#flowingdownward — Public Fediverse posts

Public opinion on Moscow’s once one-man black metal project Malist varies quite a lot more than I realized. While several at AMG HQ regarded Ovfrost’s flagship project with a fair amount of praise, others feel most of his material is by-the-numbers melodic black metal. This variation of reception applies album to album as well, which makes pinning down a crowd favorite from Malist’s discography an interesting discussion. I happen to feel Malist are remarkably consistent—albeit somewhat generic—churning out solid slabs of melodic black metal that straddle dour moods and bouncy tunes with poise. Now boasting a full lineup, fleshing Malist out to six fully minted musicians, sixth opus Eternal Echo of the Fall achieves the same feat once more.

Malist remain as reliable as ever. Perhaps a touch bouncier than they’ve been in a minute, recalling the bopping quality of past hits like “Timeless Torch,” Eternal Echo of the Fall opens up with high-energy romps that contrast nicely with their familiar thematic pall. Ovfrost still handles most of the writing here, so long-time followers of the band won’t be caught off guard by Eternal Echo. However, a new vitality blooms in these eight new tracks. As a result of the current band lineup’s various contributions, a sense of immediacy and a burst of vibrancy enlivens everything from songwriting to performance compared to Eternal Echo’s more melancholy predecessors.

Listeners won’t need to wait long to appreciate this refreshing shot of adrenaline. Opening duo “Eternal Echo” and “Through a Distorted Gaze” launch with a blaze hot enough to melt my skin, marking two of Malist’s most successful tracks to date. “Through a Distorted Gaze” especially impresses, boasting a thrashing speed that would feel alien were it not for those trademark emotive leads and weeping melodies that weave in and out of writhing riffs. Slower and more atmospheric items restore that ominous sense of dread and reclusion that listeners expect from Malist at the center of the record, but even longer-form tracks in this space (“Snows of Remembrance”) offer more intensity, chunkier riffs, more accessible melodies, and hooks than usual. These qualities allow latecomers like “To Walk the Path of the Dead” to shine, deftly balancing crushing heft, exuberant pacing, and soaring melodies.

An impressive outing for a band six albums in, Eternal Echo of the Fall’s major fault is that it doesn’t do anything unpredictable or novel, and isn’t so excellent as it is to overcome that shortcoming. Malist competes in a competitive, saturated field, which only makes their task an even greater challenge. Valiant efforts in its high-octane outbursts (“Through a Distorted Gaze,” “Her Dark Backwater,” “Above the Mists of the World”) as well as its more introspective spells (“Snows of Remembrance,” “The Hird”) push hard to propel Eternal Echo to the front of the pack in the context of the band’s own discography. Against their peers, however, Malist haven’t found that intangible quality or that undeniable execution which would make them stand out. Its flat and plastic production doesn’t help matters much. Wholly lacking in low-end body and short on fullness across the midrange, Eternal Echo of the Fall sounds professionally polished but tinny and flimsy, not unlike cheap chrome. It’s not a deal-breaker, and at least all instruments can be heard. Nonetheless, improvements to the frequencies that lost ground in the engineering suite would ensure a sound that gives proper weight to these songs.

As it stands, Eternal Echo of the Fall is more than a competent, but by-the-numbers melodic black metal record. It is, however, not quite memorable or striking enough—nor does it offer a certain level of excitement or originality—to distinguish itself with distinction amongst the horde. Hints of that distinction in its best cuts give me hope that Eternal Echo heralds a new era for Malist, in no small part due to the fresh talent newly inducted into the project. With this in mind, I offer a qualified recommendation to try Eternal Echo. Should you be an existing fan, or a newcomer curious to add another entry into your rotation, you might not be blown away, but you’ll certainly not be disappointed. In a genre as overpopulated with talented musicians and songwriters as this, it’s hard to ask for more than that!

Rating: Good!
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Flowing Downward
Websites: Bandcamp | Facebook
Releases Worldwide: June 12th, 2026

Public opinion on Moscow’s once one-man black metal project Malist varies quite a lot more than I realized. While several at AMG HQ regarded Ovfrost’s flagship project with a fair amount of praise, others feel most of his material is by-the-numbers melodic black metal. This variation of reception applies album to album as well, which makes pinning down a crowd favorite from Malist’s discography an interesting discussion. I happen to feel Malist are remarkably consistent—albeit somewhat generic—churning out solid slabs of melodic black metal that straddle dour moods and bouncy tunes with poise. Now boasting a full lineup, fleshing Malist out to six fully minted musicians, sixth opus Eternal Echo of the Fall achieves the same feat once more.

Malist remain as reliable as ever. Perhaps a touch bouncier than they’ve been in a minute, recalling the bopping quality of past hits like “Timeless Torch,” Eternal Echo of the Fall opens up with high-energy romps that contrast nicely with their familiar thematic pall. Ovfrost still handles most of the writing here, so long-time followers of the band won’t be caught off guard by Eternal Echo. However, a new vitality blooms in these eight new tracks. As a result of the current band lineup’s various contributions, a sense of immediacy and a burst of vibrancy enlivens everything from songwriting to performance compared to Eternal Echo’s more melancholy predecessors.

Listeners won’t need to wait long to appreciate this refreshing shot of adrenaline. Opening duo “Eternal Echo” and “Through a Distorted Gaze” launch with a blaze hot enough to melt my skin, marking two of Malist’s most successful tracks to date. “Through a Distorted Gaze” especially impresses, boasting a thrashing speed that would feel alien were it not for those trademark emotive leads and weeping melodies that weave in and out of writhing riffs. Slower and more atmospheric items restore that ominous sense of dread and reclusion that listeners expect from Malist at the center of the record, but even longer-form tracks in this space (“Snows of Remembrance”) offer more intensity, chunkier riffs, more accessible melodies, and hooks than usual. These qualities allow latecomers like “To Walk the Path of the Dead” to shine, deftly balancing crushing heft, exuberant pacing, and soaring melodies.

An impressive outing for a band six albums in, Eternal Echo of the Fall’s major fault is that it doesn’t do anything unpredictable or novel, and isn’t so excellent as it is to overcome that shortcoming. Malist competes in a competitive, saturated field, which only makes their task an even greater challenge. Valiant efforts in its high-octane outbursts (“Through a Distorted Gaze,” “Her Dark Backwater,” “Above the Mists of the World”) as well as its more introspective spells (“Snows of Remembrance,” “The Hird”) push hard to propel Eternal Echo to the front of the pack in the context of the band’s own discography. Against their peers, however, Malist haven’t found that intangible quality or that undeniable execution which would make them stand out. Its flat and plastic production doesn’t help matters much. Wholly lacking in low-end body and short on fullness across the midrange, Eternal Echo of the Fall sounds professionally polished but tinny and flimsy, not unlike cheap chrome. It’s not a deal-breaker, and at least all instruments can be heard. Nonetheless, improvements to the frequencies that lost ground in the engineering suite would ensure a sound that gives proper weight to these songs.

As it stands, Eternal Echo of the Fall is more than a competent, but by-the-numbers melodic black metal record. It is, however, not quite memorable or striking enough—nor does it offer a certain level of excitement or originality—to distinguish itself with distinction amongst the horde. Hints of that distinction in its best cuts give me hope that Eternal Echo heralds a new era for Malist, in no small part due to the fresh talent newly inducted into the project. With this in mind, I offer a qualified recommendation to try Eternal Echo. Should you be an existing fan, or a newcomer curious to add another entry into your rotation, you might not be blown away, but you’ll certainly not be disappointed. In a genre as overpopulated with talented musicians and songwriters as this, it’s hard to ask for more than that!

Rating: Good!
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Flowing Downward
Websites: Bandcamp | Facebook
Releases Worldwide: June 12th, 2026

Burden of Ymir – The Long Winter Review

By Twelve

Joe Caswell of Sudbury, Canada first caught the attention of this blog in 2023, as the sole member of Drowstorm and Burden of Ymir. Both projects released albums in 2023, impressing all who wrote about them. In my case, Heorot was a fantastic introduction to the latter band, a blackened-yet-folky display of Viking metal that appealed to both my appreciation for mythologically-themed metal and my long–held belief that the accordion is the most metal of all the instruments. Now, just over two years later, Burden of Ymir return with its sixth full-length release (in as many years!): The Long Winter, with an album cover that promises just as much blackened goodness as we’ve come to hope for. At this point in the year, I’d love a long winter, but I’ll settle for some frosty metal if that’s what’s being offered!

At first glance, The Long Winter is exactly what you expect from Caswell and Burden of Ymir; the Norse influence is tangible, the black metal is blisteringly fast, and the accordion is present. And yet, The Long Winter is a darker, heavier record than its predecessor. Caswell does not hold back in the riffs department, and it’s a testament to his songwriting that The Long Winter feels heavy for the full forty-five minutes without sounding forced. Compared to Heorot, The Long Winter sees Burden of Ymir treading slightly less folk-y waters, focusing more on its black metal influences and allowing the concept to do some more of the lifting on the folk side. Songs like “Like Blood in the Snow” are angry, pulling no punches and letting riffs and blast beats shine. It’s recognizably Burden of Ymir, but sees a definitive step in a new—but still familiar—direction.

Still, folky fusion and blackened metal are two things Burden of Ymir do extremely well, and having the metal heavier only enhances the union. Opener “As Witches Under Cloak of Night” is a multifaceted gem with hooks, moody, tense interludes, and a galloping chorus that’ll have you setting sail before you know it. “Strange Craft” builds around an accordion lead in its intro into an unsettling, melodic journey through dark magic and black forests before exploding into black metal fury. “Another Seed of Yggdrasil” breaks out the clean singing for a mystical chorus that counterbalances Caswell’s rasps—as up to the task as ever, but at their most effective working alongside these more melodic elements. All this is to say that Caswell’s ability to blend black metal and Viking themes is as strong as ever, and The Long Winter is more enjoyable for it.

I’ve mentioned that The Long Winter dials back a bit on the “Viking” quality that was so apparent in Heorot, resulting in a listen that ultimately leans blacker and heavier than folky. The aforementioned accordion makes a few, brief appearances, and Caswell’s clean singing is much diminished. More notably, the hooky writing from Heorot is curiously absent; more songs are carried by riffs than leads, resulting in an overall less melodic listen. This makes tracks like “Strange Craft” and “As Witches Under Cloak of Night” stand out—they’re generally more energetic than the rest of the album, particularly the closing third. While it’s certainly all strong, it feels like the blend doesn’t quite mesh the way it should. There are a bunch of songs I love here, several that I like, and a few that feel like they’re there to beef up The Long Winter more so than entertain. They are entertaining—I can’t stress that enough—but I would hazard a guess that Burden of Ymir has a slightly different vision for The Long Winter than what I’ve personally experienced.

Still, Caswell is a great songwriter, strong guitarist, and knows his mythologies, meaning The Long Winter is a fun listen that continues his hot streak over several one-man projects, styles, and album releases. If black metal is your thing, there’s something for you here. If Viking folk is your thing, there’s something for you here. I won’t say it all comes together perfectly, but it doesn’t really have to. It just has to be enjoyable to listen to for most of an hour, and it is. If you like any of the above styles, I would happily recommend you take a break from the awful weather we’re having (read: warm) and enjoy a long winter instead.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Flowing Downward
Websites: burdenofymir.bandcamp.com | facebook.com/BurdenOfYmir
Releases Worldwide: July 4th, 2025

#2025 #30 #BlackMetal #BurdenOfYmir #CanadianMetal #Drowstorm #FlowingDownward #FolkMetal #Jul25 #Review #Reviews #TheLongWinter #VikingMetal

Burden of Ymir – The Long Winter Review

By Twelve

Joe Caswell of Sudbury, Canada first caught the attention of this blog in 2023, as the sole member of Drowstorm and Burden of Ymir. Both projects released albums in 2023, impressing all who wrote about them. In my case, Heorot was a fantastic introduction to the latter band, a blackened-yet-folky display of Viking metal that appealed to both my appreciation for mythologically-themed metal and my long–held belief that the accordion is the most metal of all the instruments. Now, just over two years later, Burden of Ymir return with its sixth full-length release (in as many years!): The Long Winter, with an album cover that promises just as much blackened goodness as we’ve come to hope for. At this point in the year, I’d love a long winter, but I’ll settle for some frosty metal if that’s what’s being offered!

At first glance, The Long Winter is exactly what you expect from Caswell and Burden of Ymir; the Norse influence is tangible, the black metal is blisteringly fast, and the accordion is present. And yet, The Long Winter is a darker, heavier record than its predecessor. Caswell does not hold back in the riffs department, and it’s a testament to his songwriting that The Long Winter feels heavy for the full forty-five minutes without sounding forced. Compared to Heorot, The Long Winter sees Burden of Ymir treading slightly less folk-y waters, focusing more on its black metal influences and allowing the concept to do some more of the lifting on the folk side. Songs like “Like Blood in the Snow” are angry, pulling no punches and letting riffs and blast beats shine. It’s recognizably Burden of Ymir, but sees a definitive step in a new—but still familiar—direction.

Still, folky fusion and blackened metal are two things Burden of Ymir do extremely well, and having the metal heavier only enhances the union. Opener “As Witches Under Cloak of Night” is a multifaceted gem with hooks, moody, tense interludes, and a galloping chorus that’ll have you setting sail before you know it. “Strange Craft” builds around an accordion lead in its intro into an unsettling, melodic journey through dark magic and black forests before exploding into black metal fury. “Another Seed of Yggdrasil” breaks out the clean singing for a mystical chorus that counterbalances Caswell’s rasps—as up to the task as ever, but at their most effective working alongside these more melodic elements. All this is to say that Caswell’s ability to blend black metal and Viking themes is as strong as ever, and The Long Winter is more enjoyable for it.

I’ve mentioned that The Long Winter dials back a bit on the “Viking” quality that was so apparent in Heorot, resulting in a listen that ultimately leans blacker and heavier than folky. The aforementioned accordion makes a few, brief appearances, and Caswell’s clean singing is much diminished. More notably, the hooky writing from Heorot is curiously absent; more songs are carried by riffs than leads, resulting in an overall less melodic listen. This makes tracks like “Strange Craft” and “As Witches Under Cloak of Night” stand out—they’re generally more energetic than the rest of the album, particularly the closing third. While it’s certainly all strong, it feels like the blend doesn’t quite mesh the way it should. There are a bunch of songs I love here, several that I like, and a few that feel like they’re there to beef up The Long Winter more so than entertain. They are entertaining—I can’t stress that enough—but I would hazard a guess that Burden of Ymir has a slightly different vision for The Long Winter than what I’ve personally experienced.

Still, Caswell is a great songwriter, strong guitarist, and knows his mythologies, meaning The Long Winter is a fun listen that continues his hot streak over several one-man projects, styles, and album releases. If black metal is your thing, there’s something for you here. If Viking folk is your thing, there’s something for you here. I won’t say it all comes together perfectly, but it doesn’t really have to. It just has to be enjoyable to listen to for most of an hour, and it is. If you like any of the above styles, I would happily recommend you take a break from the awful weather we’re having (read: warm) and enjoy a long winter instead.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Flowing Downward
Websites: burdenofymir.bandcamp.com | facebook.com/BurdenOfYmir
Releases Worldwide: July 4th, 2025

#2025 #30 #BlackMetal #BurdenOfYmir #CanadianMetal #Drowstorm #FlowingDownward #FolkMetal #Jul25 #Review #Reviews #TheLongWinter #VikingMetal