#doom-death — Public Fediverse posts

Worms are rich fodder for metal band names,1 and it’s not hard to see why. They’re gross, alienlike, and carry connotations of death and decay; and that’s before you start spelling it with a ‘v’ and thereby reference dragons, sea monsters, and the Devil himself. While sharing the collective imagination, this Worm definitely distinguishes themselves. After a shaky start, it was Foreverglade that first saw Worm realize their potential with a lean towards doom-death that retained just enough synth-forward black metal and balanced a murky soundscape with syrupy sweet guitar solos. Since then, Bluenothing and Dream Unending split Starpath developed this characteristic sound, extending further into the spooky and atmospheric, whilst never losing sight of the slimy heaviness that apparently makes their music inaccessible to around 99% of the human population. Necropalace being released on Century Media indicates the kind of meteoric rise the band has recently enjoyed,2 but far from selling out, it’s this album that feels like Worm being the most entirely and unapologetically themselves they’ve ever been; and it pays off.

Necropalace is instantly identifiable as a Worm album: disEMBOWELMENT-esque cavernous doom-death, a dungeon-synth level of fondness for keyboards, and surprisingly beautiful lead guitars all echoing in a cavernous mist. However, following the trajectory set by the interim EP and split, the music now channels a different subgenre of horror. The grandiosity is more theatrical than imposing, the tone is haunting not by a sense of dread, but by an almost camp spookiness, and more time than before is given over to explosive forays into faster tempos. That may sound bad, but it’s brilliant. This expansion into pretty much all black metal has to offer musically gives Worm’s signature interweaving of sinister heaviness and eerie echoey melody room to spread its wings and express all the otherworldly magic and brooding drama it always teased. In Necropalace, Worm transform fully from the swamp beast of yore into the haunted-castle-guarding dragon out of some weird dream nightmare.

Necropalace (24-bit HD audio) by Worm

Everything unique and great about Worm finds a new, more vibrant side on Necropalace. The drawling doom is gloomier; the guitar melodies more exuberant; the reverb and distortion more huge; the atmosphere richer; the synths, ominous choirs, and bells, and distortion more delicious. Guitarist Wroth Septentrion—a.k.a Philippe Tougas of First Fragment—holds nothing back. Dazzling flourishes (“Halls of Weeping”) and lush, crooning refrains (“The Night Has Fangs,” “Blackheart”) spill across the resonant black(ened doom), and arc upwards in great swoops (“Necropalace,” Witchmoon: The Infernal Masquerade”). It’s the most beautiful Worm has ever been, yet retains that layer of grime Worm is so recognisable for. It works so well thanks to supernaturally perfect interplay between keyboard and guitar, where each is expressive and layered in their own right (“Gates to the Shadowzone (Intro)”), and picks up or embellishes the other’s lines. A vibrant dance of strings comes naturally from tense chords of choir (“The Night Has Fangs”) or piano cascades out of dirt-laden riffs (“Necropalace,” “Witchmoon”), and the purring rhythms of synth bleed seamlessly into extreme metal (“Necropalace,” “Dragon Dreams”). The crashing drums and clattering swords, rising synths and bold keys, and the way Phantom Slaughter’s shrieking or apathetic spoken-word echoes phantasmally—all folded into these strikingly melodic forms—together create a kind of operatic melodrama that is endlessly fun to experience.

At this point, I’d normally be adding a caveat, and I’m not starved for choice, in theory. Necropalace is just over an hour long, which might be too much time in the Shadowzone for some, but the time absolutely flies by. A reluctance to edit is also implied by the typically unpopular use of an intro with instrumental “Gates to the Shadowzone (Intro),” which—unlike on Foreverglade3—actually is a shorter track. As its title implies, however, its ominous dungeon synth and shimmering soloing work well to induct the listener into the weird world that follows. And the guitarwork of Marty Friedman—who guests on closer “Witchmoon”—fits so brilliantly with everything Worm has crafted up to this point that it acts as a final, epic flourish that more than capitalises on his—and every member’s—skill.

Despite committing so fully to the spooky and loosening the reins on compositional structure and melody, Worm has not lost their grip on writing heavy, engaging songs. With its bombastic sense of fun and theatricality and a beauty that stays firmly entrenched in the dark and dirty, Necropalace shows Worm evolving in a way that magnifies rather than dilutes their personality. If more people hear it due to signing with a bigger label, then that’s only a good thing. I can’t stop listening myself. This is the album Worm was born to create.

Rating: Excellent
DR: ?4 | Format Reviewed: Stream
Label: Century Media
Website: Bandcamp | Instagram
Releases Worldwide: February 13th, 2026

Discarnation - Mournful Incantations Of Mortality (2025)

https://defcon42.net/display/9272de9b-1169-69c6-4439-f18654961879

Hooded Menace - Lachrymose Monuments Of Obscuration

https://hoodedmenace.bandcamp.com/album/lachrymose-monuments-of-obscuration

#doommetal #doomdeath #aoty2025

Clouds – Desprins [Things You Might Have Missed 2025]

By Thus Spoke

Those of you who have been paying close attention may remember that Clouds’ 2021 album Despǎrțire was the subject of my very first review here at AMG; a review that in my n00bish naïveté, I appended with a 4.5. I don’t regret it, but will admit the name Clouds had faded a little in my mind before a sudden and apparently unannounced drop of Desprins back in January caused all the sweet sadness to come flooding back. The distinctive shroud of flute-accented darkness fell instantly. At once I was transported back to that November evening I first listened to Clouds, gazing out of the train window at the blackness beyond.

Desprins is transportive not simply as a continuation of Clouds’ endless journey of despair, but as an extension of it. Heavier and simultaneously more reflective than Despǎrțire, it channels the group’s black, choked funeral doom through a spacious synth veil recalling their earliest material, but now more confidently and atmospherically woven. The duality between the heaviest and gentlest aspects—a tension Clouds have always experimented with—is sharpened. The grittiness of the metal, the plaintiveness of the singing, and airiness of the acoustic instruments are more stark, but in a way that balances the musical and emotional waves of tension and release. In a limbo of atmosphere, Daniel Neagoe tells us in solemn whispers what he elsewhere expresses with pained cries and guttural roars; heavy riffs lift and drums slip away at bar’s end for a piano to take the lead; quiet softly crescendoes back on the ascent of a flute: all flow and fade inevitably out of each other.

One could argue that the congruence of Desprins’ apparently disparate musical elements owes its existence to how straightforwardly, heartbreakingly beautiful the melodies thus forged are. Whether first announced by a flute (“Disguise”), a piano (“Unanswered”), synth (“Life Becomes Lifeless”) or a guitar (“Chain Me,” “Chasing Ghosts”), all players pull on the thread of the theme before long. The chasms that come from marrying guitar chords with flute (“Life Becomes Lifeless,” “Forge Another Nightmare”), and opening out to stripped-back synth and apathetic cleans, when you can hear every touch on the keys and feel the impact of every drumbeat, are profound musically and emotionally. These are the kinds of passages designed for wistful staring into the middle distance, whose pathos is so acute, it’s almost unfair. “Life Becomes Lifeless,” “Chain Me,” and the finale of “Chasing Ghosts” are especially potent. With a seemingly more sparse soundscape, they achieve what Shape of Despair do with a more grandiose one. I am, admittedly, a crybaby, but Clouds’ ability to bring me to tears in a more melancholic frame of mind is something I hold in high esteem.

Perhaps more so than before, Clouds’ latest incarnation is something that either really works for you or really doesn’t. I’m obviously in the former camp. Like other funeral doom acts, and analogously dolorous music, the portal of sadness they create is effective only insofar as it can pull its listener in. Desprins sees a doubling-down on everything that might make Clouds hard to listen to—the misery, the polarity between the crushing and uplifting—but its execution only makes this project more unique and more uniquely captivating.

Tracks to Check Out: ”Disguise,” “Life Becomes Lifeless,” “Forge Another Nightmare,” “Chasing Ghosts.”

#2025 #Clouds #DeathDoom #Desprins #Doom #DoomDeath #FuneralDoom #RomanianMetal #ShapeOfDespair #ThingsYouMightHaveMissed #ThingsYouMightHaveMissed2025

DETERIOROT - 'Awakening' by @deteriorot_official & @xtreemmusic _ #Review Online Now _ @twilight_magazin

https://www.twilight-magazin.de/reviews/musik-review/deteriorot-awakening

#twilightmagazin
#deteriorot
#xtreem
#deathmetal
#doommetal
#linsedunemanninen
#metal
#metalpunksteel
#speedmetakpunks
#doomdeath
#harzmountains
#harz
#einharz
#heavymetal
https://www.instagram.com/p/DQMe77SjGSV/?igsh=MWc3dTd1OXBoZmpzeg==

Timeless!!!

Swedish Doom Death Metal!

ETERNAL DARKNESS - 'Eternal Darkness' by @eternal_darkness_sweden & @pulverised

#linsedunemanninen
#intensemusic
#eternaldarkness
#pulverisedrecords
#swedishdeathmetal
#metal
#heavymetal
#doommetal
#doomdeath
#metalpunksteel
#speedmetakpunks
#vinyllover
#vinyllovers
#vinyl
#greenbeast
#försterplayer
#försterspieler
#project
#projectdebutcarbonevo
https://www.instagram.com/p/DOgb2bYDO6t/?igsh=MThmNjN2YzU0emEwcg==

The Bleak Picture – Shades of Life Review

By Maddog

It’s been a draining year. Lacking the mental energy for new music, I’ve subsisted on a diet of ISIS and Fvneral Fvkk. Clouded by the doomy stylings of the latter, I decided to make my return to reviewing with dismal death-doom. Despite releasing their debut just last year, Finland’s The Bleak Picture is a project of members of Autumnfall. That said, these two bands sound worlds apart, as their names betray. Abandoning the blackened scenery of Autumnfall, The Bleak Picture paints a bleak picture with melodic death-doom that reeks of Finland. Channeling the icons of sadboi history, Shades of Life is a flawed but worthwhile slab of morose doom.

You won’t find much innovation here, but The Bleak Picture has learned from the best. Blending harsh vocals and spoken word, doomy plains and deathy mountain ranges, Shades of Life consists of familiar elements. The opener “Plagued by Sorrow” offers the listener zero seconds of respite before launching into a persistent doom riff. Melodic guitar leads steer the album along, stitching the doomy cuts together in a manner that recalls Enshine (“Without the I”). Rather than slowing to a standstill, The Bleak Picture uses Insomnium riffs to push the album along without diluting its sorrow. The guitars (handled by Jussi Hänninen, along with the other instruments) are the core of Shades of Life, but Tero Ruohonen’s vocals broaden its horizons. While he largely dwells in standard harsh territory, Ruohonen’s cleans tinge the album with gothic influences, like the distorted spoken word of “Absolution.” Indeed, sections like the straightforward rock of “Without the I” recall Paradise Lost. However, lest this lengthy description fool you, Shades of Life is largely standard fare.

It feels criminal to listen to Shades of Life on a 90-degree summer day. The Bleak Picture conveys emotion through the sheer enormity of their riffs, burying the listener like an avalanche (“Absolution”). Elsewhere, Shades of Life deftly intersperses these assaults with tranquility, like the transition from an explosive chorus to minimalist bass-led instrumentals on “Plagued by Sorrow.” These strengths reach their apex on the 11-minute spectacle “Silent Exit.” Evoking Swallow the Sun’s Plague of Butterflies, the track progresses through a nightmarish acoustic melody, forceful doom riffs, and girthy bass lines. Cult of Luna-style drumming leads the song into a climactic ending that raises the bar even further. Across these highlights, The Bleak Picture’s sophomore release boasts a mature approach to songwriting.

Shades of Life still struggles to transcend its melodic death-doom formula. The album’s biggest weakness is its monotony. In their quest for chunky riffs, The Bleak Picture tends to overuse ideas, emulating an uninspired version of Rapture (“Code of Ethics”). Even the album’s best pieces sometimes fizzle out, like the abrupt ending of the otherwise-powerful “Absolution.” Similarly, while the penultimate track “Silent Exit” showcases the best of Shades of Life, the closer “City of Ghosts” settles into a low-energy doom routine that never picks up steam. Despite its apparent variety of influences, The Bleak Picture’s by-the-book approach to death-doom doesn’t always keep my interest.

An album like Shades of Life is difficult to dissect; its success hinges on the heart, not the brain. The Bleak Picture is on the right path, and tracks like “Silent Exit” hit hard with their bulky riffwork and creative variety. But as a whole, Shades of Life isn’t the gut punch I’d hoped for. It doesn’t match the raw power of Paradise Lost, the otherworldly sadness of Enshine, or the narrative prowess of Insomnium. Still, I have no regrets. There are strong whiffs of talent here, and with its mature and tempered approach to songwriting, Shades of Life is an easy, rewarding listen. It’s worth a shot for anyone who prefers moping over sunlight.

Rating: 2.5/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Ardua Music
Websites: thebleakpicture.bandcamp.com | facebook.com/thebleakpicture
Releases Worldwide: June 27th, 2025

#25 #2025 #ArduaMusic #Autumnfall #CultOfLuna #DeathDoom #DeathMetal #DeathDoomMetal #DoomDeath #DoomDeathMetal #DoomMetal #Enshine #FinnishMetal #Gothic #GothicDoom #GothicMetal #GothicRock #Insomnium #Jun25 #Melodeath #MelodeathMetal #MelodicDeathDoom #MelodicDeathMetal #ParadiseLost #Rapture #Review #Reviews #ShadesOfLife #SwallowTheSun #TheBleakPicture

Today, I realized one of my favourite bands, Insomnium 🤘 , released a new EP, called Songs of the Dusk, just this week.

https://open.spotify.com/album/56gvAlr6FY7iXFmF3Lx2pN

One of the songs were shared already, but the other two are also great! The album will be damn awesome.

#metal #melodicdeathmetal #melodeath #doomdeath #deathdoom #doom #doommetal #insomnium #spotify

Tuned low / played slow
.
Dear summerάκηδες,

Γνωρίζω καλά ότι ψάχνετε όλα την δροσιά σας.
.
Εδώ δεν θα την βρείτε, να πάτε αλλού.
.
Εδώ έχει βασανιστικό τουμ / τεθ / σλατς
Καινούριο άλμπουμ απο #Okwaho προτείνω ανεπιφύλακτα.
.
Με εκτίμηση.

#ERIsNowPlaying #sludge #doom #doomdeath #tunelow #μουσική

https://okwaho.bandcamp.com/album/the-usurper-regime

Επεράσαμε όμορφα ψες στο υπόγειο.

#doommetal #deathmetal #doomdeath #heavymetal #nowplaying

https://www.youtube.com/watch?v=IgZUwA5eP3Y

@[email protected] @[email protected] Τεράστια ταινία το The Masque of the Red Death (βασισμένη στο βιβλίο του Edgar Alan Poe) με πρωταγωνιστή τον λατρεμένο Vincent Price. Φοβερή σκηνή αυτή, που έχει χρησιμοποιηθεί σε αυτή την κομματάρα από Bell Witch:

#EdgarAlanPoe #Prospero #BellWitch #DoomMetal #DoomDeath #FuneralDoom

https://www.youtube.com/watch?v=dUDNA2zvufs

Et puis le deuxième extrait de l'album, tant qu'à faire, que je trouve encore meilleur.

Konvent - Trust
https://www.youtube.com/watch?v=j-SJKFOx4JI

#PouetRadio #TootRadio #FuzzRadio #Doomcheck #DeathMetal #DoomMetal #DoomDeath

Kovent - Puritan Masochism
https://youtu.be/NdR24AURUwU

Du Death Doom féminin bien sympa, la chanteuse à un sacré coffre.

#PouetRadio #TootRadio #FuzzRadio (oui j'insiste avec ce mot croisillon) #Doomcheck #DeathMetal #DoomMetal #DoomDeath

Ping @doomyflo @Aznorth @chagratt et d'autres que j'oublie aiment les musiques un tant soit peu métaliques.