#kvaen — Public Fediverse posts

Since the last Filter dropped, it still hasn’t stopped raining and storming in my neck of the woods. Consequently, my minions trudge evermore through the thin sheet metal of our ducts as the thunder rattles everything like so many dice in a tabletop nerd’s clutches.1 Yet I must press them and push them, for we have quotas to meet and ravenous appetites to sate.

So it is with shaky hands and discombobulated craniums that my grunts hand over the goods. BEHOLD!

Kenstrosity’s Thrashed Thrall

Ascended Master // Crepuscular Gloom [May 8th, 2026 – Self Released]

Death thrash is best thrash, if you ask this sponge. Something about this unholy combo really rustles my jimmies, especially when its executed with great speed and riff-centered fervor. Cincinnati’s Ascended Master nail that combination right into the grave, boasting a sound that’s three parts Death, one part Atheist, and a pinch of Blood Red Throne. With a sense of groove that gives barnburners “Blood Spilled Upon the Stars,” “Crepuscular Gloom,” and rabid closer “Xenopaleontology” a deadly swagger liable to cause fierce whiplash in all who would headbang to it, debut LP Crepuscular Gloom” is a record pumped full of testosterone and adrenaline. Speedy rippers like “Midnight Mother” and “Ghoul Queen” put the pedal to the metal with a ferocity more commonly associated with Kvaen or Hellripper in the modern pantheon, but the record’s natural engineering and coherent screams hark to earlier times where Death reigned supreme in the scene. However, it would be inaccurate to call it pure worship. Ascended Master have an intense personality and a particular ferocity that allows Crepuscular Gloom to integrate smoothly into their respective category without blending into the crowd. As their career develops from this point, I expect we’ll see their identity bloom and rise with greater distinction, further setting them apart and threatening year-end lists all around. Just wait, you’ll see!

ClarkKent’s Prehistoric Pulls

Ilienses Tree // Toward the Storm [May 1st, 2026 – Meuse Music Records]

Ilienses Tree sow their roots deep into the island the band originates from—Sardinia, just off the coast of Italy. Their name, Ilienses, refers to an ancient Nuragic civilization that, during the Bronze Age, built impressive stone tower structures that still stand today. While the band isn’t nearly so old, their second album, Toward the Storm, dabbles in the sort of slow, deliberate doom that speaks of the patience of those ancient ruins. They lean towards a style of funeral doom that has the brutal power of My Dying Bride, but their record also contains the unpredictable dynamic drumming of Oromet and sneaks into speedier death/doom territory akin to Paradise Lost and Novembers Doom. Ilienses Tree have a mastery over melancholic lead riffs, such as the one that opens “To Not Be Forgotten.” “Sudden Rain” flexes the band’s creative muscle most impressively. Beginning in a slow burn and anchored by a poignant guitar lead, the song has a sudden burst of energy, turns in a lovely duet between arpeggiated riffs and bass, and features several more memorable and distinct guitar leads. Though the songs average nine minutes, they fit neatly into a 38-minute record, and thanks to progressive structures, they never feel overlong. If you’d like some music that simultaneously hits you in the feels and provides a shot of adrenaline, then go towards, not away from, this storm.

Anna Fiori // Metztli [May 21st, 2026 – Self Released]

Sometimes symphonic metal bands grow a touch stale from a failure to innovate, relying too heavily on the gimmick of symphonic instruments. Anna Fiori, however, has created something pretty special, with a Mexican/Aztec twist on the genre. Her band mixes “pre-Hispanic instrumentation” with cinematic symphonics and heavy guitars to create thrilling high-energy music. While some songs hit a more poppy Beyond the Black mold (“En El Vacio”), others take a longer-form route. The nine-minute “Luna Llena (Xiki Noeso)” blends indigenous chants and flutes with orchestral elements that sometimes sound like an exciting score to a whimsical adventure film. The highlight, “Luna Menguante (Nimotemak),” contains a mix of cool riffs, flutes, and blast beats before taking us on a bonkers ride involving operatic singing, off-kilter pianos, a few solos, and perhaps the summoning of a demon or two. While the song compositions are tons of fun, Fiori’s performance ties it all together. She sings in the sweet poppy manner of Epica’s Simone Simons, the operatic style of many a Therion singer, and even some growls in the spirit of Seven Spires’s Adrienne Cowen, if not quite her power. Fiori even briefly raps on a couple of tracks, with a pretty impressive section on the outro track, “Tetzahuitl, Pt. 2: El Origen,” and goes off-script with an infectious laugh on “Entre Mil Voces.” Clearly she’s having a lot of fun. Metztli hits some of the familiar symphonic notes while injecting enough personality of its own to make for an entertaining, and sometimes wild, ride.

Grin Reaper’s Spring Fling

Beyond the Veil // Oblivion [May 1st, 2026 – Wormholedeath Records]

There’s little online information about Tokyo prog metallers Beyond the Veil,2 and while I don’t recall how I stumbled across debut Oblivion, I’m glad I did. Upon listening, I was immediately enamored by their familiar yet enchanting blend of drama and technicality. Fans of Opeth and Dream Theater will uncover a trove of unapologetic prog where Beyond the Veil weaves gorgeously conceived instrumentation into intricate compositions. Oblivion also embraces long-form arrangements, sporting six tracks ranging between seven-and-a-half and sixteen minutes each. Credit to Beyond the Veil, though, because even with such robust runtimes totaling over an hour, Oblivion never feels repetitive or bankrupt of ideas. Quite the opposite, in fact, as each listen reveals new knots to untangle and coils to unwind. Perhaps the facet I’ve come to appreciate the most as I revisit Oblivion is Beyond the Veil’s merger of piano, mellotron, and orchestrations with guitar, bass, and drums. They’re hardly the first band to do this, but each song sounds well-attuned to incorporating the right instrument for the right part rather than spotlighting heavy-handed wankery, allowing Oblivion to soar. While Beyond the Veil doesn’t break the mold with this one, getting lost in Oblivion never sounded so sweet.

Lago // Vigil [May 8th, 2026 – Everlasting Spew Records]

Vigil introduced me to Lago and their infectiously abrasive death metal, and this album is forty-two minutes of unhinged brutality flecked with melody. The blood of Immolation, Morbid Angel, and Incantation pumps through Lago’s veins, delivering unapologetic tangles of dissonant, jangling guitars, fuming blast beats, and murky bass runs beneath Cole Jacobsen’s devilishly demented gutturals. Lago’s brew is potent stuff, swirling and churning with caustic acid that will leave your eardrums scarred and cowed with nary a moment wasted. Complimenting the devastating filth Lago dredges is Gus Barr’s warbling lead guitar, which cuts through the grime with off-kilter shredding. “Behold, Ruin” and “Initiation Rite” hit with the immediacy and aplomb of Immolation, lurching onwards with Brian Miller’s timekeeping straight out of Close to a World Below’s playbook. Meanwhile, “Procession into Slaughter” and “The Land Was a Desert” launch into Azagthoth-tinged, otherworldly riffs. Everything about Lago screams danger, yet once the blood starts flowing it’s impossible to turn away from their murderously addictive violence. Once Vigil has its hooks in you, you won’t want them to Lago.

Redshift // Down the Wire [May 29th, 2026 – Pale Wizard Records]

As a massive Rush fan, Redshift’s Down the Wire immediately caught my attention with ample parallels. A power trio wielding buttery smooth bass lines, Lifeson-leaning chords, and Tiago Martins’ tender tenor call to mind Canada’s greatest export for all the right reasons. Yet Bath, England’s Redshift is more than a Rush clone, and on Down the Wire they bounce and whip in syncopated flurries and chromatic runs while dabbling with vocoded vocals and deathly roars. As the best prog does, Redshift explores vast territory in a commensurately brief runtime. Opener “The Routine” hits the Rush influence hard and early, but “The Clown” draws upon Synchestra-era Devin Townsend kookiness while “The Rogue” dabbles in Yesified eclecticism and even features guest keys from Derek Sherinian (ex-Dream Theater, ex-Yngwie Malmsteen). One thing Redshift steers away from is the self-seriousness associated with a lot of prog, and Down the Wire radiates a pervasive sense of fun. Trumpets and samba-coded melodies enliven “The Rogue” while “The Singer” assaults with fierce growls, wicked solos, and perfectly balanced instrumental interplay. Down the Wire fires on all cylinders, scorching with progressive songwriting and so much replayability that I regret not getting the chance to write a review in full. If you’re Down to the Wire and need a prog fix quickly, Redshift is a clever choice that won’t disappoint.

Spicie Forrest’s Nostalgic Nugget

Haste the Day // Dissenter [May 1st, 2026 – Solid State Records]

I haven’t heard the name Haste the Day since 2008. At the time, I was on the tail end of my metalcore phase and pushing into heavier styles, so while I recognized their quality, I didn’t latch on to them as I did other acts of their ilk. It’s a shame, because Dissenter is the sound of my adolescence. Slinging the same emo-flavored metalcore as early As I Lay Dying and August Burns Red, the Indianapolis-based six-piece offers 39 minutes of beautifully aching nostalgia. Stephen Keech’s lead vocals sound pushed and strained (complimentary), evoking the emotion of early Linkin Park (“Shallows,” “Grave”). Guitarists Scott Whelan, Brennan Chaulk, and Dave Krysl are so in sync, delivering stellar layered riffs and leads felt in the soul (“Burn”). When Michael Murphy’s bass comes to the fore, as on “Liminal,” he brings a heaviness and intensity that hurtles me back to middle school like it was just yesterday. Dissenter is a bit heavier and faster on the front end, but even the not-quite-overwrought power ballads of the back half maintain their drive and pacing thanks to Giuseppe Capolupo’s kit work (“Adrift,” “Escape”). For those of us who cut our teeth on acts like Haste the Day, late-career and comeback albums can be an anxious affair, but I’m happy to report that Dissenter is a worthy walk down memory lane.

Do you want some Tolkien-inspired #BlackMetal in your life?

#OneOfNine: Dawn of the Iron Shadow

https://album.link/t/450300873

#MelodicBlackMetal #USBM

FFO #EbonyPendant #Kvaen #Ninkharsag

Ordeals – Third Rail Prayer Review

By Spicie Forrest

Sometimes called the live rail, the third rail runs alongside the New York City Subway tracks, carrying electrical current enough to power the trains’ motors—or kill those who accidentally touch it. In a political context, the term refers to subjects dangerous enough to ruin careers. I learned this while researching Ordeals’ debut album, Third Rail Prayer. This NYC trio formed in 2011 and released two EPs and a split in the 14 years since.1 Influenced by the Australian scene, Ordeals promises a serpentine, subterranean blend of black and death metal, garnished with quiet grandiosity. Will Third Rail Prayer jumpstart their burgeoning career, or are they dead on arrival?

What Ordeals lacks in recognition, they offset with strong musicianship. Blackened riffs, courtesy of bassist/guitarist Illuminated, roil and surge like a sturgeon just beneath the surface, constantly shifting and reappearing through tempo shifts and key changes (“Throes”). Tremolo-heavy passages like those on “Suffer Cursed Ordeals” invoke Abominator and instill a sense of urgency and desperation. The bass most often acts as foil for the guitar, adding depth and texture to each track, but there are moments, like the back half of Skeletonwitched “Emerge,” where it takes center stage. Drummer Bellum loves a good blast beat, but he has a wealth of percussive techniques at his disposal. His kitwork is dynamic and energetic, and he drives the album with a varied and masterful hand. Bellum sets the tone (“Scorn Ceremony”), guides transitions (“Third Rail Prayer,” “Suffer Cursed Ordeals”), and keeps the album moving at an enjoyable and engaging pace.

A sectarian, ritualistic energy pervades Third Rail Prayer. Rather than high-pitched rasps, Zealous Hellspell mostly employs full-throated roars and shouts like Uada or Rotting Christ, evoking clandestine religious ceremonies or the recitation of some dark magic (“Triumph,” “Suffer Cursed Ordeals”). Though Ordeals bills themselves as blackened death, my ears hear a fair—and quite competent—share of doom, as “Throes” and “Triumph” build delightfully unsettling tension with stately Candlemass-esque riffcraft. The patient bass and inexorable drums of “Scorn Ceremony” paint a picture of evil sacraments and recall the backwater cult vibes of Choir. Ordeals releases that tension to great effect, too. In conjunction with Hellspell’s fanatical roars, Illuminated and Bellum often end songs by whipping each other into a spiraling dionysian fervor reminiscent of Kvaen’s “The Funeral Pyre” (“Third Rail Prayer,” “Throes,” “Emerge”). Contrary to my expectations, crafting this ceremonial, almost liturgical atmosphere is where Ordeals truly excels.

The atmospheric, doom-laden high points of Third Rail Prayer make for an ironic prime criticism. When Ordeals channels Solitude Aeternus or Solstice, their measured, dignified songcraft and palpable atmosphere far outstrip anything else on the album. Make no mistake, Third Rail Prayer is an enjoyable ride front to back, but Ordeals’ blacker, deathier portions feel lackluster by comparison. While Zealous Hellspell’s rapturous howling helps stretch that atavistic spirit over the whole album, the same can’t be said of Illuminated and Bellum’s contributions. When Ordeals’ focus shifts from doom to another subgenre, I’m left impatiently waiting for their focus to shift back. The synergy and flow in those Sabbathian passages is so comprehensive, it’s ultimately frustrating that there’s not more of it here.

Third Rail Prayer employs a kitchen sink approach, showing off a little bit of everything the band can do. Ordeals plays good black metal and good death metal, but they play great high (blackened) doom. On Third Rail Prayer, Ordeals treats their best characteristic as just another tool in their belt. This debut serves as a 40-minute proof of concept, albeit an unfocused one.2 If they can hone in on their strengths—stately, doomy songcraft and palpably ceremonious atmosphere—and use them as a solid foundation moving forward, they’ll create something great in a sea of good. Ordeals is not a band to be slept on, and I have high expectations for them in the future.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Labels: Eternal Death
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: September 26th, 2025

#2025 #30 #Abominator #AmericanMetal #BlackMetal #BlackSabbath #BlackenedDeathMetal #Candlemass #Choir #Daethorn #DeathMetal #DoomMetal #EternalDeath #Kvaen #Ordeals #Review #Reviews #RottingChrist #Sep25 #Skeletonwitch #SolitudeAeternus #Solstice #ThirdRailPrayer #Uada

KHNVM – Cosmocrator Review

By ClarkKent

While it looks like a jumble of consonants, KHNVM actually has an easy pronunciation: Kha-noom. Their sinister new album, Cosmocrator, derives its title from a Greek word that roughly translates to “ruler of the world” and can also refer to Satan. However, these guys aren’t Greek. Rather, KHNVM is based out of Germany, and frontman Obliterator was born in Bangladesh. Though there are three members pictured in the band photo below, Obliterator does the Billy Corgan thing and records everything but the drums.1 KHNVM released their first album, Foretold Monuments of Flesh, in 2019, and now six years later, Cosmocrator marks their fourth record. In that short span of time, KHNVM has gradually shifted from putrid death metal to a more nuanced death-doom sound. It’s time to find out if KHNVM goes kaboom!

Cosmocrator alternates between speedy death tremolos and slow, sludgy guitar riffs. The result comes off somewhat like Mother of Graves or Tomb of Finland minus the melodicism. “Fetid Eden” best illustrates this death-doom dance. Its bookends contain up-tempo drumming and tremolos amidst Obliterator’s low, whispery growls, but the middle of the song slows to a near funeral doom pace. This makes for a varied, interesting listening experience, and one that’s particularly rewarding when KHNVM ramps up the energy following a bout of doom. Opener “Purgatorial Pyre” similarly straddles this line to great success. Once you get past the lengthy instrumental passage,2 the song gets the heart pumping with some energetic riffs and a Kvaen-like chorus in “Pyre! Purgatorial pyre!”

KHNVM also toys with progressive song structures, which is wise considering four of the seven tracks are over five minutes long. While the progressive structure prevents them from growing stale to repetition, not all movements within each song are equally compelling. This leads to some inconsistent songwriting. For example, “Cosmocrator” has a rough start but ends well. The early dissonant counter-harmonics play out awkwardly, yet the latter half shifts to blast beats and tremolos that create a smoother, more enjoyable listen. On the other end of the spectrum is the longer “Venom Spawn.” The first five minutes are easily my favorite on Cosmocrator. It opens with riffs of an Eastern tinge and plays at a slow but enjoyable plod. Unfortunately, the final two minutes lose the hook and become a tedious plod. I admire the desire to change it up, but when you have a good thing going, it’s best not to mess with it.

At a DR 8, the sound quality is admirable, yet the mix produces some questionable choices. The guitar plays loudly and drowns out some of the other elements. This is most noticeable on “Haunting Blight,” where the bass features prominently in the early goings and combos nicely with the drums. Yet when the lead guitar starts up, the bass disappears. Sometimes, the guitar even muffles Obliterator’s own voice—I strained to pick up his growls on “Fetid Eden.” The loudness also amplifies the awkwardness of the dissonant notes. I found these notes jarring, but not in a way that enhanced the songs. The use of dissonance seems to be a new skill set added to Obliterator’s repertoire, and I felt those were the parts that worked the least. Outside of that, the instruments sound good, and Obliterator and drummer Autokrator handle them with skill. They deftly weave between death and doom, and when the bass is able to shine through the haze of the guitars, everything sounds that much better.

KHNVM has plenty of good things going for them, and they keep the album nice and short at 36 minutes. Unfortunate inconsistencies hold Cosmocrator back, but I admire Obliterator’s ambition. Stripped of the dissonance and some pointless instrumental portions, Cosmocrator could have been a good or very good record. A jarring dissonance risks snapping listeners from their reverie if not done correctly. Amidst the varied tricks Obliterator employed, it was the one that stuck out like a sore thumb. At times, it felt like KHNVM was trying too hard to create a menacing sound when they already had all the elements needed to create a solid record. KHNVM has room to bring more boom, and I believe they can.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Testimony Records
Websites: Bandcamp | Facebook
Releases Worldwide: August 29th, 2025

#25 #2025 #Aug25 #Cosmocrator #DeathDoom #DeathMetal #DoomMetal #GermanMetal #KHNVM #Kvaen #MotherOfGraves #Review #Reviews #TestimonyRecords #TombOfFinland

Lite märkligt med tanke på vilka band som spelar, men det finns tydligen biljetter kvar till Close-Up Båten som avgår ikväll, för de som inte vet vad de ska göra i helgen och gillar metal.

https://www.tallink.com/sv/hitta-resa/kryssning/specialkryssningar/close-up-metal

#CloseUp #Cruise #TheHaunted #Witchery #Kvaen #MurderSquad #Wormwood

Sarastus – Agony Eternal Review

By Kenstrosity

If you follow the Finnish, or even the wider Scandinavian black metal scene, you might know about Finnish trio Sarastus. I would never have known about them, though, if it weren’t for AMG Hisselves telling Dr. A. N. Grier to listen to them and cover this. Of course, because I’m an opportunistic bastard with a ravenous appetite for shenanigans—and because Grier slept on the promo pool until he was sunburned to a smoking chunk of stinky charcoal—I swiped it right from under his nose. Sucks to suck, loser! Now I’m here, spinning Sarastus’ third opus, Agony Eternal, and reveling in the fact that I stole something that just happened to be worth stealing from not one, but two upper management. You’re welcome.

Undergoing some lineup changes between records before finalizing the current spread in 2023, Sarastus comes alive on Agony Eternal, bursting with vitality and verve. The sonic format at its core remains unchanged from what already exists in the black metal arsenal: blast beats, frigid tremolos, buzzing production, fierce rasps, and fiery melodies. Rarely, though, in the modern school at least, do these ingredients coalesce into a record as blistering and infectious as Agony Eternal. Reminiscent of Kvaen and Rimfrost in its infernal lustiness and musical effervescence, all of Agony Eternal’s nine tightly written tracks offer an array of sharp hooks, meaty riffs, and standout vocal performances that put Sarastus far ahead of the majority of their peers.

Agony Eternal serves as a prime example of a record that doesn’t need to do anything new to make a big splash. Even if opening duo “Gravelust” and “Agony Eternal” snatch my attention with a staggering immediacy—credit for this goes to a surprisingly black n’ roll riffset, dynamic songwriting, and a swaggering sense of confidence—it’s “Into Eternity” and “Where Cruelty Never Ends” that catch my adoring gaze. The melodies that lift me into the stratosphere in both songs create a euphoric state that never fully dissipates. Remarkably smooth transitions in rhythm and structure activate an animal instinct in my brain that ensures headbanging and windmilling at extreme intensities. In concert, these characteristics generate an immense momentum that bestows gravity and heft to the slower mid-paced stomp that pounds “No Horizon” deep into my skull. With all manner of screeches, riffs, leads, and patterns to guide my way forward, the remainder of Agony Eternal follows through on the promise that “Into Eternity” and its neighbors aren’t just a white-hot flash in the pan. Later highlights “Metamorphosis,” “Into the Lair,” and massive closer “1644” stand tall as fast and free explosions of joyous, blackened revelry that recalls Vimur in their vicious attack and vicarious spirit.

Dispensing with a compartmentalized evaluation of its constituent numbers, Agony Eternal still shines. Put another way, Agony Eternal is a nonstop party. With almost poppy energy, Sarastus captured with remarkable simplicity and undeniable effectiveness the passion and conviction that made black metal of this kind a sensation. But, when I listen to songs like “From Pride, to Shame, to Misery,” I can hear more than just black metal purism. I hear a confident, exuberant soul rooted in rock n’ roll rebellion, forged in timeless techniques, and steeped in metallic traditions across the spectrum. In this way, Sarastus honor the great many talents across history that allowed a record like Agony Eternal to exist. In that spirit, this feels like a loving tribute not just to black metal itself, but to the greater community of artists and audiences that laid the groundwork.

Even so, Agony Eternal is imperfect, but only slightly. There are one or two brief moments where the vocals break my immersion by breaking a bit themselves (see the very end of “Where Cruelty Never Ends”), though this disruptive effect dulls with repeat spins and a little patience. I also wish that, despite the wonderfully roomy and natural mix and master, the bass was beefier still and the vocals pulled back just a smidge. Additionally, opener “Gravelust” might be the only song that, mostly in retrospect, doesn’t meet the same lofty standard of its album mates. It’s got all the right attributes, but the execution feels lacking by comparison. As a final nitpick, after a dozen focused listens, I do think a few riffs here and there undergo one or three too many repetitions, especially when they are more than strong enough to stand out with fewer (“1644”). No matter. At the end of the night, Agony Eternal is a resounding success, and I wholeheartedly recommend any metal fan to give it your ear (and your soul)!

Rating: Great!
DR: 10 | Format Reviewed: 320 kb/s mp3
Label: Dominance of Darkness Records
Websites: sarastus.bandcamp.com | facebook.com/sarastusjaikuisuus
Releases Worldwide: July 1st, 2025

#2025 #40 #AgonyEternal #BlackMetal #DominanceOfDarknessRecords #FinnishMetal #Jul25 #Kvaen #MelodicBlackMetal #Review #Reviews #Rimfrost #Sarastus #Vimur

For #BlackMetalMonday by @HailsandAles:

#InAphelion: The Fields in Nadir

https://song.link/qrmwgp3gqjtx9

#MelodicBlackMetal

FFO #Kvaen #Thron #Tryglav

#TheMetalDogArticleList
#BraveWords
Today In Metal History 🤘 July 3rd, 2024🤘 RATT, JIM MORRISON, SUICIDAL TENDENCIES, CRYPTOPSY, IN FLAMES

https://bravewords.com/news/today-in-metal-history-july-3rd-2024-ratt-jim-morrison-suicidal-tendencies-cryptopsy-in-flames

#Ratt #JimMorrison #SuicidalTendencies #Cryptopsy #InFlames #TheRollingStones #TheDoors #Free #Sodom #Nile #Kataklysm #IcarusWitch #Periphery #TheWordAlive #Boris #BuryTomorrow #Haunt #HenryDerekElis #Jesu #Khemmis #Poltergeist #Powerwolf #Sunburst #FuManchu #Noroth #Cavalera #CryptSermon #Wormed #Phantom #Kvaen #Sibirr #Accept

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#BraveWords
KVAEN – “The Wings Of Death” Lyric Video Streaming; The Formless Fires Out Now

https://bravewords.com/news/kvaen-the-wings-of-death-lyric-video-streaming-the-formless-fires-out-now

#Kvaen #TheFormlessFires

#TheMetalDogArticleList
#MetalInjection
LAMB OF GOD, OCEANO, SANGUISUGABOGG, CRYPT SERMON & More Among Metal Injection's Top Tracks Of The Week
Plus Stick To Your Guns, Destruction, Dark Funeral, and more!

https://metalinjection.net/playlist/top-tracks-of-the-week-playlist/lamb-of-god-oceano-sanguisugabogg-crypt-sermon-more-among-metal-injections-top-tracks-of-the-week

#LambOfGod #Oceano #Sanguisugabogg #CryptSermon #StickToYourGuns #Destruction #DarkFuneral #Poppy #Portrait #Kvaen #Wormed #Candy #FloatOmen #VoidWitch #Wraith

#TheMetalDogArticleList
#BraveWords
KVAEN Streaming Video For Title Track From Upcoming The Formless Fires Album
Kvaen will release their third album, and first for Metal Blade Records, The Formless Fires, on June 21. There are many great extreme metal bands in Sweden, but only one from Kalix. This remote beauty spot near the Finnish border, on the northernmost shores of the Baltic, is home to...

https://bravewords.com/news/kvaen-streaming-video-for-title-track-from-upcoming-the-formless-fires-album

#melodicblackdeath #Kvaen #JacobBjörnfot #Kalix #Sweden #extrememetal