#oathbreaker — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #oathbreaker, aggregated by home.social.
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https://www.europesays.com/nl/93727/ Dubbel zo zwaar: Deafheaven – Lonely People With Power #2025 #agriculture #alcest #Amusement #asunojokei #BlackMetal #blackgaze #BosseDeNage #Deafheaven #Dutch #Entertainment #GhostBath #HolyFawn #lantlôs #LonelyPeopleWithPower #metal #mol #Music #Muziek #Nederland #Nederlanden #Nederlands #Netherlands #NL #numenorean #oathbreaker #PostBlack #recensie #RoadrunnerRecords #shoegaze #WhiteWard #WolvesInTheThroneRoom #ZwareMetalen
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Completed Oathbreaker Paladin commission for a client on Discord. This was a fun challenge as I don't often draw armour! 🛡️ #Darkart #DnD #TTRPG #ttrpgart #DnDArt #paladin #oathbreaker #art #commissions #commsopen
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https://www.europesays.com/nl/60458/ Rolo Tomassi – In The Echo of All Dreams #2025 #Amusement #brutus #Dutch #EigenBeheer #EmployedToServe #engeland #Entertainment #GenghisTron #InTheEchoOfAllDreams #ithaca #mathcore #MnrkHeavy #Music #Muziek #Nederland #Nederlanden #Nederlands #Netherlands #NL #oathbreaker #PostHardcore #ProgressieveRock #PupilSlicer #recensie #RoloTomassi #shoegaze #svalbard #TheDillingerEscapePlan #TheHirschEffekt #UnitedKindgom #VerenigdKoninkrijk #ZwareMetalen
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An Oathbreaker Paladin commission for #WIPWednesday #art #darkart #dnd #paladin #oathbreaker #armour #gothic #knight #longsword #ttrpg #ttrpgart #commission #CommsOpen
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https://www.europesays.com/uk/498953/ Tombs – Feral Darkness Review #2025 #3.0 #AmericanMetal #BlackMetal #BlackRoyal #Entertainment #FeralDarkness #Hardcore #InterArma #Mastodon #music #Oathbreaker #Oct25 #PostMetal #RedefiningDarkness #Review #Reviews #Sludge #SludgeMetal #SulphurAeon #Tombs #UK #UnitedKingdom
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Tombs – Feral Darkness Review
This is my first time reviewing Brooklyn’s Tombs, but it’s not my first time experiencing them. Each year…
#NewsBeep #News #Music #2025 #3.0 #AmericanMetal #BlackMetal #BlackRoyal #Entertainment #FeralDarkness #hardcore #InterArma #Mastodon #Oathbreaker #Oct25 #post-metal #RedefiningDarkness #review #Reviews #Sludge #SludgeMetal #SulphurAeon #Tombs #UK #UnitedKingdom
https://www.newsbeep.com/uk/199472/ -
By Kenstrosity
This is my first time reviewing Brooklyn’s Tombs, but it’s not my first time experiencing them. Each year that a new Tombs drops, I feel the hype machine churning from the community, which I love, disinterring my interest in the sludgy, blackened call Tombs is now known so well for. It’s been five years since the somewhat divisive Under Sullen Skies first graced my ears, and now I take over for Doom_et_Al to serve at the foot of Feral Darkness.
Tombs pushes forward with much of their confident, swaggering style intact. A boisterous mix of Black Royal groove, Oathbreaker vitriol, and a touch of that post-tinged Inter Arma nastiness, Feral Darkness makes a strong case for the style. A burbling, clanging bass tone and stomping drum kit drives this record with greater heft than I experienced on previous installments, evoking a deep-seated, monstrous rage that rattles my bones. Meanwhile, a frightening howl and a chanting croon ensorcells the spirit in much the same way as those who call upon eldritch forces maleficent and omnipotent, Sulphur Aeon. Filling the space between, a crunchy guitar tone lightly dusted with a moldy, post-metal fuzz envelops my senses and draws a sense of warmth into my flesh.
It’s a highly successful sound, one that is sometimes relegated to songwriting that doesn’t take full advantage of its power. Admittedly, Feral Darkness launches in fine form, with three muscular, riff-laden numbers that, while all falling somewhere inside the mid-paced category of speed, nonetheless propel with force. However, somewhere between the final third of the gloom-and-doom “Granite Sky” and the charred and post-y “Last Days,” monotony sets in. A lack of variation in pace wears on the mind, and a dearth of creative songwriting or exciting ideas siphons impact and memorability from the first half. As such, in moments where my time is precious, I struggle to commit to the rest of Feral Darkness’ bloated 50-minute runtime.
With time and some patience, I learned to remind myself that at this exact moment, a minor miracle occurs. “The Wintering” explodes in a burst of violent velocity capable of beheading those weak of upper spine, and Feral Darkness finds firm footing at last. The hits keep coming, too, as evil cuts like “Black Shapes” and the deathly “Wasps” double down on the blackened side of Tombs’ multifaceted personality. Layered tremolos and striking energy form a ashen shell that coats the final third of the record, as if to signify the final evolution of Feral Darkness’ story. Consequently, a new sense of scale builds a formidable presence that makes me forget my earlier quibbles, at least for a moment. Latecomer “Nightland” reprises those issues that plagued the first half, bloating the runtime with seven minutes of uninspired eeriness and a lack of compelling songwriting to go with it.
Tombs unearthed every tool they had in their long-established kit to craft Feral Darkness. I respect that level of versatility, and at the end of the day, the result is enjoyable, albeit a little choppy. Feral Darkness’ best material handily saves the record from falling down the pit of boredom, but it arrives almost too late. If they focused their efforts on their strongest ideas and left fluffy filler like “Nightland,” “Last Days,” or superfluous closing outro “Glaeken” on the cutting room floor, Tombs would’ve had an unstoppable, destructive monster to showcase to the world. As it stands, Feral Darkness will certainly please established fans of the band or the style, but might not convince skeptics or casual passers-by. It’s up to you to decide in which camp you belong.
Rating: Good
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Redefining Darkness
Websites: tombscult.bandcamp.com | facebook.com/TombsBklyn
Releases Worldwide: October 17th, 2025#2025 #30 #AmericanMetal #BlackMetal #BlackRoyal #FeralDarkness #Hardcore #InterArma #Mastodon #Oathbreaker #Oct25 #PostMetal #RedefiningDarkness #Review #Reviews #Sludge #SludgeMetal #SulphurAeon #Tombs
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By Kenstrosity
This is my first time reviewing Brooklyn’s Tombs, but it’s not my first time experiencing them. Each year that a new Tombs drops, I feel the hype machine churning from the community, which I love, disinterring my interest in the sludgy, blackened call Tombs is now known so well for. It’s been five years since the somewhat divisive Under Sullen Skies first graced my ears, and now I take over for Doom_et_Al to serve at the foot of Feral Darkness.
Tombs pushes forward with much of their confident, swaggering style intact. A boisterous mix of Black Royal groove, Oathbreaker vitriol, and a touch of that post-tinged Inter Arma nastiness, Feral Darkness makes a strong case for the style. A burbling, clanging bass tone and stomping drum kit drives this record with greater heft than I experienced on previous installments, evoking a deep-seated, monstrous rage that rattles my bones. Meanwhile, a frightening howl and a chanting croon ensorcells the spirit in much the same way as those who call upon eldritch forces maleficent and omnipotent, Sulphur Aeon. Filling the space between, a crunchy guitar tone lightly dusted with a moldy, post-metal fuzz envelops my senses and draws a sense of warmth into my flesh.
It’s a highly successful sound, one that is sometimes relegated to songwriting that doesn’t take full advantage of its power. Admittedly, Feral Darkness launches in fine form, with three muscular, riff-laden numbers that, while all falling somewhere inside the mid-paced category of speed, nonetheless propel with force. However, somewhere between the final third of the gloom-and-doom “Granite Sky” and the charred and post-y “Last Days,” monotony sets in. A lack of variation in pace wears on the mind, and a dearth of creative songwriting or exciting ideas siphons impact and memorability from the first half. As such, in moments where my time is precious, I struggle to commit to the rest of Feral Darkness’ bloated 50-minute runtime.
With time and some patience, I learned to remind myself that at this exact moment, a minor miracle occurs. “The Wintering” explodes in a burst of violent velocity capable of beheading those weak of upper spine, and Feral Darkness finds firm footing at last. The hits keep coming, too, as evil cuts like “Black Shapes” and the deathly “Wasps” double down on the blackened side of Tombs’ multifaceted personality. Layered tremolos and striking energy form a ashen shell that coats the final third of the record, as if to signify the final evolution of Feral Darkness’ story. Consequently, a new sense of scale builds a formidable presence that makes me forget my earlier quibbles, at least for a moment. Latecomer “Nightland” reprises those issues that plagued the first half, bloating the runtime with seven minutes of uninspired eeriness and a lack of compelling songwriting to go with it.
Tombs unearthed every tool they had in their long-established kit to craft Feral Darkness. I respect that level of versatility, and at the end of the day, the result is enjoyable, albeit a little choppy. Feral Darkness’ best material handily saves the record from falling down the pit of boredom, but it arrives almost too late. If they focused their efforts on their strongest ideas and left fluffy filler like “Nightland,” “Last Days,” or superfluous closing outro “Glaeken” on the cutting room floor, Tombs would’ve had an unstoppable, destructive monster to showcase to the world. As it stands, Feral Darkness will certainly please established fans of the band or the style, but might not convince skeptics or casual passers-by. It’s up to you to decide in which camp you belong.
Rating: Good
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Redefining Darkness
Websites: tombscult.bandcamp.com | facebook.com/TombsBklyn
Releases Worldwide: October 17th, 2025#2025 #30 #AmericanMetal #BlackMetal #BlackRoyal #FeralDarkness #Hardcore #InterArma #Mastodon #Oathbreaker #Oct25 #PostMetal #RedefiningDarkness #Review #Reviews #Sludge #SludgeMetal #SulphurAeon #Tombs
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By Kenstrosity
This is my first time reviewing Brooklyn’s Tombs, but it’s not my first time experiencing them. Each year that a new Tombs drops, I feel the hype machine churning from the community, which I love, disinterring my interest in the sludgy, blackened call Tombs is now known so well for. It’s been five years since the somewhat divisive Under Sullen Skies first graced my ears, and now I take over for Doom_et_Al to serve at the foot of Feral Darkness.
Tombs pushes forward with much of their confident, swaggering style intact. A boisterous mix of Black Royal groove, Oathbreaker vitriol, and a touch of that post-tinged Inter Arma nastiness, Feral Darkness makes a strong case for the style. A burbling, clanging bass tone and stomping drum kit drives this record with greater heft than I experienced on previous installments, evoking a deep-seated, monstrous rage that rattles my bones. Meanwhile, a frightening howl and a chanting croon ensorcells the spirit in much the same way as those who call upon eldritch forces maleficent and omnipotent, Sulphur Aeon. Filling the space between, a crunchy guitar tone lightly dusted with a moldy, post-metal fuzz envelops my senses and draws a sense of warmth into my flesh.
It’s a highly successful sound, one that is sometimes relegated to songwriting that doesn’t take full advantage of its power. Admittedly, Feral Darkness launches in fine form, with three muscular, riff-laden numbers that, while all falling somewhere inside the mid-paced category of speed, nonetheless propel with force. However, somewhere between the final third of the gloom-and-doom “Granite Sky” and the charred and post-y “Last Days,” monotony sets in. A lack of variation in pace wears on the mind, and a dearth of creative songwriting or exciting ideas siphons impact and memorability from the first half. As such, in moments where my time is precious, I struggle to commit to the rest of Feral Darkness’ bloated 50-minute runtime.
With time and some patience, I learned to remind myself that at this exact moment, a minor miracle occurs. “The Wintering” explodes in a burst of violent velocity capable of beheading those weak of upper spine, and Feral Darkness finds firm footing at last. The hits keep coming, too, as evil cuts like “Black Shapes” and the deathly “Wasps” double down on the blackened side of Tombs’ multifaceted personality. Layered tremolos and striking energy form a ashen shell that coats the final third of the record, as if to signify the final evolution of Feral Darkness’ story. Consequently, a new sense of scale builds a formidable presence that makes me forget my earlier quibbles, at least for a moment. Latecomer “Nightland” reprises those issues that plagued the first half, bloating the runtime with seven minutes of uninspired eeriness and a lack of compelling songwriting to go with it.
Tombs unearthed every tool they had in their long-established kit to craft Feral Darkness. I respect that level of versatility, and at the end of the day, the result is enjoyable, albeit a little choppy. Feral Darkness’ best material handily saves the record from falling down the pit of boredom, but it arrives almost too late. If they focused their efforts on their strongest ideas and left fluffy filler like “Nightland,” “Last Days,” or superfluous closing outro “Glaeken” on the cutting room floor, Tombs would’ve had an unstoppable, destructive monster to showcase to the world. As it stands, Feral Darkness will certainly please established fans of the band or the style, but might not convince skeptics or casual passers-by. It’s up to you to decide in which camp you belong.
Rating: Good
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Redefining Darkness
Websites: tombscult.bandcamp.com | facebook.com/TombsBklyn
Releases Worldwide: October 17th, 2025#2025 #30 #AmericanMetal #BlackMetal #BlackRoyal #FeralDarkness #Hardcore #InterArma #Mastodon #Oathbreaker #Oct25 #PostMetal #RedefiningDarkness #Review #Reviews #Sludge #SludgeMetal #SulphurAeon #Tombs
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By Kenstrosity
This is my first time reviewing Brooklyn’s Tombs, but it’s not my first time experiencing them. Each year that a new Tombs drops, I feel the hype machine churning from the community, which I love, disinterring my interest in the sludgy, blackened call Tombs is now known so well for. It’s been five years since the somewhat divisive Under Sullen Skies first graced my ears, and now I take over for Doom_et_Al to serve at the foot of Feral Darkness.
Tombs pushes forward with much of their confident, swaggering style intact. A boisterous mix of Black Royal groove, Oathbreaker vitriol, and a touch of that post-tinged Inter Arma nastiness, Feral Darkness makes a strong case for the style. A burbling, clanging bass tone and stomping drum kit drives this record with greater heft than I experienced on previous installments, evoking a deep-seated, monstrous rage that rattles my bones. Meanwhile, a frightening howl and a chanting croon ensorcells the spirit in much the same way as those who call upon eldritch forces maleficent and omnipotent, Sulphur Aeon. Filling the space between, a crunchy guitar tone lightly dusted with a moldy, post-metal fuzz envelops my senses and draws a sense of warmth into my flesh.
It’s a highly successful sound, one that is sometimes relegated to songwriting that doesn’t take full advantage of its power. Admittedly, Feral Darkness launches in fine form, with three muscular, riff-laden numbers that, while all falling somewhere inside the mid-paced category of speed, nonetheless propel with force. However, somewhere between the final third of the gloom-and-doom “Granite Sky” and the charred and post-y “Last Days,” monotony sets in. A lack of variation in pace wears on the mind, and a dearth of creative songwriting or exciting ideas siphons impact and memorability from the first half. As such, in moments where my time is precious, I struggle to commit to the rest of Feral Darkness’ bloated 50-minute runtime.
With time and some patience, I learned to remind myself that at this exact moment, a minor miracle occurs. “The Wintering” explodes in a burst of violent velocity capable of beheading those weak of upper spine, and Feral Darkness finds firm footing at last. The hits keep coming, too, as evil cuts like “Black Shapes” and the deathly “Wasps” double down on the blackened side of Tombs’ multifaceted personality. Layered tremolos and striking energy form a ashen shell that coats the final third of the record, as if to signify the final evolution of Feral Darkness’ story. Consequently, a new sense of scale builds a formidable presence that makes me forget my earlier quibbles, at least for a moment. Latecomer “Nightland” reprises those issues that plagued the first half, bloating the runtime with seven minutes of uninspired eeriness and a lack of compelling songwriting to go with it.
Tombs unearthed every tool they had in their long-established kit to craft Feral Darkness. I respect that level of versatility, and at the end of the day, the result is enjoyable, albeit a little choppy. Feral Darkness’ best material handily saves the record from falling down the pit of boredom, but it arrives almost too late. If they focused their efforts on their strongest ideas and left fluffy filler like “Nightland,” “Last Days,” or superfluous closing outro “Glaeken” on the cutting room floor, Tombs would’ve had an unstoppable, destructive monster to showcase to the world. As it stands, Feral Darkness will certainly please established fans of the band or the style, but might not convince skeptics or casual passers-by. It’s up to you to decide in which camp you belong.
Rating: Good
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Redefining Darkness
Websites: tombscult.bandcamp.com | facebook.com/TombsBklyn
Releases Worldwide: October 17th, 2025#2025 #30 #AmericanMetal #BlackMetal #BlackRoyal #FeralDarkness #Hardcore #InterArma #Mastodon #Oathbreaker #Oct25 #PostMetal #RedefiningDarkness #Review #Reviews #Sludge #SludgeMetal #SulphurAeon #Tombs
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By Kenstrosity
This is my first time reviewing Brooklyn’s Tombs, but it’s not my first time experiencing them. Each year that a new Tombs drops, I feel the hype machine churning from the community, which I love, disinterring my interest in the sludgy, blackened call Tombs is now known so well for. It’s been five years since the somewhat divisive Under Sullen Skies first graced my ears, and now I take over for Doom_et_Al to serve at the foot of Feral Darkness.
Tombs pushes forward with much of their confident, swaggering style intact. A boisterous mix of Black Royal groove, Oathbreaker vitriol, and a touch of that post-tinged Inter Arma nastiness, Feral Darkness makes a strong case for the style. A burbling, clanging bass tone and stomping drum kit drives this record with greater heft than I experienced on previous installments, evoking a deep-seated, monstrous rage that rattles my bones. Meanwhile, a frightening howl and a chanting croon ensorcells the spirit in much the same way as those who call upon eldritch forces maleficent and omnipotent, Sulphur Aeon. Filling the space between, a crunchy guitar tone lightly dusted with a moldy, post-metal fuzz envelops my senses and draws a sense of warmth into my flesh.
It’s a highly successful sound, one that is sometimes relegated to songwriting that doesn’t take full advantage of its power. Admittedly, Feral Darkness launches in fine form, with three muscular, riff-laden numbers that, while all falling somewhere inside the mid-paced category of speed, nonetheless propel with force. However, somewhere between the final third of the gloom-and-doom “Granite Sky” and the charred and post-y “Last Days,” monotony sets in. A lack of variation in pace wears on the mind, and a dearth of creative songwriting or exciting ideas siphons impact and memorability from the first half. As such, in moments where my time is precious, I struggle to commit to the rest of Feral Darkness’ bloated 50-minute runtime.
With time and some patience, I learned to remind myself that at this exact moment, a minor miracle occurs. “The Wintering” explodes in a burst of violent velocity capable of beheading those weak of upper spine, and Feral Darkness finds firm footing at last. The hits keep coming, too, as evil cuts like “Black Shapes” and the deathly “Wasps” double down on the blackened side of Tombs’ multifaceted personality. Layered tremolos and striking energy form a ashen shell that coats the final third of the record, as if to signify the final evolution of Feral Darkness’ story. Consequently, a new sense of scale builds a formidable presence that makes me forget my earlier quibbles, at least for a moment. Latecomer “Nightland” reprises those issues that plagued the first half, bloating the runtime with seven minutes of uninspired eeriness and a lack of compelling songwriting to go with it.
Tombs unearthed every tool they had in their long-established kit to craft Feral Darkness. I respect that level of versatility, and at the end of the day, the result is enjoyable, albeit a little choppy. Feral Darkness’ best material handily saves the record from falling down the pit of boredom, but it arrives almost too late. If they focused their efforts on their strongest ideas and left fluffy filler like “Nightland,” “Last Days,” or superfluous closing outro “Glaeken” on the cutting room floor, Tombs would’ve had an unstoppable, destructive monster to showcase to the world. As it stands, Feral Darkness will certainly please established fans of the band or the style, but might not convince skeptics or casual passers-by. It’s up to you to decide in which camp you belong.
Rating: Good
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Redefining Darkness
Websites: tombscult.bandcamp.com | facebook.com/TombsBklyn
Releases Worldwide: October 17th, 2025#2025 #30 #AmericanMetal #BlackMetal #BlackRoyal #FeralDarkness #Hardcore #InterArma #Mastodon #Oathbreaker #Oct25 #PostMetal #RedefiningDarkness #Review #Reviews #Sludge #SludgeMetal #SulphurAeon #Tombs
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I like #Oathbreaker and think it's a fun format that lets you play spooky little combo decks like this one: https://archidekt.com/decks/4567976/tyvars_woods and I think you should try it out! (The format, not necessarily the deck, also Squandered Resources is much more expensive now than when I built this) #MagicTheGathering
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Para cuando otro disco de Oathbreaker? Queremos de saber!
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Riverside Community Hospital workers ask protesters to help stop ICE from kidnapping patients from hospital care
#ICE #Hospital #Kidnappings #Riverside #California #USA #CriticalCare #HumanRights #Racism #Fascism #Deportations #Civilians #LegalResidents #Trump #CrimesAgainstHumanity #OathBreaker
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Svarta Havet – Månen Ska Lysa Din Väg Review
By Kenstrosity
Hailing from Turku, Finland, post-hardcore/blackened post-punk activists Svarta Havet boast a passionate mission statement focused on denouncing fascism; raising connected communities; advocating queer, feminist, and transgender rights and justice; rejecting late-stage capitalist values and recognizing their wide reaching damages to society and the planet; and supporting animal rights. Oftentimes, material dealing with these ideals in the heavy music space trend towards the cynical, hopeless, and bitter perspectives. Those are all valid emotional responses of course, but for Svarta Havet, the primary message is one of hope. These Finns truly believe humanity can turn it around, and make the right choices together to one day repair our connection to ourselves as human beings, to the Earth as stewards of its land and inseparable members of the greater ecosystem, and to our communities as social creatures who thrive together and not apart.
It’s this message that drew me to Svarta Havet, at Steel’s recommendation, having never heard a note of their music before. What I beheld in their sophomore record, Månen Ska Lysa Din Väg, is exactly what my promo says on the tin. Post-punk and post-hardcore, with a blackened char. Comparisons to Oathbreaker, Unfurl, and early Downfall of Gaia fit right at home within Svarta Havet’s, albeit more stripped-down interpretation of the style. Building bridges between airy atmosphere and driven, punky attitudes, Månen Ska Lysa Din Väg boasts a variety of moods, textures, and tempos to help enliven each of its tight 37 minutes. At the same time, it sports a bleak, monochromatic tone that grounds its lively performances inside the reality of our world. With this intriguing formula, Svarta Havet achieve a sound rooted in the trials and tribulations of society in the current era while the fire of change, of hope, and of a deep yearning for a better tomorrow roils just underfoot.
Because Svarta Havet designed Månen Ska Lysa Din Väg to deliver hopeful, motivating messaging to its audience, I understood why many of these songs aren’t as aggressive, depressive, or explosive as my aforementioned reference points. When “Härlig Är Jorden” implements a slower, more deliberate motif as its primary structure right after opener “Göm Dig” lays across the landscape its blackened post-punk blade, the intent is clear. Månen Ska Lysa Din Väg is a record for those who wish to listen with an active, open mind, separated from the primal need for relentless riffs and uncompromising violence. As “Avgrunden” and later MENA-influenced cut “Djur” raise themselves above the horizon with looming, overcast moods and textured leads, the grim reality of the world is placed firmly in the foreground. However, interspersed within those themes, a counterpoint of inspirational, almost exuberant tremolos and ascendant atmospheric blooms belie that spirit which is unwilling to yield to the shadows. “Göm Dig” and “Alla Stover” stoke that fire with the most riff-centric material Svarta Havet have to offer in this installment, brimming with a lively swagger and a punky attitude. In this back-and-forth, Månen Ska Lysa Din Väg succeeds in its mission of finding the light in a world that’s lost its way.
The main roadblock to making this record stand out more is one of balance in its compositions. Too often, passages which establish their purpose and achieve their desired effect within the first minute or two extend far past that point, which compromises their impact (“Härlig Är Jorden,” “Ditt Rike”). Sometimes this detrimental quality comes about in the form of a heavy reliance on baseline repetition. Other times, it manifests in a meandering passage whose resolution doesn’t always justify the wait. In other areas, Svarta Havet’s heavier passages can seem overly busy when placed as they are next to more thoughtful pieces (particularly the chorus to “Alla Stover”). Another byproduct of the imbalance Månen Ska Lysa Din Väg carries, the most memorable material leaves very little room for the in-betweens to make a lasting impression. I easily recall “Djur” for its doom-laden riffs and hypnotic depiction of those scenes of war that devastate the same animal ecosystems to which we all intrinsically belong, but I can’t remember a note of its sequel “Under Staden.” This is especially conflicting as “Under Staden” is arguably the more important of the two to Svarta Havet’s mission, spotlighting the remarkable resilience we see in nature, particularly in animals and insects, within sprawling artificial developments.
When the dust settles, and Månen Ska Lysa Din Väg heaves its last blackened breath, I find myself torn. I love the intent and passion Svarta Havet instilled within their sophomore album, and I think this style of music beautifully fits the prompt. However, I yearn to feel an unbridled enthusiasm for Månen Ska Lysa Din Väg that keeps me coming back for more without a second thought. Instead, I feel a respectable excitement for what Svarta Havet might do to develop their material further going forward. So I wait, on the edge of my seat, to hear what they do next.
Rating: Mixed
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Prosthetic Records
Website: facebook.com/svartahafvet
Releases Worldwide: May 9th, 2025#25 #2025 #BlackMetal #DownfallOfGaia #FinnishMetal #MånenSkaLysaDinVäg #May25 #Oathbreaker #PostBlackMetal #PostHardcore #PostMetal #postPunk #ProstheticRecords #Review #Reviews #SvartaHavet #Unfurl
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Svarta Havet – Månen Ska Lysa Din Väg Review
By Kenstrosity
Hailing from Turku, Finland, post-hardcore/blackened post-punk activists Svarta Havet boast a passionate mission statement focused on denouncing fascism; raising connected communities; advocating queer, feminist, and transgender rights and justice; rejecting late-stage capitalist values and recognizing their wide reaching damages to society and the planet; and supporting animal rights. Oftentimes, material dealing with these ideals in the heavy music space trend towards the cynical, hopeless, and bitter perspectives. Those are all valid emotional responses of course, but for Svarta Havet, the primary message is one of hope. These Finns truly believe humanity can turn it around, and make the right choices together to one day repair our connection to ourselves as human beings, to the Earth as stewards of its land and inseparable members of the greater ecosystem, and to our communities as social creatures who thrive together and not apart.
It’s this message that drew me to Svarta Havet, at Steel’s recommendation, having never heard a note of their music before. What I beheld in their sophomore record, Månen Ska Lysa Din Väg, is exactly what my promo says on the tin. Post-punk and post-hardcore, with a blackened char. Comparisons to Oathbreaker, Unfurl, and early Downfall of Gaia fit right at home within Svarta Havet’s, albeit more stripped-down interpretation of the style. Building bridges between airy atmosphere and driven, punky attitudes, Månen Ska Lysa Din Väg boasts a variety of moods, textures, and tempos to help enliven each of its tight 37 minutes. At the same time, it sports a bleak, monochromatic tone that grounds its lively performances inside the reality of our world. With this intriguing formula, Svarta Havet achieve a sound rooted in the trials and tribulations of society in the current era while the fire of change, of hope, and of a deep yearning for a better tomorrow roils just underfoot.
Because Svarta Havet designed Månen Ska Lysa Din Väg to deliver hopeful, motivating messaging to its audience, I understood why many of these songs aren’t as aggressive, depressive, or explosive as my aforementioned reference points. When “Härlig Är Jorden” implements a slower, more deliberate motif as its primary structure right after opener “Göm Dig” lays across the landscape its blackened post-punk blade, the intent is clear. Månen Ska Lysa Din Väg is a record for those who wish to listen with an active, open mind, separated from the primal need for relentless riffs and uncompromising violence. As “Avgrunden” and later MENA-influenced cut “Djur” raise themselves above the horizon with looming, overcast moods and textured leads, the grim reality of the world is placed firmly in the foreground. However, interspersed within those themes, a counterpoint of inspirational, almost exuberant tremolos and ascendant atmospheric blooms belie that spirit which is unwilling to yield to the shadows. “Göm Dig” and “Alla Stover” stoke that fire with the most riff-centric material Svarta Havet have to offer in this installment, brimming with a lively swagger and a punky attitude. In this back-and-forth, Månen Ska Lysa Din Väg succeeds in its mission of finding the light in a world that’s lost its way.
The main roadblock to making this record stand out more is one of balance in its compositions. Too often, passages which establish their purpose and achieve their desired effect within the first minute or two extend far past that point, which compromises their impact (“Härlig Är Jorden,” “Ditt Rike”). Sometimes this detrimental quality comes about in the form of a heavy reliance on baseline repetition. Other times, it manifests in a meandering passage whose resolution doesn’t always justify the wait. In other areas, Svarta Havet’s heavier passages can seem overly busy when placed as they are next to more thoughtful pieces (particularly the chorus to “Alla Stover”). Another byproduct of the imbalance Månen Ska Lysa Din Väg carries, the most memorable material leaves very little room for the in-betweens to make a lasting impression. I easily recall “Djur” for its doom-laden riffs and hypnotic depiction of those scenes of war that devastate the same animal ecosystems to which we all intrinsically belong, but I can’t remember a note of its sequel “Under Staden.” This is especially conflicting as “Under Staden” is arguably the more important of the two to Svarta Havet’s mission, spotlighting the remarkable resilience we see in nature, particularly in animals and insects, within sprawling artificial developments.
When the dust settles, and Månen Ska Lysa Din Väg heaves its last blackened breath, I find myself torn. I love the intent and passion Svarta Havet instilled within their sophomore album, and I think this style of music beautifully fits the prompt. However, I yearn to feel an unbridled enthusiasm for Månen Ska Lysa Din Väg that keeps me coming back for more without a second thought. Instead, I feel a respectable excitement for what Svarta Havet might do to develop their material further going forward. So I wait, on the edge of my seat, to hear what they do next.
Rating: Mixed
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Prosthetic Records
Website: facebook.com/svartahafvet
Releases Worldwide: May 9th, 2025#25 #2025 #BlackMetal #DownfallOfGaia #FinnishMetal #MånenSkaLysaDinVäg #May25 #Oathbreaker #PostBlackMetal #PostHardcore #PostMetal #postPunk #ProstheticRecords #Review #Reviews #SvartaHavet #Unfurl
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Svarta Havet – Månen Ska Lysa Din Väg Review
By Kenstrosity
Hailing from Turku, Finland, post-hardcore/blackened post-punk activists Svarta Havet boast a passionate mission statement focused on denouncing fascism; raising connected communities; advocating queer, feminist, and transgender rights and justice; rejecting late-stage capitalist values and recognizing their wide reaching damages to society and the planet; and supporting animal rights. Oftentimes, material dealing with these ideals in the heavy music space trend towards the cynical, hopeless, and bitter perspectives. Those are all valid emotional responses of course, but for Svarta Havet, the primary message is one of hope. These Finns truly believe humanity can turn it around, and make the right choices together to one day repair our connection to ourselves as human beings, to the Earth as stewards of its land and inseparable members of the greater ecosystem, and to our communities as social creatures who thrive together and not apart.
It’s this message that drew me to Svarta Havet, at Steel’s recommendation, having never heard a note of their music before. What I beheld in their sophomore record, Månen Ska Lysa Din Väg, is exactly what my promo says on the tin. Post-punk and post-hardcore, with a blackened char. Comparisons to Oathbreaker, Unfurl, and early Downfall of Gaia fit right at home within Svarta Havet’s, albeit more stripped-down interpretation of the style. Building bridges between airy atmosphere and driven, punky attitudes, Månen Ska Lysa Din Väg boasts a variety of moods, textures, and tempos to help enliven each of its tight 37 minutes. At the same time, it sports a bleak, monochromatic tone that grounds its lively performances inside the reality of our world. With this intriguing formula, Svarta Havet achieve a sound rooted in the trials and tribulations of society in the current era while the fire of change, of hope, and of a deep yearning for a better tomorrow roils just underfoot.
Because Svarta Havet designed Månen Ska Lysa Din Väg to deliver hopeful, motivating messaging to its audience, I understood why many of these songs aren’t as aggressive, depressive, or explosive as my aforementioned reference points. When “Härlig Är Jorden” implements a slower, more deliberate motif as its primary structure right after opener “Göm Dig” lays across the landscape its blackened post-punk blade, the intent is clear. Månen Ska Lysa Din Väg is a record for those who wish to listen with an active, open mind, separated from the primal need for relentless riffs and uncompromising violence. As “Avgrunden” and later MENA-influenced cut “Djur” raise themselves above the horizon with looming, overcast moods and textured leads, the grim reality of the world is placed firmly in the foreground. However, interspersed within those themes, a counterpoint of inspirational, almost exuberant tremolos and ascendant atmospheric blooms belie that spirit which is unwilling to yield to the shadows. “Göm Dig” and “Alla Stover” stoke that fire with the most riff-centric material Svarta Havet have to offer in this installment, brimming with a lively swagger and a punky attitude. In this back-and-forth, Månen Ska Lysa Din Väg succeeds in its mission of finding the light in a world that’s lost its way.
The main roadblock to making this record stand out more is one of balance in its compositions. Too often, passages which establish their purpose and achieve their desired effect within the first minute or two extend far past that point, which compromises their impact (“Härlig Är Jorden,” “Ditt Rike”). Sometimes this detrimental quality comes about in the form of a heavy reliance on baseline repetition. Other times, it manifests in a meandering passage whose resolution doesn’t always justify the wait. In other areas, Svarta Havet’s heavier passages can seem overly busy when placed as they are next to more thoughtful pieces (particularly the chorus to “Alla Stover”). Another byproduct of the imbalance Månen Ska Lysa Din Väg carries, the most memorable material leaves very little room for the in-betweens to make a lasting impression. I easily recall “Djur” for its doom-laden riffs and hypnotic depiction of those scenes of war that devastate the same animal ecosystems to which we all intrinsically belong, but I can’t remember a note of its sequel “Under Staden.” This is especially conflicting as “Under Staden” is arguably the more important of the two to Svarta Havet’s mission, spotlighting the remarkable resilience we see in nature, particularly in animals and insects, within sprawling artificial developments.
When the dust settles, and Månen Ska Lysa Din Väg heaves its last blackened breath, I find myself torn. I love the intent and passion Svarta Havet instilled within their sophomore album, and I think this style of music beautifully fits the prompt. However, I yearn to feel an unbridled enthusiasm for Månen Ska Lysa Din Väg that keeps me coming back for more without a second thought. Instead, I feel a respectable excitement for what Svarta Havet might do to develop their material further going forward. So I wait, on the edge of my seat, to hear what they do next.
Rating: Mixed
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Prosthetic Records
Website: facebook.com/svartahafvet
Releases Worldwide: May 9th, 2025#25 #2025 #BlackMetal #DownfallOfGaia #FinnishMetal #MånenSkaLysaDinVäg #May25 #Oathbreaker #PostBlackMetal #PostHardcore #PostMetal #postPunk #ProstheticRecords #Review #Reviews #SvartaHavet #Unfurl
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Svarta Havet – Månen Ska Lysa Din Väg Review
By Kenstrosity
Hailing from Turku, Finland, post-hardcore/blackened post-punk activists Svarta Havet boast a passionate mission statement focused on denouncing fascism; raising connected communities; advocating queer, feminist, and transgender rights and justice; rejecting late-stage capitalist values and recognizing their wide reaching damages to society and the planet; and supporting animal rights. Oftentimes, material dealing with these ideals in the heavy music space trend towards the cynical, hopeless, and bitter perspectives. Those are all valid emotional responses of course, but for Svarta Havet, the primary message is one of hope. These Finns truly believe humanity can turn it around, and make the right choices together to one day repair our connection to ourselves as human beings, to the Earth as stewards of its land and inseparable members of the greater ecosystem, and to our communities as social creatures who thrive together and not apart.
It’s this message that drew me to Svarta Havet, at Steel’s recommendation, having never heard a note of their music before. What I beheld in their sophomore record, Månen Ska Lysa Din Väg, is exactly what my promo says on the tin. Post-punk and post-hardcore, with a blackened char. Comparisons to Oathbreaker, Unfurl, and early Downfall of Gaia fit right at home within Svarta Havet’s, albeit more stripped-down interpretation of the style. Building bridges between airy atmosphere and driven, punky attitudes, Månen Ska Lysa Din Väg boasts a variety of moods, textures, and tempos to help enliven each of its tight 37 minutes. At the same time, it sports a bleak, monochromatic tone that grounds its lively performances inside the reality of our world. With this intriguing formula, Svarta Havet achieve a sound rooted in the trials and tribulations of society in the current era while the fire of change, of hope, and of a deep yearning for a better tomorrow roils just underfoot.
Because Svarta Havet designed Månen Ska Lysa Din Väg to deliver hopeful, motivating messaging to its audience, I understood why many of these songs aren’t as aggressive, depressive, or explosive as my aforementioned reference points. When “Härlig Är Jorden” implements a slower, more deliberate motif as its primary structure right after opener “Göm Dig” lays across the landscape its blackened post-punk blade, the intent is clear. Månen Ska Lysa Din Väg is a record for those who wish to listen with an active, open mind, separated from the primal need for relentless riffs and uncompromising violence. As “Avgrunden” and later MENA-influenced cut “Djur” raise themselves above the horizon with looming, overcast moods and textured leads, the grim reality of the world is placed firmly in the foreground. However, interspersed within those themes, a counterpoint of inspirational, almost exuberant tremolos and ascendant atmospheric blooms belie that spirit which is unwilling to yield to the shadows. “Göm Dig” and “Alla Stover” stoke that fire with the most riff-centric material Svarta Havet have to offer in this installment, brimming with a lively swagger and a punky attitude. In this back-and-forth, Månen Ska Lysa Din Väg succeeds in its mission of finding the light in a world that’s lost its way.
The main roadblock to making this record stand out more is one of balance in its compositions. Too often, passages which establish their purpose and achieve their desired effect within the first minute or two extend far past that point, which compromises their impact (“Härlig Är Jorden,” “Ditt Rike”). Sometimes this detrimental quality comes about in the form of a heavy reliance on baseline repetition. Other times, it manifests in a meandering passage whose resolution doesn’t always justify the wait. In other areas, Svarta Havet’s heavier passages can seem overly busy when placed as they are next to more thoughtful pieces (particularly the chorus to “Alla Stover”). Another byproduct of the imbalance Månen Ska Lysa Din Väg carries, the most memorable material leaves very little room for the in-betweens to make a lasting impression. I easily recall “Djur” for its doom-laden riffs and hypnotic depiction of those scenes of war that devastate the same animal ecosystems to which we all intrinsically belong, but I can’t remember a note of its sequel “Under Staden.” This is especially conflicting as “Under Staden” is arguably the more important of the two to Svarta Havet’s mission, spotlighting the remarkable resilience we see in nature, particularly in animals and insects, within sprawling artificial developments.
When the dust settles, and Månen Ska Lysa Din Väg heaves its last blackened breath, I find myself torn. I love the intent and passion Svarta Havet instilled within their sophomore album, and I think this style of music beautifully fits the prompt. However, I yearn to feel an unbridled enthusiasm for Månen Ska Lysa Din Väg that keeps me coming back for more without a second thought. Instead, I feel a respectable excitement for what Svarta Havet might do to develop their material further going forward. So I wait, on the edge of my seat, to hear what they do next.
Rating: Mixed
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Prosthetic Records
Website: facebook.com/svartahafvet
Releases Worldwide: May 9th, 2025#25 #2025 #BlackMetal #DownfallOfGaia #FinnishMetal #MånenSkaLysaDinVäg #May25 #Oathbreaker #PostBlackMetal #PostHardcore #PostMetal #postPunk #ProstheticRecords #Review #Reviews #SvartaHavet #Unfurl
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Anybody need a Dark Lord? Maybe a grim bodyguard? Overly imposing random baddie? The Marrow Commander has you covered.
--
#holyfireminis #westfaliaminiatures #skull #skeleton #knight #deathknight #oathbreaker #villain #bbeg #rpg #ttrpg #dungeonsanddragons #dnd #pathfinder #paladin #antipaladin #miniaturepainting #minipainting #painting #art -
Anybody need a Dark Lord? Maybe a grim bodyguard? Overly imposing random baddie? The Marrow Commander has you covered.
--
#holyfireminis #westfaliaminiatures #skull #skeleton #knight #deathknight #oathbreaker #villain #bbeg #rpg #ttrpg #dungeonsanddragons #dnd #pathfinder #paladin #antipaladin #miniaturepainting #minipainting #painting #art -
Anybody need a Dark Lord? Maybe a grim bodyguard? Overly imposing random baddie? The Marrow Commander has you covered.
--
#holyfireminis #westfaliaminiatures #skull #skeleton #knight #deathknight #oathbreaker #villain #bbeg #rpg #ttrpg #dungeonsanddragons #dnd #pathfinder #paladin #antipaladin #miniaturepainting #minipainting #painting #art -
Anybody need a Dark Lord? Maybe a grim bodyguard? Overly imposing random baddie? The Marrow Commander has you covered.
--
#holyfireminis #westfaliaminiatures #skull #skeleton #knight #deathknight #oathbreaker #villain #bbeg #rpg #ttrpg #dungeonsanddragons #dnd #pathfinder #paladin #antipaladin #miniaturepainting #minipainting #painting #art -
Anybody need a Dark Lord? Maybe a grim bodyguard? Overly imposing random baddie? The Marrow Commander has you covered.
--
#holyfireminis #westfaliaminiatures #skull #skeleton #knight #deathknight #oathbreaker #villain #bbeg #rpg #ttrpg #dungeonsanddragons #dnd #pathfinder #paladin #antipaladin #miniaturepainting #minipainting #painting #art -
#TheMetalDogArticleList
#MetalInjection
LIVING GATE (YOB, OATHBREAKER) Announces Debut Album, Streams "Hunting Maggots" -
It is starting to happen #unelectable #14th #OathBreaker https://secure.actblue.com/donate/trumpdisqualification
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Second Son of R. - #Oathbreaker #Rheia #Music #PostBlackMetal #PostPunk
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The #Oathbreaker #MTG format, developed by Minnesota's own #WeirdCards, has now gained official recognition. #MNastodon https://twincitiesgeek.com/2023/03/oathbreaker-is-now-an-official-magic-the-gathering-format/
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@ploum Alors en fait j'ai pas mal de groupes de 3 ou 4 avec une chanteuse qui prend toute la place et une bonne batterie mais c'est dur de trouver une majorité féminine (je pense à #JulieChristmas de #BattleOfMice et #MadeOutOfBabies ).
Ou #Oathbreaker également, mais ce n'est pas vraiment ta demande donc.
Il y a aussi #Monarch! (français... enfin on ne comprend pas de toute façon :p) mais même configuration :
https://youtu.be/4KeqehF6U2g -
En 2016, #oathbreaker change de batteur, et celui ci a l'air de bien aimer ce qu'ils font.
Une petite session "live" chez #audiotree avec des morceaux de leur dernier album #RheiaCa commence doucement... 😍
(Top commentaire 😱 :
-How you guys got her as a vocalist?
-Yeah... a Banshee showed up at my uncle's window to announce his imminent death and we asked her if she wanted to sing in a black #metal band and she said yes.)https://www.youtube.com/watch?v=plVRg5X7UW4&feature=youtu.be&t=32s
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#oathbreaker fait partie d'un... groupement qui s'appelle Church of Ra avec notamment #Amenra ou The Black Heart Rebellion - #TBHR).
Dans une église, avec le groupe #Hessian, ça donnait ça en 2011 (c'est moins dansant mais pfiuuu) 🤘 :
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Je n'irais pas dire dansant, mais pas loin quand même, avec "No Rest For The Weary", de leur second album Eros|Anteros (2013)
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Je change de continent avec du #Metal belge bien sombre, Caro Tanghe au chant
#OATHBREAKER "Glimpse Of The Unseen"
(album Mælstrøm, 2011)
