#dødheimsgard — Public Fediverse posts

The storms persist, but now it’s getting hot! Steam roils inside the filter ducts as my minions scald themselves in the pursuit of moderately valuable nuggets. Will they succeed before they cook like so many broccoli florets? Only time will tell.

Dead or alive, I’ll make sure these lazy louts deliver their semi-precious lodes. So be thankful, and BEHOLD!

Kenstrosity’s Mountainous Member

Volcandra // Beyond the Will of Mortals [April 24th, 2026 – Prosthetic Records]

Who knows why we don’t get promo sometimes? Countless times I’ve been faced with great anticipation for a new record by a band I was keeping tabs on, and countless times, for unknown reasons, promo never came. Louisville melodic black/death quartet Volcandra now enter those ranks with the unsent Beyond the Will of Mortals. Picking up where The Will of Ancients left off, Beyond the Will of Mortals expands in scope and scale, eliciting a grandeur in composition that recalls the epic yarns spun by Foretoken, Hath, and Astralborne, but with the thrashing sensibilities of Antiverse and Skeletonwitch. Leading the charge in stunning fashion, “Beyond the Will of Mortals” and “Marauders of the Cosmic Vortex” explode with a visceral burst of energy built around high-octane riffs, screaming solos, and majestic melodies. Dave Palenske in particular acquits himself admirably, expanding his vocal range far beyond the expected, foraying into scorching screams and subterranean gutturals with excellent technique and charisma (“Venom March Enchantress”). But the rest of the band easily keeps up, deftly trading blows between power metal-ready gallops, violent swings into thrash territory, and all manner of other pyrotechnics to make Beyond the Will of Mortals Volcandra’s most versatile and varied offering yet. To some, this may create a disjointed experience as rippers like “Mage of Fabled Sorcery” contrast in pacing and personality to its neighbors. However, with repeat listens that effects dissolves, making more room to appreciate how much fun this record really is. The back half capitalizes on that effect, unleashing lean and mean banger after banger to leave you salivating for another round (“Within the Webs,” “Infinite Decadence”). In sum, Beyond the Will of Mortals is a fine, invigorating inclusion into anyone’s rotation; so if you missed it, get on it now!

Creeping Ivy’s Punkyard Dogs

Dead Bob // Nothing Changes Everything [April 21st, 2026 – Wrong Records]

In The Collector’s Guide to Heavy Metal, Martin Popoff describes Wrong (1989) by Nomeansno as ‘the mightiest merger between the hateful aggression of punk and the discipline of heavy metal’ (316). Essentially, Popoff affixed to Wrong AMG’s Iconic label: 10/10.1 For readers perhaps unfamiliar with Nomeansno, my best follow-up on Popoff’s portrayal is that the band—formed in 1979 by the Wright brothers (Rob on bass/vocals, John on drums/vocals)—sounds like The Minutemen hijacked a Voivod. After an incredible eleven-album run, Nomeansno officially retired in 2016. Why am I wasting my word count with this history lesson on the greatest Canadian punk band of all time? Because Dead Bob, John Wright’s solo project, released its sophomore album this April. Whereas Life Like fulfills the vision of one man, John enlisted a band for Nothing Changes Everything. Bookending the album are the last two songs John co-wrote with Rob. The techy guitar/bass interplay of lead-off “Centre of the Universe,” as well as the pounding rhythms of closer “No Fun (Alt Mix),” come closest to the punk/metal hybridity of vintage Nomeansno. Between these tracks, the album gets increasingly weird (which is to say, it gets increasingly ‘punk,’ in the word’s original connotation). “Nothing Changes Everything” deploys horns, “Hard is Hard” mixes art/surf rock, and “The Present” sprinkles psychedelic guitar leads over pulsing synths and tribal percussion. If you’re a fan of avant-garde music in a compact package, you can’t go wrong with Nothing Changes Everything.

Poison Ruïn // Hymns from the Hills [April 3rd, 2026 – Relapse Records]

Whilst reading Tyme‘s (excellent) review of Twin Serpent’s (super fun) True Norwegian Blackgrass, a member of the commentariat reminded me of how much I enjoyed Poison Ruïn’s latest offering upon a first listen. That comment got me to revisit Hymn from the Hills, and I’m glad I did. To sell these Philly post-punks to the AMG Faithful, I’ll point out a few things: they’re signed to Relapse Records, they curate a medieval aesthetic (which includes deploying dungeon synths), and the new record was mastered by Arthur Rizk. In addition to liberal metal elements, Poison Ruïn occasionally stride with rock n’ roll swagger (“Hymn from the Hills”), with primary visionary Mac Kennedy channeling Blue Öyster Cult in his role as singer, guitarist, and primary songwriter (“Lily of the Valley”). “Eidolon” perfectly exemplifies the band’s hybridity, mashing up the melody of “Layla,” the propulsive drive of Hüsker Dü, and the rhythmic punctuations of “For Whom the Bell Tolls.” This may sound like a critique, but it’s not; Poison Ruïn excels at mixing punk, rock, and metal into their own arthouse concoction. Metal purists might have to wait until the end of the album, though, to have their fancy truly tickled. But wait, they should, as “Sleeping Giant (Interlude)” offers funeral doom content in a punk-sized package, while closer “The Standoff” gets moving with a wicked blast beat. I’ll definitely be heading for these post-punk hills more and more throughout the year.

Scimitar // Scimitarium II [April 24th, 2026 – Crypt of the Wizard]

Scimitar’s first song receptacle was one of my favorite debuts of 2025. On Scimitarium I, this Danish five-piece served up a scintillating selection of ‘black occult rock,’ combining the caustic fervor of Malokarpatan with the psychedelic haze of Blue Cheer, topped off with a post-punk flavoring of Joy Division. A year later, this Copenhagen cutter returns with Scimitarium II, a follow-up that satisfyingly mirrors the album-art format of its predecessor. Whereas Scimitarium I demonstrated range marred a bit by roughshod production, volume II sounds much sharper, slashing and dashing for a lean 40 minutes. The opening title track introduces our combatants: the dexterous drumming of CCsquele; the counter-melodic bass of Olle Bergholz; the sinister guitar fury of Johan L. Ekstrand and Anders M. Jørgensen; and finally, the commanding vocals of Shaam A.2 From there, the album rips through a trio of unrelenting ragers that feel like they can fall apart at any minute but miraculously hold together. “Through Lava Lit Roads to Lavilenda, Pt. II” offers the only reprieve, spotlighting Shaam’s dynamic range and impressive timbre. Closing out the collection is “Mobula Mobular,” a 13-minute monster built around a doomy riff whose chromaticism lurches upward and downward, to hypnotizing effect. If Scimitar can marry the ambition of I with the ferocity of II next time around, they’ll have a blackened-trad killer on their hands.

Andy-War-Hall’s Dandy Score Haul

Elegant Weapons // Evolution [April 24th, 2026 – Exciter Records]

Everything about Elegant Weapons and the super group’s sophomore record Evolution is a misnomer. Evolution is a high-octane slugfest of tried-and-true heavy metal-leaning hard rock, and Elegant Weapons swing, punch, and bite through it with everything but grace. Is this a problem? When Richie Faulkener’s (Judas Priest) riffs are as groovy and burly as ever and his solos as grin-inducing, Ronnie Romero’s (ex-Rainbow, ex-Michael Schenker Group) voice is booming as it is, and when Dave Rimmer (Uriah Heep) and Christopher Williams’ (Accept) bass and drums respectively, carry as tight a pulse as they do on Evolution, not at all. When it all coalesces into uber catchy fist-pumping anthems like “Bridges Burn,” “The Devil Calls,” and “Shooting Shadows,” especially so. Evolution is easy-peasy listening, and Elegant Weapons’ chemistry and knack for hookcraft make its near hour-long runtime fly by, as well as ease the cringe of the hyper-Boomeristic lyricism on “Generation Me.” They also manage to make fairly stock power ballads in “Come Back to Me” and “Keeper of the Keys” feel affecting, driven by a viral vocal presence and emotive, timeless guitar soloing. Evolution is fun, and Elegant Weapons are sharp. ‘Nuff said.

Demon Spell // Blessed Be the Dark [April 24th, 2026 – Dying Victims Productions]

Creeping from an obscure, ancient, and sinister darkness, Sicily’s Demon Spell have conjured a shadow-cast era of heavy metal’s history back to the light of day with their debut Blessed Be the Dark. Wielding the evil auras of Mercyful Fate and Witchfinder General, Demon Spell play an early-80s melange of early thrash, occult rock, and NWoBHM riffcraft and swagger. Blessed Be the Dark is driven by excellent performances. Vocalist Federico Fano’s falsetto wails evoke King Diamond at his best on “As Lucifer Smiles” while drummer Dario Casabona drops slick, pummeling fills over “Curse of the Undead.” Sinister melodies and atmospheres abound on Blessed Be the Dark, with “The Tolling” and “Hexes and Horrors” driving home a vintage horror aesthetic while tearing it up with blistering heavy metal. Blessed Be the Dark also just sounds pleasantly old. Demon Spell’s guitars and bass sound pulled straight from 1981, complementing their retro songcraft perfectly. Blessed Be the Dark sounds like the night come alive, a fast, fun, and delightfully dark exploration of the kinds of heavy metal that gave your grandma panic attacks back in the day. Fall under the Demon Spell today!

Grin Reaper’s Grim Goodies

Nervosa // Slave Machine [April 3rd, 2026 – Napalm Records]

For a band releasing their sixth album in twelve years, Nervosa sounds remarkably vital. Staying the course with a dozen tracks of their signature death/thrash, Slave Machine burns through forty-three minutes of whammy dives, soaring leads, and all-around thrashy goodness. Writing tunes that pay homage to Sepultura (“You Are Not a Hero”), Kreator (“Ghost Notes”), and Sodom (“The Call”), Nervosa bludgeons with blunt-force drama while touting slick riffs and venomous melodies. Slave Machine opens with “Impending Doom,” a stirring salvo that Arch Enemy wishes they’d written, and from there Nervosa hints at the familiar without ever straying from their own lane. “Hate” starts with a riff that simultaneously reminds of Maiden’s “Flash of the Blade” and System of a Down’s “B.Y.O.B.” before spiraling into vaguely In Flames-tinged melodeath. Meanwhile, “Crawling for Your Pride” and “Beast of Burden” draw from the viciousness of mid-aughts Soulfly. Over and over, Nervosa pulls from known sources, yet bakes enough novelty into their songwriting to sound fresh and pummeling. Those intimate with Nervosa won’t find many surprises here, but are in for a treat. If this is your first encounter with these Brazilian badasses, gird your ears and strap in—welcome to the Slave Machine.

Kõdu // Kirjad Sõgedate Külast [April 20th, 2026 – Antiq Records]

Five years after delivering debut Unusta Kõik, Estonian outfit Kõdu graces us with their sophomore album. Translated as ‘Letters from the Village of the Blind,’3 Kirjad Sõgedate Külast details the sordid ruination of a backwoods village, relating its narrative aspects through a series of letters where each song chronicles a different villager’s perspective.4 Kõdu grounds the lyrics in their native language, drawing from nineteenth and twentieth-century Estonian poets for inspiration. Despite the depth of the macabre backdrop, I never would have taken the time to learn more if Kõdu’s music hadn’t entranced me from the outset. Slow-burn black metal abounds on Kirjad Sõgedate Külast, recalling Dødheimsgard’s shifting moods (“II”) and eclectic instrumentation (“III”) muddled with Wayfarer’s rustic arrangements (“VI”) and Emperor’s dramatic flair (“V”). Musically, Kirjad Sõgedate Külast conjures lush soundscapes (“VII”) through considered songwriting, expertly balancing black metal discharges with melancholic passages that give moments just the right amount of time to bludgeon or breathe before pivoting. I regret not getting the chance to review Kõdu’s latest in full, because the folk magic they weave on Kirjad Sõgedate Külast deserves fanfare and kudõs aplenty.

ClarkKent’s Epic Elegy

Bloody Valkyria // Requiem – Reveries Of The Dying [April 3rd, 2026 – Northern Silence Productions]

Bloody Valkyria, the product of Finland’s Jere Kervinen, peddles in the same sort of epic symphonic/folk black metal that the likes of Ancient Mastery, Stormkeep, and Moonlight Sorcery dish out. Kervinen’s emotionally charged project appears inspired by a personal loss, and you can feel his passion in the emotional outpouring of his music and lyrics. On the epic opener, “Symphony of Silence,” Bloody Valkyria reveal their capability with the patient slow burn. There’s the natural, serene ambience of animal sounds, strings, folky flutes, and then a sudden explosion of riffs and blast beats. And boy does Kervinen write some extraordinary leads, which makes his slow-burn approach all the more rewarding. Each song contains a well-earned hooky riff/trem that holds its sway over you even as the song grows into more thoughtful serenity. Reading along with Kervinen’s poetic, touching lyrics makes the experience all the more poignant as he ruminates on death and the meaning of life. The grief by the end, as he sings about his “beloved north” and a desire for its/her embrace, is palpable. This is a beautiful record that may be too good for these dirty filters, but I just couldn’t risk it getting lost in the shuffle of the chaos that is the end of year.

If you know anything about grumpy ole Grier, you know he’s been dry-humping Bizarrekult ever since 2021’s Vi Overlevde. “Dry-humping” might not be the correct term. Maybe passionate lovemaking? Yeah, that’s the stuff. But, in all seriousness, this little band came out of nowhere and has been making waves in such a short time. While the debut had me glued to my seat, the follow-up, Den Tapte Krigen, damn-near bolted me down—to the point that I had to cut myself out of my pants to break free. If that had been the band’s swansong, I would have been just fine for the rest of my life. But Bizarrekult is back to ruin another pair of my pants. Behold! Alt Som Finnes!

Before we begin, let’s explore some of the new additions Bizarre and co. have brought to the table with this new outing. While the general structure of the output remains the same, the approach can vary. Joining the ranks of second-wave Norwegian black metal, Alcestian meloblack, and Enslaved-like intricacies are three guest vocalists: Yusaf “Vicotnik” Parvez (Dødheimsgard), Lina (Cross Bringer, Predatory Void), and Kim Song Sternkopf (Møl, The Arcane Order). I’m not sure whether the songs were created with the guests in mind or whether they evolved during the songwriting process, but each song was made for its guest. Each with a gentle, clean vocal style, you can expect some of the most melodic, gorgeous accompaniment in the Bizarrekult’s repertoire. And besides Sternkopf’s contribution to the closing “Tomhet,” this song is also the first ever to be penned in English. Not that we metalheads have an issue with songs in a country’s native language, unlike the rest of the mainstream poser fucks. But it’s a nice addition.

Alt Som Finnes by Bizarrekult

Alt Som Finnes kicks off with a surprising piece in the form of “Hun.” Mostly surprising in its simplicity and short runtime. Alternating between clean and distorted vocals and ripping blackened riffs, this track only whets the whistle—nothing more and nothing less. Which leaves me wanting more before “Blikket Hennes” slaps the fuck out of me like a cat who hasn’t received its treats. This track has a thick bass, unsettling old-school black metal dissonance, venomous Aldrahn-like growls, and a trudging pace slowed by tar. Then, it collapses into a gorgeous atmosphere as Parvez’s beautiful vocals hit hard and crush the olde ticker like it’s made of parchment.

There are so many reliable tracks that it’s difficult to choose one over the other. That said, “Avmakt” is a beautiful piece with one of the most memorable black metal licks I’ve heard in some time. And not because it’s thrash, death, or any other sort of approach, but because it’s a killer true black metal riff. As the song progresses, the melodies expand like an ever-growing blanket that settles over mountains and valleys, like giants slumbering below the fabric. It’s one of those songs that proves you don’t need the beauty of the clean vocals of “Blikket Hennes” to achieve the same task. While there are others in the same vein as “Avmakt,” “Aversjon” takes it to another level with its influences. Opening with slow-moving melodics and sorrowful sustains, it quickly goes dark, slithering below the Earthly strains like a viper. But, like a miracle at the darkest of times, an uplifting, Alcest-like air breathes over—pushing deep and far, even into Enslaved-esque prog-tivity.

On first spin, Alt Som Finnes is an absolute rollercoaster of emotions that, even though it’s not uncommon for Bizarrekult to instill, leave me completely crippled by the end. Outside of the surprisingly two-pump Chuck that is “Hun,” the rest weave together while many still try to resist the tempting urge to give in and conform to the predictable fabric patterns. Instead, you have a glowing blanket that is also scorched and tattered beyond repair. Though it remains intact, when touched, it feels both gentle and painful at the same time. It’s a conflicting album in its tone but not in its delivery, and the intricacies of this slow burner try hard to topple Den Tapte Krigen from its perch. Who knows where it’ll stand in time, but, regardless, this new outing is a worthy addition to the Bizarrekult family.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 256 kb/s mp3
Label: Season of Mist Underground Activists
Websites: bizarrekult.bandcamp.com | facebook.com/bizarrekult
Releases Worldwide: February 20th, 2026

I swear I’ve seen that saguaro before, in Pima County, standing just off the side of the road, marked among the millions crowding the bajadas. At that size, the sun rising over the Ajos has cast its strange shadow westward tens of thousands of times, yet it’s still young; a few generations removed from a pre-invasion Sonoran desert that thrived before the mountains had Spanish names, before the concept of the gringo, before the thousands of hung-over ones flattened every snake living within half a mile of Highway 85 driving back from “Rocky Point.” Maybe its great-great-grandmother’s seeds were carried by a coyote, lips stained sticky sanguine, slinking under the monsoon clouds when the only people around were O’Odham, themselves too distracted by the bounty to notice her stealing one more fruit from their baskets. Four generations later, a gray fox takes a pit stop under a creosote, setting a lucky propagule up for seventy years of extension, inch by inch, towards the noon summer sun, until a freak event smears its meristem into a radiate new form, ending this lineage forever.

Just after that point, someone takes its picture, and a couple of Italian guys slap it on a black metal album. A black metal album bent on re-orienting the genre away from a frostbitten North and towards an imaginary sun-bleached South, the saguaro being perhaps the most resilient (and, tellingly, clichéd) symbol thereof. Ambitions often crumble against this landscape; the schemes of miners fall through, the hopeful homesteads dry into rubble, at the bodies of desperate migrants collapse in the canyons. Beauty and hostility, available in such great measure here, produce the romance of the desert, the basis for Radici. Diespnea fail to capture either.

Radici by Diespnea

Diespnea practice oddball black metal in the Dødheimsgard idiom, attempting to reinvigorate a staid sound with odd and abrupt inclusions. At the end of “Radici,” they iron a bass groove flat onto gridded electronic beats, then gradually build vocals, drums, and guitars back into the matrix in what would be the record’s most memorable section if it didn’t feel almost identical to the ending of “Vultures.” When the tactic comes around yet again in “Mescalynia,” the effect is more of annoyance than interest. When the duo isn’t dabbling in dull electronica, they’re often whooping and cackling in what seems to be an awful pastiche of pre-Columbian musical traditions.

But the core failure of Radici isn’t in its lazy discursions but the soporific black metal that they depart from. Say what you will about 666 International, there’s no denying the intensity on display. Radici’s official kvlt tab book leads are usually played at three-quarters speed, and the spaces between them sag even more in tempo. Creative songwriting on cuts like “Radici” and “Mescalynia” is hard to appreciate when dragged out for six minutes, though tediously predictable guitar work, and the dull production and brickwalled master don’t do the record any favors. It’s a bit too on-the-nose for a band called Diespnea to sound this asthmatic.

Diespnea have the creativity to embark on something adventurous, but lack the curiosity to decide on a destination, instead floating around their “imaginary South” totally insulated from the confrontation with the real. It’s a painful missed opportunity; the places and traditions and feelings that the duo smudge at are truly profound, and Diespnea’s lazy Tintin “South” is at best an obfuscation and at worst a downright parody of the beauty that desert landscapes, their life, and their peoples hold.

The key to survival in the desert is specificity. In the Sonoran desert, oaks cling only to shady canyon bottoms; senitas populate only the hottest, sandiest washes; water scorpions flourish in ephemeral pools the size of bathtubs, and whole biotas erupt and disappear with the summer monsoons. The desert’s beauty comes from millions of years of coevolution, from novelty and extinction and cycles of glaciation that have stripped away that which does not belong again and again until everything that remains has its place and is fighting to keep it. Radici’s vagaries have nothing in common with places like this, and what Diespnea offer beyond those vagaries is just as unconvincing. And so, Radici comes nearly dead on arrival.

Rating: 2.0/5.0
DR: 4 | Format Reviewed: 320 kbps MP3
Label: Code 666 Records
Websites: facebook.com/diespnea | diespnea.com | diespnea.bandcamp.com
Releases Worldwide: February 13th, 2026

Lychgate – Precipice Review

By Grin Reaper

Dense, dark, and demented, Lychgate’s Precipice breaks nearly six years of silence with music as unsettling as the concept it’s built upon. The album’s primary inspiration draws from E. M. Forster’s short story “The Machine Stops,” a dystopian tale first published in 1909 that cautions against over-reliance on technology.1 In it, The Machine enables people to govern their lives from isolated chambers, interacting virtually rather than in person after the Earth’s surface becomes uninhabitable. Integrating notions such as blind obedience to technology, instantaneous communication, and climate change furnishes a lavish backdrop for London’s Lychgate and their fourth LP.2 Given the promise of its premise, does Precipice step off the ledge and soar, or plummet to the depths of obscurity?

Brandishing a broad array of atmospheres and a flair for generating tension, Lychgate conjures oppressive auras that equally frighten and excite. To that end, Precipice’s aural footprint lands somewhere between Blut aus Nord’s dissonant grooves and a decelerated Imperial Triumphant at their most cinematic (think “Transmission to Mercury”), taking the avant-garde trappings of each and devising a mood and character all Lychgate’s own. Emboldened by jazzy flourishes à la Dødheimsgard, Scarcity’s cacophonous, freeform nonconformity, and Morast’s caustic claustrophobia, Lychgate forges an unforgiving yet layered experience that outstrips single reference points. Tensions runs roughshod throughout Precipice, knotting its nine tracks into gnarled enigmas that demand to be sussed out with care. Gone are the clean vocals from The Contagion in Nine Steps and An Antidote for the Glass Pill, and instead vocalist Greg Chandler focuses solely on barks and snarls that remind of Doug Moore’s urgent rasps. Atop it all, Lychgate further embeds the organ into the band’s core sound and discharges potent riffs at key climactic junctures, leaving Precipice crackling with vitality and unpredictability.

Precipice’s varied compositions and instrumentations coalesce to propel Lychgate to new heights. It’s a mature release that exemplifies the prevailing virtues of prior albums, unifying them into an impressively intricate forty-eight minutes. The organ, credited to permanent member J. C. Young and session musician F. A. Young, plays a central role, spanning the gamut from lunatic funhouse (“Anagnorisis”) to Phantom of the Opera gothic drama (“Mausoleum of Steel”). It keenly weaves a calculated stress, plying tension in ebbs and flows that cleverly and constantly push the album forward. Besides organ and piano, loose guitar structures regularly bleed into riffs plucked out of an eldritch ether, oscillating between Zappa’s Jazz from Hell and unearthly, pit-scorching acrobatics (“Renunciation”). A doleful, introspective melody in “The Meeting of Orion and Scorpio” diversifies the sound and pacing, followed by a hectic skittering in “Hive of Parasites” that gives way to a slow-burn passage heavily featuring jazz flute. Myriad components fuse into a whole that should not sound as cohesive as it does, but Lychgate takes their carnival of sounds and crafts a finely-honed album that deserves more attention than it will get with an end-of-year release.

Lychgate employs a satisfying and well-considered array of ideas in service of Precipice, though a few hiccups are present. Besides the musical diversity, Lychgate flaunts remarkable instincts when it comes to pacing. Having the longest track as the midpoint of the album works well and helps establish a clear listening milestone; I only wish the back end of “Hive of Parasites” had been trimmed a touch, as the last three minutes blur together. The mix is another boon, providing ample space for S. D. Lindsley’s guitar, Tom MacLean’s bass, and T. J. F. Vallely’s drums. The only quibble is Precipice’s density, which could put off those lacking the time to absorb its demure gifts. All told, though, Lychgate earns every bit of praise by merging this many ideas so cohesively.

Despite its late release and complex composition, Lychgate delivers a smash success that commands and indisputably warrants your attention. Precipice isn’t easy to understand, but it’s irresistibly easy to spin again and again. And you should, because it takes time to unravel.3 Precipice has been one of my most played albums of the year at a time when I’ve been busiest both personally and professionally, routinely ensnaring me with its enchanting hooks and wiles. For my money, Lychgate has released the best album of their career, and you owe it to yourself to step up to the Precipice and take a leap of faith.

Rating: Great
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Debemur Morti Productions
Websites: Bandcamp | Facebook
Releases Worldwide: December 19th, 2025

#2025 #40 #AvantGardeBlackMetal #BlackMetal #BlutAusNord #DebemurMortiProductions #Dec25 #Dödheimsgard #EnglishMetal #FrankZappa #ImperialTriumphant #Lychgate #Morast #Precipice #Review #Reviews

I just remembered that it's the 10th anniversary of the most demanding (so far) Dødheimsgard album this year.

They used to do anniversary concerts for all the albums (at least up to 666 International, I think), but maybe they only celebrate 20th anniversaries.

#Dødheimsgard #DHG #blackMetal #avantgardemetal #metal #nowPlaying

https://album.link/i/970450411

New post: Fortress Festival adds a lucky 13 bands to 2026 bill https://www.moshville.co.uk/news/tours/2025/07/fortress-festival-adds-a-lucky-13-bands-to-2026-bill/ #AbigailWilliams #AeonWinds #Antrisch #Dødheimsgard

Hørte Black Medium Current i sin helhet åtte ganger før jeg kjente at den måtte få hvile litt. Nå har den hvilt en måneds tid, og den er fortsatt like interessant. Kvalitet tvers igjennom.

#dødheimsgard #metallheimen

Har hørt Black Medium Current tre ganger på rad i kveld. Her er det MYE! Gleder meg til å høre på den i morgen også 😊

#dødheimsgard #dhg #metallheimen

Ahoi seamaids and -men,
this thursday we‘ll play at SWR Fest in Barroselas, Portugal. On stage at 19:25. Merch will be up from around 17:30 to 21:30. Looking forward to chat with y‘all after our show!
Yours truly 🦑🪼🐋
#Doommetal #SWRfest #Barroselas #Portugal #AHABdoom #Festival #dodheimsgard #repulsion #merrimack #auranoir

Not wanting to get stuck in a queue like last year, I already got the 2025 #InfernoFestival wristband on. I even have my trusty old Etymotic plugs ready!

Still have to get there early as this year's opening act is #DHG / #Dødheimsgard.

#metal #easter

New Artist announced for Graspop Metal Meeting 2025

Dødheimsgard

Added top 5 songs to the playlist Graspop Metal Meeting 2025

Listen now on YouTube Music: https://www.youtube.com/playlist?list=PLB5UNN-XlHr0zLWbesFWpuMbqoP-lRH1h

#Graspop_Metal_Meeting_2025 #Dødheimsgard #fyre_festivals #livemusic #youtube #music #2025 #musicfestivals

It‘s #TuneTuesday and the topic is #2024MusicDiscoveries. Turns out I was way overdue discovering how good Dodheimsgard 🇳🇴 are!
https://www.youtube.com/watch?v=z_RA5rlhyzU
#Dodheimsgard #DHG

Λίγα λόγια για τη σχέση του Vicotnik με τον ναζισμό με αφορμή τη συναυλία των Dødheimsgard (πού αλλού;) στο Temple.

- Ο Vicotnik έχει τραγουδήσει σε 3 (τρεις) κυκλοφορίες των Naer Mataron του Καιάδα.
- Ο Vicotnik έχει συμμετάσχει σε δίσκο της NSBM μπάντας Slavia.
- Στους DHG και στους Ved Buens Ende παίζει τύμπανα ο Øyvind Myrvoll, ο οποίος για ολόκληρα χρόνια φιγούραρε στο Metal Archives με μπλουζάκι Totenkopf. Πλέον η φωτογραφία έχει αλλάξει, αλλά την επισυνάπτω.
- Οι DHG έχουν παίξει μαζί με ένα σωρό NS μπάντες ανά τα χρόνια (και στα μέρη μας με Naer Mataron προφανώς) και πέρυσι εμφανίστηκαν και στο Steelfest, ένα από τα πιο γνωστά NSBM Festival στον κόσμο.

#NSBM #BlackMetal #metal #DHG #Vicotnik #Dødheimsgard #μουσική

#TheMetalDogArticleList
#MetalInjection
DØDHEIMSGARD Offshoot DOEDSMAGHIRD Announces Debut Album

https://metalinjection.net/news/dodheimsgard-offshoot-doedsmaghird-announces-debut-album

#Dødheimsgard #Doedsmaghird #YusafVicotnik

Listening to Black Medium Current, by Dodheimsgard. It's Black Metal with progressive rock?

https://peaceville.bandcamp.com/album/black-medium-current

#Dodheimsgard #BlackMetal #BlackMediumCurrent #ProgressiveRock
#Metal

One of the best metal EPs ever. It may be perceived as a raw taste of what was to become '666 International,' and it is, but it's also a fierce aural power injection like no other. #blackMetal #music #Dødheimsgard https://songwhip.com/dodheimsgard/satanic-art

I am stoked that ThursdayFiveList mastermind @neurothing accepted our invitation to host day 6 of the odd album awards!

He is actually the one who came up with the hashtag #AlbumOddTheYear2023 !

His category:

Best black metal album without the words "shadow(s)" or "dark(ness)" in song titles or album title!

My pick is:

🏆 Warlocks Grim & Withered Hags by #Hellripper

https://hellripper.bandcamp.com/album/warlocks-grim-withered-hags

Honouralbe mentions 👏

Black Medium Current by #Dodheimsgard

Blackbraid II by #Blackbraid

I don't think I ever heard something like Dodheimsgard before.

In parts yes, but never all that genres mixed together.

It sounded a bit like if Haken would make #BlackMetal together with... Björk?

This is incredibly difficult to rate, but I'm going with 3,5 out of 5 for now.

https://album.link/y/OLAK5uy_kYgLTYuo2eWH4oYdMpXTmuL1Ty3Ydu7SQ

#TomsMusic #Dodheimsgard #BlackMediumCurrent

For @HailsandAles #Mastoversary #BlackMetalMonday something from Norway 🇳🇴

🎵 Et smelter by Dodheimsgard

https://song.link/y/iaZw1Kr5Uks

#TomsMusic #Dodheimsgard #BlackMediumCurrent

#TheMetalDogArticleList
#MetalInjection
VICOTNIK Discusses DØDHEIMSGARD's Latest Masterpiece & His Other Projects
The legend is back with yet another imagination-defying wonder!

https://metalinjection.net/interviews/vicotnik-discusses-dodheimsgards-latest-masterpiece-his-other-projects

#Vicotnik #Dodheimsgard #Masterpiece #Virus #Avatar #Aeternus #DHG #Industrial #Metal #Experimental #Vocals

Not afraid of any genre of music? Then clap your ears round the latest album from Norwegian avant-garde #extreme #metal maestros #Dodheimsgard, 'Black Medium Current'. I think it may be the most eclectic metal album I've heard in my 30 years of listening to the devil's music.

Had the pleasure of seeing them live just a few months ago, and that too is quite the event; a blend of high precision playing and theatrical performance art from the vocalist.
https://www.youtube.com/watch?v=H4OgOxdhNoQ

#TheMetalDogArticleList
#MetalInjection
DØDHEIMSGARD Returns With Cosmic New Single "Abyss Perihelion Transit"
As experimental as ever.

https://metalinjection.net/video/dodheimsgard-returns-with-cosmic-new-single-abyss-perihelion-transit

#Dodheimsgard #Cosmic #Abyss #Perihelion #Transit #NewMusic #Metal #MusicNews

Καινούργιο #Dodheimsgard #DHG μετά από αρκετά χρόνια - έρχονται και για live τον Σεπτέμβρη
https://www.youtube.com/watch?v=t5tjkOA7TxI

I think Dodheimsgard - A Umbra Omega finally clicked for me. Almost 8 years after its release.

Sometimes great albums just take time.

#Dodheimsgard #aUmbraOmega #IndustrialBlackMetal