#immortal — Public Fediverse posts

Home 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
DR: 6 | Format Reviewed: 320 kbps mp3
Label: AOP Records
Websites: Website | Bandcamp | Facebook
Releases Worldwide: July 31st, 2026

Home 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
DR: 6 | Format Reviewed: 320 kbps mp3
Label: AOP Records
Websites: Website | Bandcamp | Facebook
Releases Worldwide: July 31st, 2026

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
DR: Lost to time | Format Reviewed: Bandcamp stream
Label: Aeternitas Tenebrarum Musicae Fundamentum
Website: Album Bandcamp
Releases Worldwide: June 26th, 2026

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
DR: Lost to time | Format Reviewed: Bandcamp stream
Label: Aeternitas Tenebrarum Musicae Fundamentum
Website: Album Bandcamp
Releases Worldwide: June 26th, 2026

Time for #immortal #sea #cucumber 🥒

https://greekreporter.com/2026/05/29/biological-immortality-sea-cucumber/ #biodiversity #wildlife

Time for #immortal #sea #cucumber 🥒

https://greekreporter.com/2026/05/29/biological-immortality-sea-cucumber/ #biodiversity #wildlife

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
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

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
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. Apoptosis

https://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. Apoptosis

https://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 #WIFE allgraph.ro?q=IMMORTAL%2... #KVIKNE #CHURCH #TYNSET allgraph.ro?q=KVIKNE%20C... #THE #IMMORTAL OF #WORLD S #END allgraph.ro?q=THE%20IMMO... #KVIKNE #CHURCH aepiot.ro?q=KVIKNE%20C... #AGNES #RAHAJENG headlines-world.com?q=AGNES%20RA... headlines-world.com

MultiSearch Tag Explorer

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 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!*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!*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

🐈🐈‍⬛☁️🌈☁️🙌🎶🎵🎼🛐🧑🏿‍🎤👩🏼‍🎤👨‍🎤🌐🌏🩷💁‍♀️*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

🐈🐈‍⬛☁️🌈☁️🙌🎶🎵🎼🛐🧑🏿‍🎤👩🏼‍🎤👨‍🎤🌐🌏🩷💁‍♀️*DEAR BELOVED FRIENDS*& SO LET US ALWAYS FEED OUR SPIRITS WITH GOOD!*& LOVING THINGS FOR THE STRENGTH OF GOD WHO GIVES US ALL POSITIVE HOPE!*AMEN!*& I ALSO HOPE!*& PRAY FOR ALL OF YOU!*&👉

#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 #Goodness #Kindness #Hospitality #Helping #Others #Gentleness #Understanding #Everyone #Love #One #Another #UNITY

🐈🐈‍⬛☁️🌈☁️🙌🎶🎵🎼🛐🧑🏿‍🎤👩🏼‍🎤👨‍🎤🌐🌏🩷💁‍♀️*DEAR BELOVED FRIENDS I DON'T KNOW IF YOU FEEL THE NEED TO PRAY TO GET UP IN THE MORNING TO FACE THIS WORLD?*BUT I OFTEN FOR SURE DO!*& IT WORKS!(PRAYER WORKS!)*AMEN!*& SO👉

#In #Heaven #Above #immortal #mercy #glows #Our #God #the #Lord #of #hosts #Friday #Devotional #Jesus #Christ #Holy #Spirit #World #People #Pray #Believe #Christian #Hope #Peace #Faith #Truth #Goodness #Kindness #Hospitality #Helping #Others #Gentleness #Understanding #Everyone #Love #One #Another #UNITY

🐈🐈‍⬛☁️🌈☁️🙌🎶🎵🎼🛐🧑🏿‍🎤👩🏼‍🎤👨‍🎤🌐🌏🩷💁‍♀️*DEAR BELOVED FRIENDS HAPPY CATURDAY!*& I DON'T KNOW IF YOU FEEL THE NEED TO PRAY TO GET UP IN THE MORNING TO FACE THIS WORLD?*BUT I OFTEN FOR SURE DO!*& IT👉

#In #Heaven #Above #immortal #mercy #glows #Our #God #the #Lord #of #hosts #Friday #Devotional #Happy #Caturday #Jesus #Christ #Holy #Spirit #World #People #Pray #Believe #Christian #Hope #Peace #Faith #Truth #Goodness #Kindness #Hospitality #Helping #Others #Gentleness #Understanding #Everyone #Love #One #Another #UNITY

🐈🐈‍⬛☁️🌈☁️🙌🎶🎵🎼🛐🧑🏿‍🎤👩🏼‍🎤👨‍🎤🌐🌏🩷💁‍♀️*DEAR BELOVED FRIENDS GOOD FRIDAY MORNING!*& HAPPY CATURDAY!*& I DON'T KNOW IF YOU FEEL THE NEED TO PRAY TO GET UP IN THE👉

#In #Heaven #Above #immortal #mercy #glows #Our #God #the #Lord #of #hosts #Friday #Devotional #Happy #Caturday #Jesus #Christ #Holy #Spirit #World #People #Pray #Believe #Christian #Hope #Peace #Faith #Truth #Goodness #Kindness #Caring #Hospitality #Helping #Others #Gentleness #Understanding #Everyone #Love #One #Another #UNITY

🐈🐈‍⬛☁️🌈☁️🙌🎶🎵🎼🛐🧑🏿‍🎤👩🏼‍🎤👨‍🎤🌐🌏🩷💁‍♀️*DEAR BELOVED FRIENDS AROUND THE WORLD GOOD FRIDAY MORNING!*& HAPPY CATURDAY!*& I DON'T KNOW IF YOU FEEL YOU NEED TO PRAY TO GET UP IN THE👉

#In #Heaven #Above #immortal #mercy #glows #Our #God #the #Lord #of #hosts #Friday #Devotional #Happy #Caturday #Jesus #Christ #Holy #Spirit #World #People #Remember #Pray #Believe #Christian #Hope #Peace #Faith #Truth #Goodness #Kindness #Caring #Hospitality #Helping #Others #Gentleness #Understanding #Everyone #Love #One #Another #UNITY

Letra da música “Immortal” de J. Cole
#JCole #Immortal
https://daletra.com.br/j-cole/letra/immortal.html

Text des Liedes “Immortal” von J. Cole
#JCole #Immortal
https://daletra.top/j-cole/liedtexte/immortal.html

When it comes to snakes and music, I’m a simple man. I think of Testament’s Brotherhood of the Snake, High on Fire’s Snakes for the Divine, Deicide’s Serpents of the Light, and Sir Mix-a-Lot. And now Philadelphia’s Crotaline1 slithers in flaunting first-wave-of-black-metal ballads rife with references to snake genitalia. Black metal’s second wave garners most of the attention, having shaped what most consider to be the genre’s trve north, but Mayhem, Darkthrone, Immortal, and Emperor never would have become what they are without Bathory’s lo-fi virulence, Venom’s proto-thrashed, punk-informed edgelording, and Celtic Frost’s sinister atmospheres and doomy trudges. First-wave black metal fairly characterizes what Crotaline provides on debut The Embrace of Cloacal Desire, as it’s ridden with direct, unadorned riffing, torturous plods, and a classically DIY aesthetic. Crotaline’s debut sounds like a blast, and I hope it is—my anaconda don’t want none unless it’s got fun, hun.

In many senses, The Embrace of Cloacal Desire is a primitive album. Crotaline relates carnal tales of ophidian lust in straightforward spurts of stripped-down metal, preferring uncomplicated riffs and instrumentation to deliver their herpetological gospel. In this way, Crotaline reminds me more of Hellhammer than Bathory or Celtic Frost. Tom G. Warrior’s (Triptykon) first project,2 Hellhammer distinguished itself more for its chaos and enthusiasm than its execution. Similarly, The Embrace of Cloacal Desire attacks with zealous verve, flitting through nine tracks of intermittently thrashy and doom-laden black metal. Despite the bold mashup of genres, though, Crotaline never quite brings their fangs within striking distance.

The Embrace of Cloacal Desire by Crotaline

Two primary issues plague The Embrace of Cloacal Desire, and each boils down to the same root cause—simplicity. While the drums supply a commendable rhythmic thunder, mostly Crotaline’s performance either plays too safe or lacks the technical firepower to achieve big moments. After a protracted minute-and-a-half intro, opener “Breeding the End” gets properly started. Unleashing a classic thrash riff recalling Bonded by Blood-era Exodus, a peppy bass groove joins in to underpin the melody. The pace slows at the chorus, cutting to a second riff before wending back to the main one. “Widow’s Web” kicks in next, treating listeners to a Venom-meets-Bathory hook that, just like the preceding song, tamps the brakes for vocals and a bridge. The pattern wears thin quickly, and The Embrace of Cloacal Desire suffers from this constricted songwriting—particularly in the back half. Too many half-formed ideas reach for big moments, only to topple into funereal crawls. For an album dedicated to dangerous snakes and sex organs, too often I’m left unthrilled and unfulfilled.

Ultimately, the lack of memorable passages and songs leaves The Embrace of Cloacal Desire as drab and listless as a shed snakeskin. Solid building blocks reside in Crotaline’s DNA, but the shapes of their assembled structures never coalesce into more than their constituent components. Where varying tempos can effectively lead to dynamic pacing and musical climaxes, Crotaline’s overuse of the fast-to-slow momentum shifts undercuts their songwriting. “As the Serpents Feast” exits the chorus and launches into a punky bridge begging for a wailing solo, but instead delivers an understated, unconvincing lead lacking excitement and dexterity. “Red Moon of Despair” starts promisingly enough, yet drops to a two-minute slog of glacial pacing. The same framework repeats on “Beneath the Reeds,” and yet again on “Hemipenes; The Embrace of Cloacal Desire.” Rather than mirroring a narrative or cleverly subverting expectations, these pivots can seem haphazard or lazy, leading to either frustration or boredom.

In spite of a great album concept and comparisons to bands I enjoy, Crotaline’s debut fails to charm my snake. Predictable songwriting and uninspired performances make The Embrace of Cloacal Desire’s thirty-five minutes feel longer than they are, and no song manages to entirely sidestep these issues. Even so, it takes guts to write this wild shit, and even more so to memorialize these ideas in song. Venom lurks within Crotaline, but the band needs to retool their bite. Hopefully they can figure it out and give us a rousing sophomore resurgence. Until then, I’m left to wonder if maybe I’m bored with it, or maybe it’s Crotaline.

Rating: Bad
DR: N/A | Format Reviewed: WAV
Label: Liminal Dread Productions
Websites: Bandcamp | Facebook
Releases Worldwide: April 3rd, 2026

“ #Immortal” #AI #Music #song on #youtube using #Suno with #my #lyrics and my #voice / #Indie

https://www.youtube.com/watch?v=weu1RRHKQqY

“ #Immortal” #AI #Music #song on #youtube using #Suno with #my #lyrics and my #voice / #Gospel

https://www.youtube.com/watch?v=-IVzw5GtWa0

“ #Immortal” #AI #Music #song on #youtube using #Suno with #my #lyrics and my #voice / #Folk

https://www.youtube.com/watch?v=YykSf8IVSDI

“ #Immortal” #AI #Music #song on #youtube using #Suno with #my #lyrics and my #voice / #Blues

https://www.youtube.com/watch?v=XsBEWZVY6OQ

Picture “black metal.” What do you see? Frigid wastelands illuminated by burning churches? Damp crypts beneath gothic cathedrals? Varg’s stupid backyard vlogs? One band would have you consider the picturesque slopes of Tuscany’s sunbathed Calvana mountain region. The anonymous duo of Italy’s Calvana have raised hell in the name of their treasured namesake mountains for over a decade and across two records, delivering belligerent blackened arts they describe as “trend-free,” “rough and robust,” and “never recalling anything remotely modern nor much else from the darkest past.” Their latest opus, Sub Janus, aims to continue this mission of esoteric aggression and deepest darkness, sounding older than even the oldest black metals do. Can Calvana bring defiant pride to their mountains, or should Sub Janus be left in the present-past?

I don’t buy the claim that Calvana are especially enigmatic in sound, but Sub Janus sounds distinct regardless. Evoking Celtic Frost darkness, serrating it with Venom rawness and supercharging it with Immortal aggression, Calvana play simple compositions brought to life by deep atmospheres and overwhelming force. Torrents of classic black metal tremolo blasts are a staple of Sub Janus, and songs like “My Prayer to Diana” and “Meine Süße Sternenkriegerin”1 rage with a take-no-prisoners attitude that showcases this mode of Calvana at their best. When not frothing over maddening speed, Calvana are practitioners of the slow and menacing, evident on the solemn death march of “Summer Storm” or the sinister, bowed string intro of “Carnivore.” Vocally, Calvana’s frontperson sounds like an old Universal monster, groaning and snarling slurred and theatrically all over Sub Janus, and accompanied by searing guitars and bottom-heavy bass Calvana sit in a niche thoroughly theirs while still playing within the tropes of the sub-genre.

Sub Janus by Calvana

Calvana draw from a refined selection of tricks for Sub Janus, lending the album both focus and, unfortunately, a feeling of déjà vu. Most songs move between two modes: starting slow and ending fast or starting fast and ending slow. Both “Twilight Song” and “Death of Pan” open with brief fanfare before bringing the hurt, folding arpeggios over cascading blast beats and walls of guitar before shifting halfway to a halftime pace. This approach is most effective on “Fear Makes You Tame,” where the slow turn sees most of the band drop out entirely while doomy strums and haunting tremolos ring out amidst a discord of tortured wails and screams. It’s silly, campy, but fun. Calvana’s approach of slow-to-fast works usually better, however, as “Summer Storm” and album-highlight “Sorry” build tension through subtle progression and eccentric rhythms that make their rise to full-speed riffage all the more cacophonous. This small playbook makes Sub Janus a repetitive affair. Songs with especially little going on, like “Meine Süße Sternenkriegerin,” “Twilight Song,” and the closer “Sub Janus,” feel substantially longer than their runtimes suggest. Calvana have something working with Sub Janus, but I wish that it had a little more going for that something.

But if Sub Janus is hampered by songwriting woes, then Calvana saved it with lively production and performances. Calvana’s analog production and emphasis on giving the full band a spotlight lends Sub Janus an earthy, full-bodied sound defined by enormity and dynamism. Everything feels just right in the mix, especially the bass guitar, which sounds burly and substantial. Black metal demands furious showmanship and Calvana deliver mightily, spitting hellfire on “Fear Makes You Tame” and lathering “Carnivore” in horror-film dread. This is especially true of the drummer, who plays out of their damn gourd on Sub Janus, pummeling lightning-fast fills on “Death of Pan,” exacting punishment upon their hated crash cymbals on “My Prayer to Diana” and thumping out one gnarly drum groove on “Sorry.” All of this, more than anything on Sub Janus, makes Calvana seem as ancient as they aimed to feel. Sub Janus feels like a relic lost to time, dug from the Earth, bearing an archaic dread and untamed vitriol still vital today.

Tuscany is a beautiful place, but Calvana would have you believe the sun never once shone there on Sub Janus. Its songwriting issues limit the replay value of Sub Janus, and my feelings toward the album have dimmed somewhat over the weeks, but the fire Calvana brought to it definitely makes me want to keep this band on my radar. A fun, dark, and decently paced romp, Sub Janus is worth the time of black metal fans who prefer their tunes musty and damp. Visit sunny blackened Calvana today!

Rating: Good
DR: 8 | Format: 320 kbps MP3
Label: Adirondack Black Mass
Websites: calvana.bandcamp.com | facebook.com/calvana
Release Date: March 20th, 2026

Episode 110 - Million-Dollar Immortality Program Live Forever #immortal #liveforever

Thanks for check out my Short. If you're looking for a deeper dive check out my long-form videos on YouTube:
https://www.youtube.com/@TheBusinessBehindTheNews

#business #businessnews #tbbtn #youtube #shorts #reels #tiktoks #vids #fyp #fypシ #fypシ゚viral

Unicursal TRUE SELF IMMORTAL INTELLIGENCE Propaganda from Hermetic Library Office of the Ministry of Information

https://hermetic.com/information/true-self-immortal-intelligence/index

#propaganda #AleisterCrowley #MagickInTheoryAndPractice #initiation #true #TrueSelf #self #immortal #intelligence #matter #means #manifestion

RE: https://oslo.town/@3rik/115815113044813913

I just realized that a much more fitting association for this photo is Immortal's "At the Heart of Winter".

I must try to find back to this place to see if I can more suitable Current 93-version during spring or summer.

#Immortal #Current93 #winter #snow #forest #trees

#Music #Live #YouTube #Immortal #Rock #JoeCocker
https://www.youtube.com/watch?v=rr0X1wJ7lx8&list=RDk05Wk3HTndM&index=3

This Social Network Turns Your Personality Into an Immortal Artificial Intelligence #ETER9 #AI #digital #counterparts #Eternity #Immortal

This Social Network Turns Your...

Metal Fatigue is not a moral failing: it is a physiological phenomenon, befalling even the most honorable of headbangers. Though traditional metal can tire in its own way, Metal Fatigue mostly lurks on the severe side of the genre. Too often, extreme metal exhausts by coupling sonic monotony with album lengths more appropriate for episodes of prestige television. Given my own struggles with Metal Fatigue, I was intrigued to see Let Water Flow—a 28-minute black metal record from Moon Wisdom—sitting in the sump. The solid advance singles convinced me to cover this Italian trio’s debut. Moon Wisdom describe theirs as second-wave style black metal, with notes of depressive gaze and punk. As a short Long Play, Let Water Flow sets itself up to leave black metal fans wanting more.

Let Water Flow sits nicely in the second-wave black metal lane. Perhaps the best touchstone for Moon Wisdom’s sound is Immortal. Similar to Diabolical Fullmoon Mysticism, “Intro” plucks gentle, atmosphere-drenched chords as the lead-in to the first proper song. “As Rain”—one of the advance singles—dashes from Kaelos’s epic riffing to Faith’s sinister screeching and Hexis’s galloping drum work. Tasty solos are a recurring theme across the album, similar to Havukruunu draping classic shred over Immortal black metal (“Frozen Soul,” “Solitude”). “Dark Shades,” the other advance single, demonstrates a more modern version of Moon Wisdom’s second-wave worship. The song’s sparse, textural bridge transforms its evil opening into an affecting gateway for mournful modulations and a furious finale. Throughout Let Water Flow, shifts between macabre delicacy and blackened crudity bring Lamp of Murmuur to mind.

Let Water Flow by Moon Wisdom

The concise runtime of Let Water Flow cuts like a double-edged sword. It makes the album eminently relistenable but draws attention to inconsistent songwriting. “As Rain,” for instance, opens the album with dynamic concision, but its concluding solo ends abruptly, reading more like a bridge than a destination. “Ashen Winds” suffers a similar fate. It develops an engaging interplay between creepy and pummeling riffs that culminates too soon. Conversely, “Frozen Soul,” the mid-album curveball, could be trimmed. The song establishes an enchanting, melancholic vibe, but redundancy hits in its slow-building rock crescendo. “Dark Shades,” the last proper song, stands as the strongest track on Let Water Flow. It showcases Moon Wisdom’s talent for creating something epic that isn’t overlong. Unfortunately, the album (essentially) ends here; the brief “Lullaby of the Woods” puts the album to bed, but “Dark Shades” sounds like the band finally starting the day.

Let Water Flow possesses compelling qualities that, if accentuated, would cultivate Moon Wisdom’s sound. As mentioned, the band professes a depressive blackgaze influence. Sonically, this mostly unadorned record doesn’t really impart a gaze aesthetic. “Frozen Soul” comes closest to inspiring hypnotic shore-staring, especially in its enticing bass feature.1 But the song, like the album, embodies gaze less through production effects and more through compositional dynamics. I actually like that Moon Wisdom doesn’t drown their guitarwork in reverb. Still, the sparse sections could be developed to give these songs more character. Moon Wisdom also cites a punk influence, but I didn’t detect much of this across Let Water Flow. Beyond “As Rain,” which contains a d-beat, nothing struck me (musically) as punk. A pretty non-punk element on the album is the violin on closer “Lullaby of the Woods.” More of this would have worked well, especially on the “gaze” sections.2

Let Water Flow—I’m surprised to say—had me experiencing Metal Deficiency.3 I commend Moon Wisdom’s impulse towards brevity, but the album feels like an EP with a short intro/conclusion framework tacked on. The inconsistent songwriting and underexplored derivations keep this debut from feeling vital and fully realized. At only 28 minutes, however, Let Water Flow is certainly worth a spin, especially if black metal is your jam. Moon Wisdom satisfy the second-wave itch while showing potential for more. If properly harnessed, their tendency towards terseness might produce a follow-up combating the scourge of Metal Fatigue.

Rating: 2.5/5.0
DR: 11 | Format Reviewed: 320 kbps mp3
Label: Hypnotic Dirge Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: January 16th, 2026