#highparasite — Public Fediverse posts

UK doom metal saviors Godthrymm are a damn good band. If you’ve had a chance to listen to either their full-length debut Reflections or their follow-up in 2023’s mighty Distortions, you already know just how talented and outright heavy their brand of doom and traditional metal can get. Then again, you’d also know that their pedigree (with stints in Vallenfyre, Solstice, and of course My Dying Bride, among others) pretty much guaranteed a rock-solid backdrop to their sound. With all that said, I’ve awaited Projections, their final piece to their Visions, for as long as it was announced. Now that it’s upon us, and I’ve had a chance to spend a good, solid week with it, I’ve got some major concerns.

Before I get into the reasons why, let’s focus on the good. There are no poor performances on the album from anybody. Lead-off single “Truth in My Own” is classic Godthrymm through and through, with Hamish Glencross and newcomer Kris McLaughlin throwing down riff after heavy riff, and Hamish’s voice is once again in fine form, especially when he sings alongside his wife, keyboardist Catherine Glencross. Elsewhere, “Endure My Skin” features a fine performance by former My Dying Bride (and current High Parasite) vocalist, Aaron Stainthorpe, reuniting him with Hamish and fellow MDB alumni, drummer Shaun Taylor-Steels. Those two songs are Godthrymm personified.

Sadly, there are four other songs on here,1 and that’s where the concerns lie. Opener “Trenches Deep,” which features Adie Bailey (English Dogs) and Jay Walsh (Xentrix) providing additional vocals, starts off promising enough, but for whatever reason, transitions into a thrash tune that sounds eerily like MDB’s “The Forever People,” and the way it was shoehorned in is anything but natural. At the other end, closer “Hope is Eternal” starts off with an impressive drum fill by Taylor-Steels, and a somber performance by Catherine, until we get to the chorus, which features Catherine wailing “MEEEEEEeeeEEEEEEEEEEEEeeeeeeeeee…” repeatedly. In fact, Catherine features more vocally on this album than Hamish, which isn’t a bad thing at all. I just wish the songs were better, with the other two songs, “Jewels” and “The Sun Never Fell,” not making an impact with me no matter how many times I listen, and no matter who is singing.

It doesn’t help that there are production issues as well. For some inexplicable reason, about halfway through the thrash portion of “Trenches Deep,” there’s a noticeable volume dip, as well as some major compression. I don’t know if this was intentional, but it’s highly off-putting. That volume dip would later reverse itself as “The Sun Never Fell” jacks the volume back up for no reason at all. On my first listen, I thought I was imagining things when it came to the production side, but on repeated listens, they’re right there, and they’re distracting on an album that’s already having a tough time winning me over on a songwriting level. And that absolutely sucks to say, especially since Godthrymm, up until now, has been delivering nothing but slam dunks on each of their preceding albums.

This is not how I envisioned reviewing Projections. In what should have been a hat trick, I’m left baffled and more than a little disappointed. I’m hoping this is just a hiccup, as Godthrymm stand toe-to-toe with the absolute best in British doom metal, rivaling the best that many of the heroes of that genre. With Reflections, they channeled the very best love letter to the classics of yore. On Distortions, they added their own flavor and punch to that sound, resulting in my favorite album of 2023. Sadly, on Projections, I’m listening to this solely for writing this review, and little else. This is not how I wanted things to transpire.

Rating: 2.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Profound Lore
Websites: Bandcamp | Facebook
Releases Worldwide: May 29th, 2026

UK doom metal saviors Godthrymm are a damn good band. If you’ve had a chance to listen to either their full-length debut Reflections or their follow-up in 2023’s mighty Distortions, you already know just how talented and outright heavy their brand of doom and traditional metal can get. Then again, you’d also know that their pedigree (with stints in Vallenfyre, Solstice, and of course My Dying Bride, among others) pretty much guaranteed a rock-solid backdrop to their sound. With all that said, I’ve awaited Projections, their final piece to their Visions, for as long as it was announced. Now that it’s upon us, and I’ve had a chance to spend a good, solid week with it, I’ve got some major concerns.

Before I get into the reasons why, let’s focus on the good. There are no poor performances on the album from anybody. Lead-off single “Truth in My Own” is classic Godthrymm through and through, with Hamish Glencross and newcomer Kris McLaughlin throwing down riff after heavy riff, and Hamish’s voice is once again in fine form, especially when he sings alongside his wife, keyboardist Catherine Glencross. Elsewhere, “Endure My Skin” features a fine performance by former My Dying Bride (and current High Parasite) vocalist, Aaron Stainthorpe, reuniting him with Hamish and fellow MDB alumni, drummer Shaun Taylor-Steels. Those two songs are Godthrymm personified.

Sadly, there are four other songs on here,1 and that’s where the concerns lie. Opener “Trenches Deep,” which features Adie Bailey (English Dogs) and Jay Walsh (Xentrix) providing additional vocals, starts off promising enough, but for whatever reason, transitions into a thrash tune that sounds eerily like MDB’s “The Forever People,” and the way it was shoehorned in is anything but natural. At the other end, closer “Hope is Eternal” starts off with an impressive drum fill by Taylor-Steels, and a somber performance by Catherine, until we get to the chorus, which features Catherine wailing “MEEEEEEeeeEEEEEEEEEEEEeeeeeeeeee…” repeatedly. In fact, Catherine features more vocally on this album than Hamish, which isn’t a bad thing at all. I just wish the songs were better, with the other two songs, “Jewels” and “The Sun Never Fell,” not making an impact with me no matter how many times I listen, and no matter who is singing.

It doesn’t help that there are production issues as well. For some inexplicable reason, about halfway through the thrash portion of “Trenches Deep,” there’s a noticeable volume dip, as well as some major compression. I don’t know if this was intentional, but it’s highly off-putting. That volume dip would later reverse itself as “The Sun Never Fell” jacks the volume back up for no reason at all. On my first listen, I thought I was imagining things when it came to the production side, but on repeated listens, they’re right there, and they’re distracting on an album that’s already having a tough time winning me over on a songwriting level. And that absolutely sucks to say, especially since Godthrymm, up until now, has been delivering nothing but slam dunks on each of their preceding albums.

This is not how I envisioned reviewing Projections. In what should have been a hat trick, I’m left baffled and more than a little disappointed. I’m hoping this is just a hiccup, as Godthrymm stand toe-to-toe with the absolute best in British doom metal, rivaling the best that many of the heroes of that genre. With Reflections, they channeled the very best love letter to the classics of yore. On Distortions, they added their own flavor and punch to that sound, resulting in my favorite album of 2023. Sadly, on Projections, I’m listening to this solely for writing this review, and little else. This is not how I wanted things to transpire.

Rating: 2.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Profound Lore
Websites: Bandcamp | Facebook
Releases Worldwide: May 29th, 2026

UK doom metal saviors Godthrymm are a damn good band. If you’ve had a chance to listen to either their full-length debut Reflections or their follow-up in 2023’s mighty Distortions, you already know just how talented and outright heavy their brand of doom and traditional metal can get. Then again, you’d also know that their pedigree (with stints in Vallenfyre, Solstice, and of course My Dying Bride, among others) pretty much guaranteed a rock-solid backdrop to their sound. With all that said, I’ve awaited Projections, their final piece to their Visions, for as long as it was announced. Now that it’s upon us, and I’ve had a chance to spend a good, solid week with it, I’ve got some major concerns.

Before I get into the reasons why, let’s focus on the good. There are no poor performances on the album from anybody. Lead-off single “Truth in My Own” is classic Godthrymm through and through, with Hamish Glencross and newcomer Kris McLaughlin throwing down riff after heavy riff, and Hamish’s voice is once again in fine form, especially when he sings alongside his wife, keyboardist Catherine Glencross. Elsewhere, “Endure My Skin” features a fine performance by former My Dying Bride (and current High Parasite) vocalist, Aaron Stainthorpe, reuniting him with Hamish and fellow MDB alumni, drummer Shaun Taylor-Steels. Those two songs are Godthrymm personified.

Sadly, there are four other songs on here,1 and that’s where the concerns lie. Opener “Trenches Deep,” which features Adie Bailey (English Dogs) and Jay Walsh (Xentrix) providing additional vocals, starts off promising enough, but for whatever reason, transitions into a thrash tune that sounds eerily like MDB’s “The Forever People,” and the way it was shoehorned in is anything but natural. At the other end, closer “Hope is Eternal” starts off with an impressive drum fill by Taylor-Steels, and a somber performance by Catherine, until we get to the chorus, which features Catherine wailing “MEEEEEEeeeEEEEEEEEEEEEeeeeeeeeee…” repeatedly. In fact, Catherine features more vocally on this album than Hamish, which isn’t a bad thing at all. I just wish the songs were better, with the other two songs, “Jewels” and “The Sun Never Fell,” not making an impact with me no matter how many times I listen, and no matter who is singing.

It doesn’t help that there are production issues as well. For some inexplicable reason, about halfway through the thrash portion of “Trenches Deep,” there’s a noticeable volume dip, as well as some major compression. I don’t know if this was intentional, but it’s highly off-putting. That volume dip would later reverse itself as “The Sun Never Fell” jacks the volume back up for no reason at all. On my first listen, I thought I was imagining things when it came to the production side, but on repeated listens, they’re right there, and they’re distracting on an album that’s already having a tough time winning me over on a songwriting level. And that absolutely sucks to say, especially since Godthrymm, up until now, has been delivering nothing but slam dunks on each of their preceding albums.

This is not how I envisioned reviewing Projections. In what should have been a hat trick, I’m left baffled and more than a little disappointed. I’m hoping this is just a hiccup, as Godthrymm stand toe-to-toe with the absolute best in British doom metal, rivaling the best that many of the heroes of that genre. With Reflections, they channeled the very best love letter to the classics of yore. On Distortions, they added their own flavor and punch to that sound, resulting in my favorite album of 2023. Sadly, on Projections, I’m listening to this solely for writing this review, and little else. This is not how I wanted things to transpire.

Rating: 2.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Profound Lore
Websites: Bandcamp | Facebook
Releases Worldwide: May 29th, 2026

UK doom metal saviors Godthrymm are a damn good band. If you’ve had a chance to listen to either their full-length debut Reflections or their follow-up in 2023’s mighty Distortions, you already know just how talented and outright heavy their brand of doom and traditional metal can get. Then again, you’d also know that their pedigree (with stints in Vallenfyre, Solstice, and of course My Dying Bride, among others) pretty much guaranteed a rock-solid backdrop to their sound. With all that said, I’ve awaited Projections, their final piece to their Visions, for as long as it was announced. Now that it’s upon us, and I’ve had a chance to spend a good, solid week with it, I’ve got some major concerns.

Before I get into the reasons why, let’s focus on the good. There are no poor performances on the album from anybody. Lead-off single “Truth in My Own” is classic Godthrymm through and through, with Hamish Glencross and newcomer Kris McLaughlin throwing down riff after heavy riff, and Hamish’s voice is once again in fine form, especially when he sings alongside his wife, keyboardist Catherine Glencross. Elsewhere, “Endure My Skin” features a fine performance by former My Dying Bride (and current High Parasite) vocalist, Aaron Stainthorpe, reuniting him with Hamish and fellow MDB alumni, drummer Shaun Taylor-Steels. Those two songs are Godthrymm personified.

Sadly, there are four other songs on here,1 and that’s where the concerns lie. Opener “Trenches Deep,” which features Adie Bailey (English Dogs) and Jay Walsh (Xentrix) providing additional vocals, starts off promising enough, but for whatever reason, transitions into a thrash tune that sounds eerily like MDB’s “The Forever People,” and the way it was shoehorned in is anything but natural. At the other end, closer “Hope is Eternal” starts off with an impressive drum fill by Taylor-Steels, and a somber performance by Catherine, until we get to the chorus, which features Catherine wailing “MEEEEEEeeeEEEEEEEEEEEEeeeeeeeeee…” repeatedly. In fact, Catherine features more vocally on this album than Hamish, which isn’t a bad thing at all. I just wish the songs were better, with the other two songs, “Jewels” and “The Sun Never Fell,” not making an impact with me no matter how many times I listen, and no matter who is singing.

It doesn’t help that there are production issues as well. For some inexplicable reason, about halfway through the thrash portion of “Trenches Deep,” there’s a noticeable volume dip, as well as some major compression. I don’t know if this was intentional, but it’s highly off-putting. That volume dip would later reverse itself as “The Sun Never Fell” jacks the volume back up for no reason at all. On my first listen, I thought I was imagining things when it came to the production side, but on repeated listens, they’re right there, and they’re distracting on an album that’s already having a tough time winning me over on a songwriting level. And that absolutely sucks to say, especially since Godthrymm, up until now, has been delivering nothing but slam dunks on each of their preceding albums.

This is not how I envisioned reviewing Projections. In what should have been a hat trick, I’m left baffled and more than a little disappointed. I’m hoping this is just a hiccup, as Godthrymm stand toe-to-toe with the absolute best in British doom metal, rivaling the best that many of the heroes of that genre. With Reflections, they channeled the very best love letter to the classics of yore. On Distortions, they added their own flavor and punch to that sound, resulting in my favorite album of 2023. Sadly, on Projections, I’m listening to this solely for writing this review, and little else. This is not how I wanted things to transpire.

Rating: 2.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Profound Lore
Websites: Bandcamp | Facebook
Releases Worldwide: May 29th, 2026

UK doom metal saviors Godthrymm are a damn good band. If you’ve had a chance to listen to either their full-length debut Reflections or their follow-up in 2023’s mighty Distortions, you already know just how talented and outright heavy their brand of doom and traditional metal can get. Then again, you’d also know that their pedigree (with stints in Vallenfyre, Solstice, and of course My Dying Bride, among others) pretty much guaranteed a rock-solid backdrop to their sound. With all that said, I’ve awaited Projections, their final piece to their Visions, for as long as it was announced. Now that it’s upon us, and I’ve had a chance to spend a good, solid week with it, I’ve got some major concerns.

Before I get into the reasons why, let’s focus on the good. There are no poor performances on the album from anybody. Lead-off single “Truth in My Own” is classic Godthrymm through and through, with Hamish Glencross and newcomer Kris McLaughlin throwing down riff after heavy riff, and Hamish’s voice is once again in fine form, especially when he sings alongside his wife, keyboardist Catherine Glencross. Elsewhere, “Endure My Skin” features a fine performance by former My Dying Bride (and current High Parasite) vocalist, Aaron Stainthorpe, reuniting him with Hamish and fellow MDB alumni, drummer Shaun Taylor-Steels. Those two songs are Godthrymm personified.

Sadly, there are four other songs on here,1 and that’s where the concerns lie. Opener “Trenches Deep,” which features Adie Bailey (English Dogs) and Jay Walsh (Xentrix) providing additional vocals, starts off promising enough, but for whatever reason, transitions into a thrash tune that sounds eerily like MDB’s “The Forever People,” and the way it was shoehorned in is anything but natural. At the other end, closer “Hope is Eternal” starts off with an impressive drum fill by Taylor-Steels, and a somber performance by Catherine, until we get to the chorus, which features Catherine wailing “MEEEEEEeeeEEEEEEEEEEEEeeeeeeeeee…” repeatedly. In fact, Catherine features more vocally on this album than Hamish, which isn’t a bad thing at all. I just wish the songs were better, with the other two songs, “Jewels” and “The Sun Never Fell,” not making an impact with me no matter how many times I listen, and no matter who is singing.

It doesn’t help that there are production issues as well. For some inexplicable reason, about halfway through the thrash portion of “Trenches Deep,” there’s a noticeable volume dip, as well as some major compression. I don’t know if this was intentional, but it’s highly off-putting. That volume dip would later reverse itself as “The Sun Never Fell” jacks the volume back up for no reason at all. On my first listen, I thought I was imagining things when it came to the production side, but on repeated listens, they’re right there, and they’re distracting on an album that’s already having a tough time winning me over on a songwriting level. And that absolutely sucks to say, especially since Godthrymm, up until now, has been delivering nothing but slam dunks on each of their preceding albums.

This is not how I envisioned reviewing Projections. In what should have been a hat trick, I’m left baffled and more than a little disappointed. I’m hoping this is just a hiccup, as Godthrymm stand toe-to-toe with the absolute best in British doom metal, rivaling the best that many of the heroes of that genre. With Reflections, they channeled the very best love letter to the classics of yore. On Distortions, they added their own flavor and punch to that sound, resulting in my favorite album of 2023. Sadly, on Projections, I’m listening to this solely for writing this review, and little else. This is not how I wanted things to transpire.

Rating: 2.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Profound Lore
Websites: Bandcamp | Facebook
Releases Worldwide: May 29th, 2026

https://www.europesays.com/be-nl/49960/ De rijpe nummers van High Parasite in Paard #AaronStainthorpe #Amusement #BE #België #Belgium #DENHAAG #Entertainment #ForeverWeBurn #godthrymm #HighParasite #live #Music #Muziek #MyDyingBride #paard #TheOldDeadTree #tombs

https://www.europesays.com/nl/192401/ De rijpe nummers van High Parasite in Paard #AaronStainthorpe #Amusement #DENHAAG #Dutch #Entertainment #ForeverWeBurn #godthrymm #HighParasite #live #Music #Muziek #MyDyingBride #Nederland #Nederlanden #Nederlands #Netherlands #NL #paard #TheOldDeadTree #tombs

It’s been some time since Splendidula has visited these pages. The fearsome Carcharodon reviewed their sophomore record, Post Mortem, as a wee n00b long ago in 2018, wherein he saw glimmers of potential in the gothic doom metal. He didn’t cover 2021’s Somnus for unknown reasons, though I think he might have been pleased with the heavier post-metal inclinations that permeated the record. The years since then have been rough for this Belgian group, marred by the passing of several loved ones, including their bassist Peter Chromiak. Absentia emerges in the wake of these tragedies as a means to both express and confront this debilitating heartache and loss.

Chromiak’s absence is felt in the very essence of Absentia. Although drummer Joachim Taminau took up the bassist role, the burly bass presence from the prior two records is all but gone. Splendidula kept much of their gothic doom but, fittingly, chose to fill the void with another of metal’s most expressive subgenres—DSBM. Whereas Kristien Cools previously stuck to clean vocals (for the most part), she now becomes both beauty and beast, dividing her time between sorrowful singing and shrieking. She also leans on a couple of notable guest vocalists. Tim Yatras (Austere) adds blackened snarls and backing cleans to “Absentia,” followed by Aaron Stainthorpe (ex-My Dying Bride, High Parasite), who contributes his rumbling growls and velvety baritone to “Echoes of Quiet Remain.” These guest selections neatly encapsulate the two different aspects of Absentia.

Absentia by Splendidula

While much music (and art in general) is born from a place of grief, Absentia is practically synonymous with it. Underneath the stoic exterior lurks a raw torment that flares up whenever and however it wants. For example, “Donkerte” begins with despondent singing, but as the verse progresses, Cools’s voice escalates until finally a primal scream spills out. Later, the double-tracked cleans and screams give the impression of one putting on a brave face as anguish roils inside. When her voice dips into the lower ranges (particularly in “Absentia” and “Let It Come to an End”), it takes on a sort of nasally drawl which augments the mournful atmosphere, though this likely won’t appeal to everyone. Also like grief, sections of certain songs tend to linger for longer than one might like (“Echoes of Quiet Remain,” “Kilte,” “Absentia”).

Absentia musically conveys the importance of a healthy support system during times of grief. Though much hinges on Cools’s vocal performances, the other two members of Splendidula help to sustain her in subtle but important ways. During “Dalkuldar,” a forlorn respite from the turmoil, the snare rhythms and bass drum beats are akin to a bolstering drumline. The tempestuous percussion also heightens the sense of desperation in “Kilte.” Closing track “Let It Come to an End” flips the script, letting Cools take a backseat and bringing guitarist Guy Van Campenhout’s growls to the forefront, perhaps emblematic of leaning on loved ones during times of crisis.

In terms of emotional devastation, Absentia is as potent a record as you’re likely to find. Kristien Cools keeps improving with each release, and the compositions complement her increasingly diverse vocal styles well. The deeply personal nature of Splendidula’s work of art is both strength and weakness. The intense and authentic expression of grief is harrowingly beautiful, but in a way that seems impossible for an outsider to fully appreciate. Like attending a funeral for someone you didn’t know, it’s easy to empathize with those in mourning but difficult to feel the same deep personal connection. That said, the next time grief comes for me personally, I may be very grateful that I became acquainted with Absentia.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Argonauta Records
Websites: splendidula.bandcamp.com | facebook.com/Splendidula
Releases Worldwide: April 3rd, 2026

It’s been some time since Splendidula has visited these pages. The fearsome Carcharodon reviewed their sophomore record, Post Mortem, as a wee n00b long ago in 2018, wherein he saw glimmers of potential in the gothic doom metal. He didn’t cover 2021’s Somnus for unknown reasons, though I think he might have been pleased with the heavier post-metal inclinations that permeated the record. The years since then have been rough for this Belgian group, marred by the passing of several loved ones, including their bassist Peter Chromiak. Absentia emerges in the wake of these tragedies as a means to both express and confront this debilitating heartache and loss.

Chromiak’s absence is felt in the very essence of Absentia. Although drummer Joachim Taminau took up the bassist role, the burly bass presence from the prior two records is all but gone. Splendidula kept much of their gothic doom but, fittingly, chose to fill the void with another of metal’s most expressive subgenres—DSBM. Whereas Kristien Cools previously stuck to clean vocals (for the most part), she now becomes both beauty and beast, dividing her time between sorrowful singing and shrieking. She also leans on a couple of notable guest vocalists. Tim Yatras (Austere) adds blackened snarls and backing cleans to “Absentia,” followed by Aaron Stainthorpe (ex-My Dying Bride, High Parasite), who contributes his rumbling growls and velvety baritone to “Echoes of Quiet Remain.” These guest selections neatly encapsulate the two different aspects of Absentia.

Absentia by Splendidula

While much music (and art in general) is born from a place of grief, Absentia is practically synonymous with it. Underneath the stoic exterior lurks a raw torment that flares up whenever and however it wants. For example, “Donkerte” begins with despondent singing, but as the verse progresses, Cools’s voice escalates until finally a primal scream spills out. Later, the double-tracked cleans and screams give the impression of one putting on a brave face as anguish roils inside. When her voice dips into the lower ranges (particularly in “Absentia” and “Let It Come to an End”), it takes on a sort of nasally drawl which augments the mournful atmosphere, though this likely won’t appeal to everyone. Also like grief, sections of certain songs tend to linger for longer than one might like (“Echoes of Quiet Remain,” “Kilte,” “Absentia”).

Absentia musically conveys the importance of a healthy support system during times of grief. Though much hinges on Cools’s vocal performances, the other two members of Splendidula help to sustain her in subtle but important ways. During “Dalkuldar,” a forlorn respite from the turmoil, the snare rhythms and bass drum beats are akin to a bolstering drumline. The tempestuous percussion also heightens the sense of desperation in “Kilte.” Closing track “Let It Come to an End” flips the script, letting Cools take a backseat and bringing guitarist Guy Van Campenhout’s growls to the forefront, perhaps emblematic of leaning on loved ones during times of crisis.

In terms of emotional devastation, Absentia is as potent a record as you’re likely to find. Kristien Cools keeps improving with each release, and the compositions complement her increasingly diverse vocal styles well. The deeply personal nature of Splendidula’s work of art is both strength and weakness. The intense and authentic expression of grief is harrowingly beautiful, but in a way that seems impossible for an outsider to fully appreciate. Like attending a funeral for someone you didn’t know, it’s easy to empathize with those in mourning but difficult to feel the same deep personal connection. That said, the next time grief comes for me personally, I may be very grateful that I became acquainted with Absentia.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Argonauta Records
Websites: splendidula.bandcamp.com | facebook.com/Splendidula
Releases Worldwide: April 3rd, 2026

It’s been some time since Splendidula has visited these pages. The fearsome Carcharodon reviewed their sophomore record, Post Mortem, as a wee n00b long ago in 2018, wherein he saw glimmers of potential in the gothic doom metal. He didn’t cover 2021’s Somnus for unknown reasons, though I think he might have been pleased with the heavier post-metal inclinations that permeated the record. The years since then have been rough for this Belgian group, marred by the passing of several loved ones, including their bassist Peter Chromiak. Absentia emerges in the wake of these tragedies as a means to both express and confront this debilitating heartache and loss.

Chromiak’s absence is felt in the very essence of Absentia. Although drummer Joachim Taminau took up the bassist role, the burly bass presence from the prior two records is all but gone. Splendidula kept much of their gothic doom but, fittingly, chose to fill the void with another of metal’s most expressive subgenres—DSBM. Whereas Kristien Cools previously stuck to clean vocals (for the most part), she now becomes both beauty and beast, dividing her time between sorrowful singing and shrieking. She also leans on a couple of notable guest vocalists. Tim Yatras (Austere) adds blackened snarls and backing cleans to “Absentia,” followed by Aaron Stainthorpe (ex-My Dying Bride, High Parasite), who contributes his rumbling growls and velvety baritone to “Echoes of Quiet Remain.” These guest selections neatly encapsulate the two different aspects of Absentia.

Absentia by Splendidula

While much music (and art in general) is born from a place of grief, Absentia is practically synonymous with it. Underneath the stoic exterior lurks a raw torment that flares up whenever and however it wants. For example, “Donkerte” begins with despondent singing, but as the verse progresses, Cools’s voice escalates until finally a primal scream spills out. Later, the double-tracked cleans and screams give the impression of one putting on a brave face as anguish roils inside. When her voice dips into the lower ranges (particularly in “Absentia” and “Let It Come to an End”), it takes on a sort of nasally drawl which augments the mournful atmosphere, though this likely won’t appeal to everyone. Also like grief, sections of certain songs tend to linger for longer than one might like (“Echoes of Quiet Remain,” “Kilte,” “Absentia”).

Absentia musically conveys the importance of a healthy support system during times of grief. Though much hinges on Cools’s vocal performances, the other two members of Splendidula help to sustain her in subtle but important ways. During “Dalkuldar,” a forlorn respite from the turmoil, the snare rhythms and bass drum beats are akin to a bolstering drumline. The tempestuous percussion also heightens the sense of desperation in “Kilte.” Closing track “Let It Come to an End” flips the script, letting Cools take a backseat and bringing guitarist Guy Van Campenhout’s growls to the forefront, perhaps emblematic of leaning on loved ones during times of crisis.

In terms of emotional devastation, Absentia is as potent a record as you’re likely to find. Kristien Cools keeps improving with each release, and the compositions complement her increasingly diverse vocal styles well. The deeply personal nature of Splendidula’s work of art is both strength and weakness. The intense and authentic expression of grief is harrowingly beautiful, but in a way that seems impossible for an outsider to fully appreciate. Like attending a funeral for someone you didn’t know, it’s easy to empathize with those in mourning but difficult to feel the same deep personal connection. That said, the next time grief comes for me personally, I may be very grateful that I became acquainted with Absentia.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Argonauta Records
Websites: splendidula.bandcamp.com | facebook.com/Splendidula
Releases Worldwide: April 3rd, 2026

It’s been some time since Splendidula has visited these pages. The fearsome Carcharodon reviewed their sophomore record, Post Mortem, as a wee n00b long ago in 2018, wherein he saw glimmers of potential in the gothic doom metal. He didn’t cover 2021’s Somnus for unknown reasons, though I think he might have been pleased with the heavier post-metal inclinations that permeated the record. The years since then have been rough for this Belgian group, marred by the passing of several loved ones, including their bassist Peter Chromiak. Absentia emerges in the wake of these tragedies as a means to both express and confront this debilitating heartache and loss.

Chromiak’s absence is felt in the very essence of Absentia. Although drummer Joachim Taminau took up the bassist role, the burly bass presence from the prior two records is all but gone. Splendidula kept much of their gothic doom but, fittingly, chose to fill the void with another of metal’s most expressive subgenres—DSBM. Whereas Kristien Cools previously stuck to clean vocals (for the most part), she now becomes both beauty and beast, dividing her time between sorrowful singing and shrieking. She also leans on a couple of notable guest vocalists. Tim Yatras (Austere) adds blackened snarls and backing cleans to “Absentia,” followed by Aaron Stainthorpe (ex-My Dying Bride, High Parasite), who contributes his rumbling growls and velvety baritone to “Echoes of Quiet Remain.” These guest selections neatly encapsulate the two different aspects of Absentia.

Absentia by Splendidula

While much music (and art in general) is born from a place of grief, Absentia is practically synonymous with it. Underneath the stoic exterior lurks a raw torment that flares up whenever and however it wants. For example, “Donkerte” begins with despondent singing, but as the verse progresses, Cools’s voice escalates until finally a primal scream spills out. Later, the double-tracked cleans and screams give the impression of one putting on a brave face as anguish roils inside. When her voice dips into the lower ranges (particularly in “Absentia” and “Let It Come to an End”), it takes on a sort of nasally drawl which augments the mournful atmosphere, though this likely won’t appeal to everyone. Also like grief, sections of certain songs tend to linger for longer than one might like (“Echoes of Quiet Remain,” “Kilte,” “Absentia”).

Absentia musically conveys the importance of a healthy support system during times of grief. Though much hinges on Cools’s vocal performances, the other two members of Splendidula help to sustain her in subtle but important ways. During “Dalkuldar,” a forlorn respite from the turmoil, the snare rhythms and bass drum beats are akin to a bolstering drumline. The tempestuous percussion also heightens the sense of desperation in “Kilte.” Closing track “Let It Come to an End” flips the script, letting Cools take a backseat and bringing guitarist Guy Van Campenhout’s growls to the forefront, perhaps emblematic of leaning on loved ones during times of crisis.

In terms of emotional devastation, Absentia is as potent a record as you’re likely to find. Kristien Cools keeps improving with each release, and the compositions complement her increasingly diverse vocal styles well. The deeply personal nature of Splendidula’s work of art is both strength and weakness. The intense and authentic expression of grief is harrowingly beautiful, but in a way that seems impossible for an outsider to fully appreciate. Like attending a funeral for someone you didn’t know, it’s easy to empathize with those in mourning but difficult to feel the same deep personal connection. That said, the next time grief comes for me personally, I may be very grateful that I became acquainted with Absentia.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Argonauta Records
Websites: splendidula.bandcamp.com | facebook.com/Splendidula
Releases Worldwide: April 3rd, 2026

It’s been some time since Splendidula has visited these pages. The fearsome Carcharodon reviewed their sophomore record, Post Mortem, as a wee n00b long ago in 2018, wherein he saw glimmers of potential in the gothic doom metal. He didn’t cover 2021’s Somnus for unknown reasons, though I think he might have been pleased with the heavier post-metal inclinations that permeated the record. The years since then have been rough for this Belgian group, marred by the passing of several loved ones, including their bassist Peter Chromiak. Absentia emerges in the wake of these tragedies as a means to both express and confront this debilitating heartache and loss.

Chromiak’s absence is felt in the very essence of Absentia. Although drummer Joachim Taminau took up the bassist role, the burly bass presence from the prior two records is all but gone. Splendidula kept much of their gothic doom but, fittingly, chose to fill the void with another of metal’s most expressive subgenres—DSBM. Whereas Kristien Cools previously stuck to clean vocals (for the most part), she now becomes both beauty and beast, dividing her time between sorrowful singing and shrieking. She also leans on a couple of notable guest vocalists. Tim Yatras (Austere) adds blackened snarls and backing cleans to “Absentia,” followed by Aaron Stainthorpe (ex-My Dying Bride, High Parasite), who contributes his rumbling growls and velvety baritone to “Echoes of Quiet Remain.” These guest selections neatly encapsulate the two different aspects of Absentia.

Absentia by Splendidula

While much music (and art in general) is born from a place of grief, Absentia is practically synonymous with it. Underneath the stoic exterior lurks a raw torment that flares up whenever and however it wants. For example, “Donkerte” begins with despondent singing, but as the verse progresses, Cools’s voice escalates until finally a primal scream spills out. Later, the double-tracked cleans and screams give the impression of one putting on a brave face as anguish roils inside. When her voice dips into the lower ranges (particularly in “Absentia” and “Let It Come to an End”), it takes on a sort of nasally drawl which augments the mournful atmosphere, though this likely won’t appeal to everyone. Also like grief, sections of certain songs tend to linger for longer than one might like (“Echoes of Quiet Remain,” “Kilte,” “Absentia”).

Absentia musically conveys the importance of a healthy support system during times of grief. Though much hinges on Cools’s vocal performances, the other two members of Splendidula help to sustain her in subtle but important ways. During “Dalkuldar,” a forlorn respite from the turmoil, the snare rhythms and bass drum beats are akin to a bolstering drumline. The tempestuous percussion also heightens the sense of desperation in “Kilte.” Closing track “Let It Come to an End” flips the script, letting Cools take a backseat and bringing guitarist Guy Van Campenhout’s growls to the forefront, perhaps emblematic of leaning on loved ones during times of crisis.

In terms of emotional devastation, Absentia is as potent a record as you’re likely to find. Kristien Cools keeps improving with each release, and the compositions complement her increasingly diverse vocal styles well. The deeply personal nature of Splendidula’s work of art is both strength and weakness. The intense and authentic expression of grief is harrowingly beautiful, but in a way that seems impossible for an outsider to fully appreciate. Like attending a funeral for someone you didn’t know, it’s easy to empathize with those in mourning but difficult to feel the same deep personal connection. That said, the next time grief comes for me personally, I may be very grateful that I became acquainted with Absentia.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Argonauta Records
Websites: splendidula.bandcamp.com | facebook.com/Splendidula
Releases Worldwide: April 3rd, 2026

HIGH PARASITE (Regne Unit) presenta nou single: "Drag Me Under" #HighParasite #GothicMetal #Rock #Març2026 #RegneUnit #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

HIGH PARASITE (Regne Unit) presenta nou single: "Drag Me Under" #HighParasite #GothicMetal #Rock #Març2026 #RegneUnit #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

High Parasite (My Dying Bride) release new single “Drag Me Under”

#HighParasite #DragMeUnder #NewSong

Link: https://metalinsider.net/video/high-parasite-my-dying-bride-release-new-single-drag-me-under

High Parasite (My Dying Bride) release new single “Drag Me Under”

#HighParasite #DragMeUnder #NewSong

Link: https://metalinsider.net/video/high-parasite-my-dying-bride-release-new-single-drag-me-under

High Parasite + The Old Dead Tree @ Le Ferrailleur - 21 Mar feat. The Old Dead Tree, High Parasite

#SESH #TheOldDeadTree #HighParasite

https://sesh.sx/e/1538378

1/ And just like that, #eindhovenmetalmeeting 2025 is over. The second day was a ripper too. It started with #highparasite #tribulation #pessimist and #grindcore forefathers #terrorizer They gave us a full rendition of their #worlddownfall classic debut.

1/ And just like that, #eindhovenmetalmeeting 2025 is over. The second day was a ripper too. It started with #highparasite #tribulation #pessimist and #grindcore forefathers #terrorizer They gave us a full rendition of their #worlddownfall classic debut.

1/ And just like that, #eindhovenmetalmeeting 2025 is over. The second day was a ripper too. It started with #highparasite #tribulation #pessimist and #grindcore forefathers #terrorizer They gave us a full rendition of their #worlddownfall classic debut.

1/ And just like that, #eindhovenmetalmeeting 2025 is over. The second day was a ripper too. It started with #highparasite #tribulation #pessimist and #grindcore forefathers #terrorizer They gave us a full rendition of their #worlddownfall classic debut.

1914 – Viribus Unitis Review

1914 has never shied away from the ugliness of war and death. Since Where Fear and Weapons Meet…
#NewsBeep #News #Music #1914 #2025 #4.5 #AmonAmarth #Asphyx #BlackMetal #BoltThrower #DeathDoom #DeathMetal #DoomMetal #Entertainment #HighParasite #Kanonenfieber #MyDyingBride #NapalmRecords #Nov25 #PreciousDeath #review #Reviews #rome #UK #UkrainianMetal #UnitedKingdom #ViribusUnitis
https://www.newsbeep.com/uk/255488/

1914 – Viribus Unitis Review

By Grin Reaper

1914 has never shied away from the ugliness of war and death. Since Where Fear and Weapons Meet was released in 2021, the Ukrainian outfit has witnessed the horrors of that ugliness on their own soil. On Viribus Unitis,1 the quintet from Lviv maintains the poise and brutality of earlier material while imbuing their latest opus with deft poignancy. The album follows the story of a Ukrainian soldier fighting in the Austro-Hungarian army, and describes the thrill of victory, the anguish of defeat and injury, and the wretched misery of internment. Rather than re-upping the pointlessness of war, though, Viribus Unitis broadens 1914’s philosophy to highlight the camaraderie and brotherhood that such difficult times beget. Do the shift in tone and gravity of personal stakes allow 1914 to clear the high bar they’ve set for themselves?

1914’s brew of blackened death/doom returns in full force on Viribus Unitis, delivering the potent cocktail of history and metallic fortitude we’ve come to expect. As Holdeneye keenly observed in prior coverage, the Bolt Thrower-meets-Asphyx intersection remains apt, as well as Amon Amarthian melodic sensibilities. The opening to “1914 (The Siege of Przemyśl)” would slot perfectly into Fate of Norns, for instance. And anyone paying attention to WWI-centric bands writing songs from the Central Powers’ perspective won’t be surprised by Kanonenfieber comparisons, both in subject matter and determined sonic fervor. Besides the interplay of titanic riffs and melodic leads, listeners are thrown into samples of period-specific soundbites, such as the clip at the beginning of “1917 (The Isonzo Front).” Throughout Viribus Unitis, snippets like this further ensconce listeners in the milieu of the time.

Everything that worked well for 1914 on Where Fear and Weapons Meet has been dialed up on Viribus Unitis. The crushing bulk of blackened sludge, the biting edge of bitter melody, and the tinny clips of a bygone era construct a vivid portrayal of life and death on the front lines. It’s at once addictive and morose, and genuine in a way that transcends surface-level storytelling. Gang choruses weave in with Ditmar Kumarberg’s blackened rasps (“1915 (Easter Battle for the Zwinin Ridge)”) to create a soundscape on two fronts, one unhinged by the chaos of war and the other a united fellowship forged in the fires of man-made hell. Another crucial layer that elevates Viribus Unitis is the guest vocals. Christopher Scott (Precious Death), Jérôme Reuter (Rome), and Aaron Stainthorpe (High Parasite, ex-My Dying Bride) inject variety and character to support 1914’s intricate aural campaign. Stainthorpe’s contribution on “1918 Pt. III: ADE (A Duty to Escape)” haunts with magnetic resonance as his cleans detail the inner monologue of the escaped protagonist while Kumarberg’s snarls narrate a harrowing getaway. This is pure SotY fodder and a must-listen for anyone reading. “1919 (The Home Where I Died)” follows, where a slightly distorted piano adds a warbling surrealism to the dirge. In it, Reuter’s tender croon recounts reuniting with his wife and daughter before the heartrending decision that he must leave once more.2

1914 wields thunder and riffs instinctively, ruthlessly bludgeoning with devastating grooves and cutting with calculated precision. Rostislaw Potoplacht’s3 drumming hypnotizes with martial rolls and implacable plods while Witaly Wyhovsky and Oleksa Fisiuk’s dual-guitar tandem electrifies with fiery trems and viscous atmospherics. All the while, Armen Howhannisjan holds down the bottom end on bass, adding texture and balance to the inexorable heft of Viribus Unitis. The sum total conjures vivid auditory experiences where each track breathes and bleeds with vitality and earnestness. And while no song sounds alike, all are undeniably 1914.

There’s little doubt that 1914 has delivered the most realized and important album of their career so far. Viribus Unitis is a masterclass in no-bullshit metal storytelling that feels authentic, intimate, and anthemic for the entire runtime. The sweeping story of a solider’s struggle through injury, capture, and escape is enough to satisfy, but viewed through the lens of the ubiquity of loss and love makes Viribus Unitis even more profound. 1914’s preceding LPs are fantastic, and their newest platter unequivocally entrenches the band as a premier act with a unique voice and relevant commentary on the human condition and how violence always leaves scars. Viribus Unitis is a must-listen for fans and newcomers alike, and missing this one is sure to leave you shell-shocked.

Rating: Excellent!
DR: NA | Format Reviewed: Stream
Label: Napalm Records
Websites: Bandcamp | Facebook
Releases Worldwide: November 14th, 2025

#1914 #2025 #45 #AmonAmarth #Asphyx #BlackMetal #BoltThrower #DeathDoom #DeathMetal #DoomMetal #HighParasite #Kanonenfieber #MyDyingBride #NapalmRecords #Nov25 #PreciousDeath #Review #Reviews #Rome #UkrainianMetal #ViribusUnitis

1914 – Viribus Unitis Review

By Grin Reaper

1914 has never shied away from the ugliness of war and death. Since Where Fear and Weapons Meet was released in 2021, the Ukrainian outfit has witnessed the horrors of that ugliness on their own soil. On Viribus Unitis,1 the quintet from Lviv maintains the poise and brutality of earlier material while imbuing their latest opus with deft poignancy. The album follows the story of a Ukrainian soldier fighting in the Austro-Hungarian army, and describes the thrill of victory, the anguish of defeat and injury, and the wretched misery of internment. Rather than re-upping the pointlessness of war, though, Viribus Unitis broadens 1914’s philosophy to highlight the camaraderie and brotherhood that such difficult times beget. Do the shift in tone and gravity of personal stakes allow 1914 to clear the high bar they’ve set for themselves?

1914’s brew of blackened death/doom returns in full force on Viribus Unitis, delivering the potent cocktail of history and metallic fortitude we’ve come to expect. As Holdeneye keenly observed in prior coverage, the Bolt Thrower-meets-Asphyx intersection remains apt, as well as Amon Amarthian melodic sensibilities. The opening to “1914 (The Siege of Przemyśl)” would slot perfectly into Fate of Norns, for instance. And anyone paying attention to WWI-centric bands writing songs from the Central Powers’ perspective won’t be surprised by Kanonenfieber comparisons, both in subject matter and determined sonic fervor. Besides the interplay of titanic riffs and melodic leads, listeners are thrown into samples of period-specific soundbites, such as the clip at the beginning of “1917 (The Isonzo Front).” Throughout Viribus Unitis, snippets like this further ensconce listeners in the milieu of the time.

Everything that worked well for 1914 on Where Fear and Weapons Meet has been dialed up on Viribus Unitis. The crushing bulk of blackened sludge, the biting edge of bitter melody, and the tinny clips of a bygone era construct a vivid portrayal of life and death on the front lines. It’s at once addictive and morose, and genuine in a way that transcends surface-level storytelling. Gang choruses weave in with Ditmar Kumarberg’s blackened rasps (“1915 (Easter Battle for the Zwinin Ridge)”) to create a soundscape on two fronts, one unhinged by the chaos of war and the other a united fellowship forged in the fires of man-made hell. Another crucial layer that elevates Viribus Unitis is the guest vocals. Christopher Scott (Precious Death), Jérôme Reuter (Rome), and Aaron Stainthorpe (High Parasite, ex-My Dying Bride) inject variety and character to support 1914’s intricate aural campaign. Stainthorpe’s contribution on “1918 Pt. III: ADE (A Duty to Escape)” haunts with magnetic resonance as his cleans detail the inner monologue of the escaped protagonist while Kumarberg’s snarls narrate a harrowing getaway. This is pure SotY fodder and a must-listen for anyone reading. “1919 (The Home Where I Died)” follows, where a slightly distorted piano adds a warbling surrealism to the dirge. In it, Reuter’s tender croon recounts reuniting with his wife and daughter before the heartrending decision that he must leave once more.2

1914 wields thunder and riffs instinctively, ruthlessly bludgeoning with devastating grooves and cutting with calculated precision. Rostislaw Potoplacht’s3 drumming hypnotizes with martial rolls and implacable plods while Witaly Wyhovsky and Oleksa Fisiuk’s dual-guitar tandem electrifies with fiery trems and viscous atmospherics. All the while, Armen Howhannisjan holds down the bottom end on bass, adding texture and balance to the inexorable heft of Viribus Unitis. The sum total conjures vivid auditory experiences where each track breathes and bleeds with vitality and earnestness. And while no song sounds alike, all are undeniably 1914.

There’s little doubt that 1914 has delivered the most realized and important album of their career so far. Viribus Unitis is a masterclass in no-bullshit metal storytelling that feels authentic, intimate, and anthemic for the entire runtime. The sweeping story of a solider’s struggle through injury, capture, and escape is enough to satisfy, but viewed through the lens of the ubiquity of loss and love makes Viribus Unitis even more profound. 1914’s preceding LPs are fantastic, and their newest platter unequivocally entrenches the band as a premier act with a unique voice and relevant commentary on the human condition and how violence always leaves scars. Viribus Unitis is a must-listen for fans and newcomers alike, and missing this one is sure to leave you shell-shocked.

Rating: Excellent!
DR: NA | Format Reviewed: Stream
Label: Napalm Records
Websites: Bandcamp | Facebook
Releases Worldwide: November 14th, 2025

#1914 #2025 #45 #AmonAmarth #Asphyx #BlackMetal #BoltThrower #DeathDoom #DeathMetal #DoomMetal #HighParasite #Kanonenfieber #MyDyingBride #NapalmRecords #Nov25 #PreciousDeath #Review #Reviews #Rome #UkrainianMetal #ViribusUnitis

1914 – Viribus Unitis Review

By Grin Reaper

1914 has never shied away from the ugliness of war and death. Since Where Fear and Weapons Meet was released in 2021, the Ukrainian outfit has witnessed the horrors of that ugliness on their own soil. On Viribus Unitis,1 the quintet from Lviv maintains the poise and brutality of earlier material while imbuing their latest opus with deft poignancy. The album follows the story of a Ukrainian soldier fighting in the Austro-Hungarian army, and describes the thrill of victory, the anguish of defeat and injury, and the wretched misery of internment. Rather than re-upping the pointlessness of war, though, Viribus Unitis broadens 1914’s philosophy to highlight the camaraderie and brotherhood that such difficult times beget. Do the shift in tone and gravity of personal stakes allow 1914 to clear the high bar they’ve set for themselves?

1914’s brew of blackened death/doom returns in full force on Viribus Unitis, delivering the potent cocktail of history and metallic fortitude we’ve come to expect. As Holdeneye keenly observed in prior coverage, the Bolt Thrower-meets-Asphyx intersection remains apt, as well as Amon Amarthian melodic sensibilities. The opening to “1914 (The Siege of Przemyśl)” would slot perfectly into Fate of Norns, for instance. And anyone paying attention to WWI-centric bands writing songs from the Central Powers’ perspective won’t be surprised by Kanonenfieber comparisons, both in subject matter and determined sonic fervor. Besides the interplay of titanic riffs and melodic leads, listeners are thrown into samples of period-specific soundbites, such as the clip at the beginning of “1917 (The Isonzo Front).” Throughout Viribus Unitis, snippets like this further ensconce listeners in the milieu of the time.

Everything that worked well for 1914 on Where Fear and Weapons Meet has been dialed up on Viribus Unitis. The crushing bulk of blackened sludge, the biting edge of bitter melody, and the tinny clips of a bygone era construct a vivid portrayal of life and death on the front lines. It’s at once addictive and morose, and genuine in a way that transcends surface-level storytelling. Gang choruses weave in with Ditmar Kumarberg’s blackened rasps (“1915 (Easter Battle for the Zwinin Ridge)”) to create a soundscape on two fronts, one unhinged by the chaos of war and the other a united fellowship forged in the fires of man-made hell. Another crucial layer that elevates Viribus Unitis is the guest vocals. Christopher Scott (Precious Death), Jérôme Reuter (Rome), and Aaron Stainthorpe (High Parasite, ex-My Dying Bride) inject variety and character to support 1914’s intricate aural campaign. Stainthorpe’s contribution on “1918 Pt. III: ADE (A Duty to Escape)” haunts with magnetic resonance as his cleans detail the inner monologue of the escaped protagonist while Kumarberg’s snarls narrate a harrowing getaway. This is pure SotY fodder and a must-listen for anyone reading. “1919 (The Home Where I Died)” follows, where a slightly distorted piano adds a warbling surrealism to the dirge. In it, Reuter’s tender croon recounts reuniting with his wife and daughter before the heartrending decision that he must leave once more.2

1914 wields thunder and riffs instinctively, ruthlessly bludgeoning with devastating grooves and cutting with calculated precision. Rostislaw Potoplacht’s3 drumming hypnotizes with martial rolls and implacable plods while Witaly Wyhovsky and Oleksa Fisiuk’s dual-guitar tandem electrifies with fiery trems and viscous atmospherics. All the while, Armen Howhannisjan holds down the bottom end on bass, adding texture and balance to the inexorable heft of Viribus Unitis. The sum total conjures vivid auditory experiences where each track breathes and bleeds with vitality and earnestness. And while no song sounds alike, all are undeniably 1914.

There’s little doubt that 1914 has delivered the most realized and important album of their career so far. Viribus Unitis is a masterclass in no-bullshit metal storytelling that feels authentic, intimate, and anthemic for the entire runtime. The sweeping story of a solider’s struggle through injury, capture, and escape is enough to satisfy, but viewed through the lens of the ubiquity of loss and love makes Viribus Unitis even more profound. 1914’s preceding LPs are fantastic, and their newest platter unequivocally entrenches the band as a premier act with a unique voice and relevant commentary on the human condition and how violence always leaves scars. Viribus Unitis is a must-listen for fans and newcomers alike, and missing this one is sure to leave you shell-shocked.

Rating: Excellent!
DR: NA | Format Reviewed: Stream
Label: Napalm Records
Websites: Bandcamp | Facebook
Releases Worldwide: November 14th, 2025

#1914 #2025 #45 #AmonAmarth #Asphyx #BlackMetal #BoltThrower #DeathDoom #DeathMetal #DoomMetal #HighParasite #Kanonenfieber #MyDyingBride #NapalmRecords #Nov25 #PreciousDeath #Review #Reviews #Rome #UkrainianMetal #ViribusUnitis

1914 – Viribus Unitis Review

By Grin Reaper

1914 has never shied away from the ugliness of war and death. Since Where Fear and Weapons Meet was released in 2021, the Ukrainian outfit has witnessed the horrors of that ugliness on their own soil. On Viribus Unitis,1 the quintet from Lviv maintains the poise and brutality of earlier material while imbuing their latest opus with deft poignancy. The album follows the story of a Ukrainian soldier fighting in the Austro-Hungarian army, and describes the thrill of victory, the anguish of defeat and injury, and the wretched misery of internment. Rather than re-upping the pointlessness of war, though, Viribus Unitis broadens 1914’s philosophy to highlight the camaraderie and brotherhood that such difficult times beget. Do the shift in tone and gravity of personal stakes allow 1914 to clear the high bar they’ve set for themselves?

1914’s brew of blackened death/doom returns in full force on Viribus Unitis, delivering the potent cocktail of history and metallic fortitude we’ve come to expect. As Holdeneye keenly observed in prior coverage, the Bolt Thrower-meets-Asphyx intersection remains apt, as well as Amon Amarthian melodic sensibilities. The opening to “1914 (The Siege of Przemyśl)” would slot perfectly into Fate of Norns, for instance. And anyone paying attention to WWI-centric bands writing songs from the Central Powers’ perspective won’t be surprised by Kanonenfieber comparisons, both in subject matter and determined sonic fervor. Besides the interplay of titanic riffs and melodic leads, listeners are thrown into samples of period-specific soundbites, such as the clip at the beginning of “1917 (The Isonzo Front).” Throughout Viribus Unitis, snippets like this further ensconce listeners in the milieu of the time.

Everything that worked well for 1914 on Where Fear and Weapons Meet has been dialed up on Viribus Unitis. The crushing bulk of blackened sludge, the biting edge of bitter melody, and the tinny clips of a bygone era construct a vivid portrayal of life and death on the front lines. It’s at once addictive and morose, and genuine in a way that transcends surface-level storytelling. Gang choruses weave in with Ditmar Kumarberg’s blackened rasps (“1915 (Easter Battle for the Zwinin Ridge)”) to create a soundscape on two fronts, one unhinged by the chaos of war and the other a united fellowship forged in the fires of man-made hell. Another crucial layer that elevates Viribus Unitis is the guest vocals. Christopher Scott (Precious Death), Jérôme Reuter (Rome), and Aaron Stainthorpe (High Parasite, ex-My Dying Bride) inject variety and character to support 1914’s intricate aural campaign. Stainthorpe’s contribution on “1918 Pt. III: ADE (A Duty to Escape)” haunts with magnetic resonance as his cleans detail the inner monologue of the escaped protagonist while Kumarberg’s snarls narrate a harrowing getaway. This is pure SotY fodder and a must-listen for anyone reading. “1919 (The Home Where I Died)” follows, where a slightly distorted piano adds a warbling surrealism to the dirge. In it, Reuter’s tender croon recounts reuniting with his wife and daughter before the heartrending decision that he must leave once more.2

1914 wields thunder and riffs instinctively, ruthlessly bludgeoning with devastating grooves and cutting with calculated precision. Rostislaw Potoplacht’s3 drumming hypnotizes with martial rolls and implacable plods while Witaly Wyhovsky and Oleksa Fisiuk’s dual-guitar tandem electrifies with fiery trems and viscous atmospherics. All the while, Armen Howhannisjan holds down the bottom end on bass, adding texture and balance to the inexorable heft of Viribus Unitis. The sum total conjures vivid auditory experiences where each track breathes and bleeds with vitality and earnestness. And while no song sounds alike, all are undeniably 1914.

There’s little doubt that 1914 has delivered the most realized and important album of their career so far. Viribus Unitis is a masterclass in no-bullshit metal storytelling that feels authentic, intimate, and anthemic for the entire runtime. The sweeping story of a solider’s struggle through injury, capture, and escape is enough to satisfy, but viewed through the lens of the ubiquity of loss and love makes Viribus Unitis even more profound. 1914’s preceding LPs are fantastic, and their newest platter unequivocally entrenches the band as a premier act with a unique voice and relevant commentary on the human condition and how violence always leaves scars. Viribus Unitis is a must-listen for fans and newcomers alike, and missing this one is sure to leave you shell-shocked.

Rating: Excellent!
DR: NA | Format Reviewed: Stream
Label: Napalm Records
Websites: Bandcamp | Facebook
Releases Worldwide: November 14th, 2025

#1914 #2025 #45 #AmonAmarth #Asphyx #BlackMetal #BoltThrower #DeathDoom #DeathMetal #DoomMetal #HighParasite #Kanonenfieber #MyDyingBride #NapalmRecords #Nov25 #PreciousDeath #Review #Reviews #Rome #UkrainianMetal #ViribusUnitis

1914 – Viribus Unitis Review

By Grin Reaper

1914 has never shied away from the ugliness of war and death. Since Where Fear and Weapons Meet was released in 2021, the Ukrainian outfit has witnessed the horrors of that ugliness on their own soil. On Viribus Unitis,1 the quintet from Lviv maintains the poise and brutality of earlier material while imbuing their latest opus with deft poignancy. The album follows the story of a Ukrainian soldier fighting in the Austro-Hungarian army, and describes the thrill of victory, the anguish of defeat and injury, and the wretched misery of internment. Rather than re-upping the pointlessness of war, though, Viribus Unitis broadens 1914’s philosophy to highlight the camaraderie and brotherhood that such difficult times beget. Do the shift in tone and gravity of personal stakes allow 1914 to clear the high bar they’ve set for themselves?

1914’s brew of blackened death/doom returns in full force on Viribus Unitis, delivering the potent cocktail of history and metallic fortitude we’ve come to expect. As Holdeneye keenly observed in prior coverage, the Bolt Thrower-meets-Asphyx intersection remains apt, as well as Amon Amarthian melodic sensibilities. The opening to “1914 (The Siege of Przemyśl)” would slot perfectly into Fate of Norns, for instance. And anyone paying attention to WWI-centric bands writing songs from the Central Powers’ perspective won’t be surprised by Kanonenfieber comparisons, both in subject matter and determined sonic fervor. Besides the interplay of titanic riffs and melodic leads, listeners are thrown into samples of period-specific soundbites, such as the clip at the beginning of “1917 (The Isonzo Front).” Throughout Viribus Unitis, snippets like this further ensconce listeners in the milieu of the time.

Everything that worked well for 1914 on Where Fear and Weapons Meet has been dialed up on Viribus Unitis. The crushing bulk of blackened sludge, the biting edge of bitter melody, and the tinny clips of a bygone era construct a vivid portrayal of life and death on the front lines. It’s at once addictive and morose, and genuine in a way that transcends surface-level storytelling. Gang choruses weave in with Ditmar Kumarberg’s blackened rasps (“1915 (Easter Battle for the Zwinin Ridge)”) to create a soundscape on two fronts, one unhinged by the chaos of war and the other a united fellowship forged in the fires of man-made hell. Another crucial layer that elevates Viribus Unitis is the guest vocals. Christopher Scott (Precious Death), Jérôme Reuter (Rome), and Aaron Stainthorpe (High Parasite, ex-My Dying Bride) inject variety and character to support 1914’s intricate aural campaign. Stainthorpe’s contribution on “1918 Pt. III: ADE (A Duty to Escape)” haunts with magnetic resonance as his cleans detail the inner monologue of the escaped protagonist while Kumarberg’s snarls narrate a harrowing getaway. This is pure SotY fodder and a must-listen for anyone reading. “1919 (The Home Where I Died)” follows, where a slightly distorted piano adds a warbling surrealism to the dirge. In it, Reuter’s tender croon recounts reuniting with his wife and daughter before the heartrending decision that he must leave once more.2

1914 wields thunder and riffs instinctively, ruthlessly bludgeoning with devastating grooves and cutting with calculated precision. Rostislaw Potoplacht’s3 drumming hypnotizes with martial rolls and implacable plods while Witaly Wyhovsky and Oleksa Fisiuk’s dual-guitar tandem electrifies with fiery trems and viscous atmospherics. All the while, Armen Howhannisjan holds down the bottom end on bass, adding texture and balance to the inexorable heft of Viribus Unitis. The sum total conjures vivid auditory experiences where each track breathes and bleeds with vitality and earnestness. And while no song sounds alike, all are undeniably 1914.

There’s little doubt that 1914 has delivered the most realized and important album of their career so far. Viribus Unitis is a masterclass in no-bullshit metal storytelling that feels authentic, intimate, and anthemic for the entire runtime. The sweeping story of a solider’s struggle through injury, capture, and escape is enough to satisfy, but viewed through the lens of the ubiquity of loss and love makes Viribus Unitis even more profound. 1914’s preceding LPs are fantastic, and their newest platter unequivocally entrenches the band as a premier act with a unique voice and relevant commentary on the human condition and how violence always leaves scars. Viribus Unitis is a must-listen for fans and newcomers alike, and missing this one is sure to leave you shell-shocked.

Rating: Excellent!
DR: NA | Format Reviewed: Stream
Label: Napalm Records
Websites: Bandcamp | Facebook
Releases Worldwide: November 14th, 2025

#1914 #2025 #45 #AmonAmarth #Asphyx #BlackMetal #BoltThrower #DeathDoom #DeathMetal #DoomMetal #HighParasite #Kanonenfieber #MyDyingBride #NapalmRecords #Nov25 #PreciousDeath #Review #Reviews #Rome #UkrainianMetal #ViribusUnitis

LIVE REVIEW: Paradise Lost @ The Garage, Glasgow

Goth metal founders PARADISE LOST return to The Garage in Glasgow to play another live show, following their last sighting in Scotland in 2022.…
#Glasgow #UnitedKingdom #UK #GB #Scotland #Headlines #News #Europe #EU #Britain #GreatBritain #HighParasite #Messa #ParadiseLost #TheGarageGlasgow
https://www.europesays.com/uk/520557/

https://www.europesays.com/uk/520557/ LIVE REVIEW: Paradise Lost @ The Garage, Glasgow #Britain #Glasgow #GreatBritain #HighParasite #Messa #ParadiseLost #Scotland #TheGarageGlasgow #UK #UnitedKingdom

New post: Gig Review: Paradise Lost / Messa / High Parasite – The Garage, Glasgow (19th October 2025) https://www.moshville.co.uk/reviews/gig-review/2025/10/gig-review-paradise-lost-messa-high-parasite-the-garage-glasgow-19th-october-2025/ #HighParasite #Messa #ParadiseLost

New post: Gig Review: Paradise Lost / Messa / High Parasite – The Garage, Glasgow (19th October 2025) https://www.moshville.co.uk/reviews/gig-review/2025/10/gig-review-paradise-lost-messa-high-parasite-the-garage-glasgow-19th-october-2025/ #HighParasite #Messa #ParadiseLost

New post: Gig Review: Paradise Lost / Messa / High Parasite – The Garage, Glasgow (19th October 2025) https://www.moshville.co.uk/reviews/gig-review/2025/10/gig-review-paradise-lost-messa-high-parasite-the-garage-glasgow-19th-october-2025/ #HighParasite #Messa #ParadiseLost

HIGH PARASITE (Regne Unit) presenta nou single: "Cold" #HighParasite #GothicMetal #Rock #Juliol2025 #RegneUnit #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

HIGH PARASITE (Regne Unit) presenta nou single: "Cold" #HighParasite #GothicMetal #Rock #Juliol2025 #RegneUnit #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

HIGH PARASITE (Regne Unit) presenta nou single: "Cold" #HighParasite #GothicMetal #Rock #Juliol2025 #RegneUnit #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

HIGH PARASITE (Regne Unit) presenta nou single: "Cold" #HighParasite #GothicMetal #Rock #Juliol2025 #RegneUnit #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

HIGH PARASITE (Regne Unit) presenta nou single: "Cold" #HighParasite #GothicMetal #Rock #Juliol2025 #RegneUnit #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

New post: Gig Review: South of Salem / High Parasite / In Search of Sun – KK’s Steel Mill, Wolverhampton (3rd April 2025) https://www.moshville.co.uk/reviews/gig-review/2025/05/gig-review-south-of-salem-high-parasite-in-search-of-sun-kks-steel-mill-wolverhampton-3rd-april-2025/ #HighParasite #InSearchOfSun #SouthOfSalem

New post: Gig Review: South of Salem / High Parasite / In Search of Sun – KK’s Steel Mill, Wolverhampton (3rd April 2025) https://www.moshville.co.uk/reviews/gig-review/2025/05/gig-review-south-of-salem-high-parasite-in-search-of-sun-kks-steel-mill-wolverhampton-3rd-april-2025/ #HighParasite #InSearchOfSun #SouthOfSalem

New post: Gig Review: South of Salem / High Parasite / In Search of Sun – KK’s Steel Mill, Wolverhampton (3rd April 2025) https://www.moshville.co.uk/reviews/gig-review/2025/05/gig-review-south-of-salem-high-parasite-in-search-of-sun-kks-steel-mill-wolverhampton-3rd-april-2025/ #HighParasite #InSearchOfSun #SouthOfSalem

Gig Review: Cradle of Filth / Butcher Babies / High Parasite / Black Satellite – SWG3, Glasgow (7th November 2024)

Cradle of Filth’s circus of horrors returned to Glasgow on November 7th for the second-to-last night of the UK By Order of the Dragon tour

https://www.moshville.co.uk/reviews/gig-review/2024/11/gig-review-cradle-of-filth-butcher-babies-high-parasite-black-satellite-swg3-glasgow-7th-november-2024/

#GigReviews #BlackSatellite #ButcherBabies #CradleOfFilth #HighParasite

Gig Review: Cradle of Filth / Butcher Babies / High Parasite / Black Satellite – SWG3, Glasgow (7th November 2024)

Cradle of Filth’s circus of horrors returned to Glasgow on November 7th for the second-to-last night of the UK By Order of the Dragon tour

https://www.moshville.co.uk/reviews/gig-review/2024/11/gig-review-cradle-of-filth-butcher-babies-high-parasite-black-satellite-swg3-glasgow-7th-november-2024/

#GigReviews #BlackSatellite #ButcherBabies #CradleOfFilth #HighParasite

Gig Review: Cradle of Filth / Butcher Babies / High Parasite / Black Satellite – SWG3, Glasgow (7th November 2024)

Cradle of Filth’s circus of horrors returned to Glasgow on November 7th for the second-to-last night of the UK By Order of the Dragon tour

https://www.moshville.co.uk/reviews/gig-review/2024/11/gig-review-cradle-of-filth-butcher-babies-high-parasite-black-satellite-swg3-glasgow-7th-november-2024/

#GigReviews #BlackSatellite #ButcherBabies #CradleOfFilth #HighParasite

Throwback to #highparasite their show at 📍#Effenaar 🇳🇱

🗓️
3-10-2024
📽️
#Sethpicturesmusic - #SethAbrikoos
🤘
Photographed for:
#Loudnoise Agency

I am not a videographer, this is just a short impression of the show. Please check out my photos of this show at my page 🫶

Throwback to #highparasite their show at 📍#Effenaar 🇳🇱

🗓️
3-10-2024
📽️
#Sethpicturesmusic - #SethAbrikoos
🤘
Photographed for:
#Loudnoise Agency

I am not a videographer, this is just a short impression of the show. Please check out my photos of this show at my page 🫶

Throwback to #highparasite their show at 📍#Effenaar 🇳🇱

🗓️
3-10-2024
📽️
#Sethpicturesmusic - #SethAbrikoos
🤘
Photographed for:
#Loudnoise Agency

I am not a videographer, this is just a short impression of the show. Please check out my photos of this show at my page 🫶

Throwback to #highparasite their show at 📍#Effenaar 🇳🇱

🗓️
3-10-2024
📽️
#Sethpicturesmusic - #SethAbrikoos
🤘
Photographed for:
#Loudnoise Agency

I am not a videographer, this is just a short impression of the show. Please check out my photos of this show at my page 🫶

New #whiteroomreview photo report online of #HighParasite + #Nephylim

📷 By me

https://www.whiteroomreviews.nl/reviews/live-reviews/high-parasite-nephylim-effenaar-eindhoven/

New #whiteroomreview photo report online of #HighParasite + #Nephylim

📷 By me

https://www.whiteroomreviews.nl/reviews/live-reviews/high-parasite-nephylim-effenaar-eindhoven/

New #whiteroomreview photo report online of #HighParasite + #Nephylim

📷 By me

https://www.whiteroomreviews.nl/reviews/live-reviews/high-parasite-nephylim-effenaar-eindhoven/