riffs. He provides plenty of melody, thrashy riffs, and even some cool arpeggios (“Flagget”).

The only thing holding Sabotør back is the production. This is an instance where the high DR score (12) seems at odds with how the record sounds. In some ways, it sounds great, with crisp and clear instrumentation, including the bass. The lower quality of my promo copy probably contributed to my sound issues. I found the album to be on the quiet side and had to turn the volume up to hear it properly. However, the snare tone is too loud, and its incessant presence proves a headache. While the brief album length makes for easier repeat spins, the mix will make you want to give your ears a rest before long. There are a couple of other distracting bits, including a section on “Flagget,” where a plane engine sounds more like rumbling flatulence. While the rawness is appropriate, Første Aksjon could benefit from better balance in their mixing.

As Sabotør’s own bit of first action, Første Aksjon proves to be an impressive debut. As the Indiana Jones flicks demonstrate, it’s fun to defeat Nazis. These guys continue that tradition, while also demonstrating the effectiveness of resistance in the face of authoritarianism. Sabotør also exhibit the joy of listening to hungry young musicians who just want to play what they love. There’s plenty to love here, and plenty to look forward to as these musicians mature in their songwriting.

Rating: 3.0/5.0
DR: 12 | Format Reviewed: ~165 kbps mp3
Label: Dark Essence Records
Websites: Bandcamp | Facebook
Releases Worldwide: May 8th, 2026

Among the foundations of heavy metal are resistance and counterculture. Thus, it makes sense that a young Norwegian band, Sabotør, decided to create a record regaling tales of the Norwegian resistance against Nazi Germany. This period birthed the term Quisling as synonymous for traitor when Vidkun Quisling attempted to take Norway down a path of Nazism. The Norwegian resistance thwarted his plans by using tactics such as an underground press, “ice fronts” that served to alienate Germans from Norwegian society, and anti-Nazi jokes meant to make the Nazis look foolish. It wasn’t all non-violence, either. They managed to sink a German cruiser called the Bluecher.1 This all sounds like great material for an album, and I’m only saddened I don’t speak Norwegian to understand what these lads are singing about. While I don’t know the words, I can appreciate the music as raucous, fun, and a little deranged.

True to its themes of resistance, Første Aksjon (roughly translated as first action or first strike) features a collection of old school abrasive punk/thrash tunes sure to stir the rebel in you. The raw, high-energy sound brings to mind Kill ’em All era Metallica, and opening song “Jerngrepets Inntog,” could almost be a lost track from that classic debut. There’s a hunger and passion that echoes those early Metallica years, and it brings a freshness and earnestness to the music. I also hear some early Kvelertak, and Sabotør cites the obscure Brocas Helm as a major influence. Like any good resistance movement, the music is unpredictable yet incessantly energetic. This means non-stop riffs, solos, and blasts of the snare drum. Sabotør are not above hooks, with a catchy chorus that appears out of nowhere on “Skyggens Frekvens” and makes you want to sing/shout along with it. Rasmus Strømberg also catches listeners off guard with sudden leaps into vocal harmonizations that just add to the catchiness (“Jerngrepets Inntog”, “Sabotør,” “Flagget”). In all, Første Aksjon is pure fun.

The musicians display a show of raw power and passion that makes Første Aksjon constantly exciting. Strømberg’s deranged vocal performance leads the way. He mixes the abrasion of Kvelertak’s Ivar Nikolaisen, the mania of Sergeant Salsten (Deathhammer), and even some touches of a young James Hetfield, particularly those pre-pubescent screeches. He screeches, shouts, screams, and growls through more than 30 minutes of intense music, and that’s not all. He has an entertaining cadence that proves him to be a superb raconteur. He’s full of surprises, turning the speed to 11 on “Brente Jords Taktikk” and then turning in a raucous bit on “Jevnet Med Jorden” where he sounds like an auctioneer speaking in tongues. The other musicians also contribute to the mania, particularly drummer Mathilde Solemdal. He ensures a non-stop energy with his frequent snare hits, cymbal blasts, and frenetic blast beats. Guitarist Andreas Remmen provides a semblance of sanity with controlled yet energetic riffs. He provides plenty of melody, thrashy riffs, and even some cool arpeggios (“Flagget”).

The only thing holding Sabotør back is the production. This is an instance where the high DR score (12) seems at odds with how the record sounds. In some ways, it sounds great, with crisp and clear instrumentation, including the bass. The lower quality of my promo copy probably contributed to my sound issues. I found the album to be on the quiet side and had to turn the volume up to hear it properly. However, the snare tone is too loud, and its incessant presence proves a headache. While the brief album length makes for easier repeat spins, the mix will make you want to give your ears a rest before long. There are a couple of other distracting bits, including a section on “Flagget,” where a plane engine sounds more like rumbling flatulence. While the rawness is appropriate, Første Aksjon could benefit from better balance in their mixing.

As Sabotør’s own bit of first action, Første Aksjon proves to be an impressive debut. As the Indiana Jones flicks demonstrate, it’s fun to defeat Nazis. These guys continue that tradition, while also demonstrating the effectiveness of resistance in the face of authoritarianism. Sabotør also exhibit the joy of listening to hungry young musicians who just want to play what they love. There’s plenty to love here, and plenty to look forward to as these musicians mature in their songwriting.

Rating: 3.0/5.0
DR: 12 | Format Reviewed: ~165 kbps mp3
Label: Dark Essence Records
Websites: Bandcamp | Facebook
Releases Worldwide: May 8th, 2026

Among the foundations of heavy metal are resistance and counterculture. Thus, it makes sense that a young Norwegian band, Sabotør, decided to create a record regaling tales of the Norwegian resistance against Nazi Germany. This period birthed the term Quisling as synonymous for traitor when Vidkun Quisling attempted to take Norway down a path of Nazism. The Norwegian resistance thwarted his plans by using tactics such as an underground press, “ice fronts” that served to alienate Germans from Norwegian society, and anti-Nazi jokes meant to make the Nazis look foolish. It wasn’t all non-violence, either. They managed to sink a German cruiser called the Bluecher.1 This all sounds like great material for an album, and I’m only saddened I don’t speak Norwegian to understand what these lads are singing about. While I don’t know the words, I can appreciate the music as raucous, fun, and a little deranged.

True to its themes of resistance, Første Aksjon (roughly translated as first action or first strike) features a collection of old school abrasive punk/thrash tunes sure to stir the rebel in you. The raw, high-energy sound brings to mind Kill ’em All era Metallica, and opening song “Jerngrepets Inntog,” could almost be a lost track from that classic debut. There’s a hunger and passion that echoes those early Metallica years, and it brings a freshness and earnestness to the music. I also hear some early Kvelertak, and Sabotør cites the obscure Brocas Helm as a major influence. Like any good resistance movement, the music is unpredictable yet incessantly energetic. This means non-stop riffs, solos, and blasts of the snare drum. Sabotør are not above hooks, with a catchy chorus that appears out of nowhere on “Skyggens Frekvens” and makes you want to sing/shout along with it. Rasmus Strømberg also catches listeners off guard with sudden leaps into vocal harmonizations that just add to the catchiness (“Jerngrepets Inntog”, “Sabotør,” “Flagget”). In all, Første Aksjon is pure fun.

The musicians display a show of raw power and passion that makes Første Aksjon constantly exciting. Strømberg’s deranged vocal performance leads the way. He mixes the abrasion of Kvelertak’s Ivar Nikolaisen, the mania of Sergeant Salsten (Deathhammer), and even some touches of a young James Hetfield, particularly those pre-pubescent screeches. He screeches, shouts, screams, and growls through more than 30 minutes of intense music, and that’s not all. He has an entertaining cadence that proves him to be a superb raconteur. He’s full of surprises, turning the speed to 11 on “Brente Jords Taktikk” and then turning in a raucous bit on “Jevnet Med Jorden” where he sounds like an auctioneer speaking in tongues. The other musicians also contribute to the mania, particularly drummer Mathilde Solemdal. He ensures a non-stop energy with his frequent snare hits, cymbal blasts, and frenetic blast beats. Guitarist Andreas Remmen provides a semblance of sanity with controlled yet energetic riffs. He provides plenty of melody, thrashy riffs, and even some cool arpeggios (“Flagget”).

The only thing holding Sabotør back is the production. This is an instance where the high DR score (12) seems at odds with how the record sounds. In some ways, it sounds great, with crisp and clear instrumentation, including the bass. The lower quality of my promo copy probably contributed to my sound issues. I found the album to be on the quiet side and had to turn the volume up to hear it properly. However, the snare tone is too loud, and its incessant presence proves a headache. While the brief album length makes for easier repeat spins, the mix will make you want to give your ears a rest before long. There are a couple of other distracting bits, including a section on “Flagget,” where a plane engine sounds more like rumbling flatulence. While the rawness is appropriate, Første Aksjon could benefit from better balance in their mixing.

As Sabotør’s own bit of first action, Første Aksjon proves to be an impressive debut. As the Indiana Jones flicks demonstrate, it’s fun to defeat Nazis. These guys continue that tradition, while also demonstrating the effectiveness of resistance in the face of authoritarianism. Sabotør also exhibit the joy of listening to hungry young musicians who just want to play what they love. There’s plenty to love here, and plenty to look forward to as these musicians mature in their songwriting.

Rating: 3.0/5.0
DR: 12 | Format Reviewed: ~165 kbps mp3
Label: Dark Essence Records
Websites: Bandcamp | Facebook
Releases Worldwide: May 8th, 2026

Among the foundations of heavy metal are resistance and counterculture. Thus, it makes sense that a young Norwegian band, Sabotør, decided to create a record regaling tales of the Norwegian resistance against Nazi Germany. This period birthed the term Quisling as synonymous for traitor when Vidkun Quisling attempted to take Norway down a path of Nazism. The Norwegian resistance thwarted his plans by using tactics such as an underground press, “ice fronts” that served to alienate Germans from Norwegian society, and anti-Nazi jokes meant to make the Nazis look foolish. It wasn’t all non-violence, either. They managed to sink a German cruiser called the Bluecher.1 This all sounds like great material for an album, and I’m only saddened I don’t speak Norwegian to understand what these lads are singing about. While I don’t know the words, I can appreciate the music as raucous, fun, and a little deranged.

True to its themes of resistance, Første Aksjon (roughly translated as first action or first strike) features a collection of old school abrasive punk/thrash tunes sure to stir the rebel in you. The raw, high-energy sound brings to mind Kill ’em All era Metallica, and opening song “Jerngrepets Inntog,” could almost be a lost track from that classic debut. There’s a hunger and passion that echoes those early Metallica years, and it brings a freshness and earnestness to the music. I also hear some early Kvelertak, and Sabotør cites the obscure Brocas Helm as a major influence. Like any good resistance movement, the music is unpredictable yet incessantly energetic. This means non-stop riffs, solos, and blasts of the snare drum. Sabotør are not above hooks, with a catchy chorus that appears out of nowhere on “Skyggens Frekvens” and makes you want to sing/shout along with it. Rasmus Strømberg also catches listeners off guard with sudden leaps into vocal harmonizations that just add to the catchiness (“Jerngrepets Inntog”, “Sabotør,” “Flagget”). In all, Første Aksjon is pure fun.

The musicians display a show of raw power and passion that makes Første Aksjon constantly exciting. Strømberg’s deranged vocal performance leads the way. He mixes the abrasion of Kvelertak’s Ivar Nikolaisen, the mania of Sergeant Salsten (Deathhammer), and even some touches of a young James Hetfield, particularly those pre-pubescent screeches. He screeches, shouts, screams, and growls through more than 30 minutes of intense music, and that’s not all. He has an entertaining cadence that proves him to be a superb raconteur. He’s full of surprises, turning the speed to 11 on “Brente Jords Taktikk” and then turning in a raucous bit on “Jevnet Med Jorden” where he sounds like an auctioneer speaking in tongues. The other musicians also contribute to the mania, particularly drummer Mathilde Solemdal. He ensures a non-stop energy with his frequent snare hits, cymbal blasts, and frenetic blast beats. Guitarist Andreas Remmen provides a semblance of sanity with controlled yet energetic riffs. He provides plenty of melody, thrashy riffs, and even some cool arpeggios (“Flagget”).

The only thing holding Sabotør back is the production. This is an instance where the high DR score (12) seems at odds with how the record sounds. In some ways, it sounds great, with crisp and clear instrumentation, including the bass. The lower quality of my promo copy probably contributed to my sound issues. I found the album to be on the quiet side and had to turn the volume up to hear it properly. However, the snare tone is too loud, and its incessant presence proves a headache. While the brief album length makes for easier repeat spins, the mix will make you want to give your ears a rest before long. There are a couple of other distracting bits, including a section on “Flagget,” where a plane engine sounds more like rumbling flatulence. While the rawness is appropriate, Første Aksjon could benefit from better balance in their mixing.

As Sabotør’s own bit of first action, Første Aksjon proves to be an impressive debut. As the Indiana Jones flicks demonstrate, it’s fun to defeat Nazis. These guys continue that tradition, while also demonstrating the effectiveness of resistance in the face of authoritarianism. Sabotør also exhibit the joy of listening to hungry young musicians who just want to play what they love. There’s plenty to love here, and plenty to look forward to as these musicians mature in their songwriting.

Rating: 3.0/5.0
DR: 12 | Format Reviewed: ~165 kbps mp3
Label: Dark Essence Records
Websites: Bandcamp | Facebook
Releases Worldwide: May 8th, 2026

https://www.europesays.com/be-nl/65986/ Feversea – Wormwood In The Veins Of The World #Amusement #BE #België #Belgium #BlackMetal #DarkEssenceRecords #Entertainment #FemaleFronted #feversea #metal #Music #Muziek #Noorwegen #NoorwegenMetal #PostMetal #WormwoodInTheVeinsOfTheWorld #ZwareMetalen

https://www.europesays.com/uk/850551/ Review: Feversea – Wormwood in the Veins of the World #2026 #7 #BlackMetal #DarkEssenceRecords #EnglishLyrics #Entertainment #Hardcore #March #MixedVocals #music #Norway #PostMetal #ProgressiveMetal #UK #UnitedKingdom

Recensie: Antinoë – The Fold ★★★★
https://writteninmusic.com/albumrecensie/antinoe-the-fold/

#Music #Eigentijds #Antinoë #DarkEssenceRecords #Karisma

Recensie: Antinoë – The Fold ★★★★
https://writteninmusic.com/albumrecensie/antinoe-the-fold/

#Music #Eigentijds #Antinoë #DarkEssenceRecords #Karisma

ANTINOË – The Fold
https://eternal-terror.com/?p=73987

RELEASE YEAR: 2025BAND URL: https://antinoe.bandcamp.com/

Far removed from the world of metal music yet infinitely darker, more haunting, and relentlessly bleaker is this mesmerizing output titled The Fold by the Spanish artist known as Antinoë, which is the solo vehicle of the immensely talented neo-classical pianist and vocalist Teresa Marraco. Although she does have black metal […]

#ambient #antinoë #baroquePop #classical #darkAmbient #DarkEssenceRecords #darkness #electronica #emotionalPower #folkMusic #longing #melancholy #mesmerizing #neoClassical #soundtrack #theFold

ANTINOË – The Fold
https://eternal-terror.com/?p=73987

RELEASE YEAR: 2025BAND URL: https://antinoe.bandcamp.com/

Far removed from the world of metal music yet infinitely darker, more haunting, and relentlessly bleaker is this mesmerizing output titled The Fold by the Spanish artist known as Antinoë, which is the solo vehicle of the immensely talented neo-classical pianist and vocalist Teresa Marraco. Although she does have black metal […]

#ambient #antinoë #baroquePop #classical #darkAmbient #DarkEssenceRecords #darkness #electronica #emotionalPower #folkMusic #longing #melancholy #mesmerizing #neoClassical #soundtrack #theFold

ANTINOË – The Fold
https://eternal-terror.com/?p=73987

RELEASE YEAR: 2025BAND URL: https://antinoe.bandcamp.com/

Far removed from the world of metal music yet infinitely darker, more haunting, and relentlessly bleaker is this mesmerizing output titled The Fold by the Spanish artist known as Antinoë, which is the solo vehicle of the immensely talented neo-classical pianist and vocalist Teresa Marraco. Although she does have black metal […]

#ambient #antinoë #baroquePop #classical #darkAmbient #DarkEssenceRecords #darkness #electronica #emotionalPower #folkMusic #longing #melancholy #mesmerizing #neoClassical #soundtrack #theFold

ANTINOË – The Fold
https://eternal-terror.com/?p=73987

RELEASE YEAR: 2025BAND URL: https://antinoe.bandcamp.com/

Far removed from the world of metal music yet infinitely darker, more haunting, and relentlessly bleaker is this mesmerizing output titled The Fold by the Spanish artist known as Antinoë, which is the solo vehicle of the immensely talented neo-classical pianist and vocalist Teresa Marraco. Although she does have black metal […]

#ambient #antinoë #baroquePop #classical #darkAmbient #DarkEssenceRecords #darkness #electronica #emotionalPower #folkMusic #longing #melancholy #mesmerizing #neoClassical #soundtrack #theFold

Weekend tunes...

HELHEIM - 'Hrabnar / Ad Vesa' by @helheimofficial & @darkessencerecords

#linsedunemanninen
#intensemusic
#helheim
#darkessencerecords
#blackmetal
#progressivemetal
#heavymetal
#metal
#metalpunksteel
#speedmetalpunks
#vinyllover
#vinyllovers
#vinyl
#project
#projectdebutcarbonevo
#greenbeast
#försterplayer
#försterspieler
https://www.instagram.com/p/DOOV8CSjD07/?igsh=MWp2cHBlZ21wZG1sMg==

Weekend tunes...

HELHEIM - 'Hrabnar / Ad Vesa' by @helheimofficial & @darkessencerecords

#linsedunemanninen
#intensemusic
#helheim
#darkessencerecords
#blackmetal
#progressivemetal
#heavymetal
#metal
#metalpunksteel
#speedmetalpunks
#vinyllover
#vinyllovers
#vinyl
#project
#projectdebutcarbonevo
#greenbeast
#försterplayer
#försterspieler
https://www.instagram.com/p/DOOV8CSjD07/?igsh=MWp2cHBlZ21wZG1sMg==

Weekend tunes...

HELHEIM - 'Hrabnar / Ad Vesa' by @helheimofficial & @darkessencerecords

#linsedunemanninen
#intensemusic
#helheim
#darkessencerecords
#blackmetal
#progressivemetal
#heavymetal
#metal
#metalpunksteel
#speedmetalpunks
#vinyllover
#vinyllovers
#vinyl
#project
#projectdebutcarbonevo
#greenbeast
#försterplayer
#försterspieler
https://www.instagram.com/p/DOOV8CSjD07/?igsh=MWp2cHBlZ21wZG1sMg==

Weekend tunes...

HELHEIM - 'Hrabnar / Ad Vesa' by @helheimofficial & @darkessencerecords

#linsedunemanninen
#intensemusic
#helheim
#darkessencerecords
#blackmetal
#progressivemetal
#heavymetal
#metal
#metalpunksteel
#speedmetalpunks
#vinyllover
#vinyllovers
#vinyl
#project
#projectdebutcarbonevo
#greenbeast
#försterplayer
#försterspieler
https://www.instagram.com/p/DOOV8CSjD07/?igsh=MWp2cHBlZ21wZG1sMg==

Feversea – Man Under Erasure Review

By Thus Spoke

Feversea is a perfect name for a post-metal band. It manages to evoke the genre’s typical moodiness and atmosphere, which, like the sea, can range from tranquil mystique to rage and channeled either through fretful drama or a kind of layered intensity that could faithfully be said to resemble a fever dream. But there’s more to Oslo’s Feversea than their name having a pleasing ring. Their debut Man Under Erasure carries the burden of making an impact in the veritable ocean of groups taking their cue from stalwarts like Cult of Luna and Russian Circles.1 Their claims of multi-genre influence, and black metal in particular, along with their Norwegian origin, immediately brought to mind experimental metal legends Dødheimsgard, although that’s arguably an unfair comparison. Having a voice in the scene can be a challenge, but I’m pleased to report that it’s one Feversea meet gallantly.

While containing nothing so unexpected as to approach avant-garde, Man Under Erasure is full of little surprises—good ones at that. Of all the ways I expected the album to begin, the titular opening—with its relatively upbeat electronic melody and soft, spoken-sung vocals—did not appear. From there, Feversea shift between poignancy and pugnacity, and punctuate their sombre pessimism with mellow optimism. Reverberant leads and unshowy, haunting cleans are more often than not turned eerie by their accompanying sludgy riffs and aggressive percussion, making those truly stripped-back portions feel even more still. Gloomy moods are enhanced or traded for fury with blurred, even dissonant tremolo, d-beating or blastbeating pace, and throaty screams. The tone is consistently somewhat brooding, but Feversea avoid treading into an introspective dreaminess with this turbulence between post-metal ethereality and hardcore and blackened fury, their atmosphere maintaining a bite with sinister melodic turns and vocal switches to vicious roars.

Across Man Under Erasure, Feversea showcase an impressive talent for creative songwriting. The particular fusion of sludge, hardcore, black metal, and electronica that they employ makes for dynamic and engaging pieces. When atmospheric, their presence is tangible (“New Creatures Replace Our Names,” “Invocation,” “Until it Goes Away”), and when more energetic, they possess a refreshingly unconventional spirit (“Decider,” “Kindred Spirit”). The faint shadows of the aforementioned Dødheimsgard are actually audible in spinning synth lines and playfully lurching blackened guitar scattered in fleeting moments across the album (“Murmur Within the Skull of God,” “Sunkindling,” “Kindred Spirit”). While it’s all good, there are passages in particular that hit upon some glorious interplay of styles; sometimes a powerfully stirring surge of emotion wrapped in layers of tremolo and electronica (“Invocation,” “Kindred Spirit”), sometimes a deceptively simple and undeniably catchy sludge-post, sludge-black, or electronica-post refrain (“New Creatures…,” “Decider,” title track). Feversea do both calm and lively with like ease and make the transitions between them sound easy.

The multifaceted nature of their sound avoids feeling fickle—for the most part—and instead sounds quite smooth. This is in large part thanks to the stellar work of the individual musicians who comprise Feversea—for most of whom this is their first and only band. Though everyone deserves credit, I have to give extra kudos to vocalist Ada Lønne Emberland, who performs both harsh and clean leads and is absolutely killing it with subtly emotive singing and razor-sharp screams. Melodies retain memorability and songs a satisfying crunch and flavour through punchy, audible riffs and a refreshingly crisp production that allows one to hear the space created between the chugs, soft “ahh-ahh-ahh”s, shaking percussion, and warm synth. If I had to nitpick, I would suggest cutting down some of the longer tracks, to improve their impact that is weakened by repetition, or the inclusion of just one too many ideas (“Decider,” “Until it Goes Away,” “Kindred Spirit”2).

Feversea nonetheless come out on top with a unique and engaging record that pays only the small price of feeling a touch unfocused. Man Under Erasure isn’t just impressive for a debut, it’s impressive in its own right with its smart blend of styles and fluent execution. A pleasure to listen to. Post-metal fans ought to keep their eye on Feversea, for the inevitable masterwork to come.

Rating: Very Good
DR: 11 | Format Reviewed: 320 kbps mp3
Label: Dark Essence Records
Websites: Bandcamp | Facebook
Releases Worldwide: May 23rd, 2025

#2025 #35 #CultOfLuna #DarkEssenceRecords #Dödheimsgard #ElectronicMetal #Feversea #ManUnderErasure #May25 #NorwegianMetal #PostBlackMetal #PostMetal #Review #Reviews #SludgeMetal

Feversea – Man Under Erasure Review

By Thus Spoke

Feversea is a perfect name for a post-metal band. It manages to evoke the genre’s typical moodiness and atmosphere, which, like the sea, can range from tranquil mystique to rage and channeled either through fretful drama or a kind of layered intensity that could faithfully be said to resemble a fever dream. But there’s more to Oslo’s Feversea than their name having a pleasing ring. Their debut Man Under Erasure carries the burden of making an impact in the veritable ocean of groups taking their cue from stalwarts like Cult of Luna and Russian Circles.1 Their claims of multi-genre influence, and black metal in particular, along with their Norwegian origin, immediately brought to mind experimental metal legends Dødheimsgard, although that’s arguably an unfair comparison. Having a voice in the scene can be a challenge, but I’m pleased to report that it’s one Feversea meet gallantly.

While containing nothing so unexpected as to approach avant-garde, Man Under Erasure is full of little surprises—good ones at that. Of all the ways I expected the album to begin, the titular opening—with its relatively upbeat electronic melody and soft, spoken-sung vocals—did not appear. From there, Feversea shift between poignancy and pugnacity, and punctuate their sombre pessimism with mellow optimism. Reverberant leads and unshowy, haunting cleans are more often than not turned eerie by their accompanying sludgy riffs and aggressive percussion, making those truly stripped-back portions feel even more still. Gloomy moods are enhanced or traded for fury with blurred, even dissonant tremolo, d-beating or blastbeating pace, and throaty screams. The tone is consistently somewhat brooding, but Feversea avoid treading into an introspective dreaminess with this turbulence between post-metal ethereality and hardcore and blackened fury, their atmosphere maintaining a bite with sinister melodic turns and vocal switches to vicious roars.

Across Man Under Erasure, Feversea showcase an impressive talent for creative songwriting. The particular fusion of sludge, hardcore, black metal, and electronica that they employ makes for dynamic and engaging pieces. When atmospheric, their presence is tangible (“New Creatures Replace Our Names,” “Invocation,” “Until it Goes Away”), and when more energetic, they possess a refreshingly unconventional spirit (“Decider,” “Kindred Spirit”). The faint shadows of the aforementioned Dødheimsgard are actually audible in spinning synth lines and playfully lurching blackened guitar scattered in fleeting moments across the album (“Murmur Within the Skull of God,” “Sunkindling,” “Kindred Spirit”). While it’s all good, there are passages in particular that hit upon some glorious interplay of styles; sometimes a powerfully stirring surge of emotion wrapped in layers of tremolo and electronica (“Invocation,” “Kindred Spirit”), sometimes a deceptively simple and undeniably catchy sludge-post, sludge-black, or electronica-post refrain (“New Creatures…,” “Decider,” title track). Feversea do both calm and lively with like ease and make the transitions between them sound easy.

The multifaceted nature of their sound avoids feeling fickle—for the most part—and instead sounds quite smooth. This is in large part thanks to the stellar work of the individual musicians who comprise Feversea—for most of whom this is their first and only band. Though everyone deserves credit, I have to give extra kudos to vocalist Ada Lønne Emberland, who performs both harsh and clean leads and is absolutely killing it with subtly emotive singing and razor-sharp screams. Melodies retain memorability and songs a satisfying crunch and flavour through punchy, audible riffs and a refreshingly crisp production that allows one to hear the space created between the chugs, soft “ahh-ahh-ahh”s, shaking percussion, and warm synth. If I had to nitpick, I would suggest cutting down some of the longer tracks, to improve their impact that is weakened by repetition, or the inclusion of just one too many ideas (“Decider,” “Until it Goes Away,” “Kindred Spirit”2).

Feversea nonetheless come out on top with a unique and engaging record that pays only the small price of feeling a touch unfocused. Man Under Erasure isn’t just impressive for a debut, it’s impressive in its own right with its smart blend of styles and fluent execution. A pleasure to listen to. Post-metal fans ought to keep their eye on Feversea, for the inevitable masterwork to come.

Rating: Very Good
DR: 11 | Format Reviewed: 320 kbps mp3
Label: Dark Essence Records
Websites: Bandcamp | Facebook
Releases Worldwide: May 23rd, 2025

#2025 #35 #CultOfLuna #DarkEssenceRecords #Dödheimsgard #ElectronicMetal #Feversea #ManUnderErasure #May25 #NorwegianMetal #PostBlackMetal #PostMetal #Review #Reviews #SludgeMetal

Feversea – Man Under Erasure Review

By Thus Spoke

Feversea is a perfect name for a post-metal band. It manages to evoke the genre’s typical moodiness and atmosphere, which, like the sea, can range from tranquil mystique to rage and channeled either through fretful drama or a kind of layered intensity that could faithfully be said to resemble a fever dream. But there’s more to Oslo’s Feversea than their name having a pleasing ring. Their debut Man Under Erasure carries the burden of making an impact in the veritable ocean of groups taking their cue from stalwarts like Cult of Luna and Russian Circles.1 Their claims of multi-genre influence, and black metal in particular, along with their Norwegian origin, immediately brought to mind experimental metal legends Dødheimsgard, although that’s arguably an unfair comparison. Having a voice in the scene can be a challenge, but I’m pleased to report that it’s one Feversea meet gallantly.

While containing nothing so unexpected as to approach avant-garde, Man Under Erasure is full of little surprises—good ones at that. Of all the ways I expected the album to begin, the titular opening—with its relatively upbeat electronic melody and soft, spoken-sung vocals—did not appear. From there, Feversea shift between poignancy and pugnacity, and punctuate their sombre pessimism with mellow optimism. Reverberant leads and unshowy, haunting cleans are more often than not turned eerie by their accompanying sludgy riffs and aggressive percussion, making those truly stripped-back portions feel even more still. Gloomy moods are enhanced or traded for fury with blurred, even dissonant tremolo, d-beating or blastbeating pace, and throaty screams. The tone is consistently somewhat brooding, but Feversea avoid treading into an introspective dreaminess with this turbulence between post-metal ethereality and hardcore and blackened fury, their atmosphere maintaining a bite with sinister melodic turns and vocal switches to vicious roars.

Across Man Under Erasure, Feversea showcase an impressive talent for creative songwriting. The particular fusion of sludge, hardcore, black metal, and electronica that they employ makes for dynamic and engaging pieces. When atmospheric, their presence is tangible (“New Creatures Replace Our Names,” “Invocation,” “Until it Goes Away”), and when more energetic, they possess a refreshingly unconventional spirit (“Decider,” “Kindred Spirit”). The faint shadows of the aforementioned Dødheimsgard are actually audible in spinning synth lines and playfully lurching blackened guitar scattered in fleeting moments across the album (“Murmur Within the Skull of God,” “Sunkindling,” “Kindred Spirit”). While it’s all good, there are passages in particular that hit upon some glorious interplay of styles; sometimes a powerfully stirring surge of emotion wrapped in layers of tremolo and electronica (“Invocation,” “Kindred Spirit”), sometimes a deceptively simple and undeniably catchy sludge-post, sludge-black, or electronica-post refrain (“New Creatures…,” “Decider,” title track). Feversea do both calm and lively with like ease and make the transitions between them sound easy.

The multifaceted nature of their sound avoids feeling fickle—for the most part—and instead sounds quite smooth. This is in large part thanks to the stellar work of the individual musicians who comprise Feversea—for most of whom this is their first and only band. Though everyone deserves credit, I have to give extra kudos to vocalist Ada Lønne Emberland, who performs both harsh and clean leads and is absolutely killing it with subtly emotive singing and razor-sharp screams. Melodies retain memorability and songs a satisfying crunch and flavour through punchy, audible riffs and a refreshingly crisp production that allows one to hear the space created between the chugs, soft “ahh-ahh-ahh”s, shaking percussion, and warm synth. If I had to nitpick, I would suggest cutting down some of the longer tracks, to improve their impact that is weakened by repetition, or the inclusion of just one too many ideas (“Decider,” “Until it Goes Away,” “Kindred Spirit”2).

Feversea nonetheless come out on top with a unique and engaging record that pays only the small price of feeling a touch unfocused. Man Under Erasure isn’t just impressive for a debut, it’s impressive in its own right with its smart blend of styles and fluent execution. A pleasure to listen to. Post-metal fans ought to keep their eye on Feversea, for the inevitable masterwork to come.

Rating: Very Good
DR: 11 | Format Reviewed: 320 kbps mp3
Label: Dark Essence Records
Websites: Bandcamp | Facebook
Releases Worldwide: May 23rd, 2025

#2025 #35 #CultOfLuna #DarkEssenceRecords #Dödheimsgard #ElectronicMetal #Feversea #ManUnderErasure #May25 #NorwegianMetal #PostBlackMetal #PostMetal #Review #Reviews #SludgeMetal

Feversea – Man Under Erasure Review

By Thus Spoke

Feversea is a perfect name for a post-metal band. It manages to evoke the genre’s typical moodiness and atmosphere, which, like the sea, can range from tranquil mystique to rage and channeled either through fretful drama or a kind of layered intensity that could faithfully be said to resemble a fever dream. But there’s more to Oslo’s Feversea than their name having a pleasing ring. Their debut Man Under Erasure carries the burden of making an impact in the veritable ocean of groups taking their cue from stalwarts like Cult of Luna and Russian Circles.1 Their claims of multi-genre influence, and black metal in particular, along with their Norwegian origin, immediately brought to mind experimental metal legends Dødheimsgard, although that’s arguably an unfair comparison. Having a voice in the scene can be a challenge, but I’m pleased to report that it’s one Feversea meet gallantly.

While containing nothing so unexpected as to approach avant-garde, Man Under Erasure is full of little surprises—good ones at that. Of all the ways I expected the album to begin, the titular opening—with its relatively upbeat electronic melody and soft, spoken-sung vocals—did not appear. From there, Feversea shift between poignancy and pugnacity, and punctuate their sombre pessimism with mellow optimism. Reverberant leads and unshowy, haunting cleans are more often than not turned eerie by their accompanying sludgy riffs and aggressive percussion, making those truly stripped-back portions feel even more still. Gloomy moods are enhanced or traded for fury with blurred, even dissonant tremolo, d-beating or blastbeating pace, and throaty screams. The tone is consistently somewhat brooding, but Feversea avoid treading into an introspective dreaminess with this turbulence between post-metal ethereality and hardcore and blackened fury, their atmosphere maintaining a bite with sinister melodic turns and vocal switches to vicious roars.

Across Man Under Erasure, Feversea showcase an impressive talent for creative songwriting. The particular fusion of sludge, hardcore, black metal, and electronica that they employ makes for dynamic and engaging pieces. When atmospheric, their presence is tangible (“New Creatures Replace Our Names,” “Invocation,” “Until it Goes Away”), and when more energetic, they possess a refreshingly unconventional spirit (“Decider,” “Kindred Spirit”). The faint shadows of the aforementioned Dødheimsgard are actually audible in spinning synth lines and playfully lurching blackened guitar scattered in fleeting moments across the album (“Murmur Within the Skull of God,” “Sunkindling,” “Kindred Spirit”). While it’s all good, there are passages in particular that hit upon some glorious interplay of styles; sometimes a powerfully stirring surge of emotion wrapped in layers of tremolo and electronica (“Invocation,” “Kindred Spirit”), sometimes a deceptively simple and undeniably catchy sludge-post, sludge-black, or electronica-post refrain (“New Creatures…,” “Decider,” title track). Feversea do both calm and lively with like ease and make the transitions between them sound easy.

The multifaceted nature of their sound avoids feeling fickle—for the most part—and instead sounds quite smooth. This is in large part thanks to the stellar work of the individual musicians who comprise Feversea—for most of whom this is their first and only band. Though everyone deserves credit, I have to give extra kudos to vocalist Ada Lønne Emberland, who performs both harsh and clean leads and is absolutely killing it with subtly emotive singing and razor-sharp screams. Melodies retain memorability and songs a satisfying crunch and flavour through punchy, audible riffs and a refreshingly crisp production that allows one to hear the space created between the chugs, soft “ahh-ahh-ahh”s, shaking percussion, and warm synth. If I had to nitpick, I would suggest cutting down some of the longer tracks, to improve their impact that is weakened by repetition, or the inclusion of just one too many ideas (“Decider,” “Until it Goes Away,” “Kindred Spirit”2).

Feversea nonetheless come out on top with a unique and engaging record that pays only the small price of feeling a touch unfocused. Man Under Erasure isn’t just impressive for a debut, it’s impressive in its own right with its smart blend of styles and fluent execution. A pleasure to listen to. Post-metal fans ought to keep their eye on Feversea, for the inevitable masterwork to come.

Rating: Very Good
DR: 11 | Format Reviewed: 320 kbps mp3
Label: Dark Essence Records
Websites: Bandcamp | Facebook
Releases Worldwide: May 23rd, 2025

#2025 #35 #CultOfLuna #DarkEssenceRecords #Dödheimsgard #ElectronicMetal #Feversea #ManUnderErasure #May25 #NorwegianMetal #PostBlackMetal #PostMetal #Review #Reviews #SludgeMetal

Madder Mortem – Old Eyes, New Heart Review

By GardensTale

Angry Metal Guy might be the only place on the internet where Madder Mortem won’t need an introduction for a significant amount of its readers. The Norwegian band first made waves here with Red in Tooth and Claw, and those waves got much bigger with Marrow earning a well-deserved 4.5 and topping several lists. It’s also the only band with a movie review on the site. When there is no news on the band I still can’t stop name-dropping them, even when it’s not relevant to the music I’m reviewing. So when I contacted the band to send them the movie review and they told me they were in the middle of recording a new album, my inner hype machine went into overdrive. That was over 2.5 years ago. Part of this delay was production woes, but on top of that, the band’s lead siblings Agnete (vocals) and BP (guitars and mixing/mastering) Kirkevaag lost their father Jacob in February last year.1

Madder Mortem’s sound, for those not in the know, is a rather unique blend of progressive, gothic, and alternative metal. With the knowledge that the band’s gone through a turbulent period in their personal lives, I did expect the loss and the worry to reflect in the gothic pillar of their sound, and in a few instances it does. “Here and Now” is a spellbinding song full of beautiful, warm guitars plucked in complex arpeggios, occasionally erupting into heart-rending riff-storms, Agnete wailing ’And now my heart will break!’. Album centerpiece and highlight “Cold Hard Rain” adds a bucket of atmospheric doom and incessant background intonations of the song title to exacerbate the air of hopelessness, until the enormous finale bludgeons you to a pulp with love and comfort and the band’s best riff since “Hangman.”2

But I was caught off guard by the amount of furious defiance across Old Eyes. The other major highlight is single “Towers” which takes a trebuchet to emotional walls, raging against the indignity of not being allowed to see the full heart of a loved one (’Give me the joy, the hate, the tears, not fucking platitudes’). It’s a poignant assault after early track “On Guard,” rendered in quiet Americana, posits how someone might want to share, but can’t let go of the hurt of the past. These clashing relationships are at the heart of Old Eyes. Most tracks are lyrically aimed at a ‘you,’ with the exception of opener “Coming From the Dark” which feels more like a holdover from Marrow than a proper part of this album. It’s a decent track, but it and “Master Tongue” are not quite up to the level of the latter half, leaving the quality a tad back-loaded.

Though Madder Mortem always focuses on the feeling, their technical achievements continue to improve even 25 years into their recording history. Old Eyes is replete with understated excellence, from the serpentine bass of “Master Tongue” to the undulating leads on “Unity.” Agnete sounds as great as ever, projecting confidence and fragility at different turns and convincing with every syllable. BP has once again handled the production, and from a brief conversation in October ‘22 I know it has been an uphill battle, but the results don’t lie. Everything sounds fantastic. The master is spacious but warm, the guitars are thick and crunchy, the bass has great heft. Even the mix is practically flawless. Agnete’s voice sits comfortably in the center without overpowering the music, and even when the amount of layers gets piled on (“Cold Hard Rain”) everything remains perfectly balanced.

Madder Mortem has always excelled at emotional depth and complexity beyond the obvious. Old Eyes, New Heart comes on the heels of a difficult personal time for the band, and the catharsis is palpable throughout the music, despair and defiance fighting for the listener’s heart. It’s not quite as consistent as Marrow, but in a way that helps shape the sense of urgency. More than the record the band wanted to write, it feels like the record the band had to write, a fierce treatise that defends love and acceptance in the face of unending desperation. Acoustic closer “Long Road” ends on a poignant note: ’Maybe there’s hope of peace at the end of the long slow road’. I hope that’s true. But in the meantime, Old Eyes, New Heart will stand as one of the most intimate and therapeutic albums we’re bound to get this year.

Rating: 4.0/5.0
DR: 11 | Format Reviewed: 320 kbps mp3
Label: Dark Essence Records
Websites: maddermortem.bandcamp.com | maddermortem.com | facebook.com/mmortem
Releases Worldwide: January 26th, 2024

#2024 #40 #AlternativeMetal #DarkEssenceRecords #GothicMetal #Jan24 #MadderMortem #NorwegianMetal #OldEyesNewHeart #ProgressiveMetal #Review #Reviews

Madder Mortem – Old Eyes, New Heart Review

By GardensTale

Angry Metal Guy might be the only place on the internet where Madder Mortem won’t need an introduction for a significant amount of its readers. The Norwegian band first made waves here with Red in Tooth and Claw, and those waves got much bigger with Marrow earning a well-deserved 4.5 and topping several lists. It’s also the only band with a movie review on the site. When there is no news on the band I still can’t stop name-dropping them, even when it’s not relevant to the music I’m reviewing. So when I contacted the band to send them the movie review and they told me they were in the middle of recording a new album, my inner hype machine went into overdrive. That was over 2.5 years ago. Part of this delay was production woes, but on top of that, the band’s lead siblings Agnete (vocals) and BP (guitars and mixing/mastering) Kirkevaag lost their father Jacob in February last year.1

Madder Mortem’s sound, for those not in the know, is a rather unique blend of progressive, gothic, and alternative metal. With the knowledge that the band’s gone through a turbulent period in their personal lives, I did expect the loss and the worry to reflect in the gothic pillar of their sound, and in a few instances it does. “Here and Now” is a spellbinding song full of beautiful, warm guitars plucked in complex arpeggios, occasionally erupting into heart-rending riff-storms, Agnete wailing ’And now my heart will break!’. Album centerpiece and highlight “Cold Hard Rain” adds a bucket of atmospheric doom and incessant background intonations of the song title to exacerbate the air of hopelessness, until the enormous finale bludgeons you to a pulp with love and comfort and the band’s best riff since “Hangman.”2

But I was caught off guard by the amount of furious defiance across Old Eyes. The other major highlight is single “Towers” which takes a trebuchet to emotional walls, raging against the indignity of not being allowed to see the full heart of a loved one (’Give me the joy, the hate, the tears, not fucking platitudes’). It’s a poignant assault after early track “On Guard,” rendered in quiet Americana, posits how someone might want to share, but can’t let go of the hurt of the past. These clashing relationships are at the heart of Old Eyes. Most tracks are lyrically aimed at a ‘you,’ with the exception of opener “Coming From the Dark” which feels more like a holdover from Marrow than a proper part of this album. It’s a decent track, but it and “Master Tongue” are not quite up to the level of the latter half, leaving the quality a tad back-loaded.

Though Madder Mortem always focuses on the feeling, their technical achievements continue to improve even 25 years into their recording history. Old Eyes is replete with understated excellence, from the serpentine bass of “Master Tongue” to the undulating leads on “Unity.” Agnete sounds as great as ever, projecting confidence and fragility at different turns and convincing with every syllable. BP has once again handled the production, and from a brief conversation in October ‘22 I know it has been an uphill battle, but the results don’t lie. Everything sounds fantastic. The master is spacious but warm, the guitars are thick and crunchy, the bass has great heft. Even the mix is practically flawless. Agnete’s voice sits comfortably in the center without overpowering the music, and even when the amount of layers gets piled on (“Cold Hard Rain”) everything remains perfectly balanced.

Madder Mortem has always excelled at emotional depth and complexity beyond the obvious. Old Eyes, New Heart comes on the heels of a difficult personal time for the band, and the catharsis is palpable throughout the music, despair and defiance fighting for the listener’s heart. It’s not quite as consistent as Marrow, but in a way that helps shape the sense of urgency. More than the record the band wanted to write, it feels like the record the band had to write, a fierce treatise that defends love and acceptance in the face of unending desperation. Acoustic closer “Long Road” ends on a poignant note: ’Maybe there’s hope of peace at the end of the long slow road’. I hope that’s true. But in the meantime, Old Eyes, New Heart will stand as one of the most intimate and therapeutic albums we’re bound to get this year.

Rating: 4.0/5.0
DR: 11 | Format Reviewed: 320 kbps mp3
Label: Dark Essence Records
Websites: maddermortem.bandcamp.com | maddermortem.com | facebook.com/mmortem
Releases Worldwide: January 26th, 2024

#2024 #40 #AlternativeMetal #DarkEssenceRecords #GothicMetal #Jan24 #MadderMortem #NorwegianMetal #OldEyesNewHeart #ProgressiveMetal #Review #Reviews

Tilintetgjort - Hex (Official Music Video)

https://youtu.be/Ate_sRfvFBs

#music #metal #blackmetal #Tilintetgjort #darkessencerecords

Tilintetgjort - Hex (Official Music Video)

https://youtu.be/Ate_sRfvFBs

#music #metal #blackmetal #Tilintetgjort #darkessencerecords

Tilintetgjort - Hex (Official Music Video)

https://youtu.be/Ate_sRfvFBs

#music #metal #blackmetal #Tilintetgjort #darkessencerecords

Tilintetgjort - Hex (Official Music Video)

https://youtu.be/Ate_sRfvFBs

#music #metal #blackmetal #Tilintetgjort #darkessencerecords

Tilintetgjort - Hex (Official Music Video)

https://youtu.be/Ate_sRfvFBs

#music #metal #blackmetal #Tilintetgjort #darkessencerecords

Tilintetgjort - Mercurial (Official Video)

https://youtu.be/yG8o53ZieA8

#music #metal #blackmetal #Tilintetgjort #darkessencerecords

Tilintetgjort - Mercurial (Official Video)

https://youtu.be/yG8o53ZieA8

#music #metal #blackmetal #Tilintetgjort #darkessencerecords

Tilintetgjort - Mercurial (Official Video)

https://youtu.be/yG8o53ZieA8

#music #metal #blackmetal #Tilintetgjort #darkessencerecords

Tilintetgjort - Mercurial (Official Video)

https://youtu.be/yG8o53ZieA8

#music #metal #blackmetal #Tilintetgjort #darkessencerecords

Tilintetgjort - Mercurial (Official Video)

https://youtu.be/yG8o53ZieA8

#music #metal #blackmetal #Tilintetgjort #darkessencerecords