Live and recent posts from across the Fediverse tagged #post-black-metal, aggregated by home.social.
„ES WIRD JEDES MAL EIN BISSCHEN LEICHTER“
Über 3 Stunden Deep Talk mit P.G. von GROZA
Die großartigen GROZA sind ab dem 16.10. in Form von P.G. für über 3 Stunden im @tunefishpodcast zu Gast. Ein wahnsinnig tolles Gespräch über die weite Welt der deutschen #Blackmetal Band.
FUGIT (Itàlia) presenta nou àlbum: "Where Foxes Say Goodnight" #Fugit #PostBlackMetal #DarkAmbient #Octubre2026 #Itàlia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
AVHATH (Indonèsia) presenta nou àlbum: "Avhath" #Avhath #PostBlackMetal #Crust #Shoegaze #Octubre2026 #Indonèsia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
ONEANCE (Brasil) presenta nou àlbum: "Névoas" #Oneance #PostBlackMetal #Octubre2026 #Brasil #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
PROFONDEURS (Canadà) presenta nou àlbum: "Avant l'aube" #Profondeurs #Depressive #Atmospheric #PostBlackMetal #Octubre2026 #Canadà #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
Crabcore Fest 2026
En ce premier week-end d’automne, l’heure n’est pas aux champignons, même si on reste dans le terroir: c’est le CrabCore Fest, le festival metal en bas de chez moi.
#Brévine #CrabCoreFest #deathMetal #deathcore #EdgeOfInfinity #Korrupted #Lancy #Murmur #postBlackMetal #postMetal #VillaTacchini
AGRICULTURE (Estats Units) presenta nou àlbum en directe: "The Spiritual Sound - Live in Europe 2026" #Agriculture #PostBlackMetal #Octubre2026 #EstatsUnits #NouÀlbumEnDirecte #Metall #Metal #MúsicaMetal #MetalMusic
APRIL SPRING (Estats Units) presenta nou recopilatori: "Old Songs 2024" #AprilSpring #Atmospheric #PostBlackMetal #Shoegaze #Octubre2026 #EstatsUnits #NouRecopilatori #Metall #Metal #MúsicaMetal #MetalMusic
ATELOPHOBIA (Suècia) presenta nou àlbum: "Moralisk Inflation" #Atelophobia #PostBlackMetal #Setembre2026 #Suècia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
ATELOPHOBIA (Suècia) presenta nou Split: "Faithless Wolves of the Old Soil" #Atelophobia #PostBlackMetal #Setembre2026 #Suècia #NouSplit #Metall #Metal #MúsicaMetal #MetalMusic
STELLAR ROT (Estats Units) presenta nou àlbum: "Where the Formless Ones Dwell" #StellarRot #PostBlackMetal #Setembre2026 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
OLD RUINS (Alemanya) presenta nou àlbum: "Mount Arreat" #OldRuins #HeavyMetal #PostBlackMetal #Setembre2026 #Alemanya #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
PLÈVRE (França) presenta nou àlbum: "Cité mouroir" #Plèvre #PostBlackMetal #Setembre2026 #França #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
FLUISTERAARS (Països Baixos) presenta nou àlbum: "Jacht der mysteriën" #Fluisteraars #PostBlackMetal #Setembre2026 #PaïsosBaixos #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
MINUALA (Rússia) presenta nou single: "Kuu" #Minuala #BlackenedCrustPunk #PostBlackMetal #Setembre2026 #Rússia #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic
Svmerion (MEX) + How To Disappear (MEX) + Nebelstørm (NL)
The Cave, Friday, September 11 at 09:00 PM GMT+2
Svmerion (MEX)
Fri September 11, 2026 starts at 23:00
Hailing from Gómez Palacio, Durango Mexican extreme metal force Svmerian delivers a savage blend of thrash and black metal fueled by themes of war, hatred, and violence. Formed in 2018, the band combines razor-sharp riffs, relentless aggression, and raw underground intensity into a sound that’s both chaotic and crushing. With a fierce DIY spirit and uncompromising energy, Svmerian continues to carve its name into the modern extreme metal scene.How To Disappear (MEX)
Fri September 11, 2026 starts at 22:00
Emerging from the underground with a bleak and emotionally charged sound, How to Disappear blends atmospheric black metal, post-metal, and haunting melancholy into an immersive sonic experience. Formed in 2022, the project explores themes of isolation, loss, and existential despair through crushing riffs, ethereal textures, and emotionally raw songwriting. Balancing aggression with cinematic atmosphere, How to Disappear crafts music that is as introspective as it is devastating.Nebelstørm (NL)
Fri September 11, 2026 starts at 21:00
Their performances are more rituals than concerts. Shrouded in smoke and minimal lighting, the band often literally disappears into the mist on stage, their silhouettes only vaguely visible as the music induces an almost trance-like state. The audience is immersed in a world where time fades and only the feeling of chill, darkness, and ecstasy remains. Although the band consciously remains independent of labels and commercial influences, they distribute their music through digital platforms and exclusive physical releases (often on limitededition cassette or vinyl). Each work is an incantation, a snapshot of inner turmoil and natural transience. NEBELSTØRM is built on mist, melancholy, and pure artistic conviction. In a world that is constantly getting louder, NEBELSTØRM whispers in stormy silence.https://offbeat.amsterdam/event/svmerion-mex-how-to-disappear-mex-nebelstorm-nl
DRAUMUR (Rússia) presenta nou àlbum: "From Fading Sun to Dawn" #Draumur #Atmospheric #PostBlackMetal #Setembre2026 #Rússia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
GREY SHORES (Suècia) presenta nou àlbum: "Dark Waters of Night" #GreyShores #PostBlackMetal #Shoegaze #Setembre2026 #Suècia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
EPITIMIA (Rússia) presenta nou EP: "Тяготение" #Epitimia #AmbientBlackMetal #Atmospheric #PostBlackMetal #Setembre2026 #Rússia #NouEp #Metall #Metal #MúsicaMetal #MetalMusic
Free download codes:
Field Effect - Extreme Soul Modifications
"The quintessential psyche torture mixtape for cool summer nights."
À SA PERTE (França) presenta nou àlbum: "Innocent·e·s" #ÀSaPerte #PostBlackMetal #Setembre2026 #França #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
MARCCON (Brasil) presenta nou EP: "Eidolon" #Marccon #Shoegaze #BlackMetal #Depressive #PostBlackMetal #Agost2026 #Brasil #NouEp #Metall #Metal #MúsicaMetal #MetalMusic
NIHILISTVOID (Guatemala) presenta nou single: "Funeral with No Name" #Nihilistvoid #PostBlackMetal #Agost2026 #Guatemala #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic
I love this album and also excited about the new release this fall.
There are a few phrases that I could theoretically read in a promo blurb that would get me to instantly pick it up.1 When my eyes landed on the line “Lord Carrion seeks to usher in 1000 years of ruin to fascists and authoritarians of all stripes,” I thought “say less,” and took Man Made Hell without any care for the fact that its black metal comes with a significant dose of southern hardcore—not my preferred subgenre. I’m glad I did. Their debut LP after two years honing their craft with an EP and a split, Man Made Hell is Lord Carrion’s first big chance to bring about the promised destruction to oppressors. The stark redness of the cover, the marrying of some of metal’s noisiest styles, and the band’s proud antifascism make for a loud statement that the music must live up to. And does it?
Man Made Hell certainly does not flinch away from the implicit violence of its influences. A crusty, second-wave black metal base meets with the boundless energy and acidity of rampaging hardcore for a sound that’s both aurally and spiritually raw as fuck. Jonross Maddog2 Maddox’s d-beats and the clattering pivots of snare rollovers and cymbal smashes drag you by the scruff of your neck behind a rampaging train of Matthew Price and Miguel Hallare’s riffs, as Jake Plissken screams in your face through a mouthful of barbed wire. Sometimes, it’s no more than this: sanguine yet standard noisy rampaging that doesn’t break any moulds (“Suicide Planet,” “Billions Dead”). At others, Lord Carrion pull back from showing their teeth just enough for some layers and gripping melodicism to show their heart.
Lord Carrion display their passion best when they stray outside of the lines. It’s tangible in the ballistic extremities—the snippets of solo drums (“Billions Dead,” “Yaldabaoth”) and the passages of particularly intense extended, repeated, throat-shredding screams (“Plutocrat Slaughter Ritual,” “The Walls are Closing In”). Most notably, the feeling on Man Made Hell is strongest in every place Lord Carrion make the sound entirely their own. Resonance that goes beyond its obvious atmo-black inspiration to transform a previously granite riff into a shadowy refrain (“Plutocrat…,” “Peace is a Bloody Sword”) when it isn’t blurring a tremolo melody for some randomly gorgeous meloblack (“What Remains”). Such buoyant, mournful melodies sprinkled around work together with punchy syncopation and aforementioned hellish vocals for compelling, satisfyingly sharp declarations (“Desperate Cruelty,” “What Remains”). Disso-death drips into arachnid arpeggios (“Billions Dead”) and drawling, sinister chords (“Peace…), injecting a cruel edge that just works. Rhythmic turns often take the best of both black metal and hardcore for fun (“Suicide Planet,” “The Walls are Closing In”) and darkly groovy (“Plutocrat…”) moments.
The greatest issue with Man Made Hell is that its brilliance is a little unevenly distributed. So fiery at its jawbreaking, moody, best, the (over-)use of more “standard” second-wave black/hardcore riffing risks the loss of any audience turned off by such mundanities.3 Similarly, the album would probably benefit from a smidge more time to fully integrate the many great ideas and segments it contains. As an example: the jumpscare of full-volume white noise that splits the doom-drone of “Peace…”‘s first act is visceral, and will probably split listeners into a love/hate dichotomy. The gentle beauty of “What Remains,” rising from carefully-placed strums and the hushed howling of wind to an emotional meloblack finale, though I love it, feels slightly out of place. I can hear the hints of atmosphere and nuance that Lord Carrion drop beforehand, and it seems like minor tweaks would integrate these aspects better.
Man Made Hell divides me, leaving me affected but uncommitted. It’s pretty fun in a satisfyingly gronky way, whilst also possessing a gravitas that portends—even though it doesn’t execute—greatness. What is certain is that Lord Carrion have got something; their ardour oozes out of most-every fuzz-choked note, and I think they make their point just fine for now.
Rating: Good
DR: 6 | Format Reviewed: wav
Label: Self-Released
Websites: Bandcamp | Instagram
Releases Worldwide: August 24th, 2026
The power of storytelling is well-known to Belarusian post-black outcasts Dymna Lotva. Their previous album, The Land Under the Black Wings: Blood, progressed that series through tragic true and folkloric tales, its overt tragedy in this sense bringing the real devastation wracking their native and settled home countries.1 Vyraj sees Dymna Lotva continue to communicate with stories. Taking its name from the Slavic mythological realm to which both migrating birds and the souls of the dead travel, there’s an explicit parallel with the members’ own emigration as well as themes of personal journey, life, and death. But there’s always been more to Dymna Lotva’s music than their symbolically powerful concepts, and Vyraj makes no exception.
Dymna Lotva already had somewhat of a winning formula in a uniquely executed blend of black, folk, and post-metal. They evolve anyway, bringing in and emphasising further an electronic side that ranges from shimmering, chimelike keys to soft symphonics. It’s never enough to overshadow the metallic and, at its best, amplifies the (melo)drama of the climaxes and adds more layers to the band’s nuanced and emotional sound. This new direction brings with it something of the anthemic, with songs reprising uplifting melodies, stepping into steady sways, and being narrated more often by a duet, if not a chorus of voices.2 Leading those voices is the force of nature Katsiaryna Mankevich, who once again absolutely kills it with her wrenching screams and solemn classical cleans. The music is more direct, due to all the above as well as a comparatively shorter runtime, with fewer tracks, each of which references the others through recurring motifs.
Vyraj condenses and concentrates Dymna Lotva’s characteristic potency and poignancy, which this time are tinged a touch more with the blush of hope than the blackness of rage. The urgent, cascading melodies ring with a thrilling solidarity (“Zory,” “Viedźmieragina,” “Ustań Za Mianie”) and the mournful soaring solos with bittersweet sadness (“Niama Darohi,” “Return my Coffin Home”). The highlight here, and also the crowning jewel of the album, is the centrepiece “Niama Darohi,” which practically hums with longing for freedom. It’s in these places that the new electronic elements work the most magic, spinning glittering counter-melodies or supporting the climax with subtle strings and fluttering keys. The atmosphere they bring is deepened by the way Dymna Lotva use the dynamics of rhythm and intensity to deepen their compositions and make them still more compelling. Variously whispered, spoken, rasped, screamed lines circulate spells amidst shifting tempos (“Veha,” “Viedźmieragina,” “Niama Darohi”); sung and screamed male and female voices call and respond and join together (“The Boat of Despair,” “Ustań Za Mianie,” “Return my Coffin Home”); and both the graceful lull of cleans and the vicious snarls of harsh vocals move in synchronisation with those of the lead guitars. This also serves to bring the fierceness into sharper focus, through emphasis and contrast alone, or the dramatic turn from this graceful tension into a building explosion of passion and electricity (“Zory,” “Veha,” “Viedźmieragina”).
All of Vyraj has a somewhat magical aura, thanks to the use of (children’s) group vocals and xylophone-esque chimes and ambience amidst the savage or sombre. At its most vibrant, it sings with so much feeling that I long desperately for a lyric sheet and the ability to speak the language(s) these songs are written in.3 The brightness of these highs also obscures the comparative dimness of the lows, where that fire seems to be missing, and mellowness and ambience win out (“The Boat of Despair,” “Bu Samoje”). This is some feat considering the fact that the overall production seems tailored to the increased electronic emphasis, which presses the beautiful layers together, and so the very aspects that lend Vyraj some new magic also weaken that magic’s power. Just a bit more space would do wonders.
But Dymna Lotva are not ones to fade into the background. They care about their stories and delivering them in a way that forces you to listen. Despite any unevenness, Vyraj has an intangible specialness to it that irresistibly pulls the listener back. This is a lovely, sad, empowering piece of art that deserves more than the length of its runtime to weave its world around you.
Rating: Very Good
DR: 4 | Format Reviewed: 320 kbps mp3
Label: Prophecy Productions
Websites: Bandcamp | Facebook
Releases Worldwide: August 7th, 2026
My five picks for the #ThursdayFiveList are all sun related for a deeper cut in the theme #ShadowAndLight, here we go!
Terzij de Horde - Raise Them Towards The Sun https://musiccloud.io/HE5JQps1
Sun Worship - Pale Dawn https://musiccloud.io/vvinvHU0
Anciients - Raise the Sun https://musiccloud.io/GMo3pl0F
Sunrise Patriot Motion - Sunrise Labyrinthian https://musiccloud.io/gNPgti0W
Triggerfinger - By Absence of the Sun https://musiccloud.io/mwNh8gcn
SAVE THE DATE & SPREAD THE WORD!
🦑 HELLSEATIC FESTIVAL 2027
⚓️ Schlachthof Bremen
🗓️ June 11-12, 2027
SEA YOU THERE
#Metal #BlackMetal #PostBlackMetal #PostMetal #Doom #DoomMetal #IndustrialDoom #Sludge #PostRock #Rock #HardnHeavy #Shoegaze #ProgressiveGitarrenmusik #Underground #HeavyMusic
#nowplaying #togethertothestars
Some swedish #postblackmetal #atmosphericblackmetal is exactly what I need now!
Yesterday I discovered the band #TogetherToTheStars and I‘m already in love with their new Album Iridescence
#DepressiveBlackMetal #PostBlackMetal
:bandcamp:
https://togethertothestars.bandcamp.com/album/iridescence
Free download codes:
The Utter - Pareidolia
"Contemporary death jazz"
#bandcampcodes #rock #jazz #postblackmetal #contemporarydeathjazz #music
The Queen Is Dead Volume 215 – Buio Dentro, Dagerman, laCasta
The Queen Is Dead Volume 215 - Buio Dentro, Dagerman, laCasta
Puntata interamente nel sottobosco musicale italiano, tra i perugini Buio Dentro ed il loro post-rock e post metal di grande effetto, il bellissimo magma sonoro dei Dagerman, per poi finire con il ritorno discografico dei LaCasta, un massacro.
#thequeenisdead #buiodentro #dagerman #laCasta #postrock #postmetal #emo #screamo #postblackmetal #sludge #blackmetal @mothershiprecords @buio_dentro_noise @dagerman.band @zegemabeach @recordsshove @dancingrabbitrec @fireflies_fall @bestliferecords @lacastabandofficial @argonautarecords
Wills Dissolve – The Heavens Are Not On Fire...
#BlackMetal #Metal #Opeth #PostBlackMetal #atmosphericblackmetal #deathdoom #doommetal #novembersdoom #postrock #Amadora
CC BY-NC (#CreativeCommons Attribution Non Commercial) #ccmusic
https://hypnoticdirgerecords.bandcamp.com/album/the-heavens-are-not-on-fire
Sertraline – From Both Our Hands
#BlackMetal #Metal #PostBlackMetal #atmosphericblackmetal #deathdoom #doommetal #postrock #Amadora
CC BY-NC (#CreativeCommons Attribution Non Commercial) #ccmusic
https://hypnoticdirgerecords.bandcamp.com/album/from-both-our-hands-2
After 18 years and five full-length albums as frontman to The Lion’s Daughter, Rick Giordano decided “the daughter had to die so that the mother could live.” If that sounds morbid, it’s on purpose, as Giordano’s new project, Blood Mother,1 offers itself as a “score to your own personal horror film.” In forming this new project, Giordano further forges his musical independence, having previously divorced his music from the confines of a label (Season of Mist) for 2023’s Bath House. This allows him to create music that doesn’t fit neatly into any one category, and it makes sense that Blood Mother play an unconventional genre: post-metal. The question looms on Blood Mother’s self-titled debut whether Giordano is able to achieve success on his own terms.
Blood Mother hits plenty of experimental beats, blending atmospheric elements with bouts of impressive riffs. An early guitar riff on “Bonecanter” scratches the Kyuss itch, and his simple yet catchy approach to riffcraft shows up time and again throughout the record. Blood Mother keeps the songwriting simple, but it’s far from boring. Some of the riff-heavy portions sound reminiscent of The Lion’s Daughter, but Blood Mother is less heavy and less industrial. Giordano plays with guitar tones, mixing up sleek riffs, acoustic arpeggios (“Trail of Screaming Dead”), and plenty of heavy reverb à la Cult of Luna (“The Night Fires,” “The Wound of Heaven”). It’s not all about riffs, however. Blood Mother incorporate plenty of atmospheric techniques, including synths, to set up eerie, sometimes sinister moods—”The Night Fires” perfectly encapsulates this approach, beginning with unsettling synths before easing into an energetic pace. Natural sounds also make their way into the music, with crickets chirping at the start and end of “The Night Fires,” and birds and monkeys calling out on “The Wound of Heaven.” These flourishes add subtle touches to the sense of unease bubbling beneath the surface.
Giordano proves an adept songwriter, composing music that patiently builds up to a climax and tells a story. Blood Mother masterfully set the mood, be that the eeriness of “The Night Fires” or the Western, Wayfarer-esque feel of “Lost in Thunder.” But he also realizes mood isn’t enough, and that’s where the riff comes in, not to mention some impressive drumming from Ramsier. On the masterful “Trail of Screaming Dead,” Blood Mother methodically builds upon itself, beginning with organs, then jumping into lively drums and riffs, slowly adding new elements until some memorable tremolos bring the song to a conclusion. The music feels like gritty poetry, and the lyrics reflect this, written in poetic form and performed artistically in Giordano’s husky growls.
At just over 30 minutes, Blood Mother is a morsel rather than a full feast, and its conclusion leaves it somewhat wanting. Of the six songs that comprise that runtime, five of them are terrific pieces that eschew traditional structures, filling up spaces with music that can be thoughtful, deliberate, and sometimes exciting. On occasion, Blood Mother make some odd choices, such as synths in the final minute of “The Night Fires” that are deliberately jarring as they switch from one speaker to the other. Yet it’s the record’s finale, “Pulled Apart,” that doesn’t quite hold a light to the tracks that precede it. It still contains great ideas, including some nifty riffs and kitwork, but also some noises that just don’t blend into the music very well. It’s the one tune that doesn’t quite hit as hard as the others, and the concluding fade-out ends Blood Mother on an anticlimactic disappearing act.
For me, this was the perfect promo to match my mood. I wanted something that entertained without being formulaic. I wanted something that didn’t hit the usual beats, but wasn’t too weird. Blood Mother checks all those boxes. Sure, Giordano may have a few kinks to work out, but for a first-time striking it out (mostly) on his own, this is a pretty remarkable record, one that’s full of surprises and nuances that make for rewarding repeat listens.
Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Self-Released
Website: Bandcamp | Facebook
Releases Worldwide: June 19th, 2026
Free download codes:
Halo of Teeth - Meditations On Dying
"'Meditations on Dying' is a 47 minute journey, across 4 epic tracks, through the human experience of death and dying, from depression to acceptance."
#experimental #blackmetal #avantgarde #antifascistblackmetal #postblackmetal #postmetal #music