#postblackmetal — Public Fediverse posts

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

How To Disappear (MEX)

Fri September 11, 2026 starts at 22:00

Nebelstørm (NL)

Fri September 11, 2026 starts at 21:00

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

DRAUMUR (Rússia) presenta nou àlbum: "From Fading Sun to Dawn" #Draumur #Atmospheric #PostBlackMetal #Setembre2026 #Rússia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

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

Written 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
DR: Lost to the Void | Format Reviewed: Bandcamp Stream
Label: Self Released
Websites: silaera.bandcamp.com | facebook.com/Silaera
Releases Worldwide: April 10th, 2026

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
DR: 8 | Format Reviewed: PCM
Label: Self-Release
Websites: nullingroots.bandcamp.com | facebook.com/nullingroots
Releases Worldwide: February 11th, 2026

#NowPlayin #WhiteWard
#StillBornKnowledge
#Ukraine

#PostBlackMetal
#Jazz

https://www.europesays.com/nl/103450/ Ellende – Zerfall | Zware Metalen #2026 #albumreview #Amusement #AopRecords #austere #BlackMetal #Dutch #ellende #Entertainment #firtan #gris #groza #HarakiriForTheSky #igric #ImperiumDekadenz #karg #lantlôs #Music #Muziek #Nederland #Nederlanden #Nederlands #Netherlands #NL #PostBlackMetal #servant #zerfall #ZwareMetalen

Hurtling into the new year with his heart on his sleeve (and bones on his shirt), Ellende’s one-man maestro L.G. bids to set a high bar for 2026. Zerfall, the band’s first new material since 2022,1 continues where Ellenbogengesellschaft left off, further polishing the allure of classically infused black metal. Conjuring comparisons to compatriots Harakiri for the Sky and Weltenbrandt,2 Austria’s Ellende lives somewhere between post and depressive black metal, unapologetically tackling poignant themes with passionate performances and crisp clarity. Translating to ‘decay,’ Zerfall examines the agony of a life fractured by loss and the painstaking endeavor to reclaim inner peace afterwards. Does Ellende’s latest prevail in capturing the haunting sting of tragedy and the catharsis of acceptance, or does it Zerfall short?

The aural evolution from Ellenbogengesellschaft to Zerfall flows like a frosty stream, with stirring strings and restrained piano evoking a sophisticated grace alongside Ellende’s more traditional blackened wrath. In many ways, the mettle that pushed Ellenbogengesellschaft to new heights shines even brighter here, packing more texture and ideas into Zerfall’s composition. In particular, the dedication to vocal variety begets a more nuanced performance and adds enticing wrinkles to an already dense soundscape. Choirs, whispers, and rasps swirl together in an eddy of sonic splendor, and as I revisit past Ellende albums, this dimension more than any other stands as a testament to how L.G. continues to find ways to refine and enrich his project’s musical identity.

Zerfall by Ellende

Performances across Zerfall dazzle, with the overarching imperative to buoy emotional impact before all else. While there’s little here to sate those who obsess over technical wizardry, I’ve rarely been so in tune with the spirit of music without understanding any of the words.3 Ellende’s central narrative on Zerfall follows a rollercoaster of emotional states, ranging from intense passion (“Wahrheit Teil I,” Wahrheit Teil II”) to sullen contemplation (“Übertritt”) and adventurous perspective-seeking (“Reise”). The music bolsters these themes, as resonant bass plucks support moments of introspection while anger and pain manifest in blackened wails (“Ode ans Licht”). Ellende’s fusion of feeling into melody sparkles with vitality, where even the two bonus tracks preserve (if not outright enhance) Zerfall’s tender luster. Throughout, dreamily sustained chords entwine with buzzing tremolos, drenching the album with atmosphere, while soulful guitar leads emerge with megadoses of seasoning to ensure proceedings are never bland (“Wahrheit Teil I,” “Zerfall”). Instrumentally, Zerfall presents a lush experience that rewards multiple listens to unravel and appreciate its complex flavors.

Besides Ellende’s lyrical and musical cohesion, Zerfall offers an organic production and boasts a track list that wards off weak songs as well as standout moments. The bright production and mix allow the intricate web of instrumentation to breathe, from the sharp percussive click of a pick on acoustic guitar to the slight warble of a bow’s stroke across a violin. No track is dispensable, either—opener “Nur” is closest, yet it effectively establishes Zerfall’s mood at the outset. What’s most telling as I examine my time with Zerfall is the consistency with which I’ve listened to it, both actively and passively. Every track has the same number of plays, and when I reflect on why, it’s clear that while no track should be skipped, no individual moment galvanizes me to spin it again outside of its surrounding context. For an album so steeped in impassioned expressionism, Zerfall never quite attains the zenith of drama needed to fully achieve a euphoric climax of mounting tension and emotion, and this missing ingredient holds it back from greatness.

In his review of Ellenbogengesellschaft, Doomy observed that each release hones Ellende’s songwriting. Zerfall is no exception, taking what worked on prior albums to cultivate a more mature iteration. What began as L.G.’s outlet for introverted misanthropy has developed into a layered project that wields pathos like a knife, cutting to your emotional core with a deft flick of the wrist. Musically, I remember 2025 getting off to a slow start, and Ellende excites me for what 2026 has in store. Even if the coming year doesn’t live up to expectations, Zerfall establishes a surefire safety net of quality and feels.

Rating: Very Good!!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: AOP Records
Websites: Bandcamp | Facebook
Releases Worldwide: January 2nd, 2026

Hurtling into the new year with his heart on his sleeve (and bones on his shirt), Ellende’s one-man maestro L.G. bids to set a high bar for 2026. Zerfall, the band’s first new material since 2022,1 continues where Ellenbogengesellschaft left off, further polishing the allure of classically infused black metal. Conjuring comparisons to compatriots Harakiri for the Sky and Weltenbrandt,2 Austria’s Ellende lives somewhere between post and depressive black metal, unapologetically tackling poignant themes with passionate performances and crisp clarity. Translating to ‘decay,’ Zerfall examines the agony of a life fractured by loss and the painstaking endeavor to reclaim inner peace afterwards. Does Ellende’s latest prevail in capturing the haunting sting of tragedy and the catharsis of acceptance, or does it Zerfall short?

The aural evolution from Ellenbogengesellschaft to Zerfall flows like a frosty stream, with stirring strings and restrained piano evoking a sophisticated grace alongside Ellende’s more traditional blackened wrath. In many ways, the mettle that pushed Ellenbogengesellschaft to new heights shines even brighter here, packing more texture and ideas into Zerfall’s composition. In particular, the dedication to vocal variety begets a more nuanced performance and adds enticing wrinkles to an already dense soundscape. Choirs, whispers, and rasps swirl together in an eddy of sonic splendor, and as I revisit past Ellende albums, this dimension more than any other stands as a testament to how L.G. continues to find ways to refine and enrich his project’s musical identity.

Zerfall by Ellende

Performances across Zerfall dazzle, with the overarching imperative to buoy emotional impact before all else. While there’s little here to sate those who obsess over technical wizardry, I’ve rarely been so in tune with the spirit of music without understanding any of the words.3 Ellende’s central narrative on Zerfall follows a rollercoaster of emotional states, ranging from intense passion (“Wahrheit Teil I,” Wahrheit Teil II”) to sullen contemplation (“Übertritt”) and adventurous perspective-seeking (“Reise”). The music bolsters these themes, as resonant bass plucks support moments of introspection while anger and pain manifest in blackened wails (“Ode ans Licht”). Ellende’s fusion of feeling into melody sparkles with vitality, where even the two bonus tracks preserve (if not outright enhance) Zerfall’s tender luster. Throughout, dreamily sustained chords entwine with buzzing tremolos, drenching the album with atmosphere, while soulful guitar leads emerge with megadoses of seasoning to ensure proceedings are never bland (“Wahrheit Teil I,” “Zerfall”). Instrumentally, Zerfall presents a lush experience that rewards multiple listens to unravel and appreciate its complex flavors.

Besides Ellende’s lyrical and musical cohesion, Zerfall offers an organic production and boasts a track list that wards off weak songs as well as standout moments. The bright production and mix allow the intricate web of instrumentation to breathe, from the sharp percussive click of a pick on acoustic guitar to the slight warble of a bow’s stroke across a violin. No track is dispensable, either—opener “Nur” is closest, yet it effectively establishes Zerfall’s mood at the outset. What’s most telling as I examine my time with Zerfall is the consistency with which I’ve listened to it, both actively and passively. Every track has the same number of plays, and when I reflect on why, it’s clear that while no track should be skipped, no individual moment galvanizes me to spin it again outside of its surrounding context. For an album so steeped in impassioned expressionism, Zerfall never quite attains the zenith of drama needed to fully achieve a euphoric climax of mounting tension and emotion, and this missing ingredient holds it back from greatness.

In his review of Ellenbogengesellschaft, Doomy observed that each release hones Ellende’s songwriting. Zerfall is no exception, taking what worked on prior albums to cultivate a more mature iteration. What began as L.G.’s outlet for introverted misanthropy has developed into a layered project that wields pathos like a knife, cutting to your emotional core with a deft flick of the wrist. Musically, I remember 2025 getting off to a slow start, and Ellende excites me for what 2026 has in store. Even if the coming year doesn’t live up to expectations, Zerfall establishes a surefire safety net of quality and feels.

Rating: Very Good!!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: AOP Records
Websites: Bandcamp | Facebook
Releases Worldwide: January 2nd, 2026

Hurtling into the new year with his heart on his sleeve (and bones on his shirt), Ellende’s one-man maestro L.G. bids to set a high bar for 2026. Zerfall, the band’s first new material since 2022,1 continues where Ellenbogengesellschaft left off, further polishing the allure of classically infused black metal. Conjuring comparisons to compatriots Harakiri for the Sky and Weltenbrandt,2 Austria’s Ellende lives somewhere between post and depressive black metal, unapologetically tackling poignant themes with passionate performances and crisp clarity. Translating to ‘decay,’ Zerfall examines the agony of a life fractured by loss and the painstaking endeavor to reclaim inner peace afterwards. Does Ellende’s latest prevail in capturing the haunting sting of tragedy and the catharsis of acceptance, or does it Zerfall short?

The aural evolution from Ellenbogengesellschaft to Zerfall flows like a frosty stream, with stirring strings and restrained piano evoking a sophisticated grace alongside Ellende’s more traditional blackened wrath. In many ways, the mettle that pushed Ellenbogengesellschaft to new heights shines even brighter here, packing more texture and ideas into Zerfall’s composition. In particular, the dedication to vocal variety begets a more nuanced performance and adds enticing wrinkles to an already dense soundscape. Choirs, whispers, and rasps swirl together in an eddy of sonic splendor, and as I revisit past Ellende albums, this dimension more than any other stands as a testament to how L.G. continues to find ways to refine and enrich his project’s musical identity.

Zerfall by Ellende

Performances across Zerfall dazzle, with the overarching imperative to buoy emotional impact before all else. While there’s little here to sate those who obsess over technical wizardry, I’ve rarely been so in tune with the spirit of music without understanding any of the words.3 Ellende’s central narrative on Zerfall follows a rollercoaster of emotional states, ranging from intense passion (“Wahrheit Teil I,” Wahrheit Teil II”) to sullen contemplation (“Übertritt”) and adventurous perspective-seeking (“Reise”). The music bolsters these themes, as resonant bass plucks support moments of introspection while anger and pain manifest in blackened wails (“Ode ans Licht”). Ellende’s fusion of feeling into melody sparkles with vitality, where even the two bonus tracks preserve (if not outright enhance) Zerfall’s tender luster. Throughout, dreamily sustained chords entwine with buzzing tremolos, drenching the album with atmosphere, while soulful guitar leads emerge with megadoses of seasoning to ensure proceedings are never bland (“Wahrheit Teil I,” “Zerfall”). Instrumentally, Zerfall presents a lush experience that rewards multiple listens to unravel and appreciate its complex flavors.

Besides Ellende’s lyrical and musical cohesion, Zerfall offers an organic production and boasts a track list that wards off weak songs as well as standout moments. The bright production and mix allow the intricate web of instrumentation to breathe, from the sharp percussive click of a pick on acoustic guitar to the slight warble of a bow’s stroke across a violin. No track is dispensable, either—opener “Nur” is closest, yet it effectively establishes Zerfall’s mood at the outset. What’s most telling as I examine my time with Zerfall is the consistency with which I’ve listened to it, both actively and passively. Every track has the same number of plays, and when I reflect on why, it’s clear that while no track should be skipped, no individual moment galvanizes me to spin it again outside of its surrounding context. For an album so steeped in impassioned expressionism, Zerfall never quite attains the zenith of drama needed to fully achieve a euphoric climax of mounting tension and emotion, and this missing ingredient holds it back from greatness.

In his review of Ellenbogengesellschaft, Doomy observed that each release hones Ellende’s songwriting. Zerfall is no exception, taking what worked on prior albums to cultivate a more mature iteration. What began as L.G.’s outlet for introverted misanthropy has developed into a layered project that wields pathos like a knife, cutting to your emotional core with a deft flick of the wrist. Musically, I remember 2025 getting off to a slow start, and Ellende excites me for what 2026 has in store. Even if the coming year doesn’t live up to expectations, Zerfall establishes a surefire safety net of quality and feels.

Rating: Very Good!!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: AOP Records
Websites: Bandcamp | Facebook
Releases Worldwide: January 2nd, 2026

Hurtling into the new year with his heart on his sleeve (and bones on his shirt), Ellende’s one-man maestro L.G. bids to set a high bar for 2026. Zerfall, the band’s first new material since 2022,1 continues where Ellenbogengesellschaft left off, further polishing the allure of classically infused black metal. Conjuring comparisons to compatriots Harakiri for the Sky and Weltenbrandt,2 Austria’s Ellende lives somewhere between post and depressive black metal, unapologetically tackling poignant themes with passionate performances and crisp clarity. Translating to ‘decay,’ Zerfall examines the agony of a life fractured by loss and the painstaking endeavor to reclaim inner peace afterwards. Does Ellende’s latest prevail in capturing the haunting sting of tragedy and the catharsis of acceptance, or does it Zerfall short?

The aural evolution from Ellenbogengesellschaft to Zerfall flows like a frosty stream, with stirring strings and restrained piano evoking a sophisticated grace alongside Ellende’s more traditional blackened wrath. In many ways, the mettle that pushed Ellenbogengesellschaft to new heights shines even brighter here, packing more texture and ideas into Zerfall’s composition. In particular, the dedication to vocal variety begets a more nuanced performance and adds enticing wrinkles to an already dense soundscape. Choirs, whispers, and rasps swirl together in an eddy of sonic splendor, and as I revisit past Ellende albums, this dimension more than any other stands as a testament to how L.G. continues to find ways to refine and enrich his project’s musical identity.

Zerfall by Ellende

Performances across Zerfall dazzle, with the overarching imperative to buoy emotional impact before all else. While there’s little here to sate those who obsess over technical wizardry, I’ve rarely been so in tune with the spirit of music without understanding any of the words.3 Ellende’s central narrative on Zerfall follows a rollercoaster of emotional states, ranging from intense passion (“Wahrheit Teil I,” Wahrheit Teil II”) to sullen contemplation (“Übertritt”) and adventurous perspective-seeking (“Reise”). The music bolsters these themes, as resonant bass plucks support moments of introspection while anger and pain manifest in blackened wails (“Ode ans Licht”). Ellende’s fusion of feeling into melody sparkles with vitality, where even the two bonus tracks preserve (if not outright enhance) Zerfall’s tender luster. Throughout, dreamily sustained chords entwine with buzzing tremolos, drenching the album with atmosphere, while soulful guitar leads emerge with megadoses of seasoning to ensure proceedings are never bland (“Wahrheit Teil I,” “Zerfall”). Instrumentally, Zerfall presents a lush experience that rewards multiple listens to unravel and appreciate its complex flavors.

Besides Ellende’s lyrical and musical cohesion, Zerfall offers an organic production and boasts a track list that wards off weak songs as well as standout moments. The bright production and mix allow the intricate web of instrumentation to breathe, from the sharp percussive click of a pick on acoustic guitar to the slight warble of a bow’s stroke across a violin. No track is dispensable, either—opener “Nur” is closest, yet it effectively establishes Zerfall’s mood at the outset. What’s most telling as I examine my time with Zerfall is the consistency with which I’ve listened to it, both actively and passively. Every track has the same number of plays, and when I reflect on why, it’s clear that while no track should be skipped, no individual moment galvanizes me to spin it again outside of its surrounding context. For an album so steeped in impassioned expressionism, Zerfall never quite attains the zenith of drama needed to fully achieve a euphoric climax of mounting tension and emotion, and this missing ingredient holds it back from greatness.

In his review of Ellenbogengesellschaft, Doomy observed that each release hones Ellende’s songwriting. Zerfall is no exception, taking what worked on prior albums to cultivate a more mature iteration. What began as L.G.’s outlet for introverted misanthropy has developed into a layered project that wields pathos like a knife, cutting to your emotional core with a deft flick of the wrist. Musically, I remember 2025 getting off to a slow start, and Ellende excites me for what 2026 has in store. Even if the coming year doesn’t live up to expectations, Zerfall establishes a surefire safety net of quality and feels.

Rating: Very Good!!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: AOP Records
Websites: Bandcamp | Facebook
Releases Worldwide: January 2nd, 2026

Hurtling into the new year with his heart on his sleeve (and bones on his shirt), Ellende’s one-man maestro L.G. bids to set a high bar for 2026. Zerfall, the band’s first new material since 2022,1 continues where Ellenbogengesellschaft left off, further polishing the allure of classically infused black metal. Conjuring comparisons to compatriots Harakiri for the Sky and Weltenbrandt,2 Austria’s Ellende lives somewhere between post and depressive black metal, unapologetically tackling poignant themes with passionate performances and crisp clarity. Translating to ‘decay,’ Zerfall examines the agony of a life fractured by loss and the painstaking endeavor to reclaim inner peace afterwards. Does Ellende’s latest prevail in capturing the haunting sting of tragedy and the catharsis of acceptance, or does it Zerfall short?

The aural evolution from Ellenbogengesellschaft to Zerfall flows like a frosty stream, with stirring strings and restrained piano evoking a sophisticated grace alongside Ellende’s more traditional blackened wrath. In many ways, the mettle that pushed Ellenbogengesellschaft to new heights shines even brighter here, packing more texture and ideas into Zerfall’s composition. In particular, the dedication to vocal variety begets a more nuanced performance and adds enticing wrinkles to an already dense soundscape. Choirs, whispers, and rasps swirl together in an eddy of sonic splendor, and as I revisit past Ellende albums, this dimension more than any other stands as a testament to how L.G. continues to find ways to refine and enrich his project’s musical identity.

Zerfall by Ellende

Performances across Zerfall dazzle, with the overarching imperative to buoy emotional impact before all else. While there’s little here to sate those who obsess over technical wizardry, I’ve rarely been so in tune with the spirit of music without understanding any of the words.3 Ellende’s central narrative on Zerfall follows a rollercoaster of emotional states, ranging from intense passion (“Wahrheit Teil I,” Wahrheit Teil II”) to sullen contemplation (“Übertritt”) and adventurous perspective-seeking (“Reise”). The music bolsters these themes, as resonant bass plucks support moments of introspection while anger and pain manifest in blackened wails (“Ode ans Licht”). Ellende’s fusion of feeling into melody sparkles with vitality, where even the two bonus tracks preserve (if not outright enhance) Zerfall’s tender luster. Throughout, dreamily sustained chords entwine with buzzing tremolos, drenching the album with atmosphere, while soulful guitar leads emerge with megadoses of seasoning to ensure proceedings are never bland (“Wahrheit Teil I,” “Zerfall”). Instrumentally, Zerfall presents a lush experience that rewards multiple listens to unravel and appreciate its complex flavors.

Besides Ellende’s lyrical and musical cohesion, Zerfall offers an organic production and boasts a track list that wards off weak songs as well as standout moments. The bright production and mix allow the intricate web of instrumentation to breathe, from the sharp percussive click of a pick on acoustic guitar to the slight warble of a bow’s stroke across a violin. No track is dispensable, either—opener “Nur” is closest, yet it effectively establishes Zerfall’s mood at the outset. What’s most telling as I examine my time with Zerfall is the consistency with which I’ve listened to it, both actively and passively. Every track has the same number of plays, and when I reflect on why, it’s clear that while no track should be skipped, no individual moment galvanizes me to spin it again outside of its surrounding context. For an album so steeped in impassioned expressionism, Zerfall never quite attains the zenith of drama needed to fully achieve a euphoric climax of mounting tension and emotion, and this missing ingredient holds it back from greatness.

In his review of Ellenbogengesellschaft, Doomy observed that each release hones Ellende’s songwriting. Zerfall is no exception, taking what worked on prior albums to cultivate a more mature iteration. What began as L.G.’s outlet for introverted misanthropy has developed into a layered project that wields pathos like a knife, cutting to your emotional core with a deft flick of the wrist. Musically, I remember 2025 getting off to a slow start, and Ellende excites me for what 2026 has in store. Even if the coming year doesn’t live up to expectations, Zerfall establishes a surefire safety net of quality and feels.

Rating: Very Good!!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: AOP Records
Websites: Bandcamp | Facebook
Releases Worldwide: January 2nd, 2026

Stuck in the Filter: September 2025’s Angry Misses

By Kenstrosity

At last, a burst of cool calms the blood after a brutal summer, and the leaves are turning. Which means I was able to recruit a bunch of grubby little leaf-lookers off the highway to serve as minions to my ever-needy Filter! With a temporarily replenished staff of fools who are unwittingly risking their lives for mere nuggets, I conduct with renewed vigor the search for quality finds.

Today, I bring you those finds, in all of their sparkly glory. WITNESS THEM!

Kenstrosity’s Jaunty Juke

Jordsjuk // Naglet til livet [September 19th, 2025 – Indie Recordings]

The lack of conversation I’ve seen surrounding this Norwegian black metal riff machine is highly disconcerting. Brought to my attention by my wonderfully wise—and devilshly handsome—owlpal1 from… GASP… another blog, Jordsjuk’s debut LP Naglet til livet has my spine whipping to a fro from the onset of ripping opener “Kollaps.” The whiplash doesn’t stop there as thrashy numbers “Grovt skadeverk” and “Skreddersøm” body me against several walls and even a couple of ceilings. For 36 relentless minutes, with only one song pushing the four minute mark, Naglet til livet is an unqualified triumph of editing and tight, effective songwriting. My immediate comparison is 2007-2013 Skeletonwitch, but some of these riffs, like the turbobangers on “Parasitt,” “Rottebitt,” “Klarhet og dybde,” and “Rennestein,” give those hallowed skellybois a serious run for their money. When they aren’t thrashing, Jordsjuk shift into a dour, but still ravenous black metal shadow. Wraiths like “Riv skorpen av såret” and “Svikter din neste” showcase this looming character quite well, and prove Jordsjuk to be dynamic, versatile songwriters. In short, Naglet til livet is a raucous good time for anyone craving black metal with sharp teeth and limitless energy.

Baguette’s Bouncy Blessing

Arjen Anthony Lucassen // Songs No One Will Hear [September 12th, 2025 – Inside Out Music]

A year without an Arjen record would be a much lesser one. It’s not often the crazy Dutchman reuses a non-Ayreon project title, but here we have his fourth solo album becoming the second under the full Arjen Anthony Lucassen name! Dropping 13 years after the previous one, Songs No One Will Hear announces the end of the world is a mere five months away, its tracks depicting the resulting stages of chaos, disarray, and human silliness. It doesn’t fall far off the catchy and melodic Arjen tree but casts a wider net than prior prog rock adventures. Much of the record reflects different eras of Ayreon, including the ’70s prog whimsy of Into the Electric Castle (“Dr. Slumber’s Blue Bus”) and the fun ’80s metal edge of The Source (“Goddamn Conspiracy”). Closing epic “Our Final Song” is a microcosm of his musical breadth, shapeshifting from Jethro Tull flute shenanigans to analog synth ambience to dramatic riff bombast at will. But it’s “The Clock Ticks Down” that steals the spotlight, marking a brief return to the dark, somber grit of Guilt Machine and 01011001. It’s an unusually normal-sized album from Mr. Lucassen as well, the regular, unnarrated version being only 46 minutes and change. A condensed, jovial jack-of-all-trades showcase with many of the usual great guest musician and vocalist selections! And it’s always nice to hear him sing more, too.

Thus Spoke’s Lurid Leftovers

Fauna // Ochre and Ash [September 26th, 2025 – Lupus Lounge/Prophecy Productions]

It’s been 13 years since Cascadian black metal duo Fauna released Avifauna, to quiet yet great acclaim. Given their preoccupation with human prehistory, they might just be operating on a larger timescale than you or I. Ochre and Ash—the two main ingredients used in ancient cave paintings—is an attempt to invoke the spirit of forgotten ceremonies during which the stories of the people were immortalised on stone. Building on an atmospheric black metal base familiar in their better-known exemplars Wolves in the Throne Room and Agalloch, Fauna give Ochre and Ash a distinctive edge by roaming further afield into the experimental. For every metal-dominated track (“Nature & Madness,” “Labyrinths,” “Eternal Return”), there is an ambient, decidedly unsettling counterpart (“A Conjuring,” “Femoral Sun,” “Mockery”), and the latter are not interludes, but integral parts of the ritual. Each infuses skin-prickling drone with eerie chimes and rattles, and uncomfortable vocalisations ranging from moans and wails to laughter and the howling, yipping cries of animals—or humans mimicking them. In their repetition of haunting, hollow sounds, they are both frightening and trance-inducing. Ochre and Ash’s metallic segments are no less ominous, treading as they do between confrontationally turbulent atmoblack2 and diSEMBOWELMENT-adjacent death doom that puts me right back in the void of madness last year’s Spectral Voice generated. This is not a casual listen, and Fauna could have helped it a bit with some editing, as the weirdness combined with an excessive 70-minute runtime makes some longer passages feel tired and could be off-putting to some. Still, it’s an experience I’d recommend trying at least once.

Spicie Forrest’s Sautéed Surplus

Piece // Rambler’s Axe [September 5th, 2025 – This Charming Man Records]

Finding gym metal has always proven difficult for me. It’s not about the fastest or loudest, but about striking a balance between weight and pace. Rambler’s Axe fits the bill nicely. Influenced by the likes of Crowbar and High on Fire, these Berlin-based doomsters peddle raucous and sludgy heavy metal. There’s a bit of Conan in Piece’s DNA, too, making sure to worship each riff long enough for you to make it through any given set. Beefy basslines and aggressive, chiseled drums make it easy to drop into a groove and get your pump on. Faster cuts like “Demigod” and “Rambler’s Axe” go great with chest flies and leg press, but they’ve got tracks for bench press and deadlifts too. “Bastard Sword” and “Owl Eyes” rumble forward like the slow but inevitable rise of the barbell at max weight. Whether marching or running, baritone shouts like tank treads hang over riffs just looking for an excuse to blow off steam. Whatever your reason for visiting the glorious house of gains, Piece has your soundtrack covered.

Heruvim // Mercator [September 12th, 2025 – Self-Release]

As each passing year leaves the almighty Bolt Thrower further in the past, the yearning for that sound grows. I was quite surprised to find a small amount of solace in Heruvim, hailing from Odesa, Ukraine. I say small solace, because debut LP Mercator is more than just a clone. Augmented with the unsettling atmosphere of early Pestilence and the vocal malevolence of Sinister, this platter of old school death metal carves its own niche in a storied scene. Off-kilter leads bubble up and spew out of a murky, tarred rhythm section like prehistoric gases in a primordial soup (“Gnosis,” “Lacrimae Rerum”). Lachrymose, doom-laden passages and violent death threats trade back and forth, anchored by volatile blast beats and percussive assaults in the vein of Cannibal Corpse (“Nulla Res,” “Mercator”). Stitched together with eerie, short-and-sweet interludes, Mercator’s lean 30 minutes fly by and always leave me itching for more. Heruvim riffs on a slew of classic sounds, creating a casual brutality and primal barbarism that is both compelling and uniquely their own.

ClarkKent’s Melodic Monstrosities

Galundo Tenvulance // Insomnis Somnia [September 17th, 2025 – Spiritual Beast Records]

Falling somewhere between symphonic deathcore acts Assemble the Chariots and Grimnis enters Japan’s Galundo Tenvulance. On their second full-length LP, Insomnis Somnia, the sextet demonstrates raw power and frenetic energy throughout its 41-minute runtime. Songs are anchored by catchy melodic leads, atmospheric symphonies, and punishing, relentless kitwork (no drummer is credited, so hopefully it’s not programmed). Galundo Tenvulance’s new vocalist, Sao, delivers the goods, bringing a spirited energy to her performance that elevates the already terrific material. While the symphonics don’t quite elevate the music the same way they do for Assemble the Chariots, it’s the melodic riffs that make these guys stand out. “Noble Rot” is the highlight, with a killer lead riff that uses harmonics to add just that extra bit of oomph. Other highlights include the catchy “Regret Never Sleeps,” evoking Character-era Dark Tranquillity, and “In The Realms of the Unreal,” which demonstrates their ability to transform solos into surprising melodies. This might be too good to have landed in the filter, but with my TYMHM slots filled up, it’s better than nothing.

Mortal Scepter // Ethereal Dominance [September 9th, 2025 – Xtreem Music]

As if we didn’t have enough thrash floating in the filter, French outfit Mortal Scepter finds itself as yet another piece of thrash dredged from the muck. This quartet has been around since 2012, yet Ethereal Dominance is only their second full-length release. Their sound lands somewhere between the melodic thrash of Bloodletter and the mania of Deathhammer—though a touch less zany. The persistent level of energy these bands can maintain never ceases to amaze me. While the constant beat of drum blasts threatens to make thrash songs sound too similar, the variety of melodies Mortal Scepter delivers ensures that things never grow repetitive. They have a raw, blackened sound that feels immediate and in your face. Drummer Guillaume keeps an impressive pace with fresh-sounding, nonstop blast beats, while vocalist Lucas Scellier snarls with enthusiasm, with a voice comparable to Deathhammer’s Sergeant Salsten. However, it’s the guitars by Maxime and Scellier that really bring the band to life, from the noodly melodies to the dynamic, lengthy, and impressive solos on each song. These guys prove they are more than just simple thrash metallers on the epic thrash, ten-minute finale, “Into the Wolves Den,” which uses a mix of tempo shifts and hooky melodies to make the song just fly by. With this second LP under their belts, these guys have proven themselves an exciting newish band on the thrash scene.

Grin Reaper’s Woodland Windfall

Autrest // Burning Embers, Forgotten Wolves [September 5th, 2025 – Northern Silence Productions]

Burning Embers, Forgotten Wolves merges atmospheric black metal with nature, resuming Autrest’s vision from debut Follow the Cold Path. Like Saor or Falls of Rauros, stunning melodies play across untamed backdrops that stir heartstrings in unexpected ways. Ethereal keys, mournful strings, and rapid-fire tremolos impeccably capture Burning Embers, Forgotten Wolves’ autumnal artwork, bringing Autrest’s imagery to life. Harsh vocals sit back in the mix, evoking windswept trees as cool harvest gusts leach branches of color, while sporadic baritone cleans add variation. “Lobos (Offering)” sets the stage with melancholic guitar plucks bolstered by forlorn strings, giving way to a controlled spark as “Ashes from the Burning Embers” ratchets up roiling vigor. Through forty-two minutes, Autrest expertly guides listeners across shifting landscapes that are delightful in their earnestness. Mastermind Matheus Vidor establishes himself as a preeminent architect of mood, channeling transitions from gentle, wonder-filled serenity to unyielding wrath. The dynamic between aggression and introspection is marvelous, permeating the album with emotion. While I could understand a complaint that some songs blur together, the spirit of Burning Embers, Forgotten Wolves is never stale or disposable. Rather, Autrest has taken what began two years ago and enriched it, composing an ode to self-discovery and transformation.3 My own experience with the music conjures wilderness’s last hurrah before succumbing to winter’s embrace. As days grow shorter and temperatures drop,4 I encourage you to seek refuge and draw warmth from these Burning Embers.

Dolphin Whisperer’s Very Not Late Novella

Sterveling // Sterveling [September 26th, 2025 – Self Release]

Between the world of atmospheric and post-tinged black metal, there exists a twisted form of progressive music that teeters about brooding moods and crackling tones to explore shrieking sadness and profound sorrow. Michiel van der Werff (Prospectors, Weltschmerz), primary Dutch proprietor of Sterveling, places his expressive guitar runs and lurching rhythm clangs in the company of trusted friends to carry out his tortured, baroque vision of black metal. Against the hissing design of synth maestro and Prospectors bandmate Matthias Ruijgrok, a fullness and warping warmth pervades the spacious amp textures and muscular rhythmic framework of each piece. And through the bloodied cries of Weltschmerz bandmate Hreim, a vocal lightning flashes to illuminate the nooks between pulsing synth lines and deathly bursts of full tremolo assault. In three longform pieces, all still totaling a generous forty-two minutes, Sterveling tints a monochrome narrative with vibrant shades from thoughtful tones and well-timed, emotional escalations. Committed to each careful iteration on a melody, the woven Sterveling web grows ever stickier with every passing moment, none of the ten-minute-plus excursions ever feeling even close to their declared runtimes. And with a sound construction that hits delicate yet forceful, creaking yet incising, it’s easy to wander through several journeys on this debut outing before realizing what time has passed. Fans of equally forlorn acts like Tongues or Andalvald will feel more at home here than others. But with a tonal palette that’s as inviting as it is crushing, Sterveling should attract the ears of fans across the extreme spectrum.

#2025 #agalloch #americanMetal #andavald #arjenAnthonyLucassen #assembleTheChariots #atmosphericBlackMetal #autrest #ayreon #blackMetal #bloodletter #boltThrower #brazillianMetal #burningEmbersForgottenWolves #cannibalCorpse #conan #crowbar #darkTranquillity #deathDoom #deathMetal #deathcore #deathhammer #disembowelment #doomMetal #dutchMetal #etherealDominance #fallsOfRauros #fauna #frenchMetal #galundoTenvulance #grimnis #guiltMachine #heruvim #highOnFire #independentRelease #indieRecordings #insideoutMusic #insomnisSomnia #japaneseMetal #jethroTull #jordsjuk #lupusLounge #melodicBlackMetal #melodicDeathMetal #melodicThrashMetal #mercator #mortalScepter #nagletTilLivet #northernSilenceProductions #norwegianMetal #ochreAndAsh #pestilence #piece #postBlackMetal #progressiveBlackMetal #progressiveMetal #progressiveRock #prophecyProductions #ramblersAxe #review #reviews #saor #selfRelease #selfReleased #sep25 #sinister #skeletonwitch #sludge #sludgeMetal #songsNoOneWillHear #spectralVoice #sterveling #stuckInTheFilter #stuckInTheFilter2025 #symphonicDeathcore #thisCharmingManRecords #thrashMetal #tongues #ukrainianMetal #wolvesInTheThroneRoom

PLUVIA (França) presenta nou EP: "Saturne Furie" #Pluvia #Atmospheric #PostBlackMetal #Maig2025 #França #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

For #BlackMetalMonday by @HailsandAles:

#Unreqvited: The Antimatter

https://song.link/287zmdk6f03qd

#AtmosphericBlackMetal #Blackgaze #PostBlackMetal

FFO #Heretoir #Skyforest #VioletCold

Zéro Absolu – La Saignée Review

By Thus Spoke

La Saignée is Zéro Absolu’s debut, but the members already have a storied past. Not only comprised of notable black metal artists—from Alcest, and Regarde Les Hommes Tomber—Zéro Absolu is itself a reinvention. After their original name—Glaciation—was stolen and illegally registered as IP by a bitter temporary band member, they had no choice but to evolve. In concept, La Saignée defends the band’s integrity, and that of the wider (black) metal scene against the poisonous ideas that tear it down, its lyrics described by the members as “confronting [both of their] enemies.” It partially explains the odd cover art, which is not an AI abomination, as it might at first appear, but a photograph taken in the aftermath of the fire that devastated Noeseblod (formerly Helvete) Records in Olso last April. Zéro Absolu are here to make a statement, and the way they choose to deliver it in La Saignée says a lot.

Zéro Absolu’s black metal proper is distinctively French, with deep and exuberant guitar tones, gravelly vocals, and a vague sense of nostalgia hovering about its refrains. There is more than a hint of Glaciation, of course, as well as Abduction, Seth, and countless others. Yet, now more than in the band’s previous incarnation, the admixtures of styles from those who comprise it are given freer reign. Gazey Alcestian plucking and serene vocalisations, and dark post-black turns from the playbook of Regarde les Hommes Tomber play a larger role amidst the frosty second-wave tremolo and drum. La Saignée moves between its aspects as mood takes it, unspooling the manifesto that Zéro Absolu have created. This is where the album’s structure plays a crucial role, for La Saignée consists of only two songs. The first, title track—an epic of over twenty minutes—feels like the raison d’être for this record and for Zéro Absolu themselves, rising and falling anthemically. The second, “Le Temps Détruit Tout,”—comparatively short at 13 minutes and change—is more reflective and solemn overall, though not without its own blackened surges of ardour. This duality more or less completely dissolves La Saignée into one piece, making it more stirring and immersive, and thus serving as the apt instantiation of Zéro Absolu’s declarative (re-)entrance.

By marrying an evocative black metal core with the threads of post-black at their disposal, Zéro Absolu create something powerful. Dispossessed of a lyric sheet, my French is too poor to parse the words—from both vocals and the static-blurred samples that surface across the runtime.1 Zéro Absolu’s execution, however, leaves little room to doubt their sincerity. The howls and screams which cry out these verses in unison burn with fierceness. The sweeping rise and fall of melancholic refrains—just as much as their incremental, understated derivations— carry tides of emotion in blazing tremolos just as much as the latter drip it in subtly with resonant plucks. La Saignée repeatedly peaks between emphatic intensity and the musings of ambience, and this dynamism feels real to the process of delivering an impassioned disquisition. Yet the other face of the record, which is less straightforward, shows the far-reaching, introspected core. Not only the atmosphere garnered by the stripped-back mellifluousness of gaze, but also the time given over to more abstract soundscapes as the chiming, sometimes eerie synths, lend La Saignée further layers of intrigue, depth, and feeling. It culminates in a rich, emotionally nuanced, and flowing experience that makes you forget, at times, what exactly you’re listening to,2 and not care because it is that immersive.

None of the above is to say that La Saignée is mind-blowingly unique, or beyond devastatingly affecting. But this is partly due to how high the bar already is for modern French black metal, not to mention that set by Zéro Absolu themself, in their previous form as Glaciation. Putting that to one side, I’ll concede that the structure, ideal as it is for immersion and intensity, somewhat runs against memorability, and in a related sense, immediacy. It takes some patience, and more than a few listens, to really appreciate the magnificence of La Saignée, and while you’ll certainly enjoy each of those listens very much (if you’re inclined towards this genre at all), it lacks some supererogatory obvious excellence that demands your respect instantly. This could also mean that mileage will vary between listeners, though I do believe that with time, all will trend towards the favourable.

As a means by which the musicians of Zéro Absolu return to the black metal scene, La Saignée is a powerful choice. In its free-flowing, dual-partite structure, they are reborn and make an emotionally affecting, honest-feeling, and wonderfully executed statement. This is surely just the first step in a new and vibrant career for the band, and what a first step it is.

Rating: Very Good
DR: 6 | Format Reviewed: 320 kbps mp3
Label: AOP Records
Website: Bandcamp
Releases Worldwide: January 31st, 2025

#2025 #35 #Alcest #AOPRecords #BlackMetal #FrenchBlackMetal #FrenchMetal #Glaciation #Jan25 #LaSaignée #MelodicBlackMetal #PostBlackMetal #RegardeLesHommesTomber #Review #Reviews #Seth #ZéroAbsolu

Zéro Absolu – La Saignée Review

By Thus Spoke

La Saignée is Zéro Absolu’s debut, but the members already have a storied past. Not only comprised of notable black metal artists—from Alcest, and Regarde Les Hommes Tomber—Zéro Absolu is itself a reinvention. After their original name—Glaciation—was stolen and illegally registered as IP by a bitter temporary band member, they had no choice but to evolve. In concept, La Saignée defends the band’s integrity, and that of the wider (black) metal scene against the poisonous ideas that tear it down, its lyrics described by the members as “confronting [both of their] enemies.” It partially explains the odd cover art, which is not an AI abomination, as it might at first appear, but a photograph taken in the aftermath of the fire that devastated Noeseblod (formerly Helvete) Records in Olso last April. Zéro Absolu are here to make a statement, and the way they choose to deliver it in La Saignée says a lot.

Zéro Absolu’s black metal proper is distinctively French, with deep and exuberant guitar tones, gravelly vocals, and a vague sense of nostalgia hovering about its refrains. There is more than a hint of Glaciation, of course, as well as Abduction, Seth, and countless others. Yet, now more than in the band’s previous incarnation, the admixtures of styles from those who comprise it are given freer reign. Gazey Alcestian plucking and serene vocalisations, and dark post-black turns from the playbook of Regarde les Hommes Tomber play a larger role amidst the frosty second-wave tremolo and drum. La Saignée moves between its aspects as mood takes it, unspooling the manifesto that Zéro Absolu have created. This is where the album’s structure plays a crucial role, for La Saignée consists of only two songs. The first, title track—an epic of over twenty minutes—feels like the raison d’être for this record and for Zéro Absolu themselves, rising and falling anthemically. The second, “Le Temps Détruit Tout,”—comparatively short at 13 minutes and change—is more reflective and solemn overall, though not without its own blackened surges of ardour. This duality more or less completely dissolves La Saignée into one piece, making it more stirring and immersive, and thus serving as the apt instantiation of Zéro Absolu’s declarative (re-)entrance.

By marrying an evocative black metal core with the threads of post-black at their disposal, Zéro Absolu create something powerful. Dispossessed of a lyric sheet, my French is too poor to parse the words—from both vocals and the static-blurred samples that surface across the runtime.1 Zéro Absolu’s execution, however, leaves little room to doubt their sincerity. The howls and screams which cry out these verses in unison burn with fierceness. The sweeping rise and fall of melancholic refrains—just as much as their incremental, understated derivations— carry tides of emotion in blazing tremolos just as much as the latter drip it in subtly with resonant plucks. La Saignée repeatedly peaks between emphatic intensity and the musings of ambience, and this dynamism feels real to the process of delivering an impassioned disquisition. Yet the other face of the record, which is less straightforward, shows the far-reaching, introspected core. Not only the atmosphere garnered by the stripped-back mellifluousness of gaze, but also the time given over to more abstract soundscapes as the chiming, sometimes eerie synths, lend La Saignée further layers of intrigue, depth, and feeling. It culminates in a rich, emotionally nuanced, and flowing experience that makes you forget, at times, what exactly you’re listening to,2 and not care because it is that immersive.

None of the above is to say that La Saignée is mind-blowingly unique, or beyond devastatingly affecting. But this is partly due to how high the bar already is for modern French black metal, not to mention that set by Zéro Absolu themself, in their previous form as Glaciation. Putting that to one side, I’ll concede that the structure, ideal as it is for immersion and intensity, somewhat runs against memorability, and in a related sense, immediacy. It takes some patience, and more than a few listens, to really appreciate the magnificence of La Saignée, and while you’ll certainly enjoy each of those listens very much (if you’re inclined towards this genre at all), it lacks some supererogatory obvious excellence that demands your respect instantly. This could also mean that mileage will vary between listeners, though I do believe that with time, all will trend towards the favourable.

As a means by which the musicians of Zéro Absolu return to the black metal scene, La Saignée is a powerful choice. In its free-flowing, dual-partite structure, they are reborn and make an emotionally affecting, honest-feeling, and wonderfully executed statement. This is surely just the first step in a new and vibrant career for the band, and what a first step it is.

Rating: Very Good
DR: 6 | Format Reviewed: 320 kbps mp3
Label: AOP Records
Website: Bandcamp
Releases Worldwide: January 31st, 2025

#2025 #35 #Alcest #AOPRecords #BlackMetal #FrenchBlackMetal #FrenchMetal #Glaciation #Jan25 #LaSaignée #MelodicBlackMetal #PostBlackMetal #RegardeLesHommesTomber #Review #Reviews #Seth #ZéroAbsolu

Zéro Absolu – La Saignée Review

By Thus Spoke

La Saignée is Zéro Absolu’s debut, but the members already have a storied past. Not only comprised of notable black metal artists—from Alcest, and Regarde Les Hommes Tomber—Zéro Absolu is itself a reinvention. After their original name—Glaciation—was stolen and illegally registered as IP by a bitter temporary band member, they had no choice but to evolve. In concept, La Saignée defends the band’s integrity, and that of the wider (black) metal scene against the poisonous ideas that tear it down, its lyrics described by the members as “confronting [both of their] enemies.” It partially explains the odd cover art, which is not an AI abomination, as it might at first appear, but a photograph taken in the aftermath of the fire that devastated Noeseblod (formerly Helvete) Records in Olso last April. Zéro Absolu are here to make a statement, and the way they choose to deliver it in La Saignée says a lot.

Zéro Absolu’s black metal proper is distinctively French, with deep and exuberant guitar tones, gravelly vocals, and a vague sense of nostalgia hovering about its refrains. There is more than a hint of Glaciation, of course, as well as Abduction, Seth, and countless others. Yet, now more than in the band’s previous incarnation, the admixtures of styles from those who comprise it are given freer reign. Gazey Alcestian plucking and serene vocalisations, and dark post-black turns from the playbook of Regarde les Hommes Tomber play a larger role amidst the frosty second-wave tremolo and drum. La Saignée moves between its aspects as mood takes it, unspooling the manifesto that Zéro Absolu have created. This is where the album’s structure plays a crucial role, for La Saignée consists of only two songs. The first, title track—an epic of over twenty minutes—feels like the raison d’être for this record and for Zéro Absolu themselves, rising and falling anthemically. The second, “Le Temps Détruit Tout,”—comparatively short at 13 minutes and change—is more reflective and solemn overall, though not without its own blackened surges of ardour. This duality more or less completely dissolves La Saignée into one piece, making it more stirring and immersive, and thus serving as the apt instantiation of Zéro Absolu’s declarative (re-)entrance.

By marrying an evocative black metal core with the threads of post-black at their disposal, Zéro Absolu create something powerful. Dispossessed of a lyric sheet, my French is too poor to parse the words—from both vocals and the static-blurred samples that surface across the runtime.1 Zéro Absolu’s execution, however, leaves little room to doubt their sincerity. The howls and screams which cry out these verses in unison burn with fierceness. The sweeping rise and fall of melancholic refrains—just as much as their incremental, understated derivations— carry tides of emotion in blazing tremolos just as much as the latter drip it in subtly with resonant plucks. La Saignée repeatedly peaks between emphatic intensity and the musings of ambience, and this dynamism feels real to the process of delivering an impassioned disquisition. Yet the other face of the record, which is less straightforward, shows the far-reaching, introspected core. Not only the atmosphere garnered by the stripped-back mellifluousness of gaze, but also the time given over to more abstract soundscapes as the chiming, sometimes eerie synths, lend La Saignée further layers of intrigue, depth, and feeling. It culminates in a rich, emotionally nuanced, and flowing experience that makes you forget, at times, what exactly you’re listening to,2 and not care because it is that immersive.

None of the above is to say that La Saignée is mind-blowingly unique, or beyond devastatingly affecting. But this is partly due to how high the bar already is for modern French black metal, not to mention that set by Zéro Absolu themself, in their previous form as Glaciation. Putting that to one side, I’ll concede that the structure, ideal as it is for immersion and intensity, somewhat runs against memorability, and in a related sense, immediacy. It takes some patience, and more than a few listens, to really appreciate the magnificence of La Saignée, and while you’ll certainly enjoy each of those listens very much (if you’re inclined towards this genre at all), it lacks some supererogatory obvious excellence that demands your respect instantly. This could also mean that mileage will vary between listeners, though I do believe that with time, all will trend towards the favourable.

As a means by which the musicians of Zéro Absolu return to the black metal scene, La Saignée is a powerful choice. In its free-flowing, dual-partite structure, they are reborn and make an emotionally affecting, honest-feeling, and wonderfully executed statement. This is surely just the first step in a new and vibrant career for the band, and what a first step it is.

Rating: Very Good
DR: 6 | Format Reviewed: 320 kbps mp3
Label: AOP Records
Website: Bandcamp
Releases Worldwide: January 31st, 2025

#2025 #35 #Alcest #AOPRecords #BlackMetal #FrenchBlackMetal #FrenchMetal #Glaciation #Jan25 #LaSaignée #MelodicBlackMetal #PostBlackMetal #RegardeLesHommesTomber #Review #Reviews #Seth #ZéroAbsolu

Harakiri for the Sky – Scorched Earth Review

By Dear Hollow

Harakiri for the Sky is one of those bands that is consistently very good but constantly eludes greatness. The Austrian duo’s grasp on melody is second to none, pairing yearning atmospheres with blackened aggression and meditative tempos, resolute in its muscular weight and melodic motifs without devolving into either jadedness nor frailty. While devoted to the style’s trademark slow-burning growth, they constantly avoid the pitfalls of the “post-black” descriptor, refusing to fall into the weak and twinkly shenanigans of their counterparts. However, composition remains mid-tempo and largely too safely confined to the overlapping of predictable melodies and their organic resolutions. This is not a bad thing and Scorched Earth makes that clear.

Harakiri for the Sky has made its trademark unmistakable, and had five full-lengths of practice in doing so. Instrumentals provided by Matthias Sollak are richly layered with heart-wrenching melodies and bound by thick plodding riffs with the edge of blackened rawness, while J.J.’s formidable barks communicate both riveting charisma and rending pain alike in a bit of a post-hardcore spin. Career highlights like 2016’s III: Trauma and 2021’s Mære firmly establish this balance and run with it, while 2018’s Arson fell into forgettable territory by virtue of simply being in an excellent discography. Frankly, that’s a fantastic problem to have, and I had no doubts that Scorched Earth was going to be anything short of enjoyable. Featuring guests like Tim Yatras of Austere and Serena Cherry of Svalbard and Noctule contributing to this instrumental and vocal tapestry,1 Scorched Earth feels like the natural next step for Harakiri for the Sky in renewed vigor and intensity.

Harakiri for the Sky’s grasp on melody remains largely the same, retaining the “twinkly” description but imbued with a heartbreak reminiscent of more depressive styles. Scorched Earth descends deeper into this dirge, with solemn passages and slower tempos letting the breadth of harmony and desperation echo further across its empty outstretched hands. The approach remains very simple, with Sollak’s chord progressions doing the talking in all their natural crescendos and organic dissolutions. Tracks can take on a nearly folky feel reminiscent of melodeath greats like Insomnium or Amorphis (“Heal Me,” “With Autumn I’ll Surrender”), while the clever layering of riffs, leads, and melodic motifs offer a place of utmost emotional intensity between placid passages of yearning (“Keep Me Longing,” “No Graves But the Sea”), while notable tension in unorthodox chord progressions adds a texture beyond just “pretty black metal” (“Without You I’m Just a Sad Song,” “I Was Just Another Promise You Couldn’t Keep”). While Austere’s Tim Yatras performance is difficult to discern in “Heal Me,” Svalbard/Noctule’s Serena Cherry lends her sirenic croons in closer “Too Late for Goodbyes,” ending Scorched Earth on a solemn and desolate note.

Harakiri for the Sky’s melody, although front and center, is bolstered by tracks featuring a more unpredictable instrumental presence than before. A voiceless venom keeps the sound grounded, as more morose and beautiful movements are contrasted with heavier riffs and moments of darkness that bare a track’s teeth. While the rhythmic chugs kick through the beauty with recklessness (“Without You I’m Just a Sad Song,” “With Autumn I’ll Surrender”) and more upbeat punk rhythms and blastbeats inject a blasting vigor (“No Graves But the Sea,” “Keep Me Longing,” “Too Late for Goodbyes”), dissonance serves as a necessary and ugly thread to keeping the hyper-melodic palette from getting too much (“Heal Me,” “I Was Just Another Promise You Couldn’t Keep). While the vast majority of Scorched Earth is dominated by beauty, it’s nice to have more dimension and more humanity from Harakiri for the Sky in its darker passages.

At its core, Scorched Earth is quintessential Harakiri for the Sky. Setting out with more reckless elements such as heavier riffs, blackened blastbeats, or a touch of dissonance, it feels a tad more dangerous and experimental than in previous iterations.2 However, the epitome of “if it ain’t broke, don’t fix it” formula, Harakiri for the Sky plays it close to the vest with the true star of the show: layers and layers of melody. While shorter than Mære, Scorched Earth is nonetheless daunting in its hour length, and its hyper-melodicism can oft grow tiring while J.J.’s post-hardcore-influenced barks has always felt slightly out of place against the crystalline melody, Harakiri for the Sky remains amazingly melodic and always pleasant to listen to. Scorched Earth, once again, is frustratingly safe – truly the act’s signature.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: AOP Records
Websites: harakirifortheskyofficial.bandcamp.com | facebook.com/HarakiriForTheSky
Releases Worldwide: January 24th, 2025

#2025 #35 #Amorphis #AOPRecords #Austere #AustrianMetal #BackwardsCharm #BlackMetal #Groza #HarakiriForTheSky #Insomnium #Jan25 #Karg #Megadeth #MelodicBlackMetal #Noctule #PostBlackMetal #PostHardcore #Radiohead #Review #Reviews #ScorchedEarth #Svalbard

Harakiri for the Sky – Scorched Earth Review

By Dear Hollow

Harakiri for the Sky is one of those bands that is consistently very good but constantly eludes greatness. The Austrian duo’s grasp on melody is second to none, pairing yearning atmospheres with blackened aggression and meditative tempos, resolute in its muscular weight and melodic motifs without devolving into either jadedness nor frailty. While devoted to the style’s trademark slow-burning growth, they constantly avoid the pitfalls of the “post-black” descriptor, refusing to fall into the weak and twinkly shenanigans of their counterparts. However, composition remains mid-tempo and largely too safely confined to the overlapping of predictable melodies and their organic resolutions. This is not a bad thing and Scorched Earth makes that clear.

Harakiri for the Sky has made its trademark unmistakable, and had five full-lengths of practice in doing so. Instrumentals provided by Matthias Sollak are richly layered with heart-wrenching melodies and bound by thick plodding riffs with the edge of blackened rawness, while J.J.’s formidable barks communicate both riveting charisma and rending pain alike in a bit of a post-hardcore spin. Career highlights like 2016’s III: Trauma and 2021’s Mære firmly establish this balance and run with it, while 2018’s Arson fell into forgettable territory by virtue of simply being in an excellent discography. Frankly, that’s a fantastic problem to have, and I had no doubts that Scorched Earth was going to be anything short of enjoyable. Featuring guests like Tim Yatras of Austere and Serena Cherry of Svalbard and Noctule contributing to this instrumental and vocal tapestry,1 Scorched Earth feels like the natural next step for Harakiri for the Sky in renewed vigor and intensity.

Harakiri for the Sky’s grasp on melody remains largely the same, retaining the “twinkly” description but imbued with a heartbreak reminiscent of more depressive styles. Scorched Earth descends deeper into this dirge, with solemn passages and slower tempos letting the breadth of harmony and desperation echo further across its empty outstretched hands. The approach remains very simple, with Sollak’s chord progressions doing the talking in all their natural crescendos and organic dissolutions. Tracks can take on a nearly folky feel reminiscent of melodeath greats like Insomnium or Amorphis (“Heal Me,” “With Autumn I’ll Surrender”), while the clever layering of riffs, leads, and melodic motifs offer a place of utmost emotional intensity between placid passages of yearning (“Keep Me Longing,” “No Graves But the Sea”), while notable tension in unorthodox chord progressions adds a texture beyond just “pretty black metal” (“Without You I’m Just a Sad Song,” “I Was Just Another Promise You Couldn’t Keep”). While Austere’s Tim Yatras performance is difficult to discern in “Heal Me,” Svalbard/Noctule’s Serena Cherry lends her sirenic croons in closer “Too Late for Goodbyes,” ending Scorched Earth on a solemn and desolate note.

Harakiri for the Sky’s melody, although front and center, is bolstered by tracks featuring a more unpredictable instrumental presence than before. A voiceless venom keeps the sound grounded, as more morose and beautiful movements are contrasted with heavier riffs and moments of darkness that bare a track’s teeth. While the rhythmic chugs kick through the beauty with recklessness (“Without You I’m Just a Sad Song,” “With Autumn I’ll Surrender”) and more upbeat punk rhythms and blastbeats inject a blasting vigor (“No Graves But the Sea,” “Keep Me Longing,” “Too Late for Goodbyes”), dissonance serves as a necessary and ugly thread to keeping the hyper-melodic palette from getting too much (“Heal Me,” “I Was Just Another Promise You Couldn’t Keep). While the vast majority of Scorched Earth is dominated by beauty, it’s nice to have more dimension and more humanity from Harakiri for the Sky in its darker passages.

At its core, Scorched Earth is quintessential Harakiri for the Sky. Setting out with more reckless elements such as heavier riffs, blackened blastbeats, or a touch of dissonance, it feels a tad more dangerous and experimental than in previous iterations.2 However, the epitome of “if it ain’t broke, don’t fix it” formula, Harakiri for the Sky plays it close to the vest with the true star of the show: layers and layers of melody. While shorter than Mære, Scorched Earth is nonetheless daunting in its hour length, and its hyper-melodicism can oft grow tiring while J.J.’s post-hardcore-influenced barks has always felt slightly out of place against the crystalline melody, Harakiri for the Sky remains amazingly melodic and always pleasant to listen to. Scorched Earth, once again, is frustratingly safe – truly the act’s signature.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: AOP Records
Websites: harakirifortheskyofficial.bandcamp.com | facebook.com/HarakiriForTheSky
Releases Worldwide: January 24th, 2025

#2025 #35 #Amorphis #AOPRecords #Austere #AustrianMetal #BackwardsCharm #BlackMetal #Groza #HarakiriForTheSky #Insomnium #Jan25 #Karg #Megadeth #MelodicBlackMetal #Noctule #PostBlackMetal #PostHardcore #Radiohead #Review #Reviews #ScorchedEarth #Svalbard

Harakiri for the Sky – Scorched Earth Review

By Dear Hollow

Harakiri for the Sky is one of those bands that is consistently very good but constantly eludes greatness. The Austrian duo’s grasp on melody is second to none, pairing yearning atmospheres with blackened aggression and meditative tempos, resolute in its muscular weight and melodic motifs without devolving into either jadedness nor frailty. While devoted to the style’s trademark slow-burning growth, they constantly avoid the pitfalls of the “post-black” descriptor, refusing to fall into the weak and twinkly shenanigans of their counterparts. However, composition remains mid-tempo and largely too safely confined to the overlapping of predictable melodies and their organic resolutions. This is not a bad thing and Scorched Earth makes that clear.

Harakiri for the Sky has made its trademark unmistakable, and had five full-lengths of practice in doing so. Instrumentals provided by Matthias Sollak are richly layered with heart-wrenching melodies and bound by thick plodding riffs with the edge of blackened rawness, while J.J.’s formidable barks communicate both riveting charisma and rending pain alike in a bit of a post-hardcore spin. Career highlights like 2016’s III: Trauma and 2021’s Mære firmly establish this balance and run with it, while 2018’s Arson fell into forgettable territory by virtue of simply being in an excellent discography. Frankly, that’s a fantastic problem to have, and I had no doubts that Scorched Earth was going to be anything short of enjoyable. Featuring guests like Tim Yatras of Austere and Serena Cherry of Svalbard and Noctule contributing to this instrumental and vocal tapestry,1 Scorched Earth feels like the natural next step for Harakiri for the Sky in renewed vigor and intensity.

Harakiri for the Sky’s grasp on melody remains largely the same, retaining the “twinkly” description but imbued with a heartbreak reminiscent of more depressive styles. Scorched Earth descends deeper into this dirge, with solemn passages and slower tempos letting the breadth of harmony and desperation echo further across its empty outstretched hands. The approach remains very simple, with Sollak’s chord progressions doing the talking in all their natural crescendos and organic dissolutions. Tracks can take on a nearly folky feel reminiscent of melodeath greats like Insomnium or Amorphis (“Heal Me,” “With Autumn I’ll Surrender”), while the clever layering of riffs, leads, and melodic motifs offer a place of utmost emotional intensity between placid passages of yearning (“Keep Me Longing,” “No Graves But the Sea”), while notable tension in unorthodox chord progressions adds a texture beyond just “pretty black metal” (“Without You I’m Just a Sad Song,” “I Was Just Another Promise You Couldn’t Keep”). While Austere’s Tim Yatras performance is difficult to discern in “Heal Me,” Svalbard/Noctule’s Serena Cherry lends her sirenic croons in closer “Too Late for Goodbyes,” ending Scorched Earth on a solemn and desolate note.

Harakiri for the Sky’s melody, although front and center, is bolstered by tracks featuring a more unpredictable instrumental presence than before. A voiceless venom keeps the sound grounded, as more morose and beautiful movements are contrasted with heavier riffs and moments of darkness that bare a track’s teeth. While the rhythmic chugs kick through the beauty with recklessness (“Without You I’m Just a Sad Song,” “With Autumn I’ll Surrender”) and more upbeat punk rhythms and blastbeats inject a blasting vigor (“No Graves But the Sea,” “Keep Me Longing,” “Too Late for Goodbyes”), dissonance serves as a necessary and ugly thread to keeping the hyper-melodic palette from getting too much (“Heal Me,” “I Was Just Another Promise You Couldn’t Keep). While the vast majority of Scorched Earth is dominated by beauty, it’s nice to have more dimension and more humanity from Harakiri for the Sky in its darker passages.

At its core, Scorched Earth is quintessential Harakiri for the Sky. Setting out with more reckless elements such as heavier riffs, blackened blastbeats, or a touch of dissonance, it feels a tad more dangerous and experimental than in previous iterations.2 However, the epitome of “if it ain’t broke, don’t fix it” formula, Harakiri for the Sky plays it close to the vest with the true star of the show: layers and layers of melody. While shorter than Mære, Scorched Earth is nonetheless daunting in its hour length, and its hyper-melodicism can oft grow tiring while J.J.’s post-hardcore-influenced barks has always felt slightly out of place against the crystalline melody, Harakiri for the Sky remains amazingly melodic and always pleasant to listen to. Scorched Earth, once again, is frustratingly safe – truly the act’s signature.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: AOP Records
Websites: harakirifortheskyofficial.bandcamp.com | facebook.com/HarakiriForTheSky
Releases Worldwide: January 24th, 2025

#2025 #35 #Amorphis #AOPRecords #Austere #AustrianMetal #BackwardsCharm #BlackMetal #Groza #HarakiriForTheSky #Insomnium #Jan25 #Karg #Megadeth #MelodicBlackMetal #Noctule #PostBlackMetal #PostHardcore #Radiohead #Review #Reviews #ScorchedEarth #Svalbard

Harakiri for the Sky – Scorched Earth Review

By Dear Hollow

Harakiri for the Sky is one of those bands that is consistently very good but constantly eludes greatness. The Austrian duo’s grasp on melody is second to none, pairing yearning atmospheres with blackened aggression and meditative tempos, resolute in its muscular weight and melodic motifs without devolving into either jadedness nor frailty. While devoted to the style’s trademark slow-burning growth, they constantly avoid the pitfalls of the “post-black” descriptor, refusing to fall into the weak and twinkly shenanigans of their counterparts. However, composition remains mid-tempo and largely too safely confined to the overlapping of predictable melodies and their organic resolutions. This is not a bad thing and Scorched Earth makes that clear.

Harakiri for the Sky has made its trademark unmistakable, and had five full-lengths of practice in doing so. Instrumentals provided by Matthias Sollak are richly layered with heart-wrenching melodies and bound by thick plodding riffs with the edge of blackened rawness, while J.J.’s formidable barks communicate both riveting charisma and rending pain alike in a bit of a post-hardcore spin. Career highlights like 2016’s III: Trauma and 2021’s Mære firmly establish this balance and run with it, while 2018’s Arson fell into forgettable territory by virtue of simply being in an excellent discography. Frankly, that’s a fantastic problem to have, and I had no doubts that Scorched Earth was going to be anything short of enjoyable. Featuring guests like Tim Yatras of Austere and Serena Cherry of Svalbard and Noctule contributing to this instrumental and vocal tapestry,1 Scorched Earth feels like the natural next step for Harakiri for the Sky in renewed vigor and intensity.

Harakiri for the Sky’s grasp on melody remains largely the same, retaining the “twinkly” description but imbued with a heartbreak reminiscent of more depressive styles. Scorched Earth descends deeper into this dirge, with solemn passages and slower tempos letting the breadth of harmony and desperation echo further across its empty outstretched hands. The approach remains very simple, with Sollak’s chord progressions doing the talking in all their natural crescendos and organic dissolutions. Tracks can take on a nearly folky feel reminiscent of melodeath greats like Insomnium or Amorphis (“Heal Me,” “With Autumn I’ll Surrender”), while the clever layering of riffs, leads, and melodic motifs offer a place of utmost emotional intensity between placid passages of yearning (“Keep Me Longing,” “No Graves But the Sea”), while notable tension in unorthodox chord progressions adds a texture beyond just “pretty black metal” (“Without You I’m Just a Sad Song,” “I Was Just Another Promise You Couldn’t Keep”). While Austere’s Tim Yatras performance is difficult to discern in “Heal Me,” Svalbard/Noctule’s Serena Cherry lends her sirenic croons in closer “Too Late for Goodbyes,” ending Scorched Earth on a solemn and desolate note.

Harakiri for the Sky’s melody, although front and center, is bolstered by tracks featuring a more unpredictable instrumental presence than before. A voiceless venom keeps the sound grounded, as more morose and beautiful movements are contrasted with heavier riffs and moments of darkness that bare a track’s teeth. While the rhythmic chugs kick through the beauty with recklessness (“Without You I’m Just a Sad Song,” “With Autumn I’ll Surrender”) and more upbeat punk rhythms and blastbeats inject a blasting vigor (“No Graves But the Sea,” “Keep Me Longing,” “Too Late for Goodbyes”), dissonance serves as a necessary and ugly thread to keeping the hyper-melodic palette from getting too much (“Heal Me,” “I Was Just Another Promise You Couldn’t Keep). While the vast majority of Scorched Earth is dominated by beauty, it’s nice to have more dimension and more humanity from Harakiri for the Sky in its darker passages.

At its core, Scorched Earth is quintessential Harakiri for the Sky. Setting out with more reckless elements such as heavier riffs, blackened blastbeats, or a touch of dissonance, it feels a tad more dangerous and experimental than in previous iterations.2 However, the epitome of “if it ain’t broke, don’t fix it” formula, Harakiri for the Sky plays it close to the vest with the true star of the show: layers and layers of melody. While shorter than Mære, Scorched Earth is nonetheless daunting in its hour length, and its hyper-melodicism can oft grow tiring while J.J.’s post-hardcore-influenced barks has always felt slightly out of place against the crystalline melody, Harakiri for the Sky remains amazingly melodic and always pleasant to listen to. Scorched Earth, once again, is frustratingly safe – truly the act’s signature.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: AOP Records
Websites: harakirifortheskyofficial.bandcamp.com | facebook.com/HarakiriForTheSky
Releases Worldwide: January 24th, 2025

Show 2 footnotes

1. As well as P.G. from Groza in bonus Radiohead cover “Street Spirit” and Daniel Lang from Karg and dream-pop collective Backwards Charm in bonus Megadeth cover “Elysian Fields.” ↩
2. Although, ironically, its entirely cleanly sung cover bonus tracks are the most experimental. ↩

#2025 #35 #Amorphis #AOPRecords #Austere #AustrianMetal #BackwardsCharm #BlackMetal #Groza #HarakiriForTheSky #Insomnium #Jan25 #Karg #Megadeth #MelodicBlackMetal #Noctule #PostBlackMetal #PostHardcore #Radiohead #Review #Reviews #ScorchedEarth #Svalbard

Groza – Nadir Review

By Dear Hollow

Germany’s Groza has always been that 3.0rn in my side. While other bands have toyed with greatness that sends my head for a loop, albums Unified in Void and The Redemptive End have hemorrhaged potential, only to squander it on safe compositions. Owing Mgła just as much for their namesake and as their subtle and interwoven melodic style, while likewise hinting post-black, Groza has been releasing pleasant melodic black metal since 2016. This is part of what makes Nadir a bit of a “make or break” situation: the trio can choose to set out on their own or continue to dwell in Mgła’s shadow.1

Nadir represents a slight stylistic shift. While Groza retains its signature tremolo interwoven with crystalline melody, there is more post-black melody and rawer guitar to drive its darker tones. Featuring six tracks of meditative black metal, highlighted by textures of melodies and vicious vocals, you can expect an evocative listen that sweeps listeners away to a ruined world: scorched, desolate, but undeniably beautiful. Anchored by guitarist U.A.’s powerfully composed guitar leads and layers of melody, vocalist/multi-instrumentalist P.G.’s desperate shrieks and bellowing shouts, and T.H.Z.’s thunderous percussion, it’s consistently and competently built from minimalist foundations. While Groza remains stubbornly “good,” it’s a step in the right direction.

Groza does little to separate from the shadows of Mgła or Uada but Nadir is a far more scathing affair. From the shift of the 4/4 intro “Soul: Inert” to 6/8 “Asbest,” it feels like the second-wave teeth are bared throughout. The best tracks find a balance between the extremes of blackened intensity and melodic serenity. The textured guitars, and layers of melodies, are a conclusion whose build-ups revolve around vicious tremolo guided by manic shrieks, best actualized in tracks like “Dysthymian Dreams” and “Deluge.” These feature melodies seared into the brain with nearly melodeath heft, while good uses of spoken word among plucking calmness add charisma and a hush with bated breath. The most traditionally second-wave black metal rears its head in “Equal. Silent. Cold.,” the crystalline plucking granting the track an icy showering quality. Like fellow countrymen Harakiri for the Sky, Groza has an ear for melody, with fluid movement between disharmony and melody giving way to beautiful resolutions. The final track “Daffodils” features the most intense climax of the album, the buildup hitting immense satisfaction thanks to featured guests J.J. and M.S. of Harakiri and Karg, as well as choir provided by the Bandhouse crew. Percussion contrasts with the scathing intensity, providing a thunderous undercurrent that resounds best as mid-tempo dirges. Groza’s rawer sound does Nadir justice.

Nadir’s weakness is inconsistency. Every track aboard Nadir is pleasant, but Groza’s other tracks fall short compared to the highlights. “Asbest,” although its melody is one of the better on the album, jarringly switches to more minor and weaker movements halfway through. While the tasteful second-wave rawness elevates “Equal. Silent. Cold.,” its somewhat protracted length damages its memorability; blurring into a weaker version of “Dysthymian Dreams” by the end. Even the central melody of “Daffodils” is exhausting before the buildup enters to redeem it. Furthermore, while Nadir is ubiquitously pleasant, it remains far too safe. Groza finds itself locked into its own melodies, so any wavering from it feels ultimately damaging in these tracks; its safety is its worst enemy. While the percussion is solid and thunderous, tracks like “Asbest” and “Dysthymian Dreams” can lose blastbeats to the wild tremolo, and we forfeit our tether to the enjoyable cacophony.

Groza is always pleasant and Nadir’s rawer direction does not undermine that trademark. While it vaguely distances itself from the likes of Mgła or Uada and is a step on the right path, it has not escaped that shadow yet. With tracks like “Dysthymian Dreams” and “Deluge” leading the charge with the best music being released by this trio yet in their trademark usage of poignant melody, it’s hard to imagine future releases not being the stirring compositions that these guys are so clearly capable of. As it stands, though, Nadir keeps Groza in 3.0-land: good, but awaiting an amplifying adverb.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: AOP Records
Websites: groza-blackmetal.bandcamp.com | facebook.com/grozaband
Releases Worldwide: September 20th, 2024

#2024 #30 #AOPRecords #AtmosphericBlackMetal #BlackMetal #GermanMetal #Groza #HarakiriForTheSky #MelodicBlackMetal #Mgła #Nadir #PostBlackMetal #Review #Reviews #Sep24 #Uada

Groza – Nadir Review

By Dear Hollow

Germany’s Groza has always been that 3.0rn in my side. While other bands have toyed with greatness that sends my head for a loop, albums Unified in Void and The Redemptive End have hemorrhaged potential, only to squander it on safe compositions. Owing Mgła just as much for their namesake and as their subtle and interwoven melodic style, while likewise hinting post-black, Groza has been releasing pleasant melodic black metal since 2016. This is part of what makes Nadir a bit of a “make or break” situation: the trio can choose to set out on their own or continue to dwell in Mgła’s shadow.1

Nadir represents a slight stylistic shift. While Groza retains its signature tremolo interwoven with crystalline melody, there is more post-black melody and rawer guitar to drive its darker tones. Featuring six tracks of meditative black metal, highlighted by textures of melodies and vicious vocals, you can expect an evocative listen that sweeps listeners away to a ruined world: scorched, desolate, but undeniably beautiful. Anchored by guitarist U.A.’s powerfully composed guitar leads and layers of melody, vocalist/multi-instrumentalist P.G.’s desperate shrieks and bellowing shouts, and T.H.Z.’s thunderous percussion, it’s consistently and competently built from minimalist foundations. While Groza remains stubbornly “good,” it’s a step in the right direction.

Groza does little to separate from the shadows of Mgła or Uada but Nadir is a far more scathing affair. From the shift of the 4/4 intro “Soul: Inert” to 6/8 “Asbest,” it feels like the second-wave teeth are bared throughout. The best tracks find a balance between the extremes of blackened intensity and melodic serenity. The textured guitars, and layers of melodies, are a conclusion whose build-ups revolve around vicious tremolo guided by manic shrieks, best actualized in tracks like “Dysthymian Dreams” and “Deluge.” These feature melodies seared into the brain with nearly melodeath heft, while good uses of spoken word among plucking calmness add charisma and a hush with bated breath. The most traditionally second-wave black metal rears its head in “Equal. Silent. Cold.,” the crystalline plucking granting the track an icy showering quality. Like fellow countrymen Harakiri for the Sky, Groza has an ear for melody, with fluid movement between disharmony and melody giving way to beautiful resolutions. The final track “Daffodils” features the most intense climax of the album, the buildup hitting immense satisfaction thanks to featured guests J.J. and M.S. of Harakiri and Karg, as well as choir provided by the Bandhouse crew. Percussion contrasts with the scathing intensity, providing a thunderous undercurrent that resounds best as mid-tempo dirges. Groza’s rawer sound does Nadir justice.

Nadir’s weakness is inconsistency. Every track aboard Nadir is pleasant, but Groza’s other tracks fall short compared to the highlights. “Asbest,” although its melody is one of the better on the album, jarringly switches to more minor and weaker movements halfway through. While the tasteful second-wave rawness elevates “Equal. Silent. Cold.,” its somewhat protracted length damages its memorability; blurring into a weaker version of “Dysthymian Dreams” by the end. Even the central melody of “Daffodils” is exhausting before the buildup enters to redeem it. Furthermore, while Nadir is ubiquitously pleasant, it remains far too safe. Groza finds itself locked into its own melodies, so any wavering from it feels ultimately damaging in these tracks; its safety is its worst enemy. While the percussion is solid and thunderous, tracks like “Asbest” and “Dysthymian Dreams” can lose blastbeats to the wild tremolo, and we forfeit our tether to the enjoyable cacophony.

Groza is always pleasant and Nadir’s rawer direction does not undermine that trademark. While it vaguely distances itself from the likes of Mgła or Uada and is a step on the right path, it has not escaped that shadow yet. With tracks like “Dysthymian Dreams” and “Deluge” leading the charge with the best music being released by this trio yet in their trademark usage of poignant melody, it’s hard to imagine future releases not being the stirring compositions that these guys are so clearly capable of. As it stands, though, Nadir keeps Groza in 3.0-land: good, but awaiting an amplifying adverb.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: AOP Records
Websites: groza-blackmetal.bandcamp.com | facebook.com/grozaband
Releases Worldwide: September 20th, 2024

#2024 #30 #AOPRecords #AtmosphericBlackMetal #BlackMetal #GermanMetal #Groza #HarakiriForTheSky #MelodicBlackMetal #Mgła #Nadir #PostBlackMetal #Review #Reviews #Sep24 #Uada

Groza – Nadir Review

By Dear Hollow

Germany’s Groza has always been that 3.0rn in my side. While other bands have toyed with greatness that sends my head for a loop, albums Unified in Void and The Redemptive End have hemorrhaged potential, only to squander it on safe compositions. Owing Mgła just as much for their namesake and as their subtle and interwoven melodic style, while likewise hinting post-black, Groza has been releasing pleasant melodic black metal since 2016. This is part of what makes Nadir a bit of a “make or break” situation: the trio can choose to set out on their own or continue to dwell in Mgła’s shadow.1

Nadir represents a slight stylistic shift. While Groza retains its signature tremolo interwoven with crystalline melody, there is more post-black melody and rawer guitar to drive its darker tones. Featuring six tracks of meditative black metal, highlighted by textures of melodies and vicious vocals, you can expect an evocative listen that sweeps listeners away to a ruined world: scorched, desolate, but undeniably beautiful. Anchored by guitarist U.A.’s powerfully composed guitar leads and layers of melody, vocalist/multi-instrumentalist P.G.’s desperate shrieks and bellowing shouts, and T.H.Z.’s thunderous percussion, it’s consistently and competently built from minimalist foundations. While Groza remains stubbornly “good,” it’s a step in the right direction.

Groza does little to separate from the shadows of Mgła or Uada but Nadir is a far more scathing affair. From the shift of the 4/4 intro “Soul: Inert” to 6/8 “Asbest,” it feels like the second-wave teeth are bared throughout. The best tracks find a balance between the extremes of blackened intensity and melodic serenity. The textured guitars, and layers of melodies, are a conclusion whose build-ups revolve around vicious tremolo guided by manic shrieks, best actualized in tracks like “Dysthymian Dreams” and “Deluge.” These feature melodies seared into the brain with nearly melodeath heft, while good uses of spoken word among plucking calmness add charisma and a hush with bated breath. The most traditionally second-wave black metal rears its head in “Equal. Silent. Cold.,” the crystalline plucking granting the track an icy showering quality. Like fellow countrymen Harakiri for the Sky, Groza has an ear for melody, with fluid movement between disharmony and melody giving way to beautiful resolutions. The final track “Daffodils” features the most intense climax of the album, the buildup hitting immense satisfaction thanks to featured guests J.J. and M.S. of Harakiri and Karg, as well as choir provided by the Bandhouse crew. Percussion contrasts with the scathing intensity, providing a thunderous undercurrent that resounds best as mid-tempo dirges. Groza’s rawer sound does Nadir justice.

Nadir’s weakness is inconsistency. Every track aboard Nadir is pleasant, but Groza’s other tracks fall short compared to the highlights. “Asbest,” although its melody is one of the better on the album, jarringly switches to more minor and weaker movements halfway through. While the tasteful second-wave rawness elevates “Equal. Silent. Cold.,” its somewhat protracted length damages its memorability; blurring into a weaker version of “Dysthymian Dreams” by the end. Even the central melody of “Daffodils” is exhausting before the buildup enters to redeem it. Furthermore, while Nadir is ubiquitously pleasant, it remains far too safe. Groza finds itself locked into its own melodies, so any wavering from it feels ultimately damaging in these tracks; its safety is its worst enemy. While the percussion is solid and thunderous, tracks like “Asbest” and “Dysthymian Dreams” can lose blastbeats to the wild tremolo, and we forfeit our tether to the enjoyable cacophony.

Groza is always pleasant and Nadir’s rawer direction does not undermine that trademark. While it vaguely distances itself from the likes of Mgła or Uada and is a step on the right path, it has not escaped that shadow yet. With tracks like “Dysthymian Dreams” and “Deluge” leading the charge with the best music being released by this trio yet in their trademark usage of poignant melody, it’s hard to imagine future releases not being the stirring compositions that these guys are so clearly capable of. As it stands, though, Nadir keeps Groza in 3.0-land: good, but awaiting an amplifying adverb.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: AOP Records
Websites: groza-blackmetal.bandcamp.com | facebook.com/grozaband
Releases Worldwide: September 20th, 2024

#2024 #30 #AOPRecords #AtmosphericBlackMetal #BlackMetal #GermanMetal #Groza #HarakiriForTheSky #MelodicBlackMetal #Mgła #Nadir #PostBlackMetal #Review #Reviews #Sep24 #Uada

Agrypnie – Erg Review

By Dear Hollow

Perhaps I misjudged Agrypnie in 2021. Perhaps that 1.5 was a little harsh – maybe I read the words “avant-garde” and saw red. Still, Metamorphosis was a hodgepodge of all things post-y and melodic, dragging the lake with melodeath and symphonic black in reckless abandon, sporting vocal tirades with more propensity for destroying its crystallinity than creating it. In this way, Erg is better, streamlining its attack. It’s still your favorite post-black, with all the frills and hearts prominently planted on their sleeves you expect, but armed with a more prominent riff and a trver vibe, your favorite German post-black duo is back and badder than ever.

I underrated Metamorphosis. Its lasting impression was one of stagnation rather than offensiveness, so I would rate it somewhere in the 2.0 ballpark if I reviewed today.1 Just like in 2021, Agrypnie focuses on subtle and interwoven melodies with plodding guitar riffs, juggled with vocalist/guitarist/bassist Torsten’s grungy barks, significantly toning down the outside influence for something that feels like a more rushed Harakiri for the Sky. Drummer Flo is a tour-de-force as usual, whirlwinds of blastbeats and catchy fills saturating the palette. Sporting a thinner, trver production that still manages muscularity periodically, Erg is nothing but consistent. Erg is redemption, and I’m gonna rate Agrpynie correctly this time.

Erg is at its best when subtle melodies shine through the blazing riffs, and instruments do this effectively. Tracks like opener “Aus rauchlosem Feuer,” “Sturm,” and “Blut – Teil II” offer this balance aplenty, Agrypnie letting its ghostly leads and subtle symphonics float in and out of the main down-tuned riffs. It adds an appropriately haunted aura, dark and unsettling, but ultimately forsakes its roots in sanguinity, a shapeshifting melody that balances between ominous and beautiful. The best tracks here are “Entitat” and “Geister,” due to their incorporation of more muscular riffage that balances out the fragile Deafheaven-esque melody and collaborates with Torsten’s rough vocals more effectively. Each track within Erg is a fairly lengthy affair, with instrumental interlude “Blut – Teil I” alone dipping below five minutes, so Agrypnie divides the workload. Particularly in the first half, each track is composed of two parts, the melody in the exposition creeping and ominous, only to explode in frantic climax in the second. This gives these tracks a definite sense of direction, a comfortable predictability, and a smoother dynamic – as usually the second halves compose the more memorable material. The paper-thin production benefits the more tremolo-guided tracks like “Meer ohne Wasser” and “Entitat,” giving them a razor edge.

The most glaring problem for Agrypnie is a remnant from last go: Torsten’s vocals. You would expect his bark to permeate more hardcore-influenced or post-metal-adjacent in bulkier stylings, but it remains a detriment to the fragile structures that compose post-black’s trademarks.2 Each track, even the highlights, grow weary with the bark swinging in like Miley Cyrus on a wrecking ball. “Meer ohne Wasser,” “Blut – Teil II,” and “Stunde des Wolfes” are derailed painfully by this element, and effective instrumental compositions feel all for naught. While the instruments are effectively performed, the frustration with the thinner production is that it puts all elements on the same level, with riffs, melodies, and vocals all battling for the spotlight, only Flo’s drumming anchoring the proceedings – worsened by Erg’s bloated fifty-four-minute runtime. Unfortunately for Agrypnie, the equilibrium between riff, melody, and vocals remain elusive, and remain in the shadow of better acts in a divisive style.

Harakiri for the Sky may not be upper tier yet, but their effective balance between heart-wrenching melody, head-bobbing riffs, and emotive vocals remains a highlight within post-black. Agrypnie can afford no such luxury. While Erg is a better accomplishment than its predecessor in a more streamlined approach that dispenses of unnecessary influences and scattershot songwriting, it is nonetheless held back by painfully anachronistic vocals and damagingly thin mix. It’s one step in the right direction for Torsten and Flo, but Agrypnie takes one step back. Behold, the correct score.

Rating: 2.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: AOP Records
Websites: agrypnie.bandcamp.com | facebook.com/agrypnie.official
Releases Worldwide: September 13th, 2024

#20 #2024 #Agrypnie #AOPRecords #BlackMetal #Blackgaze #Deafheaven #Erg #GermanMetal #HarakiriForTheSky #PostBlackMetal #Review #Reviews #Sep24

Agrypnie – Erg Review

By Dear Hollow

Perhaps I misjudged Agrypnie in 2021. Perhaps that 1.5 was a little harsh – maybe I read the words “avant-garde” and saw red. Still, Metamorphosis was a hodgepodge of all things post-y and melodic, dragging the lake with melodeath and symphonic black in reckless abandon, sporting vocal tirades with more propensity for destroying its crystallinity than creating it. In this way, Erg is better, streamlining its attack. It’s still your favorite post-black, with all the frills and hearts prominently planted on their sleeves you expect, but armed with a more prominent riff and a trver vibe, your favorite German post-black duo is back and badder than ever.

I underrated Metamorphosis. Its lasting impression was one of stagnation rather than offensiveness, so I would rate it somewhere in the 2.0 ballpark if I reviewed today.1 Just like in 2021, Agrypnie focuses on subtle and interwoven melodies with plodding guitar riffs, juggled with vocalist/guitarist/bassist Torsten’s grungy barks, significantly toning down the outside influence for something that feels like a more rushed Harakiri for the Sky. Drummer Flo is a tour-de-force as usual, whirlwinds of blastbeats and catchy fills saturating the palette. Sporting a thinner, trver production that still manages muscularity periodically, Erg is nothing but consistent. Erg is redemption, and I’m gonna rate Agrpynie correctly this time.

Erg is at its best when subtle melodies shine through the blazing riffs, and instruments do this effectively. Tracks like opener “Aus rauchlosem Feuer,” “Sturm,” and “Blut – Teil II” offer this balance aplenty, Agrypnie letting its ghostly leads and subtle symphonics float in and out of the main down-tuned riffs. It adds an appropriately haunted aura, dark and unsettling, but ultimately forsakes its roots in sanguinity, a shapeshifting melody that balances between ominous and beautiful. The best tracks here are “Entitat” and “Geister,” due to their incorporation of more muscular riffage that balances out the fragile Deafheaven-esque melody and collaborates with Torsten’s rough vocals more effectively. Each track within Erg is a fairly lengthy affair, with instrumental interlude “Blut – Teil I” alone dipping below five minutes, so Agrypnie divides the workload. Particularly in the first half, each track is composed of two parts, the melody in the exposition creeping and ominous, only to explode in frantic climax in the second. This gives these tracks a definite sense of direction, a comfortable predictability, and a smoother dynamic – as usually the second halves compose the more memorable material. The paper-thin production benefits the more tremolo-guided tracks like “Meer ohne Wasser” and “Entitat,” giving them a razor edge.

The most glaring problem for Agrypnie is a remnant from last go: Torsten’s vocals. You would expect his bark to permeate more hardcore-influenced or post-metal-adjacent in bulkier stylings, but it remains a detriment to the fragile structures that compose post-black’s trademarks.2 Each track, even the highlights, grow weary with the bark swinging in like Miley Cyrus on a wrecking ball. “Meer ohne Wasser,” “Blut – Teil II,” and “Stunde des Wolfes” are derailed painfully by this element, and effective instrumental compositions feel all for naught. While the instruments are effectively performed, the frustration with the thinner production is that it puts all elements on the same level, with riffs, melodies, and vocals all battling for the spotlight, only Flo’s drumming anchoring the proceedings – worsened by Erg’s bloated fifty-four-minute runtime. Unfortunately for Agrypnie, the equilibrium between riff, melody, and vocals remain elusive, and remain in the shadow of better acts in a divisive style.

Harakiri for the Sky may not be upper tier yet, but their effective balance between heart-wrenching melody, head-bobbing riffs, and emotive vocals remains a highlight within post-black. Agrypnie can afford no such luxury. While Erg is a better accomplishment than its predecessor in a more streamlined approach that dispenses of unnecessary influences and scattershot songwriting, it is nonetheless held back by painfully anachronistic vocals and damagingly thin mix. It’s one step in the right direction for Torsten and Flo, but Agrypnie takes one step back. Behold, the correct score.

Rating: 2.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: AOP Records
Websites: agrypnie.bandcamp.com | facebook.com/agrypnie.official
Releases Worldwide: September 13th, 2024

#20 #2024 #Agrypnie #AOPRecords #BlackMetal #Blackgaze #Deafheaven #Erg #GermanMetal #HarakiriForTheSky #PostBlackMetal #Review #Reviews #Sep24

Agrypnie – Erg Review

By Dear Hollow

Perhaps I misjudged Agrypnie in 2021. Perhaps that 1.5 was a little harsh – maybe I read the words “avant-garde” and saw red. Still, Metamorphosis was a hodgepodge of all things post-y and melodic, dragging the lake with melodeath and symphonic black in reckless abandon, sporting vocal tirades with more propensity for destroying its crystallinity than creating it. In this way, Erg is better, streamlining its attack. It’s still your favorite post-black, with all the frills and hearts prominently planted on their sleeves you expect, but armed with a more prominent riff and a trver vibe, your favorite German post-black duo is back and badder than ever.

I underrated Metamorphosis. Its lasting impression was one of stagnation rather than offensiveness, so I would rate it somewhere in the 2.0 ballpark if I reviewed today.1 Just like in 2021, Agrypnie focuses on subtle and interwoven melodies with plodding guitar riffs, juggled with vocalist/guitarist/bassist Torsten’s grungy barks, significantly toning down the outside influence for something that feels like a more rushed Harakiri for the Sky. Drummer Flo is a tour-de-force as usual, whirlwinds of blastbeats and catchy fills saturating the palette. Sporting a thinner, trver production that still manages muscularity periodically, Erg is nothing but consistent. Erg is redemption, and I’m gonna rate Agrpynie correctly this time.

Erg is at its best when subtle melodies shine through the blazing riffs, and instruments do this effectively. Tracks like opener “Aus rauchlosem Feuer,” “Sturm,” and “Blut – Teil II” offer this balance aplenty, Agrypnie letting its ghostly leads and subtle symphonics float in and out of the main down-tuned riffs. It adds an appropriately haunted aura, dark and unsettling, but ultimately forsakes its roots in sanguinity, a shapeshifting melody that balances between ominous and beautiful. The best tracks here are “Entitat” and “Geister,” due to their incorporation of more muscular riffage that balances out the fragile Deafheaven-esque melody and collaborates with Torsten’s rough vocals more effectively. Each track within Erg is a fairly lengthy affair, with instrumental interlude “Blut – Teil I” alone dipping below five minutes, so Agrypnie divides the workload. Particularly in the first half, each track is composed of two parts, the melody in the exposition creeping and ominous, only to explode in frantic climax in the second. This gives these tracks a definite sense of direction, a comfortable predictability, and a smoother dynamic – as usually the second halves compose the more memorable material. The paper-thin production benefits the more tremolo-guided tracks like “Meer ohne Wasser” and “Entitat,” giving them a razor edge.

The most glaring problem for Agrypnie is a remnant from last go: Torsten’s vocals. You would expect his bark to permeate more hardcore-influenced or post-metal-adjacent in bulkier stylings, but it remains a detriment to the fragile structures that compose post-black’s trademarks.2 Each track, even the highlights, grow weary with the bark swinging in like Miley Cyrus on a wrecking ball. “Meer ohne Wasser,” “Blut – Teil II,” and “Stunde des Wolfes” are derailed painfully by this element, and effective instrumental compositions feel all for naught. While the instruments are effectively performed, the frustration with the thinner production is that it puts all elements on the same level, with riffs, melodies, and vocals all battling for the spotlight, only Flo’s drumming anchoring the proceedings – worsened by Erg’s bloated fifty-four-minute runtime. Unfortunately for Agrypnie, the equilibrium between riff, melody, and vocals remain elusive, and remain in the shadow of better acts in a divisive style.

Harakiri for the Sky may not be upper tier yet, but their effective balance between heart-wrenching melody, head-bobbing riffs, and emotive vocals remains a highlight within post-black. Agrypnie can afford no such luxury. While Erg is a better accomplishment than its predecessor in a more streamlined approach that dispenses of unnecessary influences and scattershot songwriting, it is nonetheless held back by painfully anachronistic vocals and damagingly thin mix. It’s one step in the right direction for Torsten and Flo, but Agrypnie takes one step back. Behold, the correct score.

Rating: 2.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: AOP Records
Websites: agrypnie.bandcamp.com | facebook.com/agrypnie.official
Releases Worldwide: September 13th, 2024

#20 #2024 #Agrypnie #AOPRecords #BlackMetal #Blackgaze #Deafheaven #Erg #GermanMetal #HarakiriForTheSky #PostBlackMetal #Review #Reviews #Sep24