#immortal — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #immortal, aggregated by home.social.
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Finsterforst – Still Review By Grin ReaperHome to cuckoo clocks, namesake gateaux,1 and Bollenhüte, Germany’s Schwarzwald (Black Forest) has functioned as folklore fodder for centuries. Ever since dropping debut EP Wiege der Finsternis, Finsterforst has mined their homeland for inspiration, and after five albums they’re Still at it. Though only three years removed from 2023’s EP Jenseits, Still is Finsterforst’s first proper album in seven years.2 If this is your Finsterfirst time experiencing the band’s wares, Finsterforst revels in long-form folk compositions that conjure the stateliness and beauty of nature, and on Still these Germaniacs deliver another generous portion of real-deal, certified folk magic. After so much time walking through the woods, does Still forge a better path, or has Finsterforst lost their way?
Fans of Finsterforst’s recent work should be pleased with Still, as the distinctly Deutsch niche they’ve carved out persists with a twist of noble melancholy. To mein ears, Still plays like folk/black metal garnished with Neue Deutsche Härte accents as they merge seismic riffs and sustained synths with atmospheric textures, cinematic orchestrations, and a staggering tonal depth. Early Finsterforst leaned heavily into folksy fun, where jaunty accordion leads and spirited bass punches draw comparisons to Korpiklaani and Turisas. As Finsterforst evolved, song lengths ballooned, and they pushed further into realms of mood and emotional swells. While vestiges of their early sound remain, Finsterforst now hews much closer to the likes of Moonsorrow, although instead of basking in the wintry waters of Scandinavian paganism, this German septet reveres the temperate charms of an enchanted wood.
From its outset, Still conjures the ethereal beauty of nature and merges it with crushing might and overwhelming pathos. Opener “Obduktion” kicks off with an airy lead before dropping the hammer with meticulously crafted riffs and synth accents that remind me of Rammstein and Eisbrecher. Yet Still doesn’t dramatically shift Finsterforst’s songwriting towards Neue Deutsche Härte—this facet has been a part of their sound for years. Rather, Finsterforst adopts a less-is-moar philosophy that makes the parallels stand out more starkly. For instance, “Stille Nacht” begins with a riff that recalls Rammstein’s “Mein Teil,” driving momentum with thick ‘n’ beefy muscle. Both “Knie Nieder” and “Herbstwanderung” expertly blend the heavy with the tender, and “Fels” glistens with acoustic guitar underpinning vocalist Olli Berlin’s mesmerizing vocals. And it’s here that Finsterforst unfetters their most potent weapon. Berlin’s vocals give me goosebumps each playthrough, and his impassioned barks and sonorous cleans proffer varied deliveries throughout Still. Yet more than that, they supply the perfect counterpoint to Finsterforst’s soundscape as the outfit maneuvers between impassioned discharges and reverb-saturated refrains supported by gorgeous choral elements and brassy orchestrations. Still captures Finsterforst at their most subtle and stripped down, where laying their arrangements bare exposes naked splendor.
Despite the extreme runtime of Still, Finsterforst retools their approach to make it more accessible. In his review of Mach Dich Frei, El Cuervo identified the record’s length as cumbersome taken all at once, even if the individual tracks succeeded. On Still, the songs boast more palatable lengths than LPs past, and here only final original track, “Leere” overstays its welcome at twenty-four minutes.3 The two covers at the end, Immortal’s “Beyond the North Waves” and Pink Floyd’s “Another Brick in the Wall, Pt. II” commendably adapt versions of the songs to Finsterforst’s own style, yet push the runtime an extra fourteen minutes that otherwise would have delivered the band’s most succinct album to date. More positively, the production has improved since Mach Dich Frei and Zerfall, and even though the DR score only suggests a modest improvement, Still sounds better than any of the band’s other recent output.
In a month with few highlights, Finsterforst’s Still shines as a welcome bright spot. Dynamic songwriting, masterful command of tension, and inspired performances litter the album. Finsterforst addresses past offenses by adding depth to the mix and demonstrating more economical songwriting song-by-song, even though Still’s overall length perpetuates Finsterforst’s reputation for bloat. Regardless, I often find myself lost in Still’s woods without caring about how long the walk is, as the sights along the way are unequivocally worth the stroll.
Rating: Very Good
#2026 #35 #AOPRecords #AtmosphericBlackMetal #BlackFolkMetal #BlackMetal #Eisbrecher #Finsterforst #FolkMetal #GermanMetal #Immortal #Jul26 #Korpiklaani #Moonsorrow #PinkFloyd #Rammstein #Review #Reviews #Still #Turisas
DR: 6 | Format Reviewed: 320 kbps mp3
Label: AOP Records
Websites: Website | Bandcamp | Facebook
Releases Worldwide: July 31st, 2026 -
Finsterforst – Still Review By Grin ReaperHome to cuckoo clocks, namesake gateaux,1 and Bollenhüte, Germany’s Schwarzwald (Black Forest) has functioned as folklore fodder for centuries. Ever since dropping debut EP Wiege der Finsternis, Finsterforst has mined their homeland for inspiration, and after five albums they’re Still at it. Though only three years removed from 2023’s EP Jenseits, Still is Finsterforst’s first proper album in seven years.2 If this is your Finsterfirst time experiencing the band’s wares, Finsterforst revels in long-form folk compositions that conjure the stateliness and beauty of nature, and on Still these Germaniacs deliver another generous portion of real-deal, certified folk magic. After so much time walking through the woods, does Still forge a better path, or has Finsterforst lost their way?
Fans of Finsterforst’s recent work should be pleased with Still, as the distinctly Deutsch niche they’ve carved out persists with a twist of noble melancholy. To mein ears, Still plays like folk/black metal garnished with Neue Deutsche Härte accents as they merge seismic riffs and sustained synths with atmospheric textures, cinematic orchestrations, and a staggering tonal depth. Early Finsterforst leaned heavily into folksy fun, where jaunty accordion leads and spirited bass punches draw comparisons to Korpiklaani and Turisas. As Finsterforst evolved, song lengths ballooned, and they pushed further into realms of mood and emotional swells. While vestiges of their early sound remain, Finsterforst now hews much closer to the likes of Moonsorrow, although instead of basking in the wintry waters of Scandinavian paganism, this German septet reveres the temperate charms of an enchanted wood.
From its outset, Still conjures the ethereal beauty of nature and merges it with crushing might and overwhelming pathos. Opener “Obduktion” kicks off with an airy lead before dropping the hammer with meticulously crafted riffs and synth accents that remind me of Rammstein and Eisbrecher. Yet Still doesn’t dramatically shift Finsterforst’s songwriting towards Neue Deutsche Härte—this facet has been a part of their sound for years. Rather, Finsterforst adopts a less-is-moar philosophy that makes the parallels stand out more starkly. For instance, “Stille Nacht” begins with a riff that recalls Rammstein’s “Mein Teil,” driving momentum with thick ‘n’ beefy muscle. Both “Knie Nieder” and “Herbstwanderung” expertly blend the heavy with the tender, and “Fels” glistens with acoustic guitar underpinning vocalist Olli Berlin’s mesmerizing vocals. And it’s here that Finsterforst unfetters their most potent weapon. Berlin’s vocals give me goosebumps each playthrough, and his impassioned barks and sonorous cleans proffer varied deliveries throughout Still. Yet more than that, they supply the perfect counterpoint to Finsterforst’s soundscape as the outfit maneuvers between impassioned discharges and reverb-saturated refrains supported by gorgeous choral elements and brassy orchestrations. Still captures Finsterforst at their most subtle and stripped down, where laying their arrangements bare exposes naked splendor.
Despite the extreme runtime of Still, Finsterforst retools their approach to make it more accessible. In his review of Mach Dich Frei, El Cuervo identified the record’s length as cumbersome taken all at once, even if the individual tracks succeeded. On Still, the songs boast more palatable lengths than LPs past, and here only final original track, “Leere” overstays its welcome at twenty-four minutes.3 The two covers at the end, Immortal’s “Beyond the North Waves” and Pink Floyd’s “Another Brick in the Wall, Pt. II” commendably adapt versions of the songs to Finsterforst’s own style, yet push the runtime an extra fourteen minutes that otherwise would have delivered the band’s most succinct album to date. More positively, the production has improved since Mach Dich Frei and Zerfall, and even though the DR score only suggests a modest improvement, Still sounds better than any of the band’s other recent output.
In a month with few highlights, Finsterforst’s Still shines as a welcome bright spot. Dynamic songwriting, masterful command of tension, and inspired performances litter the album. Finsterforst addresses past offenses by adding depth to the mix and demonstrating more economical songwriting song-by-song, even though Still’s overall length perpetuates Finsterforst’s reputation for bloat. Regardless, I often find myself lost in Still’s woods without caring about how long the walk is, as the sights along the way are unequivocally worth the stroll.
Rating: Very Good
#2026 #35 #AOPRecords #AtmosphericBlackMetal #BlackFolkMetal #BlackMetal #Eisbrecher #Finsterforst #FolkMetal #GermanMetal #Immortal #Jul26 #Korpiklaani #Moonsorrow #PinkFloyd #Rammstein #Review #Reviews #Still #Turisas
DR: 6 | Format Reviewed: 320 kbps mp3
Label: AOP Records
Websites: Website | Bandcamp | Facebook
Releases Worldwide: July 31st, 2026 -
Finsterforst – Still Review By Grin ReaperHome to cuckoo clocks, namesake gateaux,1 and Bollenhüte, Germany’s Schwarzwald (Black Forest) has functioned as folklore fodder for centuries. Ever since dropping debut EP Wiege der Finsternis, Finsterforst has mined their homeland for inspiration, and after five albums they’re Still at it. Though only three years removed from 2023’s EP Jenseits, Still is Finsterforst’s first proper album in seven years.2 If this is your Finsterfirst time experiencing the band’s wares, Finsterforst revels in long-form folk compositions that conjure the stateliness and beauty of nature, and on Still these Germaniacs deliver another generous portion of real-deal, certified folk magic. After so much time walking through the woods, does Still forge a better path, or has Finsterforst lost their way?
Fans of Finsterforst’s recent work should be pleased with Still, as the distinctly Deutsch niche they’ve carved out persists with a twist of noble melancholy. To mein ears, Still plays like folk/black metal garnished with Neue Deutsche Härte accents as they merge seismic riffs and sustained synths with atmospheric textures, cinematic orchestrations, and a staggering tonal depth. Early Finsterforst leaned heavily into folksy fun, where jaunty accordion leads and spirited bass punches draw comparisons to Korpiklaani and Turisas. As Finsterforst evolved, song lengths ballooned, and they pushed further into realms of mood and emotional swells. While vestiges of their early sound remain, Finsterforst now hews much closer to the likes of Moonsorrow, although instead of basking in the wintry waters of Scandinavian paganism, this German septet reveres the temperate charms of an enchanted wood.
From its outset, Still conjures the ethereal beauty of nature and merges it with crushing might and overwhelming pathos. Opener “Obduktion” kicks off with an airy lead before dropping the hammer with meticulously crafted riffs and synth accents that remind me of Rammstein and Eisbrecher. Yet Still doesn’t dramatically shift Finsterforst’s songwriting towards Neue Deutsche Härte—this facet has been a part of their sound for years. Rather, Finsterforst adopts a less-is-moar philosophy that makes the parallels stand out more starkly. For instance, “Stille Nacht” begins with a riff that recalls Rammstein’s “Mein Teil,” driving momentum with thick ‘n’ beefy muscle. Both “Knie Nieder” and “Herbstwanderung” expertly blend the heavy with the tender, and “Fels” glistens with acoustic guitar underpinning vocalist Olli Berlin’s mesmerizing vocals. And it’s here that Finsterforst unfetters their most potent weapon. Berlin’s vocals give me goosebumps each playthrough, and his impassioned barks and sonorous cleans proffer varied deliveries throughout Still. Yet more than that, they supply the perfect counterpoint to Finsterforst’s soundscape as the outfit maneuvers between impassioned discharges and reverb-saturated refrains supported by gorgeous choral elements and brassy orchestrations. Still captures Finsterforst at their most subtle and stripped down, where laying their arrangements bare exposes naked splendor.
Despite the extreme runtime of Still, Finsterforst retools their approach to make it more accessible. In his review of Mach Dich Frei, El Cuervo identified the record’s length as cumbersome taken all at once, even if the individual tracks succeeded. On Still, the songs boast more palatable lengths than LPs past, and here only final original track, “Leere” overstays its welcome at twenty-four minutes.3 The two covers at the end, Immortal’s “Beyond the North Waves” and Pink Floyd’s “Another Brick in the Wall, Pt. II” commendably adapt versions of the songs to Finsterforst’s own style, yet push the runtime an extra fourteen minutes that otherwise would have delivered the band’s most succinct album to date. More positively, the production has improved since Mach Dich Frei and Zerfall, and even though the DR score only suggests a modest improvement, Still sounds better than any of the band’s other recent output.
In a month with few highlights, Finsterforst’s Still shines as a welcome bright spot. Dynamic songwriting, masterful command of tension, and inspired performances litter the album. Finsterforst addresses past offenses by adding depth to the mix and demonstrating more economical songwriting song-by-song, even though Still’s overall length perpetuates Finsterforst’s reputation for bloat. Regardless, I often find myself lost in Still’s woods without caring about how long the walk is, as the sights along the way are unequivocally worth the stroll.
Rating: Very Good
#2026 #35 #AOPRecords #AtmosphericBlackMetal #BlackFolkMetal #BlackMetal #Eisbrecher #Finsterforst #FolkMetal #GermanMetal #Immortal #Jul26 #Korpiklaani #Moonsorrow #PinkFloyd #Rammstein #Review #Reviews #Still #Turisas
DR: 6 | Format Reviewed: 320 kbps mp3
Label: AOP Records
Websites: Website | Bandcamp | Facebook
Releases Worldwide: July 31st, 2026 -
Finsterforst – Still Review By Grin ReaperHome to cuckoo clocks, namesake gateaux,1 and Bollenhüte, Germany’s Schwarzwald (Black Forest) has functioned as folklore fodder for centuries. Ever since dropping debut EP Wiege der Finsternis, Finsterforst has mined their homeland for inspiration, and after five albums they’re Still at it. Though only three years removed from 2023’s EP Jenseits, Still is Finsterforst’s first proper album in seven years.2 If this is your Finsterfirst time experiencing the band’s wares, Finsterforst revels in long-form folk compositions that conjure the stateliness and beauty of nature, and on Still these Germaniacs deliver another generous portion of real-deal, certified folk magic. After so much time walking through the woods, does Still forge a better path, or has Finsterforst lost their way?
Fans of Finsterforst’s recent work should be pleased with Still, as the distinctly Deutsch niche they’ve carved out persists with a twist of noble melancholy. To mein ears, Still plays like folk/black metal garnished with Neue Deutsche Härte accents as they merge seismic riffs and sustained synths with atmospheric textures, cinematic orchestrations, and a staggering tonal depth. Early Finsterforst leaned heavily into folksy fun, where jaunty accordion leads and spirited bass punches draw comparisons to Korpiklaani and Turisas. As Finsterforst evolved, song lengths ballooned, and they pushed further into realms of mood and emotional swells. While vestiges of their early sound remain, Finsterforst now hews much closer to the likes of Moonsorrow, although instead of basking in the wintry waters of Scandinavian paganism, this German septet reveres the temperate charms of an enchanted wood.
From its outset, Still conjures the ethereal beauty of nature and merges it with crushing might and overwhelming pathos. Opener “Obduktion” kicks off with an airy lead before dropping the hammer with meticulously crafted riffs and synth accents that remind me of Rammstein and Eisbrecher. Yet Still doesn’t dramatically shift Finsterforst’s songwriting towards Neue Deutsche Härte—this facet has been a part of their sound for years. Rather, Finsterforst adopts a less-is-moar philosophy that makes the parallels stand out more starkly. For instance, “Stille Nacht” begins with a riff that recalls Rammstein’s “Mein Teil,” driving momentum with thick ‘n’ beefy muscle. Both “Knie Nieder” and “Herbstwanderung” expertly blend the heavy with the tender, and “Fels” glistens with acoustic guitar underpinning vocalist Olli Berlin’s mesmerizing vocals. And it’s here that Finsterforst unfetters their most potent weapon. Berlin’s vocals give me goosebumps each playthrough, and his impassioned barks and sonorous cleans proffer varied deliveries throughout Still. Yet more than that, they supply the perfect counterpoint to Finsterforst’s soundscape as the outfit maneuvers between impassioned discharges and reverb-saturated refrains supported by gorgeous choral elements and brassy orchestrations. Still captures Finsterforst at their most subtle and stripped down, where laying their arrangements bare exposes naked splendor.
Despite the extreme runtime of Still, Finsterforst retools their approach to make it more accessible. In his review of Mach Dich Frei, El Cuervo identified the record’s length as cumbersome taken all at once, even if the individual tracks succeeded. On Still, the songs boast more palatable lengths than LPs past, and here only final original track, “Leere” overstays its welcome at twenty-four minutes.3 The two covers at the end, Immortal’s “Beyond the North Waves” and Pink Floyd’s “Another Brick in the Wall, Pt. II” commendably adapt versions of the songs to Finsterforst’s own style, yet push the runtime an extra fourteen minutes that otherwise would have delivered the band’s most succinct album to date. More positively, the production has improved since Mach Dich Frei and Zerfall, and even though the DR score only suggests a modest improvement, Still sounds better than any of the band’s other recent output.
In a month with few highlights, Finsterforst’s Still shines as a welcome bright spot. Dynamic songwriting, masterful command of tension, and inspired performances litter the album. Finsterforst addresses past offenses by adding depth to the mix and demonstrating more economical songwriting song-by-song, even though Still’s overall length perpetuates Finsterforst’s reputation for bloat. Regardless, I often find myself lost in Still’s woods without caring about how long the walk is, as the sights along the way are unequivocally worth the stroll.
Rating: Very Good
#2026 #35 #AOPRecords #AtmosphericBlackMetal #BlackFolkMetal #BlackMetal #Eisbrecher #Finsterforst #FolkMetal #GermanMetal #Immortal #Jul26 #Korpiklaani #Moonsorrow #PinkFloyd #Rammstein #Review #Reviews #Still #Turisas
DR: 6 | Format Reviewed: 320 kbps mp3
Label: AOP Records
Websites: Website | Bandcamp | Facebook
Releases Worldwide: July 31st, 2026 -
Finsterforst – Still Review By Grin ReaperHome to cuckoo clocks, namesake gateaux,1 and Bollenhüte, Germany’s Schwarzwald (Black Forest) has functioned as folklore fodder for centuries. Ever since dropping debut EP Wiege der Finsternis, Finsterforst has mined their homeland for inspiration, and after five albums they’re Still at it. Though only three years removed from 2023’s EP Jenseits, Still is Finsterforst’s first proper album in seven years.2 If this is your Finsterfirst time experiencing the band’s wares, Finsterforst revels in long-form folk compositions that conjure the stateliness and beauty of nature, and on Still these Germaniacs deliver another generous portion of real-deal, certified folk magic. After so much time walking through the woods, does Still forge a better path, or has Finsterforst lost their way?
Fans of Finsterforst’s recent work should be pleased with Still, as the distinctly Deutsch niche they’ve carved out persists with a twist of noble melancholy. To mein ears, Still plays like folk/black metal garnished with Neue Deutsche Härte accents as they merge seismic riffs and sustained synths with atmospheric textures, cinematic orchestrations, and a staggering tonal depth. Early Finsterforst leaned heavily into folksy fun, where jaunty accordion leads and spirited bass punches draw comparisons to Korpiklaani and Turisas. As Finsterforst evolved, song lengths ballooned, and they pushed further into realms of mood and emotional swells. While vestiges of their early sound remain, Finsterforst now hews much closer to the likes of Moonsorrow, although instead of basking in the wintry waters of Scandinavian paganism, this German septet reveres the temperate charms of an enchanted wood.
From its outset, Still conjures the ethereal beauty of nature and merges it with crushing might and overwhelming pathos. Opener “Obduktion” kicks off with an airy lead before dropping the hammer with meticulously crafted riffs and synth accents that remind me of Rammstein and Eisbrecher. Yet Still doesn’t dramatically shift Finsterforst’s songwriting towards Neue Deutsche Härte—this facet has been a part of their sound for years. Rather, Finsterforst adopts a less-is-moar philosophy that makes the parallels stand out more starkly. For instance, “Stille Nacht” begins with a riff that recalls Rammstein’s “Mein Teil,” driving momentum with thick ‘n’ beefy muscle. Both “Knie Nieder” and “Herbstwanderung” expertly blend the heavy with the tender, and “Fels” glistens with acoustic guitar underpinning vocalist Olli Berlin’s mesmerizing vocals. And it’s here that Finsterforst unfetters their most potent weapon. Berlin’s vocals give me goosebumps each playthrough, and his impassioned barks and sonorous cleans proffer varied deliveries throughout Still. Yet more than that, they supply the perfect counterpoint to Finsterforst’s soundscape as the outfit maneuvers between impassioned discharges and reverb-saturated refrains supported by gorgeous choral elements and brassy orchestrations. Still captures Finsterforst at their most subtle and stripped down, where laying their arrangements bare exposes naked splendor.
Despite the extreme runtime of Still, Finsterforst retools their approach to make it more accessible. In his review of Mach Dich Frei, El Cuervo identified the record’s length as cumbersome taken all at once, even if the individual tracks succeeded. On Still, the songs boast more palatable lengths than LPs past, and here only final original track, “Leere” overstays its welcome at twenty-four minutes.3 The two covers at the end, Immortal’s “Beyond the North Waves” and Pink Floyd’s “Another Brick in the Wall, Pt. II” commendably adapt versions of the songs to Finsterforst’s own style, yet push the runtime an extra fourteen minutes that otherwise would have delivered the band’s most succinct album to date. More positively, the production has improved since Mach Dich Frei and Zerfall, and even though the DR score only suggests a modest improvement, Still sounds better than any of the band’s other recent output.
In a month with few highlights, Finsterforst’s Still shines as a welcome bright spot. Dynamic songwriting, masterful command of tension, and inspired performances litter the album. Finsterforst addresses past offenses by adding depth to the mix and demonstrating more economical songwriting song-by-song, even though Still’s overall length perpetuates Finsterforst’s reputation for bloat. Regardless, I often find myself lost in Still’s woods without caring about how long the walk is, as the sights along the way are unequivocally worth the stroll.
Rating: Very Good
#2026 #35 #AOPRecords #AtmosphericBlackMetal #BlackFolkMetal #BlackMetal #Eisbrecher #Finsterforst #FolkMetal #GermanMetal #Immortal #Jul26 #Korpiklaani #Moonsorrow #PinkFloyd #Rammstein #Review #Reviews #Still #Turisas
DR: 6 | Format Reviewed: 320 kbps mp3
Label: AOP Records
Websites: Website | Bandcamp | Facebook
Releases Worldwide: July 31st, 2026 -
Feralia – Ultima Requies Review By Alekhines Gun
Being the manager of a large arcade, you’d correctly imagine that summer has been kicking my keister. Consequently, this review is late, and not in a “I had it written, and Steel took his sweet time getting its glory to the masses” way.1 This one is my fault altogether, such that I almost let it slip through the cracks and gave it the TYMHM treatment. And yet, I cannot. International outfit (by way of Sweden and Italy) Feralia have quietly come out with a release which has enticed and enthralled me, warts and all, til I felt spiritually obligated to make sure I spoke of its darkness in a semi-timely manner. Third album Ultima Requies has been released, and while ostensibly black metal, it draws from so many colors within its palette that it makes for a quality and engaging listen.
In a stunning, fist-shaking gesture of defiance to AMG HQ procedures appropriate for my country celebrating the 4th of July, I’m gonna knock the whining out of the way up front. Ultima Requies has a lot of clean vocals, and not all of them stick the landing. Opening track “Ballata Avernale” is the worst offender, where the vocals don’t so much transition as much as startle with an effort at a baritone reminiscent of modern Mayhem but with a much more jarring, disjointed presentation. They do get smoother as the album unfolds; “Defigere” in particular manages to hit a particularly mournful tone about halfway through which fits quite well. Nevertheless, they’re easily the part that takes the longest to warm up to, and Feralia needs to improve their ability to mesh this element in with their overall sound.
The good news is Feralia has such a masterful command of textures that you shouldn’t let this get in the way of your enjoyment. Ultima Requies utilizes an excessive breadth of extra instrumentation ranging from organs (“Ballata Avernale”) to synthy choirs to acoustic guitars to a full-blown Beard-bait-dudgeon-synth-adjacent interlude (“Emperio”), and not one of them feels forced or uncalled for. While there aren’t any riffs here that could be classified as life-changing, the band exercise a mastery of flow from requisite crushing power to melancholic, introspective calm without missing a step. Ultima Requies is an excellent example of an album with a journey, escorting the listener across brief dollops of straightforward Havukruunu charge, and occasional Fell Omen riffs by way of mid-era Immortal tones, assembled between and around calmer moments of introspective peace with the arrangement skill of Nechochwen. Listeners should not come in expecting hellfire and suffering, but also not a lovely waltz through the woods; here there be thunderstorms and toppled statues as much as peace and serenity.
This defiance of easy classification is the most enticing thing about Ultima Requies. It isn’t so overtly assaulting as to be called a blackened slab of violence; nor does it rely on its interludes and peaceful moments enough to properly be classified as atmospheric. It has some whiffs of dissonance, trying to channel the most Omega of Deathspells (“Ver Sacrum”), but these moments collapse into bass-led melody as quick as they appear. Said bass, courtesy of member Krhura is given a lot of spotlight, with the guitars sometimes turned down for him to take complete sonic command in the stylings of more modern Krallice. Occasional leads pop up in the spirit of less flashy Aran Angmar but always with a focus on raw atmosphere and emotion rather than the slaughter of one’s enemies. Despite this constant carousel of mood and tone, Feralia have offered up a cohesive, well-assembled work which refuses to be limited by its genre labels despite working well within its established ideas.
Ultima Requies is a confusing album in the best possible sense. Not content to merely make you headbang, but also not trying to drag you into depression; not so evil as to make you throw horns but hardly giving in to anything that could be considered light and joy, it is a kaleidoscope of sound under a black metal umbrella. Driving home at two in the morning, exhausted from ten hours of exposure to the cacophony of screaming children, it hits different. Feralia have offered a great encapsulation of power spent, of the peace after the storm, with enough sparks of remaining spirit and might to invigorate as much as soothe and relax. That’s a rare treat in the realm of black metal, and in this abominable heat and exhausting season, it’s worthy of your time.
Rating: 3.5/5.0
#2026 #35 #AeternitasTenebrarumMusicaeFundamentum #AranAngmar #BlackMetal #DeathspellOmega #FellOmen #Feralia #Havukruunu #Immortal #InternationalMetal #Jun26 #Krallice #Mayhem #Nechochwen #Review #Reviews #UltimaRequies
DR: Lost to time | Format Reviewed: Bandcamp stream
Label: Aeternitas Tenebrarum Musicae Fundamentum
Website: Album Bandcamp
Releases Worldwide: June 26th, 2026 -
Feralia – Ultima Requies Review By Alekhines Gun
Being the manager of a large arcade, you’d correctly imagine that summer has been kicking my keister. Consequently, this review is late, and not in a “I had it written, and Steel took his sweet time getting its glory to the masses” way.1 This one is my fault altogether, such that I almost let it slip through the cracks and gave it the TYMHM treatment. And yet, I cannot. International outfit (by way of Sweden and Italy) Feralia have quietly come out with a release which has enticed and enthralled me, warts and all, til I felt spiritually obligated to make sure I spoke of its darkness in a semi-timely manner. Third album Ultima Requies has been released, and while ostensibly black metal, it draws from so many colors within its palette that it makes for a quality and engaging listen.
In a stunning, fist-shaking gesture of defiance to AMG HQ procedures appropriate for my country celebrating the 4th of July, I’m gonna knock the whining out of the way up front. Ultima Requies has a lot of clean vocals, and not all of them stick the landing. Opening track “Ballata Avernale” is the worst offender, where the vocals don’t so much transition as much as startle with an effort at a baritone reminiscent of modern Mayhem but with a much more jarring, disjointed presentation. They do get smoother as the album unfolds; “Defigere” in particular manages to hit a particularly mournful tone about halfway through which fits quite well. Nevertheless, they’re easily the part that takes the longest to warm up to, and Feralia needs to improve their ability to mesh this element in with their overall sound.
The good news is Feralia has such a masterful command of textures that you shouldn’t let this get in the way of your enjoyment. Ultima Requies utilizes an excessive breadth of extra instrumentation ranging from organs (“Ballata Avernale”) to synthy choirs to acoustic guitars to a full-blown Beard-bait-dudgeon-synth-adjacent interlude (“Emperio”), and not one of them feels forced or uncalled for. While there aren’t any riffs here that could be classified as life-changing, the band exercise a mastery of flow from requisite crushing power to melancholic, introspective calm without missing a step. Ultima Requies is an excellent example of an album with a journey, escorting the listener across brief dollops of straightforward Havukruunu charge, and occasional Fell Omen riffs by way of mid-era Immortal tones, assembled between and around calmer moments of introspective peace with the arrangement skill of Nechochwen. Listeners should not come in expecting hellfire and suffering, but also not a lovely waltz through the woods; here there be thunderstorms and toppled statues as much as peace and serenity.
This defiance of easy classification is the most enticing thing about Ultima Requies. It isn’t so overtly assaulting as to be called a blackened slab of violence; nor does it rely on its interludes and peaceful moments enough to properly be classified as atmospheric. It has some whiffs of dissonance, trying to channel the most Omega of Deathspells (“Ver Sacrum”), but these moments collapse into bass-led melody as quick as they appear. Said bass, courtesy of member Krhura is given a lot of spotlight, with the guitars sometimes turned down for him to take complete sonic command in the stylings of more modern Krallice. Occasional leads pop up in the spirit of less flashy Aran Angmar but always with a focus on raw atmosphere and emotion rather than the slaughter of one’s enemies. Despite this constant carousel of mood and tone, Feralia have offered up a cohesive, well-assembled work which refuses to be limited by its genre labels despite working well within its established ideas.
Ultima Requies is a confusing album in the best possible sense. Not content to merely make you headbang, but also not trying to drag you into depression; not so evil as to make you throw horns but hardly giving in to anything that could be considered light and joy, it is a kaleidoscope of sound under a black metal umbrella. Driving home at two in the morning, exhausted from ten hours of exposure to the cacophony of screaming children, it hits different. Feralia have offered a great encapsulation of power spent, of the peace after the storm, with enough sparks of remaining spirit and might to invigorate as much as soothe and relax. That’s a rare treat in the realm of black metal, and in this abominable heat and exhausting season, it’s worthy of your time.
Rating: 3.5/5.0
#2026 #35 #AeternitasTenebrarumMusicaeFundamentum #AranAngmar #BlackMetal #DeathspellOmega #FellOmen #Feralia #Havukruunu #Immortal #InternationalMetal #Jun26 #Krallice #Mayhem #Nechochwen #Review #Reviews #UltimaRequies
DR: Lost to time | Format Reviewed: Bandcamp stream
Label: Aeternitas Tenebrarum Musicae Fundamentum
Website: Album Bandcamp
Releases Worldwide: June 26th, 2026 -
Feralia – Ultima Requies Review By Alekhines Gun
Being the manager of a large arcade, you’d correctly imagine that summer has been kicking my keister. Consequently, this review is late, and not in a “I had it written, and Steel took his sweet time getting its glory to the masses” way.1 This one is my fault altogether, such that I almost let it slip through the cracks and gave it the TYMHM treatment. And yet, I cannot. International outfit (by way of Sweden and Italy) Feralia have quietly come out with a release which has enticed and enthralled me, warts and all, til I felt spiritually obligated to make sure I spoke of its darkness in a semi-timely manner. Third album Ultima Requies has been released, and while ostensibly black metal, it draws from so many colors within its palette that it makes for a quality and engaging listen.
In a stunning, fist-shaking gesture of defiance to AMG HQ procedures appropriate for my country celebrating the 4th of July, I’m gonna knock the whining out of the way up front. Ultima Requies has a lot of clean vocals, and not all of them stick the landing. Opening track “Ballata Avernale” is the worst offender, where the vocals don’t so much transition as much as startle with an effort at a baritone reminiscent of modern Mayhem but with a much more jarring, disjointed presentation. They do get smoother as the album unfolds; “Defigere” in particular manages to hit a particularly mournful tone about halfway through which fits quite well. Nevertheless, they’re easily the part that takes the longest to warm up to, and Feralia needs to improve their ability to mesh this element in with their overall sound.
The good news is Feralia has such a masterful command of textures that you shouldn’t let this get in the way of your enjoyment. Ultima Requies utilizes an excessive breadth of extra instrumentation ranging from organs (“Ballata Avernale”) to synthy choirs to acoustic guitars to a full-blown Beard-bait-dudgeon-synth-adjacent interlude (“Emperio”), and not one of them feels forced or uncalled for. While there aren’t any riffs here that could be classified as life-changing, the band exercise a mastery of flow from requisite crushing power to melancholic, introspective calm without missing a step. Ultima Requies is an excellent example of an album with a journey, escorting the listener across brief dollops of straightforward Havukruunu charge, and occasional Fell Omen riffs by way of mid-era Immortal tones, assembled between and around calmer moments of introspective peace with the arrangement skill of Nechochwen. Listeners should not come in expecting hellfire and suffering, but also not a lovely waltz through the woods; here there be thunderstorms and toppled statues as much as peace and serenity.
This defiance of easy classification is the most enticing thing about Ultima Requies. It isn’t so overtly assaulting as to be called a blackened slab of violence; nor does it rely on its interludes and peaceful moments enough to properly be classified as atmospheric. It has some whiffs of dissonance, trying to channel the most Omega of Deathspells (“Ver Sacrum”), but these moments collapse into bass-led melody as quick as they appear. Said bass, courtesy of member Krhura is given a lot of spotlight, with the guitars sometimes turned down for him to take complete sonic command in the stylings of more modern Krallice. Occasional leads pop up in the spirit of less flashy Aran Angmar but always with a focus on raw atmosphere and emotion rather than the slaughter of one’s enemies. Despite this constant carousel of mood and tone, Feralia have offered up a cohesive, well-assembled work which refuses to be limited by its genre labels despite working well within its established ideas.
Ultima Requies is a confusing album in the best possible sense. Not content to merely make you headbang, but also not trying to drag you into depression; not so evil as to make you throw horns but hardly giving in to anything that could be considered light and joy, it is a kaleidoscope of sound under a black metal umbrella. Driving home at two in the morning, exhausted from ten hours of exposure to the cacophony of screaming children, it hits different. Feralia have offered a great encapsulation of power spent, of the peace after the storm, with enough sparks of remaining spirit and might to invigorate as much as soothe and relax. That’s a rare treat in the realm of black metal, and in this abominable heat and exhausting season, it’s worthy of your time.
Rating: 3.5/5.0
#2026 #35 #AeternitasTenebrarumMusicaeFundamentum #AranAngmar #BlackMetal #DeathspellOmega #FellOmen #Feralia #Havukruunu #Immortal #InternationalMetal #Jun26 #Krallice #Mayhem #Nechochwen #Review #Reviews #UltimaRequies
DR: Lost to time | Format Reviewed: Bandcamp stream
Label: Aeternitas Tenebrarum Musicae Fundamentum
Website: Album Bandcamp
Releases Worldwide: June 26th, 2026 -
Feralia – Ultima Requies Review By Alekhines Gun
Being the manager of a large arcade, you’d correctly imagine that summer has been kicking my keister. Consequently, this review is late, and not in a “I had it written, and Steel took his sweet time getting its glory to the masses” way.1 This one is my fault altogether, such that I almost let it slip through the cracks and gave it the TYMHM treatment. And yet, I cannot. International outfit (by way of Sweden and Italy) Feralia have quietly come out with a release which has enticed and enthralled me, warts and all, til I felt spiritually obligated to make sure I spoke of its darkness in a semi-timely manner. Third album Ultima Requies has been released, and while ostensibly black metal, it draws from so many colors within its palette that it makes for a quality and engaging listen.
In a stunning, fist-shaking gesture of defiance to AMG HQ procedures appropriate for my country celebrating the 4th of July, I’m gonna knock the whining out of the way up front. Ultima Requies has a lot of clean vocals, and not all of them stick the landing. Opening track “Ballata Avernale” is the worst offender, where the vocals don’t so much transition as much as startle with an effort at a baritone reminiscent of modern Mayhem but with a much more jarring, disjointed presentation. They do get smoother as the album unfolds; “Defigere” in particular manages to hit a particularly mournful tone about halfway through which fits quite well. Nevertheless, they’re easily the part that takes the longest to warm up to, and Feralia needs to improve their ability to mesh this element in with their overall sound.
The good news is Feralia has such a masterful command of textures that you shouldn’t let this get in the way of your enjoyment. Ultima Requies utilizes an excessive breadth of extra instrumentation ranging from organs (“Ballata Avernale”) to synthy choirs to acoustic guitars to a full-blown Beard-bait-dudgeon-synth-adjacent interlude (“Emperio”), and not one of them feels forced or uncalled for. While there aren’t any riffs here that could be classified as life-changing, the band exercise a mastery of flow from requisite crushing power to melancholic, introspective calm without missing a step. Ultima Requies is an excellent example of an album with a journey, escorting the listener across brief dollops of straightforward Havukruunu charge, and occasional Fell Omen riffs by way of mid-era Immortal tones, assembled between and around calmer moments of introspective peace with the arrangement skill of Nechochwen. Listeners should not come in expecting hellfire and suffering, but also not a lovely waltz through the woods; here there be thunderstorms and toppled statues as much as peace and serenity.
This defiance of easy classification is the most enticing thing about Ultima Requies. It isn’t so overtly assaulting as to be called a blackened slab of violence; nor does it rely on its interludes and peaceful moments enough to properly be classified as atmospheric. It has some whiffs of dissonance, trying to channel the most Omega of Deathspells (“Ver Sacrum”), but these moments collapse into bass-led melody as quick as they appear. Said bass, courtesy of member Krhura is given a lot of spotlight, with the guitars sometimes turned down for him to take complete sonic command in the stylings of more modern Krallice. Occasional leads pop up in the spirit of less flashy Aran Angmar but always with a focus on raw atmosphere and emotion rather than the slaughter of one’s enemies. Despite this constant carousel of mood and tone, Feralia have offered up a cohesive, well-assembled work which refuses to be limited by its genre labels despite working well within its established ideas.
Ultima Requies is a confusing album in the best possible sense. Not content to merely make you headbang, but also not trying to drag you into depression; not so evil as to make you throw horns but hardly giving in to anything that could be considered light and joy, it is a kaleidoscope of sound under a black metal umbrella. Driving home at two in the morning, exhausted from ten hours of exposure to the cacophony of screaming children, it hits different. Feralia have offered a great encapsulation of power spent, of the peace after the storm, with enough sparks of remaining spirit and might to invigorate as much as soothe and relax. That’s a rare treat in the realm of black metal, and in this abominable heat and exhausting season, it’s worthy of your time.
Rating: 3.5/5.0
#2026 #35 #AeternitasTenebrarumMusicaeFundamentum #AranAngmar #BlackMetal #DeathspellOmega #FellOmen #Feralia #Havukruunu #Immortal #InternationalMetal #Jun26 #Krallice #Mayhem #Nechochwen #Review #Reviews #UltimaRequies
DR: Lost to time | Format Reviewed: Bandcamp stream
Label: Aeternitas Tenebrarum Musicae Fundamentum
Website: Album Bandcamp
Releases Worldwide: June 26th, 2026 -
Feralia – Ultima Requies Review By Alekhines Gun
Being the manager of a large arcade, you’d correctly imagine that summer has been kicking my keister. Consequently, this review is late, and not in a “I had it written, and Steel took his sweet time getting its glory to the masses” way.1 This one is my fault altogether, such that I almost let it slip through the cracks and gave it the TYMHM treatment. And yet, I cannot. International outfit (by way of Sweden and Italy) Feralia have quietly come out with a release which has enticed and enthralled me, warts and all, til I felt spiritually obligated to make sure I spoke of its darkness in a semi-timely manner. Third album Ultima Requies has been released, and while ostensibly black metal, it draws from so many colors within its palette that it makes for a quality and engaging listen.
In a stunning, fist-shaking gesture of defiance to AMG HQ procedures appropriate for my country celebrating the 4th of July, I’m gonna knock the whining out of the way up front. Ultima Requies has a lot of clean vocals, and not all of them stick the landing. Opening track “Ballata Avernale” is the worst offender, where the vocals don’t so much transition as much as startle with an effort at a baritone reminiscent of modern Mayhem but with a much more jarring, disjointed presentation. They do get smoother as the album unfolds; “Defigere” in particular manages to hit a particularly mournful tone about halfway through which fits quite well. Nevertheless, they’re easily the part that takes the longest to warm up to, and Feralia needs to improve their ability to mesh this element in with their overall sound.
The good news is Feralia has such a masterful command of textures that you shouldn’t let this get in the way of your enjoyment. Ultima Requies utilizes an excessive breadth of extra instrumentation ranging from organs (“Ballata Avernale”) to synthy choirs to acoustic guitars to a full-blown Beard-bait-dudgeon-synth-adjacent interlude (“Emperio”), and not one of them feels forced or uncalled for. While there aren’t any riffs here that could be classified as life-changing, the band exercise a mastery of flow from requisite crushing power to melancholic, introspective calm without missing a step. Ultima Requies is an excellent example of an album with a journey, escorting the listener across brief dollops of straightforward Havukruunu charge, and occasional Fell Omen riffs by way of mid-era Immortal tones, assembled between and around calmer moments of introspective peace with the arrangement skill of Nechochwen. Listeners should not come in expecting hellfire and suffering, but also not a lovely waltz through the woods; here there be thunderstorms and toppled statues as much as peace and serenity.
This defiance of easy classification is the most enticing thing about Ultima Requies. It isn’t so overtly assaulting as to be called a blackened slab of violence; nor does it rely on its interludes and peaceful moments enough to properly be classified as atmospheric. It has some whiffs of dissonance, trying to channel the most Omega of Deathspells (“Ver Sacrum”), but these moments collapse into bass-led melody as quick as they appear. Said bass, courtesy of member Krhura is given a lot of spotlight, with the guitars sometimes turned down for him to take complete sonic command in the stylings of more modern Krallice. Occasional leads pop up in the spirit of less flashy Aran Angmar but always with a focus on raw atmosphere and emotion rather than the slaughter of one’s enemies. Despite this constant carousel of mood and tone, Feralia have offered up a cohesive, well-assembled work which refuses to be limited by its genre labels despite working well within its established ideas.
Ultima Requies is a confusing album in the best possible sense. Not content to merely make you headbang, but also not trying to drag you into depression; not so evil as to make you throw horns but hardly giving in to anything that could be considered light and joy, it is a kaleidoscope of sound under a black metal umbrella. Driving home at two in the morning, exhausted from ten hours of exposure to the cacophony of screaming children, it hits different. Feralia have offered a great encapsulation of power spent, of the peace after the storm, with enough sparks of remaining spirit and might to invigorate as much as soothe and relax. That’s a rare treat in the realm of black metal, and in this abominable heat and exhausting season, it’s worthy of your time.
Rating: 3.5/5.0
#2026 #35 #AeternitasTenebrarumMusicaeFundamentum #AranAngmar #BlackMetal #DeathspellOmega #FellOmen #Feralia #Havukruunu #Immortal #InternationalMetal #Jun26 #Krallice #Mayhem #Nechochwen #Review #Reviews #UltimaRequies
DR: Lost to time | Format Reviewed: Bandcamp stream
Label: Aeternitas Tenebrarum Musicae Fundamentum
Website: Album Bandcamp
Releases Worldwide: June 26th, 2026 -
You do what i commanded you ?
Do you Enjoy the sun?
https://morganasgospel.wordpress.com/2026/06/21/summer-is-here-go-outside-naked-here-is-why/
#Sun , #Health , #Nature , #Nude , #Immortal , #Nudeinnature , #Nudism , #Morganalefay
-
https://www.kpopnsfw.com/269480/and-nine-rings-were-gifted-to-twice-immortal-wisest-fairest-of-all-but-another-ring-was-made-one-ring-to-maknae-them-all/ And Nine rings were gifted to Twice, immortal, wisest, fairest of all. But another ring was made, one ring to Maknae them all #fairest #gifted #immortal #maknae #ring #Rings #Twice #TWICEMemes #wisest
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Trelldom – …By the Word… Review By Dr. A.N. Grier
While most people would argue that “black metal” was founded by bands like Venom, Bathory, and Mercyful Fate, the scene didn’t really become what it is without the creation of Norwegian black metal. Which, in turn, people will argue was founded by Mayhem, Burzum, Darkthrone, Immortal, and the like. But people forget acts like Ulver, Urgehal, Satyricon, and Gorgoroth (and others) that helped form the genre. If you know Grier, you know how much Urgehal and Gorgoroth mean to his youthful, black metal development. They are also home to two of his favorite black metal raspers of all time: Trond Bråthen (Trondr Nefas) and Kristian Eivind Espedal (Gaahl), respectively. Before Gaahl made his mark on Gorgoroth classics like Twilight of the Idols – In Conspiracy with Satan and Ad Majorem Sathanas Gloriam, he already had his own band: Trelldom.
Trelldom doesn’t get enough love. But Angry Metal Guy knew what was up when he went back in time to explore easily one of the genre’s greatest hits: Til et annet…. This record is a fucking masterpiece that shows a side of Gaahl you might not know. Those who have followed him throughout his various exploits know full well that Gaahl is a weird guy with some of the creepiest fucking vocals on the planet. But Trelldom’s trilogy of albums from 1992 to 2007 was untouchable. Fast forward to 2024, and the band returns with …By the Shadows…, an even weirder concoction of songs than ever before. Taking a darker direction with a new lineup of legends, …By the Shadows… represented an impressive comeback for the band, rebranded into something more diverse and heartfelt than before. Right on the coattails of that album comes this year’s …By the Word…. And it’s everything you’d expect from a follow-up.
Returning with the mighty Stian Kårstad (ex-Djerv, ex-Gaahls Wyrd, ex-God Seed) and kit powerhouse Kenneth Kapstad (Thorns, Goat the Head, ex-God Seed, and a billion other bands), Gaahl rounds out his lineup with practitioners of the bass, saxophone, clarinet, organ, Dobro guitar, bass harmonica, mandolin, Shankar guitar, and even the fucking Optigan to deliver one of the most unique records of his life. “When This Was Young” opens the record with proggy bass and drums, matching perfectly with Gaahl’s soothing cleans. When the chuggery kicks in, Kapstad’s drums let loose, showing off his impressive skills and giving the song (A) Senile Animal-era Melvins vibes. As it progresses, the effects intensify, melding themselves into the guitars and creating unnecessary madness throughout.
But the opener might be the “chillest” song on the record. By “I Speak Forgotten Voices,” you’ll know that …By the Word… is far more unhinged than its predecessor. The overlapping effects, unsettling vocals, and relentless, pounding drums remove any peace …By the Shadows… might have had. But it’s the mindfucking back-to-back closers, “The Word – Choose to Vanish” and “In There Outside,” that show just how far Trelldom has pushed their sound. Chock-full of all those different instruments mentioned before, “The Word – Choose to Vanish” doesn’t so much add layers as mold everything into the most grotesque monster I’ve heard in a long time. And when you think you’ve heard everything you could from Trelldom, “In There Outside” proves to be one of the more diverse on the album. Throwing you off immediately, the whining woodwinds are replaced with yet another alteration of Gaahl’s vox as the song builds on itself over and over again, resulting in more orchestral qualities than any other track.
…By the Word… is batshit crazy and cerebrally damaging. Where …By the Shadows… at least had moments of relief, this new record does not. Beyond the weird combination of guitars, saxophone, and clarinet screaming at you from all directions, it’s the bass and drums that cause the most damage. Mixed far too the front, the drums, in particular, are ear-shattering. That sounds negative, but it does a hell of a job keeping you off balance. Specifically, when it comes to the devastating “Folding the Mind.” It’s almost as if the band decided it was time to let Kapstad off the leash. …By the Word… is an interesting album that pushes beyond anything the band has done before. It can never be Til et annet… but that’s OK because they aren’t going for it. This new era is worth exploring and …By the Word… is a new benchmark.
Rating: 3.5/5.0
#ByTheWord #2026 #35 #AvanteGardeBlackMetal #Bathory #BlackMetal #Burzum #Darkthrone #Djerv #GaahlsWYRD #GoatTheHead #GodSeed #Gorgoroth #Immortal #May26 #Mayhem #Melvins #MercyfulFate #NorwegianMetal #ProphecyProductions #Review #Reviews #Satyricon #Thorns #Trelldom #Ulver #Urgehal #Venom
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Prophecy Productions
Websites: trelldom.bandcamp.com | trelldom.no | facebook.com/trelldom1992
Releases Worldwide: May 29th, 2026 -
Trelldom – …By the Word… Review By Dr. A.N. Grier
While most people would argue that “black metal” was founded by bands like Venom, Bathory, and Mercyful Fate, the scene didn’t really become what it is without the creation of Norwegian black metal. Which, in turn, people will argue was founded by Mayhem, Burzum, Darkthrone, Immortal, and the like. But people forget acts like Ulver, Urgehal, Satyricon, and Gorgoroth (and others) that helped form the genre. If you know Grier, you know how much Urgehal and Gorgoroth mean to his youthful, black metal development. They are also home to two of his favorite black metal raspers of all time: Trond Bråthen (Trondr Nefas) and Kristian Eivind Espedal (Gaahl), respectively. Before Gaahl made his mark on Gorgoroth classics like Twilight of the Idols – In Conspiracy with Satan and Ad Majorem Sathanas Gloriam, he already had his own band: Trelldom.
Trelldom doesn’t get enough love. But Angry Metal Guy knew what was up when he went back in time to explore easily one of the genre’s greatest hits: Til et annet…. This record is a fucking masterpiece that shows a side of Gaahl you might not know. Those who have followed him throughout his various exploits know full well that Gaahl is a weird guy with some of the creepiest fucking vocals on the planet. But Trelldom’s trilogy of albums from 1992 to 2007 was untouchable. Fast forward to 2024, and the band returns with …By the Shadows…, an even weirder concoction of songs than ever before. Taking a darker direction with a new lineup of legends, …By the Shadows… represented an impressive comeback for the band, rebranded into something more diverse and heartfelt than before. Right on the coattails of that album comes this year’s …By the Word…. And it’s everything you’d expect from a follow-up.
Returning with the mighty Stian Kårstad (ex-Djerv, ex-Gaahls Wyrd, ex-God Seed) and kit powerhouse Kenneth Kapstad (Thorns, Goat the Head, ex-God Seed, and a billion other bands), Gaahl rounds out his lineup with practitioners of the bass, saxophone, clarinet, organ, Dobro guitar, bass harmonica, mandolin, Shankar guitar, and even the fucking Optigan to deliver one of the most unique records of his life. “When This Was Young” opens the record with proggy bass and drums, matching perfectly with Gaahl’s soothing cleans. When the chuggery kicks in, Kapstad’s drums let loose, showing off his impressive skills and giving the song (A) Senile Animal-era Melvins vibes. As it progresses, the effects intensify, melding themselves into the guitars and creating unnecessary madness throughout.
But the opener might be the “chillest” song on the record. By “I Speak Forgotten Voices,” you’ll know that …By the Word… is far more unhinged than its predecessor. The overlapping effects, unsettling vocals, and relentless, pounding drums remove any peace …By the Shadows… might have had. But it’s the mindfucking back-to-back closers, “The Word – Choose to Vanish” and “In There Outside,” that show just how far Trelldom has pushed their sound. Chock-full of all those different instruments mentioned before, “The Word – Choose to Vanish” doesn’t so much add layers as mold everything into the most grotesque monster I’ve heard in a long time. And when you think you’ve heard everything you could from Trelldom, “In There Outside” proves to be one of the more diverse on the album. Throwing you off immediately, the whining woodwinds are replaced with yet another alteration of Gaahl’s vox as the song builds on itself over and over again, resulting in more orchestral qualities than any other track.
…By the Word… is batshit crazy and cerebrally damaging. Where …By the Shadows… at least had moments of relief, this new record does not. Beyond the weird combination of guitars, saxophone, and clarinet screaming at you from all directions, it’s the bass and drums that cause the most damage. Mixed far too the front, the drums, in particular, are ear-shattering. That sounds negative, but it does a hell of a job keeping you off balance. Specifically, when it comes to the devastating “Folding the Mind.” It’s almost as if the band decided it was time to let Kapstad off the leash. …By the Word… is an interesting album that pushes beyond anything the band has done before. It can never be Til et annet… but that’s OK because they aren’t going for it. This new era is worth exploring and …By the Word… is a new benchmark.
Rating: 3.5/5.0
#ByTheWord #2026 #35 #AvanteGardeBlackMetal #Bathory #BlackMetal #Burzum #Darkthrone #Djerv #GaahlsWYRD #GoatTheHead #GodSeed #Gorgoroth #Immortal #May26 #Mayhem #Melvins #MercyfulFate #NorwegianMetal #ProphecyProductions #Review #Reviews #Satyricon #Thorns #Trelldom #Ulver #Urgehal #Venom
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Prophecy Productions
Websites: trelldom.bandcamp.com | trelldom.no | facebook.com/trelldom1992
Releases Worldwide: May 29th, 2026 -
Trelldom – …By the Word… Review By Dr. A.N. Grier
While most people would argue that “black metal” was founded by bands like Venom, Bathory, and Mercyful Fate, the scene didn’t really become what it is without the creation of Norwegian black metal. Which, in turn, people will argue was founded by Mayhem, Burzum, Darkthrone, Immortal, and the like. But people forget acts like Ulver, Urgehal, Satyricon, and Gorgoroth (and others) that helped form the genre. If you know Grier, you know how much Urgehal and Gorgoroth mean to his youthful, black metal development. They are also home to two of his favorite black metal raspers of all time: Trond Bråthen (Trondr Nefas) and Kristian Eivind Espedal (Gaahl), respectively. Before Gaahl made his mark on Gorgoroth classics like Twilight of the Idols – In Conspiracy with Satan and Ad Majorem Sathanas Gloriam, he already had his own band: Trelldom.
Trelldom doesn’t get enough love. But Angry Metal Guy knew what was up when he went back in time to explore easily one of the genre’s greatest hits: Til et annet…. This record is a fucking masterpiece that shows a side of Gaahl you might not know. Those who have followed him throughout his various exploits know full well that Gaahl is a weird guy with some of the creepiest fucking vocals on the planet. But Trelldom’s trilogy of albums from 1992 to 2007 was untouchable. Fast forward to 2024, and the band returns with …By the Shadows…, an even weirder concoction of songs than ever before. Taking a darker direction with a new lineup of legends, …By the Shadows… represented an impressive comeback for the band, rebranded into something more diverse and heartfelt than before. Right on the coattails of that album comes this year’s …By the Word…. And it’s everything you’d expect from a follow-up.
Returning with the mighty Stian Kårstad (ex-Djerv, ex-Gaahls Wyrd, ex-God Seed) and kit powerhouse Kenneth Kapstad (Thorns, Goat the Head, ex-God Seed, and a billion other bands), Gaahl rounds out his lineup with practitioners of the bass, saxophone, clarinet, organ, Dobro guitar, bass harmonica, mandolin, Shankar guitar, and even the fucking Optigan to deliver one of the most unique records of his life. “When This Was Young” opens the record with proggy bass and drums, matching perfectly with Gaahl’s soothing cleans. When the chuggery kicks in, Kapstad’s drums let loose, showing off his impressive skills and giving the song (A) Senile Animal-era Melvins vibes. As it progresses, the effects intensify, melding themselves into the guitars and creating unnecessary madness throughout.
But the opener might be the “chillest” song on the record. By “I Speak Forgotten Voices,” you’ll know that …By the Word… is far more unhinged than its predecessor. The overlapping effects, unsettling vocals, and relentless, pounding drums remove any peace …By the Shadows… might have had. But it’s the mindfucking back-to-back closers, “The Word – Choose to Vanish” and “In There Outside,” that show just how far Trelldom has pushed their sound. Chock-full of all those different instruments mentioned before, “The Word – Choose to Vanish” doesn’t so much add layers as mold everything into the most grotesque monster I’ve heard in a long time. And when you think you’ve heard everything you could from Trelldom, “In There Outside” proves to be one of the more diverse on the album. Throwing you off immediately, the whining woodwinds are replaced with yet another alteration of Gaahl’s vox as the song builds on itself over and over again, resulting in more orchestral qualities than any other track.
…By the Word… is batshit crazy and cerebrally damaging. Where …By the Shadows… at least had moments of relief, this new record does not. Beyond the weird combination of guitars, saxophone, and clarinet screaming at you from all directions, it’s the bass and drums that cause the most damage. Mixed far too the front, the drums, in particular, are ear-shattering. That sounds negative, but it does a hell of a job keeping you off balance. Specifically, when it comes to the devastating “Folding the Mind.” It’s almost as if the band decided it was time to let Kapstad off the leash. …By the Word… is an interesting album that pushes beyond anything the band has done before. It can never be Til et annet… but that’s OK because they aren’t going for it. This new era is worth exploring and …By the Word… is a new benchmark.
Rating: 3.5/5.0
#ByTheWord #2026 #35 #AvanteGardeBlackMetal #Bathory #BlackMetal #Burzum #Darkthrone #Djerv #GaahlsWYRD #GoatTheHead #GodSeed #Gorgoroth #Immortal #May26 #Mayhem #Melvins #MercyfulFate #NorwegianMetal #ProphecyProductions #Review #Reviews #Satyricon #Thorns #Trelldom #Ulver #Urgehal #Venom
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Prophecy Productions
Websites: trelldom.bandcamp.com | trelldom.no | facebook.com/trelldom1992
Releases Worldwide: May 29th, 2026 -
Trelldom – …By the Word… Review By Dr. A.N. Grier
While most people would argue that “black metal” was founded by bands like Venom, Bathory, and Mercyful Fate, the scene didn’t really become what it is without the creation of Norwegian black metal. Which, in turn, people will argue was founded by Mayhem, Burzum, Darkthrone, Immortal, and the like. But people forget acts like Ulver, Urgehal, Satyricon, and Gorgoroth (and others) that helped form the genre. If you know Grier, you know how much Urgehal and Gorgoroth mean to his youthful, black metal development. They are also home to two of his favorite black metal raspers of all time: Trond Bråthen (Trondr Nefas) and Kristian Eivind Espedal (Gaahl), respectively. Before Gaahl made his mark on Gorgoroth classics like Twilight of the Idols – In Conspiracy with Satan and Ad Majorem Sathanas Gloriam, he already had his own band: Trelldom.
Trelldom doesn’t get enough love. But Angry Metal Guy knew what was up when he went back in time to explore easily one of the genre’s greatest hits: Til et annet…. This record is a fucking masterpiece that shows a side of Gaahl you might not know. Those who have followed him throughout his various exploits know full well that Gaahl is a weird guy with some of the creepiest fucking vocals on the planet. But Trelldom’s trilogy of albums from 1992 to 2007 was untouchable. Fast forward to 2024, and the band returns with …By the Shadows…, an even weirder concoction of songs than ever before. Taking a darker direction with a new lineup of legends, …By the Shadows… represented an impressive comeback for the band, rebranded into something more diverse and heartfelt than before. Right on the coattails of that album comes this year’s …By the Word…. And it’s everything you’d expect from a follow-up.
Returning with the mighty Stian Kårstad (ex-Djerv, ex-Gaahls Wyrd, ex-God Seed) and kit powerhouse Kenneth Kapstad (Thorns, Goat the Head, ex-God Seed, and a billion other bands), Gaahl rounds out his lineup with practitioners of the bass, saxophone, clarinet, organ, Dobro guitar, bass harmonica, mandolin, Shankar guitar, and even the fucking Optigan to deliver one of the most unique records of his life. “When This Was Young” opens the record with proggy bass and drums, matching perfectly with Gaahl’s soothing cleans. When the chuggery kicks in, Kapstad’s drums let loose, showing off his impressive skills and giving the song (A) Senile Animal-era Melvins vibes. As it progresses, the effects intensify, melding themselves into the guitars and creating unnecessary madness throughout.
But the opener might be the “chillest” song on the record. By “I Speak Forgotten Voices,” you’ll know that …By the Word… is far more unhinged than its predecessor. The overlapping effects, unsettling vocals, and relentless, pounding drums remove any peace …By the Shadows… might have had. But it’s the mindfucking back-to-back closers, “The Word – Choose to Vanish” and “In There Outside,” that show just how far Trelldom has pushed their sound. Chock-full of all those different instruments mentioned before, “The Word – Choose to Vanish” doesn’t so much add layers as mold everything into the most grotesque monster I’ve heard in a long time. And when you think you’ve heard everything you could from Trelldom, “In There Outside” proves to be one of the more diverse on the album. Throwing you off immediately, the whining woodwinds are replaced with yet another alteration of Gaahl’s vox as the song builds on itself over and over again, resulting in more orchestral qualities than any other track.
…By the Word… is batshit crazy and cerebrally damaging. Where …By the Shadows… at least had moments of relief, this new record does not. Beyond the weird combination of guitars, saxophone, and clarinet screaming at you from all directions, it’s the bass and drums that cause the most damage. Mixed far too the front, the drums, in particular, are ear-shattering. That sounds negative, but it does a hell of a job keeping you off balance. Specifically, when it comes to the devastating “Folding the Mind.” It’s almost as if the band decided it was time to let Kapstad off the leash. …By the Word… is an interesting album that pushes beyond anything the band has done before. It can never be Til et annet… but that’s OK because they aren’t going for it. This new era is worth exploring and …By the Word… is a new benchmark.
Rating: 3.5/5.0
#ByTheWord #2026 #35 #AvanteGardeBlackMetal #Bathory #BlackMetal #Burzum #Darkthrone #Djerv #GaahlsWYRD #GoatTheHead #GodSeed #Gorgoroth #Immortal #May26 #Mayhem #Melvins #MercyfulFate #NorwegianMetal #ProphecyProductions #Review #Reviews #Satyricon #Thorns #Trelldom #Ulver #Urgehal #Venom
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Prophecy Productions
Websites: trelldom.bandcamp.com | trelldom.no | facebook.com/trelldom1992
Releases Worldwide: May 29th, 2026 -
Trelldom – …By the Word… Review By Dr. A.N. Grier
While most people would argue that “black metal” was founded by bands like Venom, Bathory, and Mercyful Fate, the scene didn’t really become what it is without the creation of Norwegian black metal. Which, in turn, people will argue was founded by Mayhem, Burzum, Darkthrone, Immortal, and the like. But people forget acts like Ulver, Urgehal, Satyricon, and Gorgoroth (and others) that helped form the genre. If you know Grier, you know how much Urgehal and Gorgoroth mean to his youthful, black metal development. They are also home to two of his favorite black metal raspers of all time: Trond Bråthen (Trondr Nefas) and Kristian Eivind Espedal (Gaahl), respectively. Before Gaahl made his mark on Gorgoroth classics like Twilight of the Idols – In Conspiracy with Satan and Ad Majorem Sathanas Gloriam, he already had his own band: Trelldom.
Trelldom doesn’t get enough love. But Angry Metal Guy knew what was up when he went back in time to explore easily one of the genre’s greatest hits: Til et annet…. This record is a fucking masterpiece that shows a side of Gaahl you might not know. Those who have followed him throughout his various exploits know full well that Gaahl is a weird guy with some of the creepiest fucking vocals on the planet. But Trelldom’s trilogy of albums from 1992 to 2007 was untouchable. Fast forward to 2024, and the band returns with …By the Shadows…, an even weirder concoction of songs than ever before. Taking a darker direction with a new lineup of legends, …By the Shadows… represented an impressive comeback for the band, rebranded into something more diverse and heartfelt than before. Right on the coattails of that album comes this year’s …By the Word…. And it’s everything you’d expect from a follow-up.
Returning with the mighty Stian Kårstad (ex-Djerv, ex-Gaahls Wyrd, ex-God Seed) and kit powerhouse Kenneth Kapstad (Thorns, Goat the Head, ex-God Seed, and a billion other bands), Gaahl rounds out his lineup with practitioners of the bass, saxophone, clarinet, organ, Dobro guitar, bass harmonica, mandolin, Shankar guitar, and even the fucking Optigan to deliver one of the most unique records of his life. “When This Was Young” opens the record with proggy bass and drums, matching perfectly with Gaahl’s soothing cleans. When the chuggery kicks in, Kapstad’s drums let loose, showing off his impressive skills and giving the song (A) Senile Animal-era Melvins vibes. As it progresses, the effects intensify, melding themselves into the guitars and creating unnecessary madness throughout.
But the opener might be the “chillest” song on the record. By “I Speak Forgotten Voices,” you’ll know that …By the Word… is far more unhinged than its predecessor. The overlapping effects, unsettling vocals, and relentless, pounding drums remove any peace …By the Shadows… might have had. But it’s the mindfucking back-to-back closers, “The Word – Choose to Vanish” and “In There Outside,” that show just how far Trelldom has pushed their sound. Chock-full of all those different instruments mentioned before, “The Word – Choose to Vanish” doesn’t so much add layers as mold everything into the most grotesque monster I’ve heard in a long time. And when you think you’ve heard everything you could from Trelldom, “In There Outside” proves to be one of the more diverse on the album. Throwing you off immediately, the whining woodwinds are replaced with yet another alteration of Gaahl’s vox as the song builds on itself over and over again, resulting in more orchestral qualities than any other track.
…By the Word… is batshit crazy and cerebrally damaging. Where …By the Shadows… at least had moments of relief, this new record does not. Beyond the weird combination of guitars, saxophone, and clarinet screaming at you from all directions, it’s the bass and drums that cause the most damage. Mixed far too the front, the drums, in particular, are ear-shattering. That sounds negative, but it does a hell of a job keeping you off balance. Specifically, when it comes to the devastating “Folding the Mind.” It’s almost as if the band decided it was time to let Kapstad off the leash. …By the Word… is an interesting album that pushes beyond anything the band has done before. It can never be Til et annet… but that’s OK because they aren’t going for it. This new era is worth exploring and …By the Word… is a new benchmark.
Rating: 3.5/5.0
#ByTheWord #2026 #35 #AvanteGardeBlackMetal #Bathory #BlackMetal #Burzum #Darkthrone #Djerv #GaahlsWYRD #GoatTheHead #GodSeed #Gorgoroth #Immortal #May26 #Mayhem #Melvins #MercyfulFate #NorwegianMetal #ProphecyProductions #Review #Reviews #Satyricon #Thorns #Trelldom #Ulver #Urgehal #Venom
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Prophecy Productions
Websites: trelldom.bandcamp.com | trelldom.no | facebook.com/trelldom1992
Releases Worldwide: May 29th, 2026 -
#QuizOfTheDay: The '#Immortal #Jellyfish' (Turritopsis dohrnii) achieves biological immortality through which cellular process when threatened by stress or old age?
A. Parthenogenesis
B. Anabiosis
C. Transdifferentiation
D. Apoptosishttps://knowledgezone.co.in/resources/quiz?qId=6a0d6b5e18b020bb031cc261
-
#QuizOfTheDay: The '#Immortal #Jellyfish' (Turritopsis dohrnii) achieves biological immortality through which cellular process when threatened by stress or old age?
A. Parthenogenesis
B. Anabiosis
C. Transdifferentiation
D. Apoptosishttps://knowledgezone.co.in/resources/quiz?qId=6a0d6b5e18b020bb031cc261
-
#QuizOfTheDay: The '#Immortal #Jellyfish' (Turritopsis dohrnii) achieves biological immortality through which cellular process when threatened by stress or old age?
A. Parthenogenesis
B. Anabiosis
C. Transdifferentiation
D. Apoptosishttps://knowledgezone.co.in/resources/quiz?qId=6a0d6b5e18b020bb031cc261
-
#QuizOfTheDay: The '#Immortal #Jellyfish' (Turritopsis dohrnii) achieves biological immortality through which cellular process when threatened by stress or old age?
A. Parthenogenesis
B. Anabiosis
C. Transdifferentiation
D. Apoptosishttps://knowledgezone.co.in/resources/quiz?qId=6a0d6b5e18b020bb031cc261
-
#QuizOfTheDay: The '#Immortal #Jellyfish' (Turritopsis dohrnii) achieves biological immortality through which cellular process when threatened by stress or old age?
A. Parthenogenesis
B. Anabiosis
C. Transdifferentiation
D. Apoptosishttps://knowledgezone.co.in/resources/quiz?qId=6a0d6b5e18b020bb031cc261
-
#immortal : living forever
- French: immortel
- German: unsterblich
- Italian: immortale
- Portuguese: imortal
- Spanish: inmortal
------------
Thank you so much for being a member of our community!
-
#immortal : living forever
- French: immortel
- German: unsterblich
- Italian: immortale
- Portuguese: imortal
- Spanish: inmortal
------------
Thank you so much for being a member of our community!
-
#immortal : living forever
- French: immortel
- German: unsterblich
- Italian: immortale
- Portuguese: imortal
- Spanish: inmortal
------------
Thank you so much for being a member of our community!
-
#immortal : living forever
- French: immortel
- German: unsterblich
- Italian: immortale
- Portuguese: imortal
- Spanish: inmortal
------------
Thank you so much for being a member of our community!
-
#immortal : living forever
- French: immortel
- German: unsterblich
- Italian: immortale
- Portuguese: imortal
- Spanish: inmortal
------------
Thank you so much for being a member of our community!
-
Song: Solarfall
Band: #Immortal
Album: At the heart of winter
Year: 1999
Genre: #BlackMetal"Believe the sea high waves upon our coming storm
Hear the roaring tide as we name a dawn
See the ice in which we craft our souls
Earth's frozen cries the dark benight your kind"https://www.youtube.com/watch?v=3cVWr2ABV_4
Full playlist here:
https://open.spotify.com/playlist/14jd7IW32OZtlmXiOfz4eG?si=32779520346f4491 -
Song: Solarfall
Band: #Immortal
Album: At the heart of winter
Year: 1999
Genre: #BlackMetal"Believe the sea high waves upon our coming storm
Hear the roaring tide as we name a dawn
See the ice in which we craft our souls
Earth's frozen cries the dark benight your kind"https://www.youtube.com/watch?v=3cVWr2ABV_4
Full playlist here:
https://open.spotify.com/playlist/14jd7IW32OZtlmXiOfz4eG?si=32779520346f4491 -
Song: Solarfall
Band: #Immortal
Album: At the heart of winter
Year: 1999
Genre: #BlackMetal"Believe the sea high waves upon our coming storm
Hear the roaring tide as we name a dawn
See the ice in which we craft our souls
Earth's frozen cries the dark benight your kind"https://www.youtube.com/watch?v=3cVWr2ABV_4
Full playlist here:
https://open.spotify.com/playlist/14jd7IW32OZtlmXiOfz4eG?si=32779520346f4491 -
🤗☁️🌈☁️💜🤲🫂🎶🎵🎼🧑🏿🎤👩🏼🎤👨🎤🙌🕊️✌️☮️🌐🌏🩷🛐🐈🐈⬛✝️👑🕊️💦🏩💒💜💛💚💗🩵❤️🔥🤗[In heaven Where God our Father dwells boundless there blessedness!*No tongue can greatness tell!*There face to face free The everliving God we see!*God the Lord of hosts!*In heaven!*No tears are shed!*For nothing there can die!*Life’s fullness round is spread!*& like an ocean!*joy overflows!*& with immortal mercy glows!*Our God!*the Lord of hosts!]🤗
#Heaven #immortal #mercy #God #Lord #of #hosts #Jesus #Christ #Holy #Spirit #Hope #Peace #Faith #Truth #Love
-
🤗☁️🌈☁️💜🤲🫂🎶🎵🎼🧑🏿🎤👩🏼🎤👨🎤🙌🕊️✌️☮️🌐🌏🩷🛐🐈🐈⬛✝️👑🕊️💦🏩💒💜💛💚💗🩵❤️🔥🤗[In heaven Where God our Father dwells boundless there blessedness!*No tongue can greatness tell!*There face to face free The everliving God we see!*God the Lord of hosts!*In heaven!*No tears are shed!*For nothing there can die!*Life’s fullness round is spread!*& like an ocean!*joy overflows!*& with immortal mercy glows!*Our God!*the Lord of hosts!]🤗
#Heaven #immortal #mercy #God #Lord #of #hosts #Jesus #Christ #Holy #Spirit #Hope #Peace #Faith #Truth #Love
-
🤗☁️🌈☁️💜🤲🫂🎶🎵🎼🧑🏿🎤👩🏼🎤👨🎤🙌🕊️✌️☮️🌐🌏🩷🛐🐈🐈⬛✝️👑🕊️💦🏩💒💜💛💚💗🩵❤️🔥🤗[In heaven above!*Where God our Father dwells!*boundless there the blessedness!*No tongue can greatness tell!*There face to face full!*& free!*The everliving God we see!*Our God!*the Lord of hosts!*In heaven above!*No tears of pain are shed!*For nothing there can fade!*or die!*Life’s fullness round is spread!*& like an ocean!*joy👉
#Heaven #Above #immortal #mercy #glows #God #the #Lord #of #hosts #Jesus #Christ #Holy #Spirit #Hope #Peace #Faith #Truth #Love
-
🤗☁️🌈☁️💜🤲🫂🎶🎵🎼🧑🏿🎤👩🏼🎤👨🎤🙌🕊️✌️☮️🌐🌏🩷🛐🐈🐈⬛✝️👑🕊️💦🏩💒💜💛💚💗🩵❤️🔥🤗[In heaven above!*Where God our Father dwells!*boundless there the blessedness!*No tongue can greatness tell!*There face to face full!*& free!*The everliving God we see!*Our God!*the Lord of hosts!*In heaven above!*No tears of pain are shed!*For nothing there can fade!*or die!*Life’s fullness round is spread!*& like an ocean!*joy👉
#Heaven #Above #immortal #mercy #glows #God #the #Lord #of #hosts #Jesus #Christ #Holy #Spirit #Hope #Peace #Faith #Truth #Love
-
🤗☁️🌈☁️💜🤲🫂🎶🎵🎼🧑🏿🎤👩🏼🎤👨🎤🙌🕊️✌️☮️🌐🌏🩷🛐🐈🐈⬛✝️👑🕊️💦🏩💒💜💛💚💗🩵❤️🔥🤗(In heaven above!*Where God our Father dwells!*How boundless there the blessedness!*No tongue its greatness tells!*There face to face!*& full!*& free!*The everliving God we see!*Our God!*the Lord of hosts!*In heaven above!*No tears of pain are shed!*For nothing there can fade!*or die!*Life’s👉
#In #Heaven #Above #immortal #mercy #glows #Our #God #the #Lord #of #hosts #Jesus #Christ #Holy #Spirit #Pray #Hope #Peace #Faith #Truth #Gentleness #Love #UNITY
-
🤗☁️🌈☁️💜🤲🫂🎶🎵🎼🧑🏿🎤👩🏼🎤👨🎤🙌🕊️✌️☮️🌐🌏🩷🛐🐈🐈⬛✝️👑🕊️💦🏩💒💜💛💚💗🩵❤️🔥🤗(In heaven above!*Where God our Father dwells!*How boundless there the blessedness!*No tongue its greatness tells!*There face to face!*& full!*& free!*The everliving God we see!*Our God!*the Lord of hosts!*In heaven above!*No tears of pain are shed!*For nothing there can fade!*or die!*Life’s👉
#In #Heaven #Above #immortal #mercy #glows #Our #God #the #Lord #of #hosts #Jesus #Christ #Holy #Spirit #Pray #Hope #Peace #Faith #Truth #Gentleness #Love #UNITY
-
🤗☁️🌈☁️💜🤲🫂🎶🎵🎼🧑🏿🎤👩🏼🎤👨🎤🙌🕊️✌️☮️🌐🌏🩷🛐🐈🐈⬛✝️👑🕊️💦🏩💒💜💛💚💗🩵❤️🔥🤗(In heaven above!*Where God our Father dwells!*How boundless there the blessedness!*No tongue its greatness tells!*There face to face!*& full!*& free!*The everliving God we see!)*[Our God!*the Lord of hosts!*In heaven above!*in heaven above!*No👉
#In #Heaven #Above #immortal #mercy #glows #Our #God #the #Lord #of #hosts #Jesus #Christ #Holy #Spirit #World #Pray #Believe #Christian #Hope #Peace #Faith #Truth #Kindness #Gentleness #Love #One #Another #UNITY
-
🤗☁️🌈☁️💜🤲🫂🎶🎵🎼🧑🏿🎤👩🏼🎤👨🎤🙌🕊️✌️☮️🌐🌏🩷🛐🐈🐈⬛✝️👑🕊️💦🏩💒💜💛💚💗🩵❤️🔥🤗(In heaven above!*Where God our Father dwells!*How boundless there the blessedness!*No tongue its greatness tells!*There face to face!*& full!*& free!*The everliving God we see!)*[Our God!*the Lord of hosts!*In heaven above!*in heaven above!*No👉
#In #Heaven #Above #immortal #mercy #glows #Our #God #the #Lord #of #hosts #Jesus #Christ #Holy #Spirit #World #Pray #Believe #Christian #Hope #Peace #Faith #Truth #Kindness #Gentleness #Love #One #Another #UNITY
-
🤗☁️🌈☁️💜🤲🫂🎶🎵🎼🧑🏿🎤👩🏼🎤👨🎤🙌🕊️✌️☮️🌐🌏🩷🛐🐈🐈⬛✝️👑🕊️💦🏩💒💜💛💚💗🩵❤️🔥🤗(In heaven above!*in heaven above!*Where God our Father dwells!*How boundless there the blessedness!*No tongue its greatness tells!)*[There face to face!*& full!*& free!*The everliving God we see!]*{Our God!*the Lord of hosts👉
#In #Heaven #Above #immortal #mercy #glows #Our #God #the #Lord #of #hosts #Jesus #Christ #Holy #Spirit #World #People #Pray #Believe #Christian #Hope #Peace #Faith #Truth #Kindness #Hospitality #Gentleness #Love #One #Another #UNITY
-
🤗☁️🌈☁️💜🤲🫂🎶🎵🎼🧑🏿🎤👩🏼🎤👨🎤🙌🕊️✌️☮️🌐🌏🩷🛐🐈🐈⬛✝️👑🕊️💦🏩💒💜💛💚💗🩵❤️🔥🤗(In heaven above!*in heaven above!*Where God our Father dwells!*How boundless there the blessedness!*No tongue its greatness tells!)*[There face to face!*& full!*& free!*The everliving God we see!]*{Our God!*the Lord of hosts👉
#In #Heaven #Above #immortal #mercy #glows #Our #God #the #Lord #of #hosts #Jesus #Christ #Holy #Spirit #World #People #Pray #Believe #Christian #Hope #Peace #Faith #Truth #Kindness #Hospitality #Gentleness #Love #One #Another #UNITY
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🤗☁️🌈☁️💜🤲🫂🎶🎵🎼🧑🏿🎤👩🏼🎤👨🎤🙌🕊️✌️☮️🌐🌏🩷🛐🐈🐈⬛✝️👑🕊️💦🏩💒💜💛💚💗🩵❤️🔥🤗*In Heaven Above!🤗🫂🎶🎵🎼💛💚💗🩵☁️🌈☁️🤲🧑🏿🎤👩🏼🎤👨🎤🙌✌️☮️🌐🌏🛐🐈🐈⬛✝️👑❤️🔥🕊️💦🏩💒💜🤗
(In heaven above!*in heaven above!*Where God our Father dwells!*How boundless there the blessedness!*No tongue its greatness tells!)*[There face to face!👉
#In #Heaven #Above #immortal #mercy #glows #Our #God #the #Lord #of #hosts #Jesus #Christ #Holy #Spirit #World #People #Pray #Believe #Christian #Hope #Peace #Faith #Truth #Kindness #Hospitality #Gentleness #Understanding #Love #One #Another #UNITY
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🤗☁️🌈☁️💜🤲🫂🎶🎵🎼🧑🏿🎤👩🏼🎤👨🎤🙌🕊️✌️☮️🌐🌏🩷🛐🐈🐈⬛✝️👑🕊️💦🏩💒💜💛💚💗🩵❤️🔥🤗*In Heaven Above!🤗🫂🎶🎵🎼💛💚💗🩵☁️🌈☁️🤲🧑🏿🎤👩🏼🎤👨🎤🙌✌️☮️🌐🌏🛐🐈🐈⬛✝️👑❤️🔥🕊️💦🏩💒💜🤗
(In heaven above!*in heaven above!*Where God our Father dwells!*How boundless there the blessedness!*No tongue its greatness tells!)*[There face to face!👉
#In #Heaven #Above #immortal #mercy #glows #Our #God #the #Lord #of #hosts #Jesus #Christ #Holy #Spirit #World #People #Pray #Believe #Christian #Hope #Peace #Faith #Truth #Kindness #Hospitality #Gentleness #Understanding #Love #One #Another #UNITY
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🐈🐈⬛☁️🌈☁️🙌🎶🎵🎼🛐🧑🏿🎤👩🏼🎤👨🎤🌐🌏🩷💁♀️*DEAR BELOVED FRIENDS I ALSO HOPE!*& PRAY FOR ALL OF YOU!*& YOURS THAT YOU STAY SAFE!*& HAVE A FUN!*WHIMSICAL!*& MULTI MIRACLE EPIPHANY DAY!*& SURROUNDED BY LOVE RAINBOW DAY!*AMEN!🤗🕊️✌️☮️🤗👉
*In Heaven Above!
(In heaven👉
#In #Heaven #Above #immortal #mercy #glows #Our #God #the #Lord #of #hosts #Jesus #Christ #Holy #Spirit #World #People #Pray #Believe #Christian #Hope #Peace #Faith #Truth #Kindness #Hospitality #Gentleness #Understanding #Everyone #Love #One #Another #UNITY
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🐈🐈⬛☁️🌈☁️🙌🎶🎵🎼🛐🧑🏿🎤👩🏼🎤👨🎤🌐🌏🩷💁♀️*DEAR BELOVED FRIENDS I ALSO HOPE!*& PRAY FOR ALL OF YOU!*& YOURS THAT YOU STAY SAFE!*& HAVE A FUN!*WHIMSICAL!*& MULTI MIRACLE EPIPHANY DAY!*& SURROUNDED BY LOVE RAINBOW DAY!*AMEN!🤗🕊️✌️☮️🤗👉
*In Heaven Above!
(In heaven👉
#In #Heaven #Above #immortal #mercy #glows #Our #God #the #Lord #of #hosts #Jesus #Christ #Holy #Spirit #World #People #Pray #Believe #Christian #Hope #Peace #Faith #Truth #Kindness #Hospitality #Gentleness #Understanding #Everyone #Love #One #Another #UNITY
