#hulder — Public Fediverse posts

Repost BIR: #Hulder roept de duisternis op met “In Blood and In Earth” 🌲
De nieuwe single van Verbolgen is een duistere mix van black metal, folk horror en oude rituelen.
Meer weten? Check dan het BIR-item door #SethAbrikoos op de BIR website:
🔗 https://www.brothersinraw.com/post/nieuws-sounds-hulder-inbloodandinearth
💿 Season of Mist

Repost BIR: #Hulder roept de duisternis op met “In Blood and In Earth” 🌲
De nieuwe single van Verbolgen is een duistere mix van black metal, folk horror en oude rituelen.
Meer weten? Check dan het BIR-item door #SethAbrikoos op de BIR website:
🔗 https://www.brothersinraw.com/post/nieuws-sounds-hulder-inbloodandinearth
💿 Season of Mist

Repost BIR: #Hulder roept de duisternis op met “In Blood and In Earth” 🌲
De nieuwe single van Verbolgen is een duistere mix van black metal, folk horror en oude rituelen.
Meer weten? Check dan het BIR-item door #SethAbrikoos op de BIR website:
🔗 https://www.brothersinraw.com/post/nieuws-sounds-hulder-inbloodandinearth
💿 Season of Mist

Repost BIR: #Hulder roept de duisternis op met “In Blood and In Earth” 🌲
De nieuwe single van Verbolgen is een duistere mix van black metal, folk horror en oude rituelen.
Meer weten? Check dan het BIR-item door #SethAbrikoos op de BIR website:
🔗 https://www.brothersinraw.com/post/nieuws-sounds-hulder-inbloodandinearth
💿 Season of Mist

🇺🇦 #NowPlaying on #KEXP's #SeekAndDestroy

Hulder:
🎵 In Blood and in Earth

#Hulder
#newRelease 🆕 single

https://listen.20buckspin.com/track/in-blood-and-in-earth

https://open.spotify.com/track/5IOt1talW67e6d7c5jrdo3

🇺🇦 #NowPlaying on #KEXP's #SeekAndDestroy

Hulder:
🎵 In Blood and in Earth

#Hulder
#newRelease 🆕 single

https://listen.20buckspin.com/track/in-blood-and-in-earth

https://open.spotify.com/track/5IOt1talW67e6d7c5jrdo3

🇺🇦 #NowPlaying on #KEXP's #SeekAndDestroy

Hulder:
🎵 In Blood and in Earth

#Hulder
#newRelease 🆕 single

https://listen.20buckspin.com/track/in-blood-and-in-earth

https://open.spotify.com/track/5IOt1talW67e6d7c5jrdo3

🇺🇦 #NowPlaying on #KEXP's #SeekAndDestroy

Hulder:
🎵 In Blood and in Earth

#Hulder
#newRelease 🆕 single

https://listen.20buckspin.com/track/in-blood-and-in-earth

https://open.spotify.com/track/5IOt1talW67e6d7c5jrdo3

🇺🇦 #NowPlaying on #KEXP's #SeekAndDestroy

Hulder:
🎵 In Blood and in Earth

#Hulder
#newRelease 🆕 single

https://listen.20buckspin.com/track/in-blood-and-in-earth

https://open.spotify.com/track/5IOt1talW67e6d7c5jrdo3

Hulder have unveiled "In Blood and In Earth," the latest single from the upcoming album Verbolgen, arriving in August via 20 Buck Spin.

Details: https://metalinsider.net/video/hulder-release-new-single-in-blood-and-in-earth

#Hulder #Verbolgen #InBloodAndInEarth #20BuckSpin #NewMusic

Hulder have unveiled "In Blood and In Earth," the latest single from the upcoming album Verbolgen, arriving in August via 20 Buck Spin.

Details: https://metalinsider.net/video/hulder-release-new-single-in-blood-and-in-earth

#Hulder #Verbolgen #InBloodAndInEarth #20BuckSpin #NewMusic

Kalter #BlackMetal, warmes #JuHaWest. Ein ausverkauftes Haus trotzt begeistert den Temperaturen und bekommt im Gegenzug dafür zwei prima Auftritte.

https://www.gig-blog.net/2026/07/10/hulder-blood-torrent-08-07-2026-juha-west-stuttgart/

#Konzert #Konzertbericht #Concert #LiveMusic #LiveMusik #Konzertfotografie #ConcertPhotography #Hulder #BloodTorrent #Stuttgart

Kalter #BlackMetal, warmes #JuHaWest. Ein ausverkauftes Haus trotzt begeistert den Temperaturen und bekommt im Gegenzug dafür zwei prima Auftritte.

https://www.gig-blog.net/2026/07/10/hulder-blood-torrent-08-07-2026-juha-west-stuttgart/

#Konzert #Konzertbericht #Concert #LiveMusic #LiveMusik #Konzertfotografie #ConcertPhotography #Hulder #BloodTorrent #Stuttgart

Kalter #BlackMetal, warmes #JuHaWest. Ein ausverkauftes Haus trotzt begeistert den Temperaturen und bekommt im Gegenzug dafür zwei prima Auftritte.

https://www.gig-blog.net/2026/07/10/hulder-blood-torrent-08-07-2026-juha-west-stuttgart/

#Konzert #Konzertbericht #Concert #LiveMusic #LiveMusik #Konzertfotografie #ConcertPhotography #Hulder #BloodTorrent #Stuttgart

The year of the snake strikes again, and this time the venom flows through Heart of the Serpent. This US-based duo delivers black metal that slithers between second-wave and DSBM, and on their third spawn Unraveling, Heart of the Serpent concocts tortuous bursts of blackened intensity and slinky grooves coiled around thrashy and ambient interstices. Five years have passed since sophomore album Loathing, and in the intervening time Heart of the Serpent shed vocalist Urion, reducing the ensemble to a two-piece. On Unraveling, guitarist, bassist, and keyboardist Ulg absorbs vocal duties while Hulder’s live drummer Vapula returns to clobber the skins. As we hoist Heart of the Serpent onto the scale for judgment, will we find Unraveling buoyed by its charms or over-encumbered with musical sins?

Compared to Heart of the Serpent’s previous albums, Unraveling reveals itself as their most maturely composed. Unwinding at its leisure, Unraveling is the longest of the outfit’s three albums, though it still packs proceedings into just thirty-eight minutes. An extra few minutes may not seem like much, yet it’s enough to allow songs to fully gestate. This cultivates dynamic highs and lows that were hinted at on Contempt and Loathing, but Unraveling feels more fully developed. It also exhibits Heart of the Serpent’s cleanest production to date. This gives a much-needed emphasis to the bass guitar, especially when it bubbles to the fore of the mix to provide low-end punch. Still, the bulk of what Heart of the Serpent did previously remains—the execution is just more sophisticated.

For a two-man project, Unraveling feels remarkably robust. Vapula’s drumming deserves special mention, as his riveting performances and canny fills and rolls command the momentum on most of Unraveling’s tracks. Ulg carries his own weight, too, and the instrumentation churns with slow-burn intensity. Specifically, Heart of the Serpent invests more time than ever in unhurried builds, allowing Ulg to craft intoxicating guitar and bass interplay that largely eschews technicality yet is no less captivating for it. “Rust” and “Unraveling” both exhibit this pattern, where the bass prowls beneath austere guitar sustains as tension mounts in calculated anticipation. Hooks and serpentine melodies wend throughout Unraveling, proving seductively engrossing from song to song. The only track that doesn’t work for me is “Mourning/Asphyxia,” a five-minute ambient instrumental that saps momentum with its awkward placement and wearisome length. Given the lack of motifs to tether “Mourning/Asphyxia” to the rest of Unraveling, the track flounders without any obvious context for its inclusion. Working its themes into other tracks or cutting it altogether would induce a more seamless listening experience.

Given everything Heart of the Serpent does right on Unraveling, it’s a shame that some missteps inhibit what is otherwise an enticing outing. The momentum lapse stemming from “Mourning/Asphyxia” is my biggest complaint, though others further cramp Heart of the Serpent’s muscle. Unraveling’s production provides plenty of contrast and largely deserves appreciation, the drum tones often sound muffled. Considering the arresting performance Vapula discharges, I wish it packed a bit more oomph. The guitars and bass sound warm and fierce, though, ensuring a cozy nesting spot amidst the cold-blooded blasts of black metal. Lastly, the concluding dyad of songs are two of Unraveling’s best tracks, both of which are mostly characterized by slower paces and gentler moments, leaving listeners with a low-energy conclusion. Retooling the album’s song order or replacing “Mourning/Asphyxia” with a lean, second-wave scorcher moved between these tracks could help revitalize the back half of the album.

Ultimately, Heart of the Serpent delivers a varied and engaging slab of black metal marred by a few odd choices. Unraveling creeps close to a much better score, and if not for a few damning flaws, I’d be insisting how Heart of the Serpent dropped a very good platter that makes the score-counter sweat. Instead, I’ll settle for spreading the word that the Heart of the Serpent beats with the potential for greatness.

Rating: Mixed
DR: N/A | Format Reviewed: WAV
Label: Self-Release
Websites: Bandcamp | Facebook
Releases Worldwide: June 19th, 2026

The year of the snake strikes again, and this time the venom flows through Heart of the Serpent. This US-based duo delivers black metal that slithers between second-wave and DSBM, and on their third spawn Unraveling, Heart of the Serpent concocts tortuous bursts of blackened intensity and slinky grooves coiled around thrashy and ambient interstices. Five years have passed since sophomore album Loathing, and in the intervening time Heart of the Serpent shed vocalist Urion, reducing the ensemble to a two-piece. On Unraveling, guitarist, bassist, and keyboardist Ulg absorbs vocal duties while Hulder’s live drummer Vapula returns to clobber the skins. As we hoist Heart of the Serpent onto the scale for judgment, will we find Unraveling buoyed by its charms or over-encumbered with musical sins?

Compared to Heart of the Serpent’s previous albums, Unraveling reveals itself as their most maturely composed. Unwinding at its leisure, Unraveling is the longest of the outfit’s three albums, though it still packs proceedings into just thirty-eight minutes. An extra few minutes may not seem like much, yet it’s enough to allow songs to fully gestate. This cultivates dynamic highs and lows that were hinted at on Contempt and Loathing, but Unraveling feels more fully developed. It also exhibits Heart of the Serpent’s cleanest production to date. This gives a much-needed emphasis to the bass guitar, especially when it bubbles to the fore of the mix to provide low-end punch. Still, the bulk of what Heart of the Serpent did previously remains—the execution is just more sophisticated.

For a two-man project, Unraveling feels remarkably robust. Vapula’s drumming deserves special mention, as his riveting performances and canny fills and rolls command the momentum on most of Unraveling’s tracks. Ulg carries his own weight, too, and the instrumentation churns with slow-burn intensity. Specifically, Heart of the Serpent invests more time than ever in unhurried builds, allowing Ulg to craft intoxicating guitar and bass interplay that largely eschews technicality yet is no less captivating for it. “Rust” and “Unraveling” both exhibit this pattern, where the bass prowls beneath austere guitar sustains as tension mounts in calculated anticipation. Hooks and serpentine melodies wend throughout Unraveling, proving seductively engrossing from song to song. The only track that doesn’t work for me is “Mourning/Asphyxia,” a five-minute ambient instrumental that saps momentum with its awkward placement and wearisome length. Given the lack of motifs to tether “Mourning/Asphyxia” to the rest of Unraveling, the track flounders without any obvious context for its inclusion. Working its themes into other tracks or cutting it altogether would induce a more seamless listening experience.

Given everything Heart of the Serpent does right on Unraveling, it’s a shame that some missteps inhibit what is otherwise an enticing outing. The momentum lapse stemming from “Mourning/Asphyxia” is my biggest complaint, though others further cramp Heart of the Serpent’s muscle. Unraveling’s production provides plenty of contrast and largely deserves appreciation, the drum tones often sound muffled. Considering the arresting performance Vapula discharges, I wish it packed a bit more oomph. The guitars and bass sound warm and fierce, though, ensuring a cozy nesting spot amidst the cold-blooded blasts of black metal. Lastly, the concluding dyad of songs are two of Unraveling’s best tracks, both of which are mostly characterized by slower paces and gentler moments, leaving listeners with a low-energy conclusion. Retooling the album’s song order or replacing “Mourning/Asphyxia” with a lean, second-wave scorcher moved between these tracks could help revitalize the back half of the album.

Ultimately, Heart of the Serpent delivers a varied and engaging slab of black metal marred by a few odd choices. Unraveling creeps close to a much better score, and if not for a few damning flaws, I’d be insisting how Heart of the Serpent dropped a very good platter that makes the score-counter sweat. Instead, I’ll settle for spreading the word that the Heart of the Serpent beats with the potential for greatness.

Rating: Mixed
DR: N/A | Format Reviewed: WAV
Label: Self-Release
Websites: Bandcamp | Facebook
Releases Worldwide: June 19th, 2026

The year of the snake strikes again, and this time the venom flows through Heart of the Serpent. This US-based duo delivers black metal that slithers between second-wave and DSBM, and on their third spawn Unraveling, Heart of the Serpent concocts tortuous bursts of blackened intensity and slinky grooves coiled around thrashy and ambient interstices. Five years have passed since sophomore album Loathing, and in the intervening time Heart of the Serpent shed vocalist Urion, reducing the ensemble to a two-piece. On Unraveling, guitarist, bassist, and keyboardist Ulg absorbs vocal duties while Hulder’s live drummer Vapula returns to clobber the skins. As we hoist Heart of the Serpent onto the scale for judgment, will we find Unraveling buoyed by its charms or over-encumbered with musical sins?

Compared to Heart of the Serpent’s previous albums, Unraveling reveals itself as their most maturely composed. Unwinding at its leisure, Unraveling is the longest of the outfit’s three albums, though it still packs proceedings into just thirty-eight minutes. An extra few minutes may not seem like much, yet it’s enough to allow songs to fully gestate. This cultivates dynamic highs and lows that were hinted at on Contempt and Loathing, but Unraveling feels more fully developed. It also exhibits Heart of the Serpent’s cleanest production to date. This gives a much-needed emphasis to the bass guitar, especially when it bubbles to the fore of the mix to provide low-end punch. Still, the bulk of what Heart of the Serpent did previously remains—the execution is just more sophisticated.

For a two-man project, Unraveling feels remarkably robust. Vapula’s drumming deserves special mention, as his riveting performances and canny fills and rolls command the momentum on most of Unraveling’s tracks. Ulg carries his own weight, too, and the instrumentation churns with slow-burn intensity. Specifically, Heart of the Serpent invests more time than ever in unhurried builds, allowing Ulg to craft intoxicating guitar and bass interplay that largely eschews technicality yet is no less captivating for it. “Rust” and “Unraveling” both exhibit this pattern, where the bass prowls beneath austere guitar sustains as tension mounts in calculated anticipation. Hooks and serpentine melodies wend throughout Unraveling, proving seductively engrossing from song to song. The only track that doesn’t work for me is “Mourning/Asphyxia,” a five-minute ambient instrumental that saps momentum with its awkward placement and wearisome length. Given the lack of motifs to tether “Mourning/Asphyxia” to the rest of Unraveling, the track flounders without any obvious context for its inclusion. Working its themes into other tracks or cutting it altogether would induce a more seamless listening experience.

Given everything Heart of the Serpent does right on Unraveling, it’s a shame that some missteps inhibit what is otherwise an enticing outing. The momentum lapse stemming from “Mourning/Asphyxia” is my biggest complaint, though others further cramp Heart of the Serpent’s muscle. Unraveling’s production provides plenty of contrast and largely deserves appreciation, the drum tones often sound muffled. Considering the arresting performance Vapula discharges, I wish it packed a bit more oomph. The guitars and bass sound warm and fierce, though, ensuring a cozy nesting spot amidst the cold-blooded blasts of black metal. Lastly, the concluding dyad of songs are two of Unraveling’s best tracks, both of which are mostly characterized by slower paces and gentler moments, leaving listeners with a low-energy conclusion. Retooling the album’s song order or replacing “Mourning/Asphyxia” with a lean, second-wave scorcher moved between these tracks could help revitalize the back half of the album.

Ultimately, Heart of the Serpent delivers a varied and engaging slab of black metal marred by a few odd choices. Unraveling creeps close to a much better score, and if not for a few damning flaws, I’d be insisting how Heart of the Serpent dropped a very good platter that makes the score-counter sweat. Instead, I’ll settle for spreading the word that the Heart of the Serpent beats with the potential for greatness.

Rating: Mixed
DR: N/A | Format Reviewed: WAV
Label: Self-Release
Websites: Bandcamp | Facebook
Releases Worldwide: June 19th, 2026

The year of the snake strikes again, and this time the venom flows through Heart of the Serpent. This US-based duo delivers black metal that slithers between second-wave and DSBM, and on their third spawn Unraveling, Heart of the Serpent concocts tortuous bursts of blackened intensity and slinky grooves coiled around thrashy and ambient interstices. Five years have passed since sophomore album Loathing, and in the intervening time Heart of the Serpent shed vocalist Urion, reducing the ensemble to a two-piece. On Unraveling, guitarist, bassist, and keyboardist Ulg absorbs vocal duties while Hulder’s live drummer Vapula returns to clobber the skins. As we hoist Heart of the Serpent onto the scale for judgment, will we find Unraveling buoyed by its charms or over-encumbered with musical sins?

Compared to Heart of the Serpent’s previous albums, Unraveling reveals itself as their most maturely composed. Unwinding at its leisure, Unraveling is the longest of the outfit’s three albums, though it still packs proceedings into just thirty-eight minutes. An extra few minutes may not seem like much, yet it’s enough to allow songs to fully gestate. This cultivates dynamic highs and lows that were hinted at on Contempt and Loathing, but Unraveling feels more fully developed. It also exhibits Heart of the Serpent’s cleanest production to date. This gives a much-needed emphasis to the bass guitar, especially when it bubbles to the fore of the mix to provide low-end punch. Still, the bulk of what Heart of the Serpent did previously remains—the execution is just more sophisticated.

For a two-man project, Unraveling feels remarkably robust. Vapula’s drumming deserves special mention, as his riveting performances and canny fills and rolls command the momentum on most of Unraveling’s tracks. Ulg carries his own weight, too, and the instrumentation churns with slow-burn intensity. Specifically, Heart of the Serpent invests more time than ever in unhurried builds, allowing Ulg to craft intoxicating guitar and bass interplay that largely eschews technicality yet is no less captivating for it. “Rust” and “Unraveling” both exhibit this pattern, where the bass prowls beneath austere guitar sustains as tension mounts in calculated anticipation. Hooks and serpentine melodies wend throughout Unraveling, proving seductively engrossing from song to song. The only track that doesn’t work for me is “Mourning/Asphyxia,” a five-minute ambient instrumental that saps momentum with its awkward placement and wearisome length. Given the lack of motifs to tether “Mourning/Asphyxia” to the rest of Unraveling, the track flounders without any obvious context for its inclusion. Working its themes into other tracks or cutting it altogether would induce a more seamless listening experience.

Given everything Heart of the Serpent does right on Unraveling, it’s a shame that some missteps inhibit what is otherwise an enticing outing. The momentum lapse stemming from “Mourning/Asphyxia” is my biggest complaint, though others further cramp Heart of the Serpent’s muscle. Unraveling’s production provides plenty of contrast and largely deserves appreciation, the drum tones often sound muffled. Considering the arresting performance Vapula discharges, I wish it packed a bit more oomph. The guitars and bass sound warm and fierce, though, ensuring a cozy nesting spot amidst the cold-blooded blasts of black metal. Lastly, the concluding dyad of songs are two of Unraveling’s best tracks, both of which are mostly characterized by slower paces and gentler moments, leaving listeners with a low-energy conclusion. Retooling the album’s song order or replacing “Mourning/Asphyxia” with a lean, second-wave scorcher moved between these tracks could help revitalize the back half of the album.

Ultimately, Heart of the Serpent delivers a varied and engaging slab of black metal marred by a few odd choices. Unraveling creeps close to a much better score, and if not for a few damning flaws, I’d be insisting how Heart of the Serpent dropped a very good platter that makes the score-counter sweat. Instead, I’ll settle for spreading the word that the Heart of the Serpent beats with the potential for greatness.

Rating: Mixed
DR: N/A | Format Reviewed: WAV
Label: Self-Release
Websites: Bandcamp | Facebook
Releases Worldwide: June 19th, 2026

The year of the snake strikes again, and this time the venom flows through Heart of the Serpent. This US-based duo delivers black metal that slithers between second-wave and DSBM, and on their third spawn Unraveling, Heart of the Serpent concocts tortuous bursts of blackened intensity and slinky grooves coiled around thrashy and ambient interstices. Five years have passed since sophomore album Loathing, and in the intervening time Heart of the Serpent shed vocalist Urion, reducing the ensemble to a two-piece. On Unraveling, guitarist, bassist, and keyboardist Ulg absorbs vocal duties while Hulder’s live drummer Vapula returns to clobber the skins. As we hoist Heart of the Serpent onto the scale for judgment, will we find Unraveling buoyed by its charms or over-encumbered with musical sins?

Compared to Heart of the Serpent’s previous albums, Unraveling reveals itself as their most maturely composed. Unwinding at its leisure, Unraveling is the longest of the outfit’s three albums, though it still packs proceedings into just thirty-eight minutes. An extra few minutes may not seem like much, yet it’s enough to allow songs to fully gestate. This cultivates dynamic highs and lows that were hinted at on Contempt and Loathing, but Unraveling feels more fully developed. It also exhibits Heart of the Serpent’s cleanest production to date. This gives a much-needed emphasis to the bass guitar, especially when it bubbles to the fore of the mix to provide low-end punch. Still, the bulk of what Heart of the Serpent did previously remains—the execution is just more sophisticated.

For a two-man project, Unraveling feels remarkably robust. Vapula’s drumming deserves special mention, as his riveting performances and canny fills and rolls command the momentum on most of Unraveling’s tracks. Ulg carries his own weight, too, and the instrumentation churns with slow-burn intensity. Specifically, Heart of the Serpent invests more time than ever in unhurried builds, allowing Ulg to craft intoxicating guitar and bass interplay that largely eschews technicality yet is no less captivating for it. “Rust” and “Unraveling” both exhibit this pattern, where the bass prowls beneath austere guitar sustains as tension mounts in calculated anticipation. Hooks and serpentine melodies wend throughout Unraveling, proving seductively engrossing from song to song. The only track that doesn’t work for me is “Mourning/Asphyxia,” a five-minute ambient instrumental that saps momentum with its awkward placement and wearisome length. Given the lack of motifs to tether “Mourning/Asphyxia” to the rest of Unraveling, the track flounders without any obvious context for its inclusion. Working its themes into other tracks or cutting it altogether would induce a more seamless listening experience.

Given everything Heart of the Serpent does right on Unraveling, it’s a shame that some missteps inhibit what is otherwise an enticing outing. The momentum lapse stemming from “Mourning/Asphyxia” is my biggest complaint, though others further cramp Heart of the Serpent’s muscle. Unraveling’s production provides plenty of contrast and largely deserves appreciation, the drum tones often sound muffled. Considering the arresting performance Vapula discharges, I wish it packed a bit more oomph. The guitars and bass sound warm and fierce, though, ensuring a cozy nesting spot amidst the cold-blooded blasts of black metal. Lastly, the concluding dyad of songs are two of Unraveling’s best tracks, both of which are mostly characterized by slower paces and gentler moments, leaving listeners with a low-energy conclusion. Retooling the album’s song order or replacing “Mourning/Asphyxia” with a lean, second-wave scorcher moved between these tracks could help revitalize the back half of the album.

Ultimately, Heart of the Serpent delivers a varied and engaging slab of black metal marred by a few odd choices. Unraveling creeps close to a much better score, and if not for a few damning flaws, I’d be insisting how Heart of the Serpent dropped a very good platter that makes the score-counter sweat. Instead, I’ll settle for spreading the word that the Heart of the Serpent beats with the potential for greatness.

Rating: Mixed
DR: N/A | Format Reviewed: WAV
Label: Self-Release
Websites: Bandcamp | Facebook
Releases Worldwide: June 19th, 2026

Published some new #WhiteroomReviews items:

Photo reports of:
- #Possessed + #Sinsaenum | @baroeg.bsky.social
- #Cavalera + #BLOID | #Victorie

News items regarding:
- #Deadnate announced as support for #Baest
- A new #Hulder single | #SeasonofMistrecords

Published some new #WhiteroomReviews items:

Photo reports of:
- #Possessed + #Sinsaenum | @baroeg.bsky.social
- #Cavalera + #BLOID | #Victorie

News items regarding:
- #Deadnate announced as support for #Baest
- A new #Hulder single | #SeasonofMistrecords

Published some new #WhiteroomReviews items:

Photo reports of:
- #Possessed + #Sinsaenum | @baroeg.bsky.social
- #Cavalera + #BLOID | #Victorie

News items regarding:
- #Deadnate announced as support for #Baest
- A new #Hulder single | #SeasonofMistrecords

Published some new #WhiteroomReviews items:

Photo reports of:
- #Possessed + #Sinsaenum | @baroeg.bsky.social
- #Cavalera + #BLOID | #Victorie

News items regarding:
- #Deadnate announced as support for #Baest
- A new #Hulder single | #SeasonofMistrecords

Fans of #heavymusic got their fill tonight at #patronaathaarlem Four bands covering a wide spectrum shared the stage: #Hulder #kylesa #OranssiPazuzu and #solstafir The last two had toured together in November 2024. We were reminded how well they complement each other. What a fun, eclectic gig.

Fans of #heavymusic got their fill tonight at #patronaathaarlem Four bands covering a wide spectrum shared the stage: #Hulder #kylesa #OranssiPazuzu and #solstafir The last two had toured together in November 2024. We were reminded how well they complement each other. What a fun, eclectic gig.

Fans of #heavymusic got their fill tonight at #patronaathaarlem Four bands covering a wide spectrum shared the stage: #Hulder #kylesa #OranssiPazuzu and #solstafir The last two had toured together in November 2024. We were reminded how well they complement each other. What a fun, eclectic gig.

Hulder has released the new single and video for "View From Nemeton," from the upcoming album Verbolgen, arriving in August.

Details: https://metalinsider.net/video/hulder-unveil-view-from-nemeton-video

#Hulder #Verbolgen #20BuckSpin

Hulder has released the new single and video for "View From Nemeton," from the upcoming album Verbolgen, arriving in August.

Details: https://metalinsider.net/video/hulder-unveil-view-from-nemeton-video

#Hulder #Verbolgen #20BuckSpin

I wrote some new #WhiteroomReviews news item regarding:
- #Hulder
- #Quodac
- #UntitledWithDrums
- #PaintedScars
- #NHOPE
- #JavierValdi
- #Chopper
- #Gothminister
- #IANWILL

Go check it out:
https://www.whiteroomreviews.nl/tag/seth-abrikoos

I wrote some new #WhiteroomReviews news item regarding:
- #Hulder
- #Quodac
- #UntitledWithDrums
- #PaintedScars
- #NHOPE
- #JavierValdi
- #Chopper
- #Gothminister
- #IANWILL

Go check it out:
https://www.whiteroomreviews.nl/tag/seth-abrikoos

I wrote some new #WhiteroomReviews news item regarding:
- #Hulder
- #Quodac
- #UntitledWithDrums
- #PaintedScars
- #NHOPE
- #JavierValdi
- #Chopper
- #Gothminister
- #IANWILL

Go check it out:
https://www.whiteroomreviews.nl/tag/seth-abrikoos

I wrote some new #WhiteroomReviews news item regarding:
- #Hulder
- #Quodac
- #UntitledWithDrums
- #PaintedScars
- #NHOPE
- #JavierValdi
- #Chopper
- #Gothminister
- #IANWILL

Go check it out:
https://www.whiteroomreviews.nl/tag/seth-abrikoos

Nice, #Hulder is in Berlin soon.
Not nice: Eventim 🫠

I don't wanna buy anything there, but want to see Hulder...

Nice, #Hulder is in Berlin soon.
Not nice: Eventim 🫠

I don't wanna buy anything there, but want to see Hulder...

Nice, #Hulder is in Berlin soon.
Not nice: Eventim 🫠

I don't wanna buy anything there, but want to see Hulder...

Nice, #Hulder is in Berlin soon.
Not nice: Eventim 🫠

I don't wanna buy anything there, but want to see Hulder...

https://www.europesays.com/be-nl/59311/ Dudsekop – Kwelling | Zware Metalen #albumrecensie #Amusement #BE #België #Belgium #BlackMetal #dudsekop #Entertainment #EP #GenetRecords #hulder #ieper #kwelling #Music #Muziek #recensie #review #VanEigenBodem #ZwareMetalen

Dimmu Borgir are heading out on a North American tour this summer.

Support comes from Hypocrisy, Suffocation, and Hulder.

Details: https://metalinsider.net/touring/dimmu-borgir-announce-summer-2026-north-american-tour-with-hypocrisy-suffocation-hulder

#DimmuBorgir #Hypocrisy #Suffocation #Hulder #TourAnnouncement

Dimmu Borgir are heading out on a North American tour this summer.

Support comes from Hypocrisy, Suffocation, and Hulder.

Details: https://metalinsider.net/touring/dimmu-borgir-announce-summer-2026-north-american-tour-with-hypocrisy-suffocation-hulder

#DimmuBorgir #Hypocrisy #Suffocation #Hulder #TourAnnouncement

https://www.europesays.com/uk/784800/ Necrofier – Transcend into Oblivion Review #2026 #30 #BlackMetal #DevilMaster #Dissection #Emperor #Entertainment #Feb26 #Hulder #MelodicBlackMetal #MetalBladeRecords #music #Necrofier #OceansOfSlumber #Review #Reviews #TranscendIntoOblivion #UK #UnitedKingdom #USMetal #Watain #Worm

Necrofier – Transcend into Oblivion Review

Houston’s Necrofier first came on my radar when they played the 2024 Decibel Magazine Tour with Hulder, Devil…
#NewsBeep #News #Music #2026 #3.0 #BlackMetal #CA #Canada #DevilMaster #Dissection #Emperor #Entertainment #Feb26 #Hulder #MelodicBlackMetal #MetalBladeRecords #Necrofier #OceansofSlumber #review #reviews #TranscendintoOblivion #USMetal #Watain #Worm
https://www.newsbeep.com/ca/495132/

https://www.europesays.com/ie/352888/ Necrofier – Transcend into Oblivion Review #2026 #30 #BlackMetal #DevilMaster #Dissection #Éire #Emperor #Entertainment #Feb26 #Hulder #IE #Ireland #MelodicBlackMetal #MetalBladeRecords #Music #Necrofier #OceansOfSlumber #Review #Reviews #TranscendIntoOblivion #USMetal #Watain #worm

Houston’s Necrofier first came on my radar when they played the 2024 Decibel Magazine Tour with Hulder, Devil Master, and Worm. Sadly, I missed their opening set, but gladly, I caught a recording of it on YouTube.1 Their raucous, crowd-pleasing performance compelled me to check out their recordings. At 36 minutes, debut Prophecies of Eternal Darkness (2021) is a lean, mean barrage of melodic black metal, while Burning Shadows in the Southern Night (2023) ups the ante with 47 minutes of stronger, more polished material. Necrofier’s (lone?) star seems to be on the rise since Decibel 2024, as their third album arrives on the mighty Metal Blade Records. Also on the rise are the band’s ambitions; Transcend into Oblivion spreads three three-songs suites and an eponymous closing track across a hefty 59 minutes. Everything is bigger in Texas, sure, but bigger doesn’t always mean better (or good).

Perhaps due to their sweltering abode, Necrofier draws black metal sustenance from the shivering environs of Scandinavia. Dissection is certainly an immediate reference point, if they excised the excursions into folky melodeath. Necrofier’s preferred melodicism swirls as a maelstrom of mobile power chords by guitarists Bakka and Semir Özerkan, propelled by the dexterous drumming of Dobber Beverly.2 The influence of Watain also feels present, especially since Bakka’s rasp sounds quite a bit like E. And early Emperor reigns here as well, before they fully unbound Prometheus. Violins, synthesizers, and harpsichords are felt more than heard outright, balancing a sweet spot production-wise à la Anthems to the Welkin at Dusk. On the unfortunate side of the production is bassist Mat Valentine, who gets lost in the shuffle. Nevertheless, Transcend into Oblivion consistently delivers quality black metal that is melodic but dangerous.

Transcend into Oblivion by Necrofier

Transcend into Oblivion progresses as three suites, each comprised of three songs. Together, they narrate a ‘Luciferian Night of the Dark Soul’: a spiritual awakening incites torment that ultimately engenders rebirth. Individually, they mostly play out as a collection of thematically-linked songs. “Fires of the Apocalypse, Light My Path” immediately kicks the door in (“Fires…I”) before kicking the door in again (“Fires…II”) and again—”Fires…III” is the strongest of the trio, but the listener begins wondering why these songs are presented as holistic units. The “Servants of Darkness, Guide My Way” trilogy comes closest to reaching suiteness. “Servants…I” starts with one of the album’s gnarliest trem riffs, “Servants…II” cools things down with an extended acoustic passage, and “Servants III” delightfully dips into doomy Middle-Eastern territory before black-metal blastoff. As for the “Horns of Destruction, Lift My Blade” triumvirate, it adds variety with d-beats, chunkier riffs, and a gong, but it feels like more of the same this deep into the album. There’s no real filler amongst the suites, but there aren’t any thrilling peaks either.

Keeping with their spiritualism, Necrofier nests numerology into Transcend into Oblivion, punctuating its three-song threesome with three instrumentals. For the most part, they effectively break up the black metal action. On the heels of the opening “Fires” suite, “Behold, the Birth of Ascension” conveys the onset of (re)birth pangs. Repurposing a melody from “Fires…III” with creepy bells and macabre piano, it cleverly inverts the typical function of an interlude, segueing out of a song rather than into one. More in the typical interlude camp is “Mystical Creation of Enlightenment.” Its Spanish-sounding acoustic plucks make for a soothing shift out of the savage “Servants” suite, while its ending modulation prefigures the ornery onset of the “Horns” suite. Oddly enough, it’s the eponymous instrumental that feels superfluous. “Toward the Necrofier” concludes the album with ominous space synths, incantatory spoken word, and tribal rhythms. “Horns…III,” however, ends with its own climax and a piano denouement, which makes the final instrumental feel like a coda to an album that doesn’t need more closure.

“Toward the Necrofier” does function as a serviceable springboard for a second spin of Transcend into Oblivion, an album which I ultimately recommend. It makes sense that Necrofier would cap off a work about rebirth with an eponymous song distilling the more unique elements of their sound. While Necrofier don’t fully realize their conceptual ambition, Transcend into Oblivion is sweet stuff regardless, demonstrating lots of promise for future outings. Black metal zealots of all stripes should strongly consider messing with these Texans.

Rating: 3.0/5.0
DR: 8 | Format Reviewed:256 kbps mp3
Label: Metal Blade Records
Websites: Bandcamp | Instagram | Facebook
Releases Worldwide: February 27th, 2026

Houston’s Necrofier first came on my radar when they played the 2024 Decibel Magazine Tour with Hulder, Devil Master, and Worm. Sadly, I missed their opening set, but gladly, I caught a recording of it on YouTube.1 Their raucous, crowd-pleasing performance compelled me to check out their recordings. At 36 minutes, debut Prophecies of Eternal Darkness (2021) is a lean, mean barrage of melodic black metal, while Burning Shadows in the Southern Night (2023) ups the ante with 47 minutes of stronger, more polished material. Necrofier’s (lone?) star seems to be on the rise since Decibel 2024, as their third album arrives on the mighty Metal Blade Records. Also on the rise are the band’s ambitions; Transcend into Oblivion spreads three three-songs suites and an eponymous closing track across a hefty 59 minutes. Everything is bigger in Texas, sure, but bigger doesn’t always mean better (or good).

Perhaps due to their sweltering abode, Necrofier draws black metal sustenance from the shivering environs of Scandinavia. Dissection is certainly an immediate reference point, if they excised the excursions into folky melodeath. Necrofier’s preferred melodicism swirls as a maelstrom of mobile power chords by guitarists Bakka and Semir Özerkan, propelled by the dexterous drumming of Dobber Beverly.2 The influence of Watain also feels present, especially since Bakka’s rasp sounds quite a bit like E. And early Emperor reigns here as well, before they fully unbound Prometheus. Violins, synthesizers, and harpsichords are felt more than heard outright, balancing a sweet spot production-wise à la Anthems to the Welkin at Dusk. On the unfortunate side of the production is bassist Mat Valentine, who gets lost in the shuffle. Nevertheless, Transcend into Oblivion consistently delivers quality black metal that is melodic but dangerous.

Transcend into Oblivion by Necrofier

Transcend into Oblivion progresses as three suites, each comprised of three songs. Together, they narrate a ‘Luciferian Night of the Dark Soul’: a spiritual awakening incites torment that ultimately engenders rebirth. Individually, they mostly play out as a collection of thematically-linked songs. “Fires of the Apocalypse, Light My Path” immediately kicks the door in (“Fires…I”) before kicking the door in again (“Fires…II”) and again—”Fires…III” is the strongest of the trio, but the listener begins wondering why these songs are presented as holistic units. The “Servants of Darkness, Guide My Way” trilogy comes closest to reaching suiteness. “Servants…I” starts with one of the album’s gnarliest trem riffs, “Servants…II” cools things down with an extended acoustic passage, and “Servants III” delightfully dips into doomy Middle-Eastern territory before black-metal blastoff. As for the “Horns of Destruction, Lift My Blade” triumvirate, it adds variety with d-beats, chunkier riffs, and a gong, but it feels like more of the same this deep into the album. There’s no real filler amongst the suites, but there aren’t any thrilling peaks either.

Keeping with their spiritualism, Necrofier nests numerology into Transcend into Oblivion, punctuating its three-song threesome with three instrumentals. For the most part, they effectively break up the black metal action. On the heels of the opening “Fires” suite, “Behold, the Birth of Ascension” conveys the onset of (re)birth pangs. Repurposing a melody from “Fires…III” with creepy bells and macabre piano, it cleverly inverts the typical function of an interlude, segueing out of a song rather than into one. More in the typical interlude camp is “Mystical Creation of Enlightenment.” Its Spanish-sounding acoustic plucks make for a soothing shift out of the savage “Servants” suite, while its ending modulation prefigures the ornery onset of the “Horns” suite. Oddly enough, it’s the eponymous instrumental that feels superfluous. “Toward the Necrofier” concludes the album with ominous space synths, incantatory spoken word, and tribal rhythms. “Horns…III,” however, ends with its own climax and a piano denouement, which makes the final instrumental feel like a coda to an album that doesn’t need more closure.

“Toward the Necrofier” does function as a serviceable springboard for a second spin of Transcend into Oblivion, an album which I ultimately recommend. It makes sense that Necrofier would cap off a work about rebirth with an eponymous song distilling the more unique elements of their sound. While Necrofier don’t fully realize their conceptual ambition, Transcend into Oblivion is sweet stuff regardless, demonstrating lots of promise for future outings. Black metal zealots of all stripes should strongly consider messing with these Texans.

Rating: 3.0/5.0
DR: 8 | Format Reviewed:256 kbps mp3
Label: Metal Blade Records
Websites: Bandcamp | Instagram | Facebook
Releases Worldwide: February 27th, 2026

Houston’s Necrofier first came on my radar when they played the 2024 Decibel Magazine Tour with Hulder, Devil Master, and Worm. Sadly, I missed their opening set, but gladly, I caught a recording of it on YouTube.1 Their raucous, crowd-pleasing performance compelled me to check out their recordings. At 36 minutes, debut Prophecies of Eternal Darkness (2021) is a lean, mean barrage of melodic black metal, while Burning Shadows in the Southern Night (2023) ups the ante with 47 minutes of stronger, more polished material. Necrofier’s (lone?) star seems to be on the rise since Decibel 2024, as their third album arrives on the mighty Metal Blade Records. Also on the rise are the band’s ambitions; Transcend into Oblivion spreads three three-songs suites and an eponymous closing track across a hefty 59 minutes. Everything is bigger in Texas, sure, but bigger doesn’t always mean better (or good).

Perhaps due to their sweltering abode, Necrofier draws black metal sustenance from the shivering environs of Scandinavia. Dissection is certainly an immediate reference point, if they excised the excursions into folky melodeath. Necrofier’s preferred melodicism swirls as a maelstrom of mobile power chords by guitarists Bakka and Semir Özerkan, propelled by the dexterous drumming of Dobber Beverly.2 The influence of Watain also feels present, especially since Bakka’s rasp sounds quite a bit like E. And early Emperor reigns here as well, before they fully unbound Prometheus. Violins, synthesizers, and harpsichords are felt more than heard outright, balancing a sweet spot production-wise à la Anthems to the Welkin at Dusk. On the unfortunate side of the production is bassist Mat Valentine, who gets lost in the shuffle. Nevertheless, Transcend into Oblivion consistently delivers quality black metal that is melodic but dangerous.

Transcend into Oblivion by Necrofier

Transcend into Oblivion progresses as three suites, each comprised of three songs. Together, they narrate a ‘Luciferian Night of the Dark Soul’: a spiritual awakening incites torment that ultimately engenders rebirth. Individually, they mostly play out as a collection of thematically-linked songs. “Fires of the Apocalypse, Light My Path” immediately kicks the door in (“Fires…I”) before kicking the door in again (“Fires…II”) and again—”Fires…III” is the strongest of the trio, but the listener begins wondering why these songs are presented as holistic units. The “Servants of Darkness, Guide My Way” trilogy comes closest to reaching suiteness. “Servants…I” starts with one of the album’s gnarliest trem riffs, “Servants…II” cools things down with an extended acoustic passage, and “Servants III” delightfully dips into doomy Middle-Eastern territory before black-metal blastoff. As for the “Horns of Destruction, Lift My Blade” triumvirate, it adds variety with d-beats, chunkier riffs, and a gong, but it feels like more of the same this deep into the album. There’s no real filler amongst the suites, but there aren’t any thrilling peaks either.

Keeping with their spiritualism, Necrofier nests numerology into Transcend into Oblivion, punctuating its three-song threesome with three instrumentals. For the most part, they effectively break up the black metal action. On the heels of the opening “Fires” suite, “Behold, the Birth of Ascension” conveys the onset of (re)birth pangs. Repurposing a melody from “Fires…III” with creepy bells and macabre piano, it cleverly inverts the typical function of an interlude, segueing out of a song rather than into one. More in the typical interlude camp is “Mystical Creation of Enlightenment.” Its Spanish-sounding acoustic plucks make for a soothing shift out of the savage “Servants” suite, while its ending modulation prefigures the ornery onset of the “Horns” suite. Oddly enough, it’s the eponymous instrumental that feels superfluous. “Toward the Necrofier” concludes the album with ominous space synths, incantatory spoken word, and tribal rhythms. “Horns…III,” however, ends with its own climax and a piano denouement, which makes the final instrumental feel like a coda to an album that doesn’t need more closure.

“Toward the Necrofier” does function as a serviceable springboard for a second spin of Transcend into Oblivion, an album which I ultimately recommend. It makes sense that Necrofier would cap off a work about rebirth with an eponymous song distilling the more unique elements of their sound. While Necrofier don’t fully realize their conceptual ambition, Transcend into Oblivion is sweet stuff regardless, demonstrating lots of promise for future outings. Black metal zealots of all stripes should strongly consider messing with these Texans.

Rating: 3.0/5.0
DR: 8 | Format Reviewed:256 kbps mp3
Label: Metal Blade Records
Websites: Bandcamp | Instagram | Facebook
Releases Worldwide: February 27th, 2026

Houston’s Necrofier first came on my radar when they played the 2024 Decibel Magazine Tour with Hulder, Devil Master, and Worm. Sadly, I missed their opening set, but gladly, I caught a recording of it on YouTube.1 Their raucous, crowd-pleasing performance compelled me to check out their recordings. At 36 minutes, debut Prophecies of Eternal Darkness (2021) is a lean, mean barrage of melodic black metal, while Burning Shadows in the Southern Night (2023) ups the ante with 47 minutes of stronger, more polished material. Necrofier’s (lone?) star seems to be on the rise since Decibel 2024, as their third album arrives on the mighty Metal Blade Records. Also on the rise are the band’s ambitions; Transcend into Oblivion spreads three three-songs suites and an eponymous closing track across a hefty 59 minutes. Everything is bigger in Texas, sure, but bigger doesn’t always mean better (or good).

Perhaps due to their sweltering abode, Necrofier draws black metal sustenance from the shivering environs of Scandinavia. Dissection is certainly an immediate reference point, if they excised the excursions into folky melodeath. Necrofier’s preferred melodicism swirls as a maelstrom of mobile power chords by guitarists Bakka and Semir Özerkan, propelled by the dexterous drumming of Dobber Beverly.2 The influence of Watain also feels present, especially since Bakka’s rasp sounds quite a bit like E. And early Emperor reigns here as well, before they fully unbound Prometheus. Violins, synthesizers, and harpsichords are felt more than heard outright, balancing a sweet spot production-wise à la Anthems to the Welkin at Dusk. On the unfortunate side of the production is bassist Mat Valentine, who gets lost in the shuffle. Nevertheless, Transcend into Oblivion consistently delivers quality black metal that is melodic but dangerous.

Transcend into Oblivion by Necrofier

Transcend into Oblivion progresses as three suites, each comprised of three songs. Together, they narrate a ‘Luciferian Night of the Dark Soul’: a spiritual awakening incites torment that ultimately engenders rebirth. Individually, they mostly play out as a collection of thematically-linked songs. “Fires of the Apocalypse, Light My Path” immediately kicks the door in (“Fires…I”) before kicking the door in again (“Fires…II”) and again—”Fires…III” is the strongest of the trio, but the listener begins wondering why these songs are presented as holistic units. The “Servants of Darkness, Guide My Way” trilogy comes closest to reaching suiteness. “Servants…I” starts with one of the album’s gnarliest trem riffs, “Servants…II” cools things down with an extended acoustic passage, and “Servants III” delightfully dips into doomy Middle-Eastern territory before black-metal blastoff. As for the “Horns of Destruction, Lift My Blade” triumvirate, it adds variety with d-beats, chunkier riffs, and a gong, but it feels like more of the same this deep into the album. There’s no real filler amongst the suites, but there aren’t any thrilling peaks either.

Keeping with their spiritualism, Necrofier nests numerology into Transcend into Oblivion, punctuating its three-song threesome with three instrumentals. For the most part, they effectively break up the black metal action. On the heels of the opening “Fires” suite, “Behold, the Birth of Ascension” conveys the onset of (re)birth pangs. Repurposing a melody from “Fires…III” with creepy bells and macabre piano, it cleverly inverts the typical function of an interlude, segueing out of a song rather than into one. More in the typical interlude camp is “Mystical Creation of Enlightenment.” Its Spanish-sounding acoustic plucks make for a soothing shift out of the savage “Servants” suite, while its ending modulation prefigures the ornery onset of the “Horns” suite. Oddly enough, it’s the eponymous instrumental that feels superfluous. “Toward the Necrofier” concludes the album with ominous space synths, incantatory spoken word, and tribal rhythms. “Horns…III,” however, ends with its own climax and a piano denouement, which makes the final instrumental feel like a coda to an album that doesn’t need more closure.

“Toward the Necrofier” does function as a serviceable springboard for a second spin of Transcend into Oblivion, an album which I ultimately recommend. It makes sense that Necrofier would cap off a work about rebirth with an eponymous song distilling the more unique elements of their sound. While Necrofier don’t fully realize their conceptual ambition, Transcend into Oblivion is sweet stuff regardless, demonstrating lots of promise for future outings. Black metal zealots of all stripes should strongly consider messing with these Texans.

Rating: 3.0/5.0
DR: 8 | Format Reviewed:256 kbps mp3
Label: Metal Blade Records
Websites: Bandcamp | Instagram | Facebook
Releases Worldwide: February 27th, 2026

Houston’s Necrofier first came on my radar when they played the 2024 Decibel Magazine Tour with Hulder, Devil Master, and Worm. Sadly, I missed their opening set, but gladly, I caught a recording of it on YouTube.1 Their raucous, crowd-pleasing performance compelled me to check out their recordings. At 36 minutes, debut Prophecies of Eternal Darkness (2021) is a lean, mean barrage of melodic black metal, while Burning Shadows in the Southern Night (2023) ups the ante with 47 minutes of stronger, more polished material. Necrofier’s (lone?) star seems to be on the rise since Decibel 2024, as their third album arrives on the mighty Metal Blade Records. Also on the rise are the band’s ambitions; Transcend into Oblivion spreads three three-songs suites and an eponymous closing track across a hefty 59 minutes. Everything is bigger in Texas, sure, but bigger doesn’t always mean better (or good).

Perhaps due to their sweltering abode, Necrofier draws black metal sustenance from the shivering environs of Scandinavia. Dissection is certainly an immediate reference point, if they excised the excursions into folky melodeath. Necrofier’s preferred melodicism swirls as a maelstrom of mobile power chords by guitarists Bakka and Semir Özerkan, propelled by the dexterous drumming of Dobber Beverly.2 The influence of Watain also feels present, especially since Bakka’s rasp sounds quite a bit like E. And early Emperor reigns here as well, before they fully unbound Prometheus. Violins, synthesizers, and harpsichords are felt more than heard outright, balancing a sweet spot production-wise à la Anthems to the Welkin at Dusk. On the unfortunate side of the production is bassist Mat Valentine, who gets lost in the shuffle. Nevertheless, Transcend into Oblivion consistently delivers quality black metal that is melodic but dangerous.

Transcend into Oblivion by Necrofier

Transcend into Oblivion progresses as three suites, each comprised of three songs. Together, they narrate a ‘Luciferian Night of the Dark Soul’: a spiritual awakening incites torment that ultimately engenders rebirth. Individually, they mostly play out as a collection of thematically-linked songs. “Fires of the Apocalypse, Light My Path” immediately kicks the door in (“Fires…I”) before kicking the door in again (“Fires…II”) and again—”Fires…III” is the strongest of the trio, but the listener begins wondering why these songs are presented as holistic units. The “Servants of Darkness, Guide My Way” trilogy comes closest to reaching suiteness. “Servants…I” starts with one of the album’s gnarliest trem riffs, “Servants…II” cools things down with an extended acoustic passage, and “Servants III” delightfully dips into doomy Middle-Eastern territory before black-metal blastoff. As for the “Horns of Destruction, Lift My Blade” triumvirate, it adds variety with d-beats, chunkier riffs, and a gong, but it feels like more of the same this deep into the album. There’s no real filler amongst the suites, but there aren’t any thrilling peaks either.

Keeping with their spiritualism, Necrofier nests numerology into Transcend into Oblivion, punctuating its three-song threesome with three instrumentals. For the most part, they effectively break up the black metal action. On the heels of the opening “Fires” suite, “Behold, the Birth of Ascension” conveys the onset of (re)birth pangs. Repurposing a melody from “Fires…III” with creepy bells and macabre piano, it cleverly inverts the typical function of an interlude, segueing out of a song rather than into one. More in the typical interlude camp is “Mystical Creation of Enlightenment.” Its Spanish-sounding acoustic plucks make for a soothing shift out of the savage “Servants” suite, while its ending modulation prefigures the ornery onset of the “Horns” suite. Oddly enough, it’s the eponymous instrumental that feels superfluous. “Toward the Necrofier” concludes the album with ominous space synths, incantatory spoken word, and tribal rhythms. “Horns…III,” however, ends with its own climax and a piano denouement, which makes the final instrumental feel like a coda to an album that doesn’t need more closure.

“Toward the Necrofier” does function as a serviceable springboard for a second spin of Transcend into Oblivion, an album which I ultimately recommend. It makes sense that Necrofier would cap off a work about rebirth with an eponymous song distilling the more unique elements of their sound. While Necrofier don’t fully realize their conceptual ambition, Transcend into Oblivion is sweet stuff regardless, demonstrating lots of promise for future outings. Black metal zealots of all stripes should strongly consider messing with these Texans.

Rating: 3.0/5.0
DR: 8 | Format Reviewed:256 kbps mp3
Label: Metal Blade Records
Websites: Bandcamp | Instagram | Facebook
Releases Worldwide: February 27th, 2026

12.06.2026 Zappenduster Festival, Sputnikhalle

#zappendusterfestival #sputnikhalle

#Kampfar #Moonlight Sorcery #Secrets of the Moon #Desaster #Hulder #AbigailWilliams #Heretoir #MidnightOdyssey #Enisum #PonteDelDiavolo #Hæresis #BoötesVoid #Mýrdal #Wesen #Teufelnacht

Labor Day edition. https://hulder.bandcamp.com/album/a-beacon-from-darkened-skies #Hulder #BlackMetalMonday

Labor Day edition. https://hulder.bandcamp.com/album/a-beacon-from-darkened-skies #Hulder #BlackMetalMonday