#gaerea — Public Fediverse posts

This song 🥹
#Gaerea
https://www.youtube.com/watch?v=okxwn6Akm_I

This song 🥹
#Gaerea
https://www.youtube.com/watch?v=okxwn6Akm_I

Tuska 2026 Breaks Attendance Record as 66,000 Metal Fans Celebrate Another Historic Weekend

https://voiceofnoir.com/2026/07/03/tuska-2026-breaks-attendance-record-as-66000-metal-fans-celebrate-another-historic-weekend/

Tuska 2026 Broke Attendance Record as 66,000 Metal Fans Celebrated Another Historic Weekend

https://voiceofnoir.com/2026/07/02/tuska-2026-breaks-attendance-record-as-66000-metal-fans-celebrate-another-historic-weekend/

Spawned in 2007, Danish quintet Crocell started life as a humble, but prolifically productive melodic death metal troupe, churning out five LPs in a relatively brief decade. Six years passed between their fifth and sixth outings, but only two years span the difference between that and the new Swarm of Insects, distributed by Emanzipation Records. Throughout all of that history, Crocell have gotten progressively more blackened in their riff-centered, deathly dealings, but otherwise remained remarkably stable both in sound and lineup. This begs a question of curiosity: What six-legged horrors await me here?

While it’s still true that Crocell haven’t made great shifts in sound or style over the last few records, Swarm of Insects is a more epic and sprawling affair than, say, the relentlessly aggressive Relics. This puts it more in line with black-metal forward predecessor Of Frost, Of Flame, Of Flesh, which saw Crocell leaning more heavily into sweeping songwriting arcs highly reminiscent of Limbo-era Gaerea by way of Sulphur Aeon, with a twist of Emperor. That said, some of the Dormant Ordeal-but-slower death of Relics returns on Swarm. This reprisal of crushing heft, in turn, affords Swarm a more threatening nature without becoming wholly oppressive or undoing its grand storytelling voice.

If that description gives you pause or causes concern that Crocell lost their edge, one spin of the title track should provide ample reassurance. Its scorching tremolo-forward riffs and spectacular energy bring heat to the blood and buzz to the saw. “Traitor’s Blood,” “Shredded Banners,” and “Wolfen Man” double down on that attack, and the extra 90 seconds Crocell invested into what used to be their standard mid-three-mid-four-minute template suits them well. Using that extra time to fortify serrated riffs built to shred and terrify with ominous bridges soaked in shadow and mist brought a new vocabulary to Crocell’s musical lexicon. Not entirely unexpected from a band of this advanced experience, but also not entirely dissimilar to the welcome progression of songwriting sophistication that Sulphur Aeon displayed across their discography, Crocell’s expansion of scope allows the five-plus minutes of “Labyrinthian Tunnels” and even the somewhat weaker “Volcano” to feel justified and satisfying.

As much as Crocell excel in Swarm of Insects’ more patient songwriting, so too do they leave behind some of the more exciting characteristics of past efforts. Always the show-stealer, undercelebrated drummer Andreas Posselt is more restrained here across the board, and I miss the jaw-dropping acrobatics and scalpel-sharp accuracy of his tom-and-cymbal play displayed on past efforts. His performance is still enviable, of course. However, opener “Sarcophagus” is somewhat forgettable in relation to Swarm’s later offerings, in part due to its more reserved writing and lack of that percussive showmanship that I look for from Crocell. Concurrently, Tommy Christensen and Mads Gath traded some of their riff quota for great, towering arcs of trem-picked melodies and protracted chord work. This allows big moments from “Sculptor of Nations” and “Wolfen Man” to hit with tectonic impact—and also serves as a vehicle to bring audibility to Onkel Kusse’s oft-buried bass burble—but may alienate listeners who hoped for another nonstop barnstormer from these Danes. Asbjörn Steffensen, on the other hand, strikes a great balance between deathly roars, hoarse rasps, and pained chants that feel impassioned without losing control entirely. His technique here might be cribbed directly from the tomes of Sulphur Aeon, resulting in a most minor case of identity theft, but it’s a great technique for this sound regardless.

41 minutes pass, the locusts that once blinded my vision now only dot the horizon and straggle before my feet. Wings gently flutter on either side of my ears, and I’m left standing aghast at what just transpired. Crocell, as I anticipated, brought enough heat to spike my adrenaline with concerning ease. This Swarm of Insects may not pose as mortal a danger as previous attacks, but it nonetheless offered its own kind of excitement. In another world, I might be thankful that this wave was easier to weather. But I can’t deny that I miss the intensity and the terror of experiences past. I won’t begrudge Crocell for this more “pleasant” plague, as it was a fine plague all the same. I just hope, one day soon, to fear for my life again.

Rating: Very Good
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Emanzipation Records
Websites: Bandcamp | Official | Facebook
Releases Worldwide: May 29th, 2026

Spawned in 2007, Danish quintet Crocell started life as a humble, but prolifically productive melodic death metal troupe, churning out five LPs in a relatively brief decade. Six years passed between their fifth and sixth outings, but only two years span the difference between that and the new Swarm of Insects, distributed by Emanzipation Records. Throughout all of that history, Crocell have gotten progressively more blackened in their riff-centered, deathly dealings, but otherwise remained remarkably stable both in sound and lineup. This begs a question of curiosity: What six-legged horrors await me here?

While it’s still true that Crocell haven’t made great shifts in sound or style over the last few records, Swarm of Insects is a more epic and sprawling affair than, say, the relentlessly aggressive Relics. This puts it more in line with black-metal forward predecessor Of Frost, Of Flame, Of Flesh, which saw Crocell leaning more heavily into sweeping songwriting arcs highly reminiscent of Limbo-era Gaerea by way of Sulphur Aeon, with a twist of Emperor. That said, some of the Dormant Ordeal-but-slower death of Relics returns on Swarm. This reprisal of crushing heft, in turn, affords Swarm a more threatening nature without becoming wholly oppressive or undoing its grand storytelling voice.

If that description gives you pause or causes concern that Crocell lost their edge, one spin of the title track should provide ample reassurance. Its scorching tremolo-forward riffs and spectacular energy bring heat to the blood and buzz to the saw. “Traitor’s Blood,” “Shredded Banners,” and “Wolfen Man” double down on that attack, and the extra 90 seconds Crocell invested into what used to be their standard mid-three-mid-four-minute template suits them well. Using that extra time to fortify serrated riffs built to shred and terrify with ominous bridges soaked in shadow and mist brought a new vocabulary to Crocell’s musical lexicon. Not entirely unexpected from a band of this advanced experience, but also not entirely dissimilar to the welcome progression of songwriting sophistication that Sulphur Aeon displayed across their discography, Crocell’s expansion of scope allows the five-plus minutes of “Labyrinthian Tunnels” and even the somewhat weaker “Volcano” to feel justified and satisfying.

As much as Crocell excel in Swarm of Insects’ more patient songwriting, so too do they leave behind some of the more exciting characteristics of past efforts. Always the show-stealer, undercelebrated drummer Andreas Posselt is more restrained here across the board, and I miss the jaw-dropping acrobatics and scalpel-sharp accuracy of his tom-and-cymbal play displayed on past efforts. His performance is still enviable, of course. However, opener “Sarcophagus” is somewhat forgettable in relation to Swarm’s later offerings, in part due to its more reserved writing and lack of that percussive showmanship that I look for from Crocell. Concurrently, Tommy Christensen and Mads Gath traded some of their riff quota for great, towering arcs of trem-picked melodies and protracted chord work. This allows big moments from “Sculptor of Nations” and “Wolfen Man” to hit with tectonic impact—and also serves as a vehicle to bring audibility to Onkel Kusse’s oft-buried bass burble—but may alienate listeners who hoped for another nonstop barnstormer from these Danes. Asbjörn Steffensen, on the other hand, strikes a great balance between deathly roars, hoarse rasps, and pained chants that feel impassioned without losing control entirely. His technique here might be cribbed directly from the tomes of Sulphur Aeon, resulting in a most minor case of identity theft, but it’s a great technique for this sound regardless.

41 minutes pass, the locusts that once blinded my vision now only dot the horizon and straggle before my feet. Wings gently flutter on either side of my ears, and I’m left standing aghast at what just transpired. Crocell, as I anticipated, brought enough heat to spike my adrenaline with concerning ease. This Swarm of Insects may not pose as mortal a danger as previous attacks, but it nonetheless offered its own kind of excitement. In another world, I might be thankful that this wave was easier to weather. But I can’t deny that I miss the intensity and the terror of experiences past. I won’t begrudge Crocell for this more “pleasant” plague, as it was a fine plague all the same. I just hope, one day soon, to fear for my life again.

Rating: Very Good
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Emanzipation Records
Websites: Bandcamp | Official | Facebook
Releases Worldwide: May 29th, 2026

For #BlackMetalMonday:

#Gaerea - Kingdom of Thornes

https://song.link/i/1751996734

https://m.youtube.com/watch?v=iP6Mc3Cq3Zc&ra=m

Currently in #Munich and going to see #gaerea soon ❤️❤️❤️❤️❤️

Currently in #Munich and going to see #gaerea soon ❤️❤️❤️❤️❤️

🩶 #blackandwhite #streetphotography #moodytones #urbanvibes #selfportrait #trna #gaerea #shining

🩶 #blackandwhite #streetphotography #moodytones #urbanvibes #selfportrait #trna #gaerea #shining

New post: Conjurer to support Gaerea on upcoming UK tour https://moshville.co.uk/news/tours/2026/04/conjurer-to-support-gaerea-on-upcoming-uk-tour/ #Conjurer #Gaerea

I'm sorry, #Gaerea, I love your work but what the fuck is this latest album and it's #metalcore esque parts?

#BlackMetal #AvantguardMetal #Metal

I think the new #Gaerea album, Loss, is a solid 7/10. I think the singles were the best tracks, but it is all quite solid. #music

I think the new #Gaerea album, Loss, is a solid 7/10. I think the singles were the best tracks, but it is all quite solid. #music

GAEREA (Portugal) presenta nou àlbum: "Loss" #Gaerea #BlackMetal #PostBlackMetal #Març2026 #Portugal #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

GAEREA (Portugal) presenta nou àlbum: "Loss" #Gaerea #BlackMetal #PostBlackMetal #Març2026 #Portugal #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

New post: Album Review: Gaerea – Loss https://moshville.co.uk/reviews/album-review/2026/03/album-review-gaerea-loss/ #Gaerea

Michael Dorn has appeared on screen in more episodes of Star Trek than anyone else.1 His character, the mighty Klingon warrior, Captain2 Worf is known to greatly enjoy gagh, a traditional Klingon delicacy comprised of live, wriggling serpent worms. It’s fucking gross. It’s also the first thing I thought of when I saw the album art for Gorrch’s sophomore effort, Stillamentum. Founded in 2010 and hailing from Cavaso del Tomba in northeastern Italy, Gorrch is the unsettling black metal project of fraternal duo, Chrimsicrin and Droich. Now, a decade after 2015 debut Nera estasi, Gorrch plumbs the depths of the abyss, seeking to give voice to the primal fear and disgust of being covered in roiling, writhing masses of maggots.

Standard black metal isn’t dark enough for Gorrch. Stillamentum is about horror and dread. Opener “Nimbus” wastes no time burying you alive in a cramped wooden box. Guitars like clamoring bells ring with sanity-threatening dissonance while pummeling blast beats quickly deplete your limited oxygen. Droich viciously saws at palm-muted strings like the erratic, terrifying sprints of cockroaches exploring what’s in the box (you). A lull at the midpoint ushers in a spiraling riff, rising like your gorge in mortal terror. Heretical Gregorian chanting reveals your captors as zealots, and all hope of seeing the sun again dies. Deranged prayers ripped from Chrimsicrin’s throat (“Vorago,” “Angor”), metallic tones like snapping wires (“Vorago,” “Larvæ”), and ritualistic percussion (“Phlegma”) keep you locked in this waking nightmare. The blasphemous love child of Gaerea and Imperial Triumphant, Stillamentum is cacophonous, claustrophobic, and rapturously disturbed.

Stillamentum by Gorrch

Developing and fostering atmosphere through repetition is a common trope in black metal. Stillamentum is no exception, but Gorrch’s approach makes the assessment thereof a bit of a challenge. Each track begins with strong, fast riffs, either searing or psychotic, drawing me in and demanding my attention. Somewhere in the middle third, however, long passages featuring markedly less instrumental variation take over and guide the song to its conclusion. The result is two or three minutes of relatively repetitive instrumentals per track. This was not an issue while running errands or gaming or otherwise spinning Stillamentum in the background—and was in fact a boon—as I enjoyed basking in the consistent atmosphere, but on focused listens, these stretched sections can stall the furious momentum gained earlier in each song.

This same critique can be found mirrored in the structure of Stillamentum as a whole. The front half—“Nimbus,” “Vorago,” and “Larvæ”—as well as closer “Phlegma,” evoke a singular and impressive sense of fear. “Cryptæ” and “Angor,” however, feel less inspired, giving the album’s quality a parabolic shape. They’re not bad songs by any means; there are parts of each I particularly enjoyed. I loved the tempo shift at the midpoint of “Angor” and the clanging, descending riffs in “Cryptæ,” and the synergy between the ritual chanting and Chrimsicrin’s drum work on both tracks is very effective. Even so, they seem closer to boilerplate black metal than the rest of Stillamentum, their teeth notably blunter in comparison. As on the level of individual tracks, this structure works well in the background, but under scrutiny, it highlights opportunities for Gorrch to improve their pacing and direction.

Gorrch shines brightest at their darkest and most unsafe. On Stillamentum, theirs is an abyssal darkness, drenched in formicative3 horror and clothed in perverse piety. At their most oppressive, Gorrch is exactly my kind of black metal: suffocating, malicious, dissonant, and maybe a little blasphemous. Were I grading based on highlights alone, Stillamentum would score much higher. Alas, those peaks are saddled with overlong atmospheric passages, a slight overuse of chanting vocals, and mildly inconsistent quality. If Gorrch can distill their strengths from Stillamentum and hone them to delve even deeper into the void, they’ll unearth something truly unspeakable.

Rating: 3.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Avantgarde Music
Websites: Bandcamp
Releases Worldwide: January 30th, 2026

Michael Dornan has appeared on screen in more episodes of Star Trek than anyone else.1 His character, the mighty Klingon warrior, Captain2 Worf is known to greatly enjoy gagh, a traditional Klingon delicacy comprised of live, wriggling serpent worms. It’s fucking gross. It’s also the first thing I thought of when I saw the album art for Gorrch’s sophomore effort, Stillamentum. Founded in 2010 and hailing from Cavaso del Tomba in northeastern Italy, Gorrch is the unsettling black metal project of fraternal duo, Chrimsicrin and Droich. Now, a decade after 2015 debut Nera estasi, Gorrch plumbs the depths of the abyss, seeking to give voice to the primal fear and disgust of being covered in roiling, writhing masses of maggots.

Standard black metal isn’t dark enough for Gorrch. Stillamentum is about horror and dread. Opener “Nimbus” wastes no time burying you alive in a cramped wooden box. Guitars like clamoring bells ring with sanity-threatening dissonance while pummeling blast beats quickly deplete your limited oxygen. Droich viciously saws at palm-muted strings like the erratic, terrifying sprints of cockroaches exploring what’s in the box (you). A lull at the midpoint ushers in a spiraling riff, rising like your gorge in mortal terror. Heretical Gregorian chanting reveals your captors as zealots, and all hope of seeing the sun again dies. Deranged prayers ripped from Chrimsicrin’s throat (“Vorago,” “Angor”), metallic tones like snapping wires (“Vorago,” “Larvæ”), and ritualistic percussion (“Phlegma”) keep you locked in this waking nightmare. The blasphemous love child of Gaerea and Imperial Triumphant, Stillamentum is cacophonous, claustrophobic, and rapturously disturbed.

Stillamentum by Gorrch

Developing and fostering atmosphere through repetition is a common trope in black metal. Stillamentum is no exception, but Gorrch’s approach makes the assessment thereof a bit of a challenge. Each track begins with strong, fast riffs, either searing or psychotic, drawing me in and demanding my attention. Somewhere in the middle third, however, long passages featuring markedly less instrumental variation take over and guide the song to its conclusion. The result is two or three minutes of relatively repetitive instrumentals per track. This was not an issue while running errands or gaming or otherwise spinning Stillamentum in the background—and was in fact a boon—as I enjoyed basking in the consistent atmosphere, but on focused listens, these stretched sections can stall the furious momentum gained earlier in each song.

This same critique can be found mirrored in the structure of Stillamentum as a whole. The front half—“Nimbus,” “Vorago,” and “Larvæ”—as well as closer “Phlegma,” evoke a singular and impressive sense of fear. “Cryptæ” and “Angor,” however, feel less inspired, giving the album’s quality a parabolic shape. They’re not bad songs by any means; there are parts of each I particularly enjoyed. I loved the tempo shift at the midpoint of “Angor” and the clanging, descending riffs in “Cryptæ,” and the synergy between the ritual chanting and Chrimsicrin’s drum work on both tracks is very effective. Even so, they seem closer to boilerplate black metal than the rest of Stillamentum, their teeth notably blunter in comparison. As on the level of individual tracks, this structure works well in the background, but under scrutiny, it highlights opportunities for Gorrch to improve their pacing and direction.

Gorrch shines brightest at their darkest and most unsafe. On Stillamentum, theirs is an abyssal darkness, drenched in formicative3 horror and clothed in perverse piety. At their most oppressive, Gorrch is exactly my kind of black metal: suffocating, malicious, dissonant, and maybe a little blasphemous. Were I grading based on highlights alone, Stillamentum would score much higher. Alas, those peaks are saddled with overlong atmospheric passages, a slight overuse of chanting vocals, and mildly inconsistent quality. If Gorrch can distill their strengths from Stillamentum and hone them to delve even deeper into the void, they’ll unearth something truly unspeakable.

Rating: 3.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Avantgarde Music
Websites: Bandcamp
Releases Worldwide: January 30th, 2026

Love this song ❤️

#Gaerea - Phoenix

https://song.link/de/i/1843578164

You may be wondering what on earth I am doing willingly touching a black metal album, let alone complimenting one. Well, you know what they say: never let them know your next move. Mysterious Polish-Italian collective Amalekim garnered praise in these hallowed halls with their 2023 release Avodah Zarah, our own Thus Spoke calling it a highlight during a weaker year for the genre. Naturally, I disliked the album, which tends to be a good sign for the average black metal fan. I was nevertheless surprised to see Shir Hashirim released to little fanfare or label promotion after such a positive reception 18 months prior. One look at the ‘melodic’ prefix reactivated my optimist instincts; maybe Amalekim was worth another shot. Two years is a long time in music, let alone fleeting personal tastes.

Not much has necessarily changed with Amalekim’s vicious formula, but the refinements are significant. The core of the band’s sound still lies in the realms of early Gaerea but is also distinctly its own thing altogether. And contrary to Gaerea’s recent development,1 Amalekim isn’t planning to go metalcore any time soon. No, Shir Hashirim further improves on the band’s best qualities while retaining their identity, offering relentless speed and riffs for days (“Chant II: Shir Hashirim,” “Chant IV: Sodot HaYekum”). It’s what I like to call ‘violently melodic’ for all the right reasons, both the intense drumming by Ktulak and the demonic vocals of Mróz enhancing the spite present in the dueling guitars. Most importantly, Amalekim never lets their foot off the gas pedal on their mission to create hauntingly aggressive yet beautifully melodic music.

Shir Hashirim by Amalekim

Shir Hashirim’s success comes from its subversion of common black metal tropes without abandoning them. Gone is the overreliance on standard tremolo and blast beat abuse that I previously took issue with. Those elements are both still key to the album, but in a much more appealing and bite-sized, fresh context (“Chant III: Mesharet HaShilton,” “Chant VIII: Mishteh Malkhuti”). Amalekim’s songwriting has evolved into a much more varied beast with plenty of creative drum and riff patterns to show for it. It almost feels like there’s a bunch of death metal DNA in the band’s songwriting this time (“Chant VI: Tisha Daltot”); in this way, I could see it being the blackened mirror image of Dormant Ordeal’s newest. Where Shir Hashirim improves over Dormant Ordeal’s excellent release is the wonderfully warm and roomy production, a complete opposite of what many others in this scene go for. It once again shows that your album doesn’t need to be crushed or lo-fi to sound brutal—great production simply makes the performance all the more powerful and unyielding.

Shir Hashirim is the first black metal record in ages to catch my interest, and one of the best albums of the year at that. Violent, melodic, and extremely fast all at once, its 38-minute package of eight chants simply leaves me wanting to immediately replay the experience all over again. It’s tight and consistent in a way few other records this year are, and its form of melodic fury makes the album unintentionally catchy. Amalekim’s oppressive and angry atmosphere should satiate the usual suspects, but the breakneck pace and no-nonsense songwriting on Shir Hashirim are sure to appeal to a wider audience as well.

Track to Check Out: “Chant II: Shir Hashirim,” “Chant IV: Sodot HaYekum,” and “Chant VII: Haka’as HaNachash.”

You may be wondering what on earth I am doing willingly touching a black metal album, let alone complimenting one. Well, you know what they say: never let them know your next move. Mysterious Polish-Italian collective Amalekim garnered praise in these hallowed halls with their 2023 release Avodah Zarah, our own Thus Spoke calling it a highlight during a weaker year for the genre. Naturally, I disliked the album, which tends to be a good sign for the average black metal fan. I was nevertheless surprised to see Shir Hashirim released to little fanfare or label promotion after such a positive reception 18 months prior. One look at the ‘melodic’ prefix reactivated my optimist instincts; maybe Amalekim was worth another shot. Two years is a long time in music, let alone fleeting personal tastes.

Not much has necessarily changed with Amalekim’s vicious formula, but the refinements are significant. The core of the band’s sound still lies in the realms of early Gaerea but is also distinctly its own thing altogether. And contrary to Gaerea’s recent development,1 Amalekim isn’t planning to go metalcore any time soon. No, Shir Hashirim further improves on the band’s best qualities while retaining their identity, offering relentless speed and riffs for days (“Chant II: Shir Hashirim,” “Chant IV: Sodot HaYekum”). It’s what I like to call ‘violently melodic’ for all the right reasons, both the intense drumming by Ktulak and the demonic vocals of Mróz enhancing the spite present in the dueling guitars. Most importantly, Amalekim never lets their foot off the gas pedal on their mission to create hauntingly aggressive yet beautifully melodic music.

Shir Hashirim by Amalekim

Shir Hashirim’s success comes from its subversion of common black metal tropes without abandoning them. Gone is the overreliance on standard tremolo and blast beat abuse that I previously took issue with. Those elements are both still key to the album, but in a much more appealing and bite-sized, fresh context (“Chant III: Mesharet HaShilton,” “Chant VIII: Mishteh Malkhuti”). Amalekim’s songwriting has evolved into a much more varied beast with plenty of creative drum and riff patterns to show for it. It almost feels like there’s a bunch of death metal DNA in the band’s songwriting this time (“Chant VI: Tisha Daltot”); in this way, I could see it being the blackened mirror image of Dormant Ordeal’s newest. Where Shir Hashirim improves over Dormant Ordeal’s excellent release is the wonderfully warm and roomy production, a complete opposite of what many others in this scene go for. It once again shows that your album doesn’t need to be crushed or lo-fi to sound brutal—great production simply makes the performance all the more powerful and unyielding.

Shir Hashirim is the first black metal record in ages to catch my interest, and one of the best albums of the year at that. Violent, melodic, and extremely fast all at once, its 38-minute package of eight chants simply leaves me wanting to immediately replay the experience all over again. It’s tight and consistent in a way few other records this year are, and its form of melodic fury makes the album unintentionally catchy. Amalekim’s oppressive and angry atmosphere should satiate the usual suspects, but the breakneck pace and no-nonsense songwriting on Shir Hashirim are sure to appeal to a wider audience as well.

Track to Check Out: “Chant II: Shir Hashirim,” “Chant IV: Sodot HaYekum,” and “Chant VII: Haka’as HaNachash.”

New post: Gig Review: Orbit Culture / Gaerea / Atlas – SWG3, Glasgow (12th November 2025) https://www.moshville.co.uk/reviews/gig-review/2025/11/gig-review-orbit-culture-gaerea-atlas-swg3-glasgow-12th-november-2025/ #(ATLAS) #Gaerea #OrbitCulture

Explore 37 New albums just announced – 11/03/2025:

#UpcomingReleases #NewMusicAlert #Gaerea #Volumes #MichaelMonroe

Link: https://metalinsider.net/new-music/explore-37-new-albums-just-announced-11-03-2025

GAEREA (Portugal) presenta nou single: "Hellbound" #Gaerea #BlackMetal #PostBlackMetal #Octubre2025 #Portugal #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

GAEREA (Portugal) presenta nou single: "Hellbound" #Gaerea #BlackMetal #PostBlackMetal #Octubre2025 #Portugal #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

Ooh, new #Gaerea album out in March, called Loss.

https://open.qobuz.com/album/ph601g5orhq0b #blackmetal

Gaerea
https://www.youtube.com/watch?v=inUzXE4a7Lw
#youtube_arteconcert #ARTE #Autre #gaerea #summer_breeze #summerbreeze #festival #arteconcert #music

For @HailsandAles' #BlackMetalMonday:

#DerWegEinerFreiheit: Innern

https://album.link/i/1818636970

#AtmospheircBlackMetal #ProgressiveBlackMetal

FFO #Gaerea #Heretoir #Verheerer

Having been thoroughly impressed with #Gaerea 's latest album Coma, I like the direction they are going in with Submerged.

Coma demonstrated a keen ear for melody despite its obvious heaviness, but the introduction of clean vocals on Submerged is exciting. An album of songs like that will have me frantically clicking the buy button. #music #metal

Gaerea sign with Century Media, drop new single “Submerged”

#Gaerea #CenturyMedia #Submerged #NewSong

Link: https://metalinsider.net/news/gaerea-sign-with-century-media-drop-new-single-submerged

Dormant Ordeal – Tooth and Nail Review

By Tyme

Though often yoked to the tech death scene, I’ve never found Dormant Ordeal particularly technical. Or at least not in the way bands like Defeated Sanity, Archspire, or Gorod are considered technical. Why is this important? Because on Tooth and Nail, their fourth outing and first for new label Willowtip, we see Dormant Ordeal step further away from any vestiges of technicality. Factor in too that, since the release of We Had It Coming, Dormant Ordeal continues to shrink—the most recent departure being that of drummer and founding member Radek Kowal—and you have an ordeal ripe for drama. Dormant Ordeal has, however, always managed high levels of quality output. AMG’s own Dr. Wvrm praised 2016’s WHIT with a TYMHM treatment and crowned 2021’s The Grand Scheme of Things with a 4.0 of thorns. Still, I wondered how Kowal’s absence would affect the Dormant Ordeal sound and whether Tooth and Nail would have the amount of fight I’d hoped for.

A showcase for every weapon at Dormant Ordeal‘s disposal, Tooth and Nail writhes with ruthless savagery, staying true to the classic Polish death metal sound. And while the likes of Decapitated, Ulcerate, and Gaerea still hold some comparative weight, Dormant Ordeal has done more than enough to step from the shadows of comparison into the light of its own sound. Like a grizzled wizard atop rocky crags, Maciej Nieścioruk casts rifferous spells filled with whirling tremolos, walls of layered dissonance, grinding chugs, and cascading shimmers of post-metal strums as well as bass lines brimming with gravitas. Chason Westmoreland (Cambion, ex-Equipoise, ex-Hate Eternal) fills in behind the kit and turns in a monstrous performance. His snare blasts, machine-like double kicks, and miles of tom fills lend warmth and deep richness to the vibrant drum sound, departing from Dormant Ordeal‘s former snare-heavy drone. Add in the fact that Maciej Proficz sounds more beastly and vicious than I’ve ever heard him, and we realize this iteration of Dormant Ordeal walks a different path—a path of blackened death, sure, but also one of well-crafted atmospheres, post-metallic melodicism, and a low-end presence absent from previous efforts.

For every passage on Tooth and Nail that tips a hat toward Dormant Ordeal‘s past, there are as many that point to a brighter future. Longtime fans will feel wrapped in a warm, WHIC comforter when the stutter-stepping, skronky riffs of “Dust Crown” take off or the theatrically dramatic “Orphans” flies by in blurs of blistering blasts and speed-hungry riffs. These moments juxtaposed against the brilliance of the plodding, weighty drama of “Solvent,” an atmospheric long-player full of melancholic guitar lines and shimmering tremolos or the very excellent “Against the Dying of the Light,” a nod to Dylan Thomas that is one of the most vicious songs on the album, Proficz’s roar of ‘Against the dying of the light. RAGE!” gives me goosebumps every time. Every song a marvel, Tooth and Nail finds Dormant Ordeal plumbing new depths of excellence by tapping into a dormant, lush production that suits the material to a tee.

Aside from Westmoreland recording his drum parts, all aspects of the production on Tooth and Nail appear, at least on paper, the same as on TGSoT, even down to the DR score. Yet, this time, Pawel Grabowski exited the lab at JNS Studio with a mix that brought to life the dark textures of Nieścioruk’s bass lines (“Halo of Bones”) and the theatrical intricacies of his guitar work (“Everything That Isn’t Silence Is Trivial”) in a way no previous Dormant Ordeal album has managed. Every minute of Tooth and Nail‘s forty-seven-minute runtime is put to good use, leaving not even the traditional complaint of artistic bloat on the table. I suppose I would have liked to see a bit more instrumentality added to “Wije I Mary, Pt. 1” to better tie it to the beautifully executed work on the bookend “Wije I Mary, Pt. 2,” but even this minuscule nit barely registers.

From its cover to its content, Tooth and Nail represents the absolute best of what Dormant Ordeal can be. It isn’t easy to part ways with a band’s sole founding member. Many don’t survive. Perhaps the fight and struggle it took Nieścioruk and Proficz to overcome and usher Tooth and Nail into the light of day is reflected in the album’s title and theme, which is one of grit, determination, and doing the difficult thing, to fight tooth and nail if you will. I commend Dormant Ordeal for carrying on and in so doing releasing its best album yet.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Willowtip Records
Websites: Bandcamp | Facebook
Releases Worldwide: April 18th, 2025

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