#post-black-metal — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #post-black-metal, aggregated by home.social.
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For @HailsandAles' #BlackMetalMonday:
#Apostle: A Splinter in the Infinite Noumenon
https://album.link/dtngq0kjsbff8
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SANGLOT (Canadà) presenta nou EP: "Onatchiway" #Sanglot #Depressive #PostBlackMetal #Juny2026 #Canadà #NouEp #Metall #Metal #MúsicaMetal #MetalMusic
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TOGETHER TO THE STARS (Suècia) presenta nou àlbum: "Iridescence" #TogetherToTheStars #PostBlackMetal #Juny2026 #Suècia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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RAAT (Índia) presenta nou EP: "Abstraction" #Raat #PostRock #Shoegaze #PostBlackMetal #Juny2026 #Índia #NouEp #Metall #Metal #MúsicaMetal #MetalMusic
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So, it's not only #MittwochMetalMix but also #MusicWomenWednesday
To stay true (not Trve) for the first, some #postblackmetal from (DOLCH).
Does someone know, if they are still active?
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So, it's not only #MittwochMetalMix but also #MusicWomenWednesday
To stay true (not Trve) for the first, some #postblackmetal from (DOLCH).
Does someone know, if they are still active?
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GROHIIK (França) presenta nou EP: "Subconscious: No, I'm Not a Human" #Grohiik #Atmospheric #PostBlackMetal #Juny2026 #França #NouEp #Metall #Metal #MúsicaMetal #MetalMusic
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I GUESS THIS IS IT. (Estats Units) presenta nou àlbum: "Things That Hurt to Remember / When It Gets Quiet" #IGuessThisIsIt #Raw #Depressive #PostBlackMetal #Maig2026 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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NIDELGRET (Suïssa) presenta nou àlbum: "Trauerlärm" #Nidelgret #PostBlackMetal #Maig2026 #Suïssa #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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DISAPPEAR... (Austràlia) presenta nou àlbum: "Stargazer" #Disappear #Depressive #PostBlackMetal #Maig2026 #Austràlia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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NIRENSIMT (Estats Units) presenta nou Split: "Ceaseless Majesty, Endless Malice" #Nirensimt #Atmospheric #PostBlackMetal #Maig2026 #EstatsUnits #NouSplit #Metall #Metal #MúsicaMetal #MetalMusic
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Fen have unveiled “Tectonic,” the first single and video from their upcoming album Elemental Part One: Mourning Earth, arriving August 21 via Prophecy Productions.
The new track serves as the opening chapter in an ambitious two-part concept and showcases the band's atmospheric post-black metal intensity.
#Fen #PostBlackMetal #BlackMetal #Tectonic #MourningEarth #ProphecyProductions #MetalNews
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🔥 NEW INTERVIEW 🔥
Where shadows turn into sound. 🌑
Dive deep into the atmospheric gloom of German post-black metal act ENTGEIST. We sat down with Tim & Sergej to discuss the haunting vision behind their latest release, Welk.
Read the full interview here: https://roughtimes.net/interviews/entgeist-where-shadows-turn-into-sound-germany-post-black-metal-interview-with-tim-sergej
#ENTGEIST #PostBlackMetal #BlackMetal #NewMusic #Welk #Interview #AtmosphericBlackMetal
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CRYPTIC RISING (Estats Units) presenta nou EP: "Endless Descent" #CrypticRising #PostBlackMetal #Noise #DeathMetal #Maig2026 #EstatsUnits #NouEp #Metall #Metal #MúsicaMetal #MetalMusic
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ATELOPHOBIA (Suècia) presenta nou àlbum: "Abstrakta ångestattacker" #Atelophobia #PostBlackMetal #Maig2026 #Suècia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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ARC RIEN presenta nou àlbum: "—" #ArcRien #AvantGarde #PostBlackMetal #Maig2026 #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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SADNESS (Estats Units) presenta nou recopilatori: "Spring 2025" #Sadness #Depressive #PostBlackMetal #Maig2026 #EstatsUnits #NouRecopilatori #Metall #Metal #MúsicaMetal #MetalMusic
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IX of Blades y el disco de Post-Black Metal que revienta moldes: 'Way of The Midnight Wave'
Info en 👉 https://www.guitarcalavera.com/ix-of-blades-way-of-the-midnight-wave/
#ExtremeMetal #IXofBlades #PostBlackMetal #guitarcalavera #guitarcalaveramagazine
https://www.guitarcalavera.com/ix-of-blades-way-of-the-midnight-wave/?utm_medium=Guitar%20Calavera%20&fsp_sid=3516&utm_source=Mastodon%20&utm_campaign=ix-of-blades-way-of-the-midnight-wave%20 -
MAUNA SOL (Romania) presenta nou àlbum: "The Calling" #MaunaSol #PostBlackMetal #Maig2026 #Romania #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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SANGKAL (Indonèsia) presenta nou àlbum: "Niskalafana" #Sangkal #PostBlackMetal #Maig2026 #Indonèsia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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INTRÍNSECO (Brasil) presenta nou àlbum: "Dreadwood" #Intrínseco #PostBlackMetal #Maig2026 #Brasil #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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BÁL (Hongria) presenta nou àlbum: "Csapás" #Bál #Atmospheric #PostBlackMetal #Maig2026 #Hongria #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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❗️ Opposition permanente entre ombre et lumière, délicatesse et puissance, le magnifique post-black d'𝗘𝘅𝗶𝗹 dans "Karga" séduit...
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For #MittwochMetalMix I share the most surprising (at least for me) new release from last week. I didn't even know the band exists, but I really dig this album.
A Forest of Stars – Stack Overflow In Corpse Pile Interface
https://musiccloud.io/wI8O3 -
For #MittwochMetalMix I share the most surprising (at least for me) new release from last week. I didn't even know the band exists, but I really dig this album.
A Forest of Stars – Stack Overflow In Corpse Pile Interface
https://musiccloud.io/wI8O3 -
Silaera – An Aberration of the Void Review By KenstrosityWritten By: Aleken’s Gunstrosity
Every year has one magical moment that I look forward to with great anticipation: the first metal release that wows me enough to think it’ll be my AotY. It’s an electric sensation, and it just so happens that Alekhines Gun brought first lightning to my world this year, in the form of atmospheric post-black metal band Silaera’s debut record, An Aberration of the Void. The Chicagoan triplet, established in 2019 as a one-man project, rounded out their lineup with a bassist and a second guitarist last year as they recorded their striking debut. Complete with a stunning Burke piece adorning its cover, An Aberration of the Void left Gun and I with our jaws on the floor, so much so that we had no choice but to write this review together. Two different voices, one unified piece.
An Aberration of the Void is an apt moniker for Silaera’s first outing, as the band masterfully wields all of black metal’s forms as if they were intrinsic properties of their very being. At once gorgeous, frightening, triumphant, and evil, An Aberration of the Void recalls the sweeping flares of Mare Cognitum (“A Celestial Grave”), the gentle caress of Noltem (the first quarter of “Fall into Cosmic Sleep”), the fervent dissonance of Vimur (“From Entropic Dust”), and the devastating heft of the altogether more vicious Keres (“Abhorring the Lifting of Eyes, the middle third of “Fall into Cosmic Sleep”). Yet, Silaera’s talent for transitions and assembly manage to craft a vision like visiting an alien planet; you’ve seen planets before, but none like this, and trying to classify its place in the cosmos in relation to other stars is a waste of time. This planet simply is. An Aberration’s production conjures specters of the celestial in similar fashion, transversely aligning full, rich chords, cavernous reverb, and a deep low end against crystalline shimmers and bright midranges. The result is a magical composition of unknown and unknowable beauty churning with the destructive energy of a collapsing star.
If you need a quick peak into the nebula awaiting, point your telescopes to “Abhorring the Lifting of Eyes,” a masterstroke of composition, creativity, and unpredictability. Launching with a sparkling1 trem-heavy intro, it glides into a long-form riff of cosmic mysticism before variating into a brutally heavy crush, which then spontaneously combusts into a jagged groove attack liable to snap your neck like a toothpick. Tellingly, vocals take a dumbfounding length of time to kick in, but aren’t noticed in their absence until they make their presence known—this serves only to enhance their impact. Moments of contrast like this abound on An Aberration, giving new meaning to the term “beauty and the beast,” but few hit harder than “From Entropic Dust” and epic closer “Fall into Cosmic Sleep” when they offset their impeccable atmospheric allure with deadly swings and terrifying dissonance. Imagine if Cosmic Putrification wrote an album about their feelings and had it produced by Blackbraid, and you’ll almost get it. Silaera takes their songwriting chiaroscuro even further, morphing and mutating phrases with each repetition so radically as to redefine, but never estrange, the tones and textures of the next measure.
That songwriting makes An Aberration of the Void engaging and stimulating from start to finish in spite of its uniformly long-form construction. You’d expect a record where no song falls below six minutes to feature some bloat, but not here. Not a moment wasted, An Aberration arranges compelling choices and elevating decorations around every corner, on both the songwriting and production front. The snare positively crackles and pops when devolving into ferocious blasts, but sibilates and snaps instead during gentler phrases to emphasize mood and atmosphere to great effect (“A Celestial Gaze”). A throaty rasp informs the more intense sections while guttural roars evoke a lurking monstrosity when the moment calls for something more ominous (“Fall into Cosmic Sleep”). Riffs pummel and pound with the terrible force of black holes, but delicate melodies ascend beyond the heavens in tandem to uplift the listener as the event horizon guarantees their final destination (“Abhorring the Lifting of Eyes,” “Fall into Cosmic Sleep”). This interplay of contrast and complement, paired with meticulous detailing, is the unfathomable core of An Aberration of the Void, and the main reason why it universally captivates my attention.
Criticisms are extremely difficult to commit to, not just for me, but also for Gun. Neither one of us felt any held water for longer than a few moments. We nonetheless noted that, for some, Silaera’s disparate references could feel disjointed in the moment,2 with cohesion only coming after focused spins. An Aberration of the Void also does not escape common genre trappings: maximum reverb, more runtime dedicated to slower paces than outright aggression, arpeggios everywhere. But in execution, these small points of contention feel like inseparable parts of the cosmos Silaera created, and what a wondrous cosmos it is.
Rating Consensus: Great!!3
#2026 #40 #AmericanMetal #AnAberrationOfTheVoid #Apr26 #AtmosphericBlackMetal #BlackMetal #Blackbraid #CosmicPutrefaction #Keres #MareCognitum #MelodicBlackMetal #Noltem #PostBlackMetal #PostMetal #Review #Reviews #SelfReleased #Silaera #Vimur
DR: Lost to the Void | Format Reviewed: Bandcamp Stream
Label: Self Released
Websites: silaera.bandcamp.com | facebook.com/Silaera
Releases Worldwide: April 10th, 2026 -
Silaera – An Aberration of the Void Review By KenstrosityWritten By: Aleken’s Gunstrosity
Every year has one magical moment that I look forward to with great anticipation: the first metal release that wows me enough to think it’ll be my AotY. It’s an electric sensation, and it just so happens that Alekhines Gun brought first lightning to my world this year, in the form of atmospheric post-black metal band Silaera’s debut record, An Aberration of the Void. The Chicagoan triplet, established in 2019 as a one-man project, rounded out their lineup with a bassist and a second guitarist last year as they recorded their striking debut. Complete with a stunning Burke piece adorning its cover, An Aberration of the Void left Gun and I with our jaws on the floor, so much so that we had no choice but to write this review together. Two different voices, one unified piece.
An Aberration of the Void is an apt moniker for Silaera’s first outing, as the band masterfully wields all of black metal’s forms as if they were intrinsic properties of their very being. At once gorgeous, frightening, triumphant, and evil, An Aberration of the Void recalls the sweeping flares of Mare Cognitum (“A Celestial Grave”), the gentle caress of Noltem (the first quarter of “Fall into Cosmic Sleep”), the fervent dissonance of Vimur (“From Entropic Dust”), and the devastating heft of the altogether more vicious Keres (“Abhorring the Lifting of Eyes, the middle third of “Fall into Cosmic Sleep”). Yet, Silaera’s talent for transitions and assembly manage to craft a vision like visiting an alien planet; you’ve seen planets before, but none like this, and trying to classify its place in the cosmos in relation to other stars is a waste of time. This planet simply is. An Aberration’s production conjures specters of the celestial in similar fashion, transversely aligning full, rich chords, cavernous reverb, and a deep low end against crystalline shimmers and bright midranges. The result is a magical composition of unknown and unknowable beauty churning with the destructive energy of a collapsing star.
If you need a quick peak into the nebula awaiting, point your telescopes to “Abhorring the Lifting of Eyes,” a masterstroke of composition, creativity, and unpredictability. Launching with a sparkling1 trem-heavy intro, it glides into a long-form riff of cosmic mysticism before variating into a brutally heavy crush, which then spontaneously combusts into a jagged groove attack liable to snap your neck like a toothpick. Tellingly, vocals take a dumbfounding length of time to kick in, but aren’t noticed in their absence until they make their presence known—this serves only to enhance their impact. Moments of contrast like this abound on An Aberration, giving new meaning to the term “beauty and the beast,” but few hit harder than “From Entropic Dust” and epic closer “Fall into Cosmic Sleep” when they offset their impeccable atmospheric allure with deadly swings and terrifying dissonance. Imagine if Cosmic Putrification wrote an album about their feelings and had it produced by Blackbraid, and you’ll almost get it. Silaera takes their songwriting chiaroscuro even further, morphing and mutating phrases with each repetition so radically as to redefine, but never estrange, the tones and textures of the next measure.
That songwriting makes An Aberration of the Void engaging and stimulating from start to finish in spite of its uniformly long-form construction. You’d expect a record where no song falls below six minutes to feature some bloat, but not here. Not a moment wasted, An Aberration arranges compelling choices and elevating decorations around every corner, on both the songwriting and production front. The snare positively crackles and pops when devolving into ferocious blasts, but sibilates and snaps instead during gentler phrases to emphasize mood and atmosphere to great effect (“A Celestial Gaze”). A throaty rasp informs the more intense sections while guttural roars evoke a lurking monstrosity when the moment calls for something more ominous (“Fall into Cosmic Sleep”). Riffs pummel and pound with the terrible force of black holes, but delicate melodies ascend beyond the heavens in tandem to uplift the listener as the event horizon guarantees their final destination (“Abhorring the Lifting of Eyes,” “Fall into Cosmic Sleep”). This interplay of contrast and complement, paired with meticulous detailing, is the unfathomable core of An Aberration of the Void, and the main reason why it universally captivates my attention.
Criticisms are extremely difficult to commit to, not just for me, but also for Gun. Neither one of us felt any held water for longer than a few moments. We nonetheless noted that, for some, Silaera’s disparate references could feel disjointed in the moment,2 with cohesion only coming after focused spins. An Aberration of the Void also does not escape common genre trappings: maximum reverb, more runtime dedicated to slower paces than outright aggression, arpeggios everywhere. But in execution, these small points of contention feel like inseparable parts of the cosmos Silaera created, and what a wondrous cosmos it is.
Rating Consensus: Great!!3
#2026 #40 #AmericanMetal #AnAberrationOfTheVoid #Apr26 #AtmosphericBlackMetal #BlackMetal #Blackbraid #CosmicPutrefaction #Keres #MareCognitum #MelodicBlackMetal #Noltem #PostBlackMetal #PostMetal #Review #Reviews #SelfReleased #Silaera #Vimur
DR: Lost to the Void | Format Reviewed: Bandcamp Stream
Label: Self Released
Websites: silaera.bandcamp.com | facebook.com/Silaera
Releases Worldwide: April 10th, 2026 -
AGHALMAR (Alemanya) presenta nou àlbum: "Ruin" #Aghalmar #Atmospheric #PostBlackMetal #Maig2026 #Alemanya #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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SANGLOT (Canadà) presenta nova demo: "Démo MMXXVI" #Sanglot #Depressive #PostBlackMetal #Maig2026 #Canadà #NovaDemo #Metall #Metal #MúsicaMetal #MetalMusic
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PAWITRA (Indonèsia) presenta nou àlbum: "Pratidhi/Kontemplasi" #Pawitra #PostBlackMetal #Maig2026 #Indonèsia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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NKИ (Itàlia) presenta nou àlbum: "⋆ NKИ ⋆" #Nkи #PostBlackMetal #Maig2026 #Itàlia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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Free download codes:
The Utter - Pareidolia
"Contemporary death jazz"
#bandcampcodes #rock #jazz #postblackmetal #contemporarydeathjazz #music
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Free download codes:
Miasme - Keep Them at a Distance
"Blackgaze/post black metal album from Miasme."
#metal #postblackmetal #atmosphericblackmetal #blackgaze #doomdeathmetal #music
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#NowPlaying #WhiteWard
Perfect for the finish line of the workday. Let's go!
https://album.link/wkrxqhh02cqbc#blackmetal #postblackmetal #avantgardemetal #darkjazz #atmosphericblackmetal
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GAEREA (Portugal) presenta nou àlbum: "Loss" #Gaerea #BlackMetal #PostBlackMetal #Març2026 #Portugal #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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Unverkalt – Héréditaire Review By Thus Spoke
Reviewing albums explicitly labelled post-metal always seems to bring out my inner pedant. I know all genre labels are kind of meaningless, but post-metal specifically seems to simply be slapped onto anything with fewer riffs than your average atmo-black record, but a lot more cleans. Nonetheless, you know what it sounds like, in essence. If that essence had form, it could be Unverkalt on their third LP Héréditaire. Born in Greece and now split between Greece and Germany, Unverkalt’s self-styled avant-garde approach to post-metal takes its “heaviest and most heartfelt” form on this album, which also marks their signing with Season of Mist. Unknown to me beforehand, promotional references to Cut of Luna and Sylvaine in particular caught my eye, along with the art. I’m glad I picked it up because Unverkalt have something that approaches brilliance at many times. But in embodying the vague yet recognisable subgenre—and sounding good whilst doing it—Héréditaire fails to go further than the safety of the minimum required.
Ignore the artist touchstones in the promo; Unverkalt has little meaningful in common with them: a female lead vocalist is about where that starts and ends. If anything, the aura reflects more Harakiri for the Sky, Heretoir, or maybe Frayle. Lead vocalist Dimitra Kalavrezou sings with a distinctive, somewhat sweet intonation, and screams with articulate fierceness—impressive considering this is her first record providing harsh vocals. Her voice is joined by that of guitarist Eli Mavrychev and—in a late-album highlight—Sakis Tolis (“I, The Deceit”), often layered and intermingled to lend a chorus-of-many-voices air that can be quite powerful. This sense of solidarity and humanity ties into Héréditaire’s overt emotionality—easily its greatest asset—which revolves around mournful yet uplifting themes that rise from softly resonant notes into the (regrettably blurry) weeping of tremolo and chunky riffs. It’s through the continued swell and fade of each composition that we get to see the greats that Unverkalt is capable of.
Even as songs tend to repeat the same pattern, most manage to draw the listener in. Synths (“Oath ov Prometheus”), vaguely MENA-style saxophone (“Ænæ Lithi”), and sprinklings of piano (“Penumbrian Lament”), and humming strings (“Maladie de l’Esprit”)1 float in and out, and I only wish they were used more. Harnessing the drama of surging, urgent riffs (“Die Auslöschung,” “Oath ov Prometheus”) and heartfelt group screams and singing (“Death is Forever,” “A Lullaby for the Descent”), the iterated compositions win you over by sheer force. These plainly beautiful melodies and ardent vocal performances are inextricable, each lending the other a level of strength and gravity neither could claim in isolation. Some songs stand head and shoulders above others in this regard: “Die Auslöschung,” “Death is Forever,” “Maladie de l’Esprit,” and in particular, “I, the Deceit,” where Sakis Tolis brings not only his voice but a distinctly Scandinavian melodeath2 vibe to a song where he and Dimitria also duet in their shared native tongue. That song and many others are also examples of Unverkalt’s strange, quasi-pop-rock leanings that they incorporate through the use of bobbing, understated clean refrains that slingshot back into something heavier or more atmospheric (“Oath ov Prometheus,” “A Lullaby for the Descent,” “Introjects”). This weirdness sharpens Unverkalt’s style and works surprisingly well.
Héréditaire thus brims with feeling, strong melodies, and potential. Undeniably stirring at its best (“Die Auslöschung,” “I, the Deceit,” “Maladie de l’Esprit”), and with little idiosyncrasies of style giving it distinction, as a whole it feels oddly unrealised. One culprit is the shockingly compressed mix, which robs the guitars of their body and drums of their bite. Given the vocal range on display and the elements of instrumental experimentation (horns, piano, etc), this would sound far better with a roomier production. But it’s primarily the overly repetitive structure of the compositions that causes issues. Though the passion of the singing or screaming, and the force of a good melody cause you to briefly forget, every song follows essentially the same trajectory—or rather, the same sequence of things repeats across the album, sometimes spanning between songs. Whispers or quiet singing, a steady beat and post-rock atmosphere, black-adjacent speed and screaming, and a lapse into a swaying tempo. With nine tracks adding up to around 50 minutes, you start to notice.
I don’t want to rag on Héréditarire too much; it’s a good album. The fervency and melancholia of the vocal performances—from Dimitria especially—and melodies show the passion behind the project, and there’s a thread of individuality that could pull them out of obscurity. But for as expressive, intriguing, and compelling as their music often is, Unverkalt’s reluctance—or inability—to step outside of a template holds them down when they could be soaring.
Rating: Good
#2026 #30 #Feb26 #Frayle #GermanMetal #GreekMetal #HarakiriForTheSky #Héréditaire #Heretoir #PostRock #PostBlackMetal #PostMetal #Review #Reviews #SakisTolis #SeasonOfMist #Unverkalt
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Season of Mist
Websites: Bandcamp | Facebook
Releases Worldwide: February 27th, 2026 -
Lástima – A Pain Bloomed from My Lungs
#BlackMetal #Blackgaze #Metal #PostBlackMetal #emo #progressiveblackmetal #screamo #Philadelphia
CC BY-NC-SA (#CreativeCommons Attribution Non Commercial Share Alike) #ccmusic
https://lastimamusic.bandcamp.com/album/a-pain-bloomed-from-my-lungs -
Gigrøma – Вдохновение
#Metal #atmospheric #atmosphericblackmetal #blackmetal #blackgaze #deathmetal #doom #doommetal #drone #postblackmetal #postblack #postrock #rawblackmetal #SaintPetersburg
CC BY (#CreativeCommons Attribution) #ccmusic
https://gigroma.bandcamp.com/album/--4 -
Nullingroots – Fourth Dimensional Dreamscape Review By Killjoy
Here at AMG Industries, we strive to unearth as many underground gems as possible. Sometimes, though, we may get a bit carried away, as Master of Muppets once did in a TYMHM article wherein he crammed as many shoutouts to other groups as possible. As this solitary line1 has been the only coverage Nullingroots has received here so far, allow me to introduce them more formally. Based in Phoenix, Arizona, Nullingroots was originally formed by Cameron Boesch as an instrumental post-metal solo project. Various shades of black metal were added over time alongside additional band members. The current iteration of Nullingroots includes Alex Haddad, the founder of rising progressive death metal act Dessiderium.2 Now, Fourth Dimensional Dreamscape signals Nullingroots’ re-emergence after a six-year hiatus.
I don’t know the extent to which Alex Haddad participated in writing Fourth Dimensional Dreamscape, but it certainly sounds as if he had a hand in it. The breezy major key melodies that defined last year’s Dessiderium record can be easily discerned in the guitar, bass, and piano, albeit filtered through a post-black lens instead of progressive death. In this way, I prefer Fourth Dimensional Dreamscape to its 2019 predecessor, Malady’s Black Maw, which was much more uniformly blackened with fewer instances to breathe. The most compelling moments now come from the piano and various other keyboard effects, which add a crystalline luster much like the otherworldly stylings of Unreqvited.
Fourth Dimensional Dreamscape by Nullingroots
Nullingroots packed a lot into the 55 minutes of Fourth Dimensional Dreamscape. The guitar chords often straddle the line between consonance and dissonance (“Fourth Dimensional Dreamscape,” “Remember My Name”). Drum tempo shifts are plentiful to the point of feeling erratic rather than progressive. The most intriguing track, “In Reverie’s Embrace,” combines a mystical keyboard tune with something almost resembling a rap beat played on the virtual drum kit. The vocals are the only area that can sometimes feel monotonous. The fierce rasps fit better within faster-paced songs like “Remember My Name,” but don’t mesh as well with the gentler “Memoir of a Frail Past,” though there are brief instances of smoother, gentler growls (“Life Thief”). The biggest missed opportunity is the complete absence of clean vocals, as Haddad’s singing would likely have complemented much of the instrumentation well if given the opportunity.
Despite its busyness, Fourth Dimensional Dreamscape doesn’t accomplish as much as it could. More often than not, it presents a jumble of independent moments as opposed to a fluid whole. Some of these moments are, admittedly, impressive, such as the guitar shredding partway through “The Optimist.” “Memoir of a Frail Past” and “In Reverie’s Embrace” fare better thanks to recurring keyboard melodies, but the rest of Fourth Dimensional Dreamscape is largely disjointed and at times nondescript. With a minimum track length of 7 minutes, the listener needs more reinforcement to stay grounded, especially in a setting where song intros and conclusions are regarded as optional. Ultimately, I don’t feel guided so much as roughly dragged through the majority of these long-form excursions.
Fourth Dimensional Dreamscape is a promising new sonic direction for Nullingroots after an extended absence, though it’s not without growing pains. I am convinced by the band members’ instrumental prowess, but less so by the songcraft. The first half goes down more smoothly than the second half, but the entire package isn’t sufficiently focused or cohesive. While it’s tough to wholeheartedly recommend Fourth Dimensional Dreamscape, with some tweaks and tightening, there’s a ton of potential for something really good to come. I’m (Nulling)rooting for them.
Rating: 2.5/5.0
#25 #2026 #AmericanMetal #BlackMetal #Dessiderium #Feb26 #FourthDimensionalDreamscape #Nullingroots #PostBlackMetal #PostMetal #ProgressiveBlackMetal #ProgressiveMetal #Review #Reviews #SelfRelease #Unreqvited
DR: 8 | Format Reviewed: PCM
Label: Self-Release
Websites: nullingroots.bandcamp.com | facebook.com/nullingroots
Releases Worldwide: February 11th, 2026 -
Today is the new album of #Marlugubre released. Halfway through I can tell you, this release is just fantastic. It's a mix of #atmospheric #blackmetal , #postblackmetal and maybe a bit of #ProgressiveDeathMetal
If you're into a lot of acoustic passages and blast beats, it could fit your bills. -
Paenil Era – Idle Cage
#AtmosphericBlackMetal #BlackMetal #Metal #PostBlackMetal #progressiveblackmetal #progressivemetal #symphonicblackmetal #Timișoara
CC BY-NC-ND (#CreativeCommons Attribution Non Commercial No Derivatives) #ccmusic
https://paenil-era.bandcamp.com/album/idle-cage -
Those who know me, know I usually like my black metal cut with something else
With that in mind, here's something that I've just added to my possible AOTY 2026 contenders for #MittwochMetalMix
Ashbringer Subglacier
Bandcamp
https://ashbringermusic.bandcamp.com/album/subglacial -
Velothian – Mythic Dawn Review By Mystikus Hugebeard
If, like me, you played a lot of the original Elder Scrolls IV: Oblivion (2006), then you might agree that the game has a nigh unbeatable vibe. The densely forested hills rolling into the distance, the subtle call of a nearby Nirnroot, the grossly overconfident mudcrabs, the endearing jank of two townspeople conversing like they’ve only just discovered human language; it’s a distinctly cozy high fantasy setting that feels like home in a way few modern games could hope to replicate. Thus, I was excited to learn that Velothian, the epic post-black metal act that was previously featured on the 2024 EP Roundup for their Elder Scrolls III: Morrowind-themed EP Path of the Incarnate, now draws from Oblivion as inspiration for their debut full-length, Mythic Dawn. Path of the Incarnate enraptured me with its intimate riff-work and imaginative atmospheres, so with Mythic Dawn, has Velothian survived their first jump from EP to full-length?
Velothian play a folk-tinged, somber kind of epic/ethereal post-black metal that strikes a good balance between distant tranquility and gritty textures. While there’s a great deal of woodsy ambiance and dreamy chants, the metal enjoys a satisfying, weighty presence whether it’s airy, open-note chords à la Alcest (“The Great Forest,” “Forgotten Ruins,” “Mania”) or direct, blasting riffs (“The One From My Dreams,” “Dragonfires”). Mythic Dawn uses its inspiration tastefully to create something all its own, never feeling schlocky or gimmicky like “video-game metal” often does. Speaking of, I was elated to discover some references to the original Oblivion OST throughout Mythic Dawn. For example, the soft piano melody of Oblivion’s “Auriel’s Ascension” translates beautifully into acoustic guitars and serves as a jumping-off point for the sunlit harmonies of “Mania,” and the game’s main theme makes an understated appearance in “The One From My Dreams.”1 I appreciate that Mythic Dawn never feels like a direct 1:1 of Oblivion’s music or aesthetic, maintaining its own identity and imagery even as it incorporates melodies from the game’s OST such that those unfamiliar with Oblivion won’t feel like they’re missing something.
In Mythic Dawn, Velothian have preserved that expansive yet grounded quality I loved about Path of the Incarnate and even improved on it through tighter songwriting and a more verdant soundscape. One ought look to “The Great Forest” for how Velothian construct atmospheres with intelligence and restraint: softly striking guitars ring between rich arboreal sounds and sparse chanting, blooming into a simple but textured, evocative riff in the verse. “Mania” is another atmospherically decadent track, sustaining nearly every note played to create a dreamy haze above gorgeous chord progressions. Velothian understand the benefit of brevity, never bogging a song down with an excess of mindless riffing or languid ambiance, which keeps a slower song like “Forgotten Ruins” or a more varied track like “Night Mother” engaging throughout. Whereas the textures and melodies paint the vivid imagery, it’s largely the guitar’s mixing that gives the music its tactile, grounded feeling. It’s felt especially strongly in the galloping “The One From My Dreams” where the riffs have a gripping, full-bodied crunch to them that draws you in and directly places you into the world Velothian are evoking.
It’s clear that Velothian have grown a lot in the time leading up to this debut, but that does serve to highlight the few areas that stand to further improve. While the mix is overall an improvement over Path of the Incarnate’s, the cymbals can be a little distracting in the heavier tracks, namely “The One From My Dreams.” Though both “Mania” and “Dragonfires” are well-written, each song ends with non-sequiturs that don’t feel properly fleshed out. “Deadlands” is the only track that actually loses me; the riff-work is solid, and I enjoy how the drums resolve into the chorus, but it lacks the quiet, moving majesty of the other songs that keep me returning to them. But ultimately, these finer details of Mythic Dawn do little to diminish its charm or impact. When Mythic Dawn ends (after a tasteful 40-minute runtime, might I add), the good always shines much brighter than the not-as-good.
I’ve long been excited for what Velothian would do after Path of the Incarnate, and Mythic Dawn has rewarded my patience. This album is an improvement on their previous work in many ways: the songwriting is tighter, the sound is crisper, and the atmospheres more vivid. Velothian are still a little rough around the edges, but Mythic Dawn nevertheless well establishes Velothian’s unique voice and songcraft. This is maturely written, and imaginative ethereal post-black metal that has cemented Velothian as one of the better video-game-based metal bands out there, and I shall be enjoying Mythic Dawn for a long time yet.
Rating: 3.5/5.0
#2026 #35 #Alcest #AtmosphericBlackMetal #BlackMetal #Feb26 #FolkMetal #MythicDawn #PathOfTheIncarnate #PostBlackMetal #Review #Reviews #Velothian
DR: 8 | Format Reviewed: PCM
Label: Self-Release
Websites: facebook | bandcamp
Releases Worldwide: February 1st, 2026 -
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