#doommetal — Public Fediverse posts

STINKING LIZAVETA (Estats Units) presenta nou àlbum: "Cassandra, Prophet of Doom" #StinkingLizaveta #DoomMetal #StonerMetal #Setembre2026 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

STINKING LIZAVETA (Estats Units) presenta nou àlbum: "Cassandra, Prophet of Doom" #StinkingLizaveta #DoomMetal #StonerMetal #Setembre2026 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

#Saturdoom time and the seasons are turning towards gloom and darkness again. For me this means excellent times to listen to doom music.

Next week will be #SaturdoomLive at Into The Void in Leeuwarden (NL) and I’m especially looking forward to;

👥 Daevar
💿 Amber Eyes
🎶 Caliban and the Witch
🔗 https://musiccloud.io/94ZRLaZI

Great doom metal from Germany that has a groove like no other!

#Doom #DoomMetal

#Saturdoom time and the seasons are turning towards gloom and darkness again. For me this means excellent times to listen to doom music.

Next week will be #SaturdoomLive at Into The Void in Leeuwarden (NL) and I’m especially looking forward to;

👥 Daevar
💿 Amber Eyes
🎶 Caliban and the Witch
🔗 https://musiccloud.io/94ZRLaZI

Great doom metal from Germany that has a groove like no other!

#Doom #DoomMetal

#Saturdoom time and the seasons are turning towards gloom and darkness again. For me this means excellent times to listen to doom music.

Next week will be #SaturdoomLive at Into The Void in Leeuwarden (NL) and I’m especially looking forward to;

👥 Daevar
💿 Amber Eyes
🎶 Caliban and the Witch
🔗 https://musiccloud.io/94ZRLaZI

Great doom metal from Germany that has a groove like no other!

#Doom #DoomMetal

#Saturdoom time and the seasons are turning towards gloom and darkness again. For me this means excellent times to listen to doom music.

Next week will be #SaturdoomLive at Into The Void in Leeuwarden (NL) and I’m especially looking forward to;

👥 Daevar
💿 Amber Eyes
🎶 Caliban and the Witch
🔗 https://musiccloud.io/94ZRLaZI

Great doom metal from Germany that has a groove like no other!

#Doom #DoomMetal

#Saturdoom time and the seasons are turning towards gloom and darkness again. For me this means excellent times to listen to doom music.

Next week will be #SaturdoomLive at Into The Void in Leeuwarden (NL) and I’m especially looking forward to;

👥 Daevar
💿 Amber Eyes
🎶 Caliban and the Witch
🔗 https://musiccloud.io/94ZRLaZI

Great doom metal from Germany that has a groove like no other!

#Doom #DoomMetal

REMOTE VIEWING (Regne Unit) presenta nou àlbum: "State Violence" #RemoteViewing #Sludge #DoomMetal #Setembre2026 #RegneUnit #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

REMOTE VIEWING (Regne Unit) presenta nou àlbum: "State Violence" #RemoteViewing #Sludge #DoomMetal #Setembre2026 #RegneUnit #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

EARLY MOODS (Estats Units) presenta nou àlbum: "Ready for the Grave" #EarlyMoods #DoomMetal #Setembre2026 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

EARLY MOODS (Estats Units) presenta nou àlbum: "Ready for the Grave" #EarlyMoods #DoomMetal #Setembre2026 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

CREEPER BUD (Estats Units) presenta nou àlbum: "Creeper Bud" #CreeperBud #Stoner #DoomMetal #SludgeMetal #Setembre2026 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

CREEPER BUD (Estats Units) presenta nou àlbum: "Creeper Bud" #CreeperBud #Stoner #DoomMetal #SludgeMetal #Setembre2026 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

LASER DRACUL (Suècia) presenta nou àlbum: "Hin Håle Blues" #LaserDracul #Stoner #DoomMetal #Setembre2026 #Suècia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

LASER DRACUL (Suècia) presenta nou àlbum: "Hin Håle Blues" #LaserDracul #Stoner #DoomMetal #Setembre2026 #Suècia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

TERRA BLACK (Suècia) presenta nou àlbum: "Mirage" #TerraBlack #Stoner #DoomMetal #Setembre2026 #Suècia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

TERRA BLACK (Suècia) presenta nou àlbum: "Mirage" #TerraBlack #Stoner #DoomMetal #Setembre2026 #Suècia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

Junior year tends to make or break a band. No one expects too much from freshmen, but Professor Druhm1 recognized potential in doomsters Early Moods, awarding their self-titled debut (2022) an enthusiastic B+. We didn’t cover it, but the band’s follow-up fell victim to the dreaded sophomore slump, albeit modestly. A Sinner’s Past (2024) continued proving Early Moods to be attentive students of classic doom and NWOBHM, but at 50 minutes, mistakes quantity for quality. Returning from summer vacation, this LA quintet excitedly arrives on campus with their third full-length, Ready for the Grave. As their new headmaster, I’m hoping Early Moods will crack the books and return to (or even exceed) their marks from freshman year. Subsequently, I urge them to avoid excessive extracurriculars, as well as temptation by those extra extracurriculars (down by the bushes outside campus).

Influenced as they are by the classics, Early Moods do not come off as plagiarists. Guitarists Oscar Hernandez and Eddie Andrade channel Black Sabbath and Trouble in their proclivity for huge riffs and wah-wah’d solos, while the likes of Iron Maiden and Diamond Head show up by way of epic harmonies and middle-gear chuggery. The eponymous opener perfectly exemplifies the band’s mixing of doom and NWOBHM. “Ready for the Grave” kicks off with a simple, snakey, and slow riff that quickly turns into a driving force. Early Moods are not in want of riffs, as demonstrated by the dark, doomy goodness littered throughout “Inquisition” (an album highlight). Rhythm section Elix Felciano (bass) and Chris Flores (drums) are no slouches, invigorating these songs via changes in time signature and tempo (“The Prowler,” “When Light Fades”). Above it all are the charming cords of Alberto Alcaraz, which quiver, drawl, and boom, to much delight. His is a perfect doom vocal for me: sentimental without feeling schmaltzy. Presented through well-balanced, warm production, Ready for the Grave sounds of the late-70s/early 80s, but none of its obvious influences ever completely take over. Undoubtedly, Early Moods posses their own voice.

Ready for the Grave stands as high-quality work for its satisfyingly subtle songwriting. Early Moods primarily stick to the time-tested verse-chorus-bridge formula, though this shouldn’t suggest monotony. Indeed, the songs feel like features for different facets of the band, whether it’s the indelible riffing (“Inquisition”), pulsating grooves (“Thy Eternal Grief”), or spooky synths (“The Prowler”).2 Small choices, too, end up paying larger dividends than expected. Ending with a third verse, for example (“Ready for the Grave”), or fading out on an appropriately titled song (“When Light Fades”), all suggest a band paying careful attention to detail. At 7 tracks in 41 minutes, Ready for the Grave returns to a winning formula. Coupling the shorter track count of A Sinner’s Past with the overall brevity of the debut, Early Moods play to their strengths, offering listeners well-crafted tunes that breathe.

Alright, it’s time to break out the red pen. My first criticism concerns pacing. Ready for the Grave kicks the door in with two fantastic cuts (“Ready for the Grave,” “Inquisition”), but it takes a small but noticeable dip afterwards. The album turns to a solid change of pace with a pseudo-ballad for song three (“Thy Eternal Grief”), but Ready for the Grave never quite reaches the heights of its opening duo. “Thy Eternal Grief” brings up a second, minor knock, concerning the vocals. As discussed, Alcaraz generally kills it, but there are moments when his voice feels strained, or where he could make sparse sections more colorful by exploring his range (“When Light Fades”). And finally, some bolts could be tightened, despite my general enthusiasm for the songwriting. Some riff vampings here (“Ready for the Grave”) and abrupt endings there (“Her Wicked Spells”) call for minor, local revisions.

All told, I am pleased to report that Early Moods are more than back on track in their junior year. Ready for the Grave vastly improves upon its overlong predecessor, and it ever-so-slightly supersedes the band’s promising debut. It’s a record that’s both catchy and spacious, with distinguishing elements that make it rise above simple nostalgia. Fans of doom and NWOBHM especially owe it to themselves to become familiar with these promising pupils, if they haven’t already. Next time around, I don’t foresee Early Moods catching Senioritis—in fact, they seem poised to pass through Gates of Greatness, in due time.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: RidingEasy Records
Websites: Instagram | Facebook
Releases Worldwide: September 18th, 2026

Junior year tends to make or break a band. No one expects too much from freshmen, but Professor Druhm1 recognized potential in doomsters Early Moods, awarding their self-titled debut (2022) an enthusiastic B+. We didn’t cover it, but the band’s follow-up fell victim to the dreaded sophomore slump, albeit modestly. A Sinner’s Past (2024) continued proving Early Moods to be attentive students of classic doom and NWOBHM, but at 50 minutes, mistakes quantity for quality. Returning from summer vacation, this LA quintet excitedly arrives on campus with their third full-length, Ready for the Grave. As their new headmaster, I’m hoping Early Moods will crack the books and return to (or even exceed) their marks from freshman year. Subsequently, I urge them to avoid excessive extracurriculars, as well as temptation by those extra extracurriculars (down by the bushes outside campus).

Influenced as they are by the classics, Early Moods do not come off as plagiarists. Guitarists Oscar Hernandez and Eddie Andrade channel Black Sabbath and Trouble in their proclivity for huge riffs and wah-wah’d solos, while the likes of Iron Maiden and Diamond Head show up by way of epic harmonies and middle-gear chuggery. The eponymous opener perfectly exemplifies the band’s mixing of doom and NWOBHM. “Ready for the Grave” kicks off with a simple, snakey, and slow riff that quickly turns into a driving force. Early Moods are not in want of riffs, as demonstrated by the dark, doomy goodness littered throughout “Inquisition” (an album highlight). Rhythm section Elix Felciano (bass) and Chris Flores (drums) are no slouches, invigorating these songs via changes in time signature and tempo (“The Prowler,” “When Light Fades”). Above it all are the charming cords of Alberto Alcaraz, which quiver, drawl, and boom, to much delight. His is a perfect doom vocal for me: sentimental without feeling schmaltzy. Presented through well-balanced, warm production, Ready for the Grave sounds of the late-70s/early 80s, but none of its obvious influences ever completely take over. Undoubtedly, Early Moods posses their own voice.

Ready for the Grave stands as high-quality work for its satisfyingly subtle songwriting. Early Moods primarily stick to the time-tested verse-chorus-bridge formula, though this shouldn’t suggest monotony. Indeed, the songs feel like features for different facets of the band, whether it’s the indelible riffing (“Inquisition”), pulsating grooves (“Thy Eternal Grief”), or spooky synths (“The Prowler”).2 Small choices, too, end up paying larger dividends than expected. Ending with a third verse, for example (“Ready for the Grave”), or fading out on an appropriately titled song (“When Light Fades”), all suggest a band paying careful attention to detail. At 7 tracks in 41 minutes, Ready for the Grave returns to a winning formula. Coupling the shorter track count of A Sinner’s Past with the overall brevity of the debut, Early Moods play to their strengths, offering listeners well-crafted tunes that breathe.

Alright, it’s time to break out the red pen. My first criticism concerns pacing. Ready for the Grave kicks the door in with two fantastic cuts (“Ready for the Grave,” “Inquisition”), but it takes a small but noticeable dip afterwards. The album turns to a solid change of pace with a pseudo-ballad for song three (“Thy Eternal Grief”), but Ready for the Grave never quite reaches the heights of its opening duo. “Thy Eternal Grief” brings up a second, minor knock, concerning the vocals. As discussed, Alcaraz generally kills it, but there are moments when his voice feels strained, or where he could make sparse sections more colorful by exploring his range (“When Light Fades”). And finally, some bolts could be tightened, despite my general enthusiasm for the songwriting. Some riff vampings here (“Ready for the Grave”) and abrupt endings there (“Her Wicked Spells”) call for minor, local revisions.

All told, I am pleased to report that Early Moods are more than back on track in their junior year. Ready for the Grave vastly improves upon its overlong predecessor, and it ever-so-slightly supersedes the band’s promising debut. It’s a record that’s both catchy and spacious, with distinguishing elements that make it rise above simple nostalgia. Fans of doom and NWOBHM especially owe it to themselves to become familiar with these promising pupils, if they haven’t already. Next time around, I don’t foresee Early Moods catching Senioritis—in fact, they seem poised to pass through Gates of Greatness, in due time.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: RidingEasy Records
Websites: Instagram | Facebook
Releases Worldwide: September 18th, 2026

Junior year tends to make or break a band. No one expects too much from freshmen, but Professor Druhm1 recognized potential in doomsters Early Moods, awarding their self-titled debut (2022) an enthusiastic B+. We didn’t cover it, but the band’s follow-up fell victim to the dreaded sophomore slump, albeit modestly. A Sinner’s Past (2024) continued proving Early Moods to be attentive students of classic doom and NWOBHM, but at 50 minutes, mistakes quantity for quality. Returning from summer vacation, this LA quintet excitedly arrives on campus with their third full-length, Ready for the Grave. As their new headmaster, I’m hoping Early Moods will crack the books and return to (or even exceed) their marks from freshman year. Subsequently, I urge them to avoid excessive extracurriculars, as well as temptation by those extra extracurriculars (down by the bushes outside campus).

Influenced as they are by the classics, Early Moods do not come off as plagiarists. Guitarists Oscar Hernandez and Eddie Andrade channel Black Sabbath and Trouble in their proclivity for huge riffs and wah-wah’d solos, while the likes of Iron Maiden and Diamond Head show up by way of epic harmonies and middle-gear chuggery. The eponymous opener perfectly exemplifies the band’s mixing of doom and NWOBHM. “Ready for the Grave” kicks off with a simple, snakey, and slow riff that quickly turns into a driving force. Early Moods are not in want of riffs, as demonstrated by the dark, doomy goodness littered throughout “Inquisition” (an album highlight). Rhythm section Elix Felciano (bass) and Chris Flores (drums) are no slouches, invigorating these songs via changes in time signature and tempo (“The Prowler,” “When Light Fades”). Above it all are the charming cords of Alberto Alcaraz, which quiver, drawl, and boom, to much delight. His is a perfect doom vocal for me: sentimental without feeling schmaltzy. Presented through well-balanced, warm production, Ready for the Grave sounds of the late-70s/early 80s, but none of its obvious influences ever completely take over. Undoubtedly, Early Moods posses their own voice.

Ready for the Grave stands as high-quality work for its satisfyingly subtle songwriting. Early Moods primarily stick to the time-tested verse-chorus-bridge formula, though this shouldn’t suggest monotony. Indeed, the songs feel like features for different facets of the band, whether it’s the indelible riffing (“Inquisition”), pulsating grooves (“Thy Eternal Grief”), or spooky synths (“The Prowler”).2 Small choices, too, end up paying larger dividends than expected. Ending with a third verse, for example (“Ready for the Grave”), or fading out on an appropriately titled song (“When Light Fades”), all suggest a band paying careful attention to detail. At 7 tracks in 41 minutes, Ready for the Grave returns to a winning formula. Coupling the shorter track count of A Sinner’s Past with the overall brevity of the debut, Early Moods play to their strengths, offering listeners well-crafted tunes that breathe.

Alright, it’s time to break out the red pen. My first criticism concerns pacing. Ready for the Grave kicks the door in with two fantastic cuts (“Ready for the Grave,” “Inquisition”), but it takes a small but noticeable dip afterwards. The album turns to a solid change of pace with a pseudo-ballad for song three (“Thy Eternal Grief”), but Ready for the Grave never quite reaches the heights of its opening duo. “Thy Eternal Grief” brings up a second, minor knock, concerning the vocals. As discussed, Alcaraz generally kills it, but there are moments when his voice feels strained, or where he could make sparse sections more colorful by exploring his range (“When Light Fades”). And finally, some bolts could be tightened, despite my general enthusiasm for the songwriting. Some riff vampings here (“Ready for the Grave”) and abrupt endings there (“Her Wicked Spells”) call for minor, local revisions.

All told, I am pleased to report that Early Moods are more than back on track in their junior year. Ready for the Grave vastly improves upon its overlong predecessor, and it ever-so-slightly supersedes the band’s promising debut. It’s a record that’s both catchy and spacious, with distinguishing elements that make it rise above simple nostalgia. Fans of doom and NWOBHM especially owe it to themselves to become familiar with these promising pupils, if they haven’t already. Next time around, I don’t foresee Early Moods catching Senioritis—in fact, they seem poised to pass through Gates of Greatness, in due time.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: RidingEasy Records
Websites: Instagram | Facebook
Releases Worldwide: September 18th, 2026

Junior year tends to make or break a band. No one expects too much from freshmen, but Professor Druhm1 recognized potential in doomsters Early Moods, awarding their self-titled debut (2022) an enthusiastic B+. We didn’t cover it, but the band’s follow-up fell victim to the dreaded sophomore slump, albeit modestly. A Sinner’s Past (2024) continued proving Early Moods to be attentive students of classic doom and NWOBHM, but at 50 minutes, mistakes quantity for quality. Returning from summer vacation, this LA quintet excitedly arrives on campus with their third full-length, Ready for the Grave. As their new headmaster, I’m hoping Early Moods will crack the books and return to (or even exceed) their marks from freshman year. Subsequently, I urge them to avoid excessive extracurriculars, as well as temptation by those extra extracurriculars (down by the bushes outside campus).

Influenced as they are by the classics, Early Moods do not come off as plagiarists. Guitarists Oscar Hernandez and Eddie Andrade channel Black Sabbath and Trouble in their proclivity for huge riffs and wah-wah’d solos, while the likes of Iron Maiden and Diamond Head show up by way of epic harmonies and middle-gear chuggery. The eponymous opener perfectly exemplifies the band’s mixing of doom and NWOBHM. “Ready for the Grave” kicks off with a simple, snakey, and slow riff that quickly turns into a driving force. Early Moods are not in want of riffs, as demonstrated by the dark, doomy goodness littered throughout “Inquisition” (an album highlight). Rhythm section Elix Felciano (bass) and Chris Flores (drums) are no slouches, invigorating these songs via changes in time signature and tempo (“The Prowler,” “When Light Fades”). Above it all are the charming cords of Alberto Alcaraz, which quiver, drawl, and boom, to much delight. His is a perfect doom vocal for me: sentimental without feeling schmaltzy. Presented through well-balanced, warm production, Ready for the Grave sounds of the late-70s/early 80s, but none of its obvious influences ever completely take over. Undoubtedly, Early Moods posses their own voice.

Ready for the Grave stands as high-quality work for its satisfyingly subtle songwriting. Early Moods primarily stick to the time-tested verse-chorus-bridge formula, though this shouldn’t suggest monotony. Indeed, the songs feel like features for different facets of the band, whether it’s the indelible riffing (“Inquisition”), pulsating grooves (“Thy Eternal Grief”), or spooky synths (“The Prowler”).2 Small choices, too, end up paying larger dividends than expected. Ending with a third verse, for example (“Ready for the Grave”), or fading out on an appropriately titled song (“When Light Fades”), all suggest a band paying careful attention to detail. At 7 tracks in 41 minutes, Ready for the Grave returns to a winning formula. Coupling the shorter track count of A Sinner’s Past with the overall brevity of the debut, Early Moods play to their strengths, offering listeners well-crafted tunes that breathe.

Alright, it’s time to break out the red pen. My first criticism concerns pacing. Ready for the Grave kicks the door in with two fantastic cuts (“Ready for the Grave,” “Inquisition”), but it takes a small but noticeable dip afterwards. The album turns to a solid change of pace with a pseudo-ballad for song three (“Thy Eternal Grief”), but Ready for the Grave never quite reaches the heights of its opening duo. “Thy Eternal Grief” brings up a second, minor knock, concerning the vocals. As discussed, Alcaraz generally kills it, but there are moments when his voice feels strained, or where he could make sparse sections more colorful by exploring his range (“When Light Fades”). And finally, some bolts could be tightened, despite my general enthusiasm for the songwriting. Some riff vampings here (“Ready for the Grave”) and abrupt endings there (“Her Wicked Spells”) call for minor, local revisions.

All told, I am pleased to report that Early Moods are more than back on track in their junior year. Ready for the Grave vastly improves upon its overlong predecessor, and it ever-so-slightly supersedes the band’s promising debut. It’s a record that’s both catchy and spacious, with distinguishing elements that make it rise above simple nostalgia. Fans of doom and NWOBHM especially owe it to themselves to become familiar with these promising pupils, if they haven’t already. Next time around, I don’t foresee Early Moods catching Senioritis—in fact, they seem poised to pass through Gates of Greatness, in due time.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: RidingEasy Records
Websites: Instagram | Facebook
Releases Worldwide: September 18th, 2026

Junior year tends to make or break a band. No one expects too much from freshmen, but Professor Druhm1 recognized potential in doomsters Early Moods, awarding their self-titled debut (2022) an enthusiastic B+. We didn’t cover it, but the band’s follow-up fell victim to the dreaded sophomore slump, albeit modestly. A Sinner’s Past (2024) continued proving Early Moods to be attentive students of classic doom and NWOBHM, but at 50 minutes, mistakes quantity for quality. Returning from summer vacation, this LA quintet excitedly arrives on campus with their third full-length, Ready for the Grave. As their new headmaster, I’m hoping Early Moods will crack the books and return to (or even exceed) their marks from freshman year. Subsequently, I urge them to avoid excessive extracurriculars, as well as temptation by those extra extracurriculars (down by the bushes outside campus).

Influenced as they are by the classics, Early Moods do not come off as plagiarists. Guitarists Oscar Hernandez and Eddie Andrade channel Black Sabbath and Trouble in their proclivity for huge riffs and wah-wah’d solos, while the likes of Iron Maiden and Diamond Head show up by way of epic harmonies and middle-gear chuggery. The eponymous opener perfectly exemplifies the band’s mixing of doom and NWOBHM. “Ready for the Grave” kicks off with a simple, snakey, and slow riff that quickly turns into a driving force. Early Moods are not in want of riffs, as demonstrated by the dark, doomy goodness littered throughout “Inquisition” (an album highlight). Rhythm section Elix Felciano (bass) and Chris Flores (drums) are no slouches, invigorating these songs via changes in time signature and tempo (“The Prowler,” “When Light Fades”). Above it all are the charming cords of Alberto Alcaraz, which quiver, drawl, and boom, to much delight. His is a perfect doom vocal for me: sentimental without feeling schmaltzy. Presented through well-balanced, warm production, Ready for the Grave sounds of the late-70s/early 80s, but none of its obvious influences ever completely take over. Undoubtedly, Early Moods posses their own voice.

Ready for the Grave stands as high-quality work for its satisfyingly subtle songwriting. Early Moods primarily stick to the time-tested verse-chorus-bridge formula, though this shouldn’t suggest monotony. Indeed, the songs feel like features for different facets of the band, whether it’s the indelible riffing (“Inquisition”), pulsating grooves (“Thy Eternal Grief”), or spooky synths (“The Prowler”).2 Small choices, too, end up paying larger dividends than expected. Ending with a third verse, for example (“Ready for the Grave”), or fading out on an appropriately titled song (“When Light Fades”), all suggest a band paying careful attention to detail. At 7 tracks in 41 minutes, Ready for the Grave returns to a winning formula. Coupling the shorter track count of A Sinner’s Past with the overall brevity of the debut, Early Moods play to their strengths, offering listeners well-crafted tunes that breathe.

Alright, it’s time to break out the red pen. My first criticism concerns pacing. Ready for the Grave kicks the door in with two fantastic cuts (“Ready for the Grave,” “Inquisition”), but it takes a small but noticeable dip afterwards. The album turns to a solid change of pace with a pseudo-ballad for song three (“Thy Eternal Grief”), but Ready for the Grave never quite reaches the heights of its opening duo. “Thy Eternal Grief” brings up a second, minor knock, concerning the vocals. As discussed, Alcaraz generally kills it, but there are moments when his voice feels strained, or where he could make sparse sections more colorful by exploring his range (“When Light Fades”). And finally, some bolts could be tightened, despite my general enthusiasm for the songwriting. Some riff vampings here (“Ready for the Grave”) and abrupt endings there (“Her Wicked Spells”) call for minor, local revisions.

All told, I am pleased to report that Early Moods are more than back on track in their junior year. Ready for the Grave vastly improves upon its overlong predecessor, and it ever-so-slightly supersedes the band’s promising debut. It’s a record that’s both catchy and spacious, with distinguishing elements that make it rise above simple nostalgia. Fans of doom and NWOBHM especially owe it to themselves to become familiar with these promising pupils, if they haven’t already. Next time around, I don’t foresee Early Moods catching Senioritis—in fact, they seem poised to pass through Gates of Greatness, in due time.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: RidingEasy Records
Websites: Instagram | Facebook
Releases Worldwide: September 18th, 2026

RUNEMAGICK (Suècia) presenta nou àlbum: "After Chaos: Nocturnal Vigil" #Runemagick #DeathMetal #DoomMetal #Setembre2026 #Suècia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

RUNEMAGICK (Suècia) presenta nou àlbum: "After Chaos: Nocturnal Vigil" #Runemagick #DeathMetal #DoomMetal #Setembre2026 #Suècia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

#CurrentlyListeningTo Green Lung - Necropolitan #HeavyMetal #DoomMetal #StonerMetal #OccultRock 🇬🇧

#CurrentlyListeningTo Green Lung - Necropolitan #HeavyMetal #DoomMetal #StonerMetal #OccultRock 🇬🇧

#CurrentlyListeningTo Green Lung - Necropolitan #HeavyMetal #DoomMetal #StonerMetal #OccultRock 🇬🇧

#CurrentlyListeningTo Green Lung - Necropolitan #HeavyMetal #DoomMetal #StonerMetal #OccultRock 🇬🇧

MAUNAH (Dinamarca) presenta nou àlbum: "Hjarta" #Maunah #DoomMetal #PostMetal #Setembre2026 #Dinamarca #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

MAUNAH (Dinamarca) presenta nou àlbum: "Hjarta" #Maunah #DoomMetal #PostMetal #Setembre2026 #Dinamarca #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

New #Runemagick is out!

https://runemagick.bandcamp.com/album/after-chaos-nocturnal-vigil

#deathmetal #doommetal #deathdoom #newreleases

New #Runemagick is out!

https://runemagick.bandcamp.com/album/after-chaos-nocturnal-vigil

#deathmetal #doommetal #deathdoom #newreleases

#Drone & #doomMetal ... pause player when?

#Drone & #doomMetal ... pause player when?

#Drone & #doomMetal ... pause player when?

#Drone & #doomMetal ... pause player when?

GRAVE CULTURE (Estats Units) presenta nova demo: "Grave Culture" #GraveCulture #Sludge #DoomMetal #Setembre2026 #EstatsUnits #NovaDemo #Metall #Metal #MúsicaMetal #MetalMusic

GRAVE CULTURE (Estats Units) presenta nova demo: "Grave Culture" #GraveCulture #Sludge #DoomMetal #Setembre2026 #EstatsUnits #NovaDemo #Metall #Metal #MúsicaMetal #MetalMusic

I've been listening to #GreenLung 's new album, Necropolitan, nonstop for the past couple of days. It's sooo good! Is anyone else excited about this one?!

https://youtube.com/playlist?list=PLM7DW1s56xOc&si=jLcUoy-GKf_XVkpz

#DoomMetal #StonerMetal #PsychedelicRock #OccultRock #Music

I've been listening to #GreenLung 's new album, Necropolitan, nonstop for the past couple of days. It's sooo good! Is anyone else excited about this one?!

https://youtube.com/playlist?list=PLM7DW1s56xOc&si=jLcUoy-GKf_XVkpz

#DoomMetal #StonerMetal #PsychedelicRock #OccultRock #Music

I've been listening to #GreenLung 's new album, Necropolitan, nonstop for the past couple of days. It's sooo good! Is anyone else excited about this one?!

https://youtube.com/playlist?list=PLM7DW1s56xOc&si=jLcUoy-GKf_XVkpz

#DoomMetal #StonerMetal #PsychedelicRock #OccultRock #Music

I've been listening to #GreenLung 's new album, Necropolitan, nonstop for the past couple of days. It's sooo good! Is anyone else excited about this one?!

https://youtube.com/playlist?list=PLM7DW1s56xOc&si=jLcUoy-GKf_XVkpz

#DoomMetal #StonerMetal #PsychedelicRock #OccultRock #Music

I've been listening to #GreenLung 's new album, Necropolitan, nonstop for the past couple of days. It's sooo good! Is anyone else excited about this one?!

https://youtube.com/playlist?list=PLM7DW1s56xOc&si=jLcUoy-GKf_XVkpz

#DoomMetal #StonerMetal #PsychedelicRock #OccultRock #Music

🔴 LIVE NOW ON VORTEX
📻 Vortex Sessions 🎧 (Indie pop, synth-pop, alternative rock)
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🎵 Blackwater Holylight - Heavy, Why?

▶️ Écouter / Listen : VorteX [Radio]
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#VortexWave #BlackwaterHolylight #DoomMetal #PsychRock #2010s

THEATRE OF TRAGEDY (Noruega) presenta nou recopilatori: "The Demo Collection 1994-1999" #TheatreOfTragedy #Gothic #DoomMetal #DeathMetal #Industrial #GothicMetal #Rock #Setembre2026 #Noruega #NouRecopilatori #Metall #Metal #MúsicaMetal #MetalMusic

THEATRE OF TRAGEDY (Noruega) presenta nou recopilatori: "The Demo Collection 1994-1999" #TheatreOfTragedy #Gothic #DoomMetal #DeathMetal #Industrial #GothicMetal #Rock #Setembre2026 #Noruega #NouRecopilatori #Metall #Metal #MúsicaMetal #MetalMusic

THEATRE OF TRAGEDY (Noruega) presenta nou recopilatori: "The Demo Collection 1994-1999" #TheatreOfTragedy #Gothic #DoomMetal #DeathMetal #Industrial #GothicMetal #Rock #Setembre2026 #Noruega #NouRecopilatori #Metall #Metal #MúsicaMetal #MetalMusic

Sepulchral Curse – Crimson Moon Evocations Review

By Tyme

Turku, Finland’s five-piece blackened death outfit Sepulchral Curse, have been carving their niche into the Finnish metal scene since 2013. Their 2020 debut album, Only Ashes Remain, which was backed by the full force and weight of the mighty Transcending Obscurity marketing machine, made quite an impression on fans1 and critics alike with its raw power and overt melodicism. After the departure of drummer and principal songwriter Tommi Ilmanen, however, 2023’s Abhorrent Dimensions was a beast of a different fur, with some of the melodic intricacies of its predecessor dialed back in favor of ferocity. Now, supported by new label Dark Descent Records and with the full Abhorrent Dimensions line-up intact, Sepulchral Curse returns with Crimson Moon Evocations. I was surprised that AMG had never covered a Sepulchral Curse release before, so I was excited to get to work. After re-acquainting myself with their previous efforts, I dove into Crimson Moon Evocations, wondering whether I’d howl or scowl.

Sepulchral Curse continues to drain the “black” from its blackened death metal swamp, replacing it with a healthy dose of doom on Crimson Moon Evocations. Gone is the bright, youthful thrashiness of Only Ashes Remain and the overtly straightforward, middle-aged deathliness of Abhorrent Dimensions, leaving only a cadaverously mature darkness in its wake, a fitting reflection of Mark Erskine’s beautifully murky cover art. Guitarists Jaako Riihinäki and Aleksi Luuka, who split songwriting duties here, have crafted an album that mixes Hyperdontial barbarism with the moody melodicism of Ocean of Grief. Full of melancholic leads (“Wildfires,” “The Currents of Chaos”), doom-heavy chugs and dense, chest-piercing riffs (“The Locust Scar”), there’s plenty here to keep heads bobbing and fists engaged. Niilas Nissilä’s bass, though not always audible, combines well with Johannes Rantala’s world-beating drum work to bring extra heft to the Crimson Moon Evocations riff-fest. Add the always guttural, brute-heavy vocals of Kari Kankaanpää to this primarily mid-paced affair, and Sepulchral Curse seems to have successfully crossed over into the realms of melodic death doomdom.

From start to finish, the journey through Crimson Moon Evocations‘ forty-minute runtime took me by surprise. With Riihinäki’s and Luuka’s dual guitar work hanging lushly in the garden of Tomi Uusitupa’s warm mix, the crushing tremolos of “House of the Black Moon” stand tall alongside the Slayer-like leads of “Beneath the Dismal Tides” and the monstrous power of “Crimson Passage” as album highlights. The doomier approach shows fans this is not the stock-in-trade Sepulchral Curse they are used to but a band stretching past the boundaries of its previous efforts to carve out a more sustainable future. And if the inherent darkness embedded into Crimson Moon Evocations is any indication, the future for Sepulchral Curse may have just gotten brighter.

Still, as evolved as Sepulchral Curse have become on Crimson Moon Evocations, there’s still work to do. While I am a big fan of Kari’s monstrously cavernous vocal delivery, the sheer density of the man’s crushing approach can sometimes leave a listener gasping for air. Previous efforts saw backing vocals provided by Ilmanen and Nissilä offset that density with plenty of blackish rasps and shouts. On Crimson Moon Evocations, Kari stands alone in the vocal spotlight with only “Empress of the Dead” offering some level of strident, Nissilä provided variety. Combine this issue with the fact that, since its inception, Sepulchral Curse has never really done anything to place itself head and shoulders above what any other band is doing in the blackened death, and now doom, space, and you are left with just one more fair-to-middlin’ affair.

Sepulchral Curse is a good band. Crimson Moon Evocations is a good album, and I enjoyed it well enough. This “goodness” stands both as the band’s blessing and its curse. And while the opening of this last paragraph has made it clear what score I’ve assessed, it bears reiterating that Sepulchral Curse has done nothing here that’s got me mixed or disappointed, but they’ve also not done anything very good or great. However, I am encouraged by this newfound darkness they’ve tapped into and will be hoping for a howling great time on the next outing.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Dark Descent Records | Bandcamp
Websites: Bandcamp | Facebook
Releases Worldwide: February 28, 2025

#2025 #30 #BlackMetal #CrimsonMoonEvocations #DarkDescentRecords #DeathMetal #DoomMetal #Feb25 #FinnishMetal #Hyperdontia #OceanOfGrief #Review #SepulchralCurse

Sepulchral Curse – Crimson Moon Evocations Review

By Tyme

Turku, Finland’s five-piece blackened death outfit Sepulchral Curse, have been carving their niche into the Finnish metal scene since 2013. Their 2020 debut album, Only Ashes Remain, which was backed by the full force and weight of the mighty Transcending Obscurity marketing machine, made quite an impression on fans1 and critics alike with its raw power and overt melodicism. After the departure of drummer and principal songwriter Tommi Ilmanen, however, 2023’s Abhorrent Dimensions was a beast of a different fur, with some of the melodic intricacies of its predecessor dialed back in favor of ferocity. Now, supported by new label Dark Descent Records and with the full Abhorrent Dimensions line-up intact, Sepulchral Curse returns with Crimson Moon Evocations. I was surprised that AMG had never covered a Sepulchral Curse release before, so I was excited to get to work. After re-acquainting myself with their previous efforts, I dove into Crimson Moon Evocations, wondering whether I’d howl or scowl.

Sepulchral Curse continues to drain the “black” from its blackened death metal swamp, replacing it with a healthy dose of doom on Crimson Moon Evocations. Gone is the bright, youthful thrashiness of Only Ashes Remain and the overtly straightforward, middle-aged deathliness of Abhorrent Dimensions, leaving only a cadaverously mature darkness in its wake, a fitting reflection of Mark Erskine’s beautifully murky cover art. Guitarists Jaako Riihinäki and Aleksi Luuka, who split songwriting duties here, have crafted an album that mixes Hyperdontial barbarism with the moody melodicism of Ocean of Grief. Full of melancholic leads (“Wildfires,” “The Currents of Chaos”), doom-heavy chugs and dense, chest-piercing riffs (“The Locust Scar”), there’s plenty here to keep heads bobbing and fists engaged. Niilas Nissilä’s bass, though not always audible, combines well with Johannes Rantala’s world-beating drum work to bring extra heft to the Crimson Moon Evocations riff-fest. Add the always guttural, brute-heavy vocals of Kari Kankaanpää to this primarily mid-paced affair, and Sepulchral Curse seems to have successfully crossed over into the realms of melodic death doomdom.

From start to finish, the journey through Crimson Moon Evocations‘ forty-minute runtime took me by surprise. With Riihinäki’s and Luuka’s dual guitar work hanging lushly in the garden of Tomi Uusitupa’s warm mix, the crushing tremolos of “House of the Black Moon” stand tall alongside the Slayer-like leads of “Beneath the Dismal Tides” and the monstrous power of “Crimson Passage” as album highlights. The doomier approach shows fans this is not the stock-in-trade Sepulchral Curse they are used to but a band stretching past the boundaries of its previous efforts to carve out a more sustainable future. And if the inherent darkness embedded into Crimson Moon Evocations is any indication, the future for Sepulchral Curse may have just gotten brighter.

Still, as evolved as Sepulchral Curse have become on Crimson Moon Evocations, there’s still work to do. While I am a big fan of Kari’s monstrously cavernous vocal delivery, the sheer density of the man’s crushing approach can sometimes leave a listener gasping for air. Previous efforts saw backing vocals provided by Ilmanen and Nissilä offset that density with plenty of blackish rasps and shouts. On Crimson Moon Evocations, Kari stands alone in the vocal spotlight with only “Empress of the Dead” offering some level of strident, Nissilä provided variety. Combine this issue with the fact that, since its inception, Sepulchral Curse has never really done anything to place itself head and shoulders above what any other band is doing in the blackened death, and now doom, space, and you are left with just one more fair-to-middlin’ affair.

Sepulchral Curse is a good band. Crimson Moon Evocations is a good album, and I enjoyed it well enough. This “goodness” stands both as the band’s blessing and its curse. And while the opening of this last paragraph has made it clear what score I’ve assessed, it bears reiterating that Sepulchral Curse has done nothing here that’s got me mixed or disappointed, but they’ve also not done anything very good or great. However, I am encouraged by this newfound darkness they’ve tapped into and will be hoping for a howling great time on the next outing.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Dark Descent Records | Bandcamp
Websites: Bandcamp | Facebook
Releases Worldwide: February 28, 2025

#2025 #30 #BlackMetal #CrimsonMoonEvocations #DarkDescentRecords #DeathMetal #DoomMetal #Feb25 #FinnishMetal #Hyperdontia #OceanOfGrief #Review #SepulchralCurse

Sepulchral Curse – Crimson Moon Evocations Review

By Tyme

Turku, Finland’s five-piece blackened death outfit Sepulchral Curse, have been carving their niche into the Finnish metal scene since 2013. Their 2020 debut album, Only Ashes Remain, which was backed by the full force and weight of the mighty Transcending Obscurity marketing machine, made quite an impression on fans1 and critics alike with its raw power and overt melodicism. After the departure of drummer and principal songwriter Tommi Ilmanen, however, 2023’s Abhorrent Dimensions was a beast of a different fur, with some of the melodic intricacies of its predecessor dialed back in favor of ferocity. Now, supported by new label Dark Descent Records and with the full Abhorrent Dimensions line-up intact, Sepulchral Curse returns with Crimson Moon Evocations. I was surprised that AMG had never covered a Sepulchral Curse release before, so I was excited to get to work. After re-acquainting myself with their previous efforts, I dove into Crimson Moon Evocations, wondering whether I’d howl or scowl.

Sepulchral Curse continues to drain the “black” from its blackened death metal swamp, replacing it with a healthy dose of doom on Crimson Moon Evocations. Gone is the bright, youthful thrashiness of Only Ashes Remain and the overtly straightforward, middle-aged deathliness of Abhorrent Dimensions, leaving only a cadaverously mature darkness in its wake, a fitting reflection of Mark Erskine’s beautifully murky cover art. Guitarists Jaako Riihinäki and Aleksi Luuka, who split songwriting duties here, have crafted an album that mixes Hyperdontial barbarism with the moody melodicism of Ocean of Grief. Full of melancholic leads (“Wildfires,” “The Currents of Chaos”), doom-heavy chugs and dense, chest-piercing riffs (“The Locust Scar”), there’s plenty here to keep heads bobbing and fists engaged. Niilas Nissilä’s bass, though not always audible, combines well with Johannes Rantala’s world-beating drum work to bring extra heft to the Crimson Moon Evocations riff-fest. Add the always guttural, brute-heavy vocals of Kari Kankaanpää to this primarily mid-paced affair, and Sepulchral Curse seems to have successfully crossed over into the realms of melodic death doomdom.

From start to finish, the journey through Crimson Moon Evocations‘ forty-minute runtime took me by surprise. With Riihinäki’s and Luuka’s dual guitar work hanging lushly in the garden of Tomi Uusitupa’s warm mix, the crushing tremolos of “House of the Black Moon” stand tall alongside the Slayer-like leads of “Beneath the Dismal Tides” and the monstrous power of “Crimson Passage” as album highlights. The doomier approach shows fans this is not the stock-in-trade Sepulchral Curse they are used to but a band stretching past the boundaries of its previous efforts to carve out a more sustainable future. And if the inherent darkness embedded into Crimson Moon Evocations is any indication, the future for Sepulchral Curse may have just gotten brighter.

Still, as evolved as Sepulchral Curse have become on Crimson Moon Evocations, there’s still work to do. While I am a big fan of Kari’s monstrously cavernous vocal delivery, the sheer density of the man’s crushing approach can sometimes leave a listener gasping for air. Previous efforts saw backing vocals provided by Ilmanen and Nissilä offset that density with plenty of blackish rasps and shouts. On Crimson Moon Evocations, Kari stands alone in the vocal spotlight with only “Empress of the Dead” offering some level of strident, Nissilä provided variety. Combine this issue with the fact that, since its inception, Sepulchral Curse has never really done anything to place itself head and shoulders above what any other band is doing in the blackened death, and now doom, space, and you are left with just one more fair-to-middlin’ affair.

Sepulchral Curse is a good band. Crimson Moon Evocations is a good album, and I enjoyed it well enough. This “goodness” stands both as the band’s blessing and its curse. And while the opening of this last paragraph has made it clear what score I’ve assessed, it bears reiterating that Sepulchral Curse has done nothing here that’s got me mixed or disappointed, but they’ve also not done anything very good or great. However, I am encouraged by this newfound darkness they’ve tapped into and will be hoping for a howling great time on the next outing.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Dark Descent Records | Bandcamp
Websites: Bandcamp | Facebook
Releases Worldwide: February 28, 2025

#2025 #30 #BlackMetal #CrimsonMoonEvocations #DarkDescentRecords #DeathMetal #DoomMetal #Feb25 #FinnishMetal #Hyperdontia #OceanOfGrief #Review #SepulchralCurse