#postblackmetal — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #postblackmetal, aggregated by home.social.
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Silaera – An Aberration of the Void Review By KenstrosityWritten By: Aleken’s Gunstrosity
Every year has one magical moment that I look forward to with great anticipation: the first metal release that wows me enough to think it’ll be my AotY. It’s an electric sensation, and it just so happens that Alekhines Gun brought first lightning to my world this year, in the form of atmospheric post-black metal band Silaera’s debut record, An Aberration of the Void. The Chicagoan triplet, established in 2019 as a one-man project, rounded out their lineup with a bassist and a second guitarist last year as they recorded their striking debut. Complete with a stunning Burke piece adorning its cover, An Aberration of the Void left Gun and I with our jaws on the floor, so much so that we had no choice but to write this review together. Two different voices, one unified piece.
An Aberration of the Void is an apt moniker for Silaera’s first outing, as the band masterfully wields all of black metal’s forms as if they were intrinsic properties of their very being. At once gorgeous, frightening, triumphant, and evil, An Aberration of the Void recalls the sweeping flares of Mare Cognitum (“A Celestial Grave”), the gentle caress of Noltem (the first quarter of “Fall into Cosmic Sleep”), the fervent dissonance of Vimur (“From Entropic Dust”), and the devastating heft of the altogether more vicious Keres (“Abhorring the Lifting of Eyes, the middle third of “Fall into Cosmic Sleep”). Yet, Silaera’s talent for transitions and assembly manage to craft a vision like visiting an alien planet; you’ve seen planets before, but none like this, and trying to classify its place in the cosmos in relation to other stars is a waste of time. This planet simply is. An Aberration’s production conjures specters of the celestial in similar fashion, transversely aligning full, rich chords, cavernous reverb, and a deep low end against crystalline shimmers and bright midranges. The result is a magical composition of unknown and unknowable beauty churning with the destructive energy of a collapsing star.
If you need a quick peak into the nebula awaiting, point your telescopes to “Abhorring the Lifting of Eyes,” a masterstroke of composition, creativity, and unpredictability. Launching with a sparkling1 trem-heavy intro, it glides into a long-form riff of cosmic mysticism before variating into a brutally heavy crush, which then spontaneously combusts into a jagged groove attack liable to snap your neck like a toothpick. Tellingly, vocals take a dumbfounding length of time to kick in, but aren’t noticed in their absence until they make their presence known—this serves only to enhance their impact. Moments of contrast like this abound on An Aberration, giving new meaning to the term “beauty and the beast,” but few hit harder than “From Entropic Dust” and epic closer “Fall into Cosmic Sleep” when they offset their impeccable atmospheric allure with deadly swings and terrifying dissonance. Imagine if Cosmic Putrification wrote an album about their feelings and had it produced by Blackbraid, and you’ll almost get it. Silaera takes their songwriting chiaroscuro even further, morphing and mutating phrases with each repetition so radically as to redefine, but never estrange, the tones and textures of the next measure.
That songwriting makes An Aberration of the Void engaging and stimulating from start to finish in spite of its uniformly long-form construction. You’d expect a record where no song falls below six minutes to feature some bloat, but not here. Not a moment wasted, An Aberration arranges compelling choices and elevating decorations around every corner, on both the songwriting and production front. The snare positively crackles and pops when devolving into ferocious blasts, but sibilates and snaps instead during gentler phrases to emphasize mood and atmosphere to great effect (“A Celestial Gaze”). A throaty rasp informs the more intense sections while guttural roars evoke a lurking monstrosity when the moment calls for something more ominous (“Fall into Cosmic Sleep”). Riffs pummel and pound with the terrible force of black holes, but delicate melodies ascend beyond the heavens in tandem to uplift the listener as the event horizon guarantees their final destination (“Abhorring the Lifting of Eyes,” “Fall into Cosmic Sleep”). This interplay of contrast and complement, paired with meticulous detailing, is the unfathomable core of An Aberration of the Void, and the main reason why it universally captivates my attention.
Criticisms are extremely difficult to commit to, not just for me, but also for Gun. Neither one of us felt any held water for longer than a few moments. We nonetheless noted that, for some, Silaera’s disparate references could feel disjointed in the moment,2 with cohesion only coming after focused spins. An Aberration of the Void also does not escape common genre trappings: maximum reverb, more runtime dedicated to slower paces than outright aggression, arpeggios everywhere. But in execution, these small points of contention feel like inseparable parts of the cosmos Silaera created, and what a wondrous cosmos it is.
Rating Consensus: Great!!3
#2026 #40 #AmericanMetal #AnAberrationOfTheVoid #Apr26 #AtmosphericBlackMetal #BlackMetal #Blackbraid #CosmicPutrefaction #Keres #MareCognitum #MelodicBlackMetal #Noltem #PostBlackMetal #PostMetal #Review #Reviews #SelfReleased #Silaera #Vimur
DR: Lost to the Void | Format Reviewed: Bandcamp Stream
Label: Self Released
Websites: silaera.bandcamp.com | facebook.com/Silaera
Releases Worldwide: April 10th, 2026 -
#NowPlaying #WhiteWard
Perfect for the finish line of the workday. Let's go!
https://album.link/wkrxqhh02cqbc#blackmetal #postblackmetal #avantgardemetal #darkjazz #atmosphericblackmetal
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GAEREA (Portugal) presenta nou àlbum: "Loss" #Gaerea #BlackMetal #PostBlackMetal #Març2026 #Portugal #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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Kassad – London Orbital
#BlackMetal #Metal #PostBlackMetal #atmosphericblackmetal #avantgardeblackmetal #deathdoom #doommetal #postrock #urbanblackmetal #Amadora
CC BY-NC (#CreativeCommons Attribution Non Commercial) #ccmusic
https://hypnoticdirgerecords.bandcamp.com/album/london-orbital -
For the finish line of the first workday after 3,5 weeks off. Some #blackmetal from the #Ukraine
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Atlantic – Timeworn [Things You Might Have Missed 2025]
By ClarkKent
The picture I have in my head of Ireland is an isolated, yet calming, place by the sea. Callan Hoy, from the western coastal town of Galway, further cements this image on the debut record of his atmospheric post-black project, Atlantic. It’s apparent that the setting is important to Timeworn, as crashing waves not only begin and end the album, but they make frequent appearances throughout. This gives the feeling that Hoy recorded Timeworn right along the shores of the Atlantic Ocean. A calm pervades despite the energetic black metal on display, making Atlantic a pleasing melodic journey you’ll want to play on repeat.
Atlantic alternates between atmospheric post-black metal and a much more poppy-style of black rock. The three longer tracks hue more towards the atmospheric (“Weathered,” “Underside,” “Spirit Trails”), but rather than atmoblack of the depressive variety, this is more of an uplifting form. Hoy’s guitar tones ooze feel-good vibes along the lines of Countless Skies, but with plenty of blackened reverb. These lengthier songs have a lot in common with the black metal of Starer and the black/shoegaze of Deafheaven. On the other end are the shorter tracks (“Timeworn,” “Voyages”), which sound almost like pop/rock songs, only with heavy reverb and dark growls. There’s a feeling of joy in the instrumentation that takes me back to Torche’s Harmonicraft. The drums by Milan Jejina bring out the pop with simple yet powerful beats that’ll get you bopping along. The combo of kitwork and catchy riffs make “Voyages” one of the most memorable tunes of the year.
There’s something about all of the performances that make Timeworn so pleasing to listen to. Hoy makes heavy use of tremolos to keep up a feeling of constant kinetic motion. The jubilant tone of the tremolos is pleasant enough, but the way Hoy blends melodies with the atmospherics elevates the music. The melodic elements also make the lengthier passages on songs like “Spirit Trails” work—they keep you engaged for every second. Hoy’s vocal performance is also nothing to sneeze at. His growls are guttural rather than the piercing screamo style of some shoegaze, and he has a surprisingly melodic cadence that helps fill up every second with satisfying, catchy sounds. Atlantic features very little cleans, but they do complement the growls on “Underside” and reveal just how versatile an artist Hoy is.
Timeworn is an impressive achievement, the mark of a young talent with strong songwriting clout. While most of the songs pass the seven-minute mark, they never meander or feel boring. Hoy mixes in the shorter, poppier tracks to create a varied and powerful listening experience. Atlantic blew me away when it crept into my Bandcamp feed back in April. Hoy has created something special that I think even those who don’t love atmospheric or post-black metal can appreciate. Given that it’s just a bite-sized 34 minutes, there’s no reason not to give it a spin—and then another as it calls to you like a siren luring unwitting sailors into the sea. But don’t worry, there’s no danger here, just some pleasant earworms.
Tracks to Check Out: “Underside,” “Voyages,” “Spirit Trails”
#2025 #Atlantic #AtmosphericBlackMetal #BlackMetal #CountlessSkies #Deafheaven #FiadhProductions #IrishMetal #PostBlackMetal #PostMetal #Starer #ThingsYouMightHaveMissed2025 #Timeworn #Torche #TYMHM
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Free download codes:
Teach Them To Weep - Past the Veil of the Observable Universe
"Post-metal with elements of post-hardcore, black metal, and psychedelic music with a heavy focus on story telling."
#blackmetal #posthardcore #postblackmetal #postmetal #blackgaze #psychedelicmetal #music
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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
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Finnr’s Cane – Finnr’s Cane Review
By Killjoy
Finnr is an Old Norse name that loosely translates to “wanderer” in English. Whether or not this was the inspiration for Finnr’s Cane, it’s an apt moniker for an atmospheric black metal act. Hailing from Sudbury, Ontario, Canada, this studio-only group has three prior albums under its belt, the last of which, Elegy, won the overall approval of Ferrous Beuller in 2018. Until now, Finnr’s Cane was a trio consisting of guitarist/vocalist The Bard,1 drummer The Peasant, and cellist The Slave. At some point, The Slave either escaped or was set free, as she no longer appears in the lineup. And now, Finnr’s Cane seems to signal a new era with the release of self-titled album number four.
In terms of overall atmosphere, Finnr’s Cane is more like gray metal than black metal. Its dreary demeanor hews closer to contemplative post-black than the blackened doom metal of Elegy. If the fellow on the album artwork had been so inclined to place a cooking pot over his campfire to make a stew, he might have tossed in melancholic Cascadian black metal ingredients such as Alda, Skagos, and, of course, Agalloch. For seasoning, he might also add a pinch of older Falls of Rauros’ guitarwork and the winking keyboards of Eldamar. Though the release date of Finnr’s Cane doesn’t quite coincide with the autumn temperatures that I long for, it’s been refreshing to listen to throughout August as it mentally transports me to a colder place.
Unfortunately, much of this setting is drab and desolate beyond the typical genre aesthetics. The vocals usually take the form of flat intonations or dispassionate spoken word, sapping the music of energy and emotive impact. Additionally, the instrumentation, while solid, feels like it’s missing a crucial element. Finnr’s Cane has historically distinguished itself by the usage of a cello in place of a bass guitar, and Ferrous acknowledged The Slave’s subtle yet outsized hand in the successes of Elegy. Now, her absence feels like the removal of a linchpin, rendering Finnr’s Cane more nondescript. Granted, the cello is not gone completely—whether taken over by The Bard or previously recorded by The Slave. Its blazing undertones warm up “Awaken the Sleeping Forest” and “The Everwinter Grey” and afford much-appreciated bright spots in the blizzard.
Nevertheless, when the right mood strikes, the winter storm of Finnr’s Cane can be hypnotic and immersive. “In Shadows” uses eerie keyboard sounds and delicate guitar plucks to great effect. The same thick, plucking guitar tone returns with greater enthusiasm and intricacy in the final two tracks, “The Spell of the Change of Seasons” and “Harvest.” However, other promising moments feel awkwardly tacked onto their respective songs. The outros of “Twilight Glow” and “Harvest” abruptly accelerate in tempo and urgency for a few seconds and then end just as quickly, feeling more like a tease than a natural culmination of what came before. This could be due to the fact that The Bard and The Peasant conceive their music through intuitive improvisation but in any case, Finnr’s Cane is mainly concerned with conveying feeling over coherence.
It saddens me to write that Finnr’s Cane mostly left me cold, and not just in its intended way. Even though I was not yet familiar with Finnr’s Cane’s back catalog, I immediately couldn’t shake the feeling that something was missing. Now having spent time with prior records, I can’t say Finnr’s Cane is wildly different from them, but it seems like an intangible spark was lost sometime between now and Elegy. Maybe it’s just the diminished cello presence but the songwriting also sounds more listless to my ears. I can appreciate many of the disparate components of Finnr’s Cane when I listen in the right state of mind, and other atmoblack fans may derive more enjoyment than I did. For those more willing to become lost in its atmosphere, Finnr’s Cane might just be your companion in the coming months.
Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Nordvis Produktion
Websites: finnrs-cane.bandcamp.com | facebook.com/finnrscaneband
Releases Worldwide: August 29th, 2025#25 #2025 #Agalloch #Alda #AtmosphericBlackMetal #Aug25 #BlackMetal #CanadianMetal #Eldamar #FallsOfRauros #FinnrSCane #FractalGenerator #NordvisProduktion #PostBlackMetal #Review #Reviews #Skagos
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By Dear Hollow
Few albums reveled in existential despair like Sun of Nothing’s The Guilt of Feeling Alive. While punishing in ways that recall Neurosis or Blindead, it settled heavily into tension and despondence beneath the devastation. It always hinted at something without fully grasping it, fluid and powerful heft contrasting with an overwhelming bleakness. Despite its black metal influence, Sun of Nothing did not offer a bleakness like DSBM’s passing glance at a winter landscape, but represented the grey of its troubling cover art: the day-in and day-out of a cold, tired, and worn city, shrouded in smog. For its first album in fourteen years, the Greek quartet has offered something that stands shoulder to shoulder.
Maze is stacked with expectation, and it delivers. Sun of Nothing could have stayed in The Guilt’s lane and played it safe, but they amp up the punishment, hone the dichotomy, and paint a bleaker and more desperate picture than its predecessor could have imagined. Thick sludge riffs are the most noticeable, weighty affairs that recall post-metal’s more vicious moments in Cranial or LLNN, with dissonant leads that don’t necessarily dwell in eeriness and darkness as much as gloom and despondence. Contrasting this droning palette is a black metal-inclined vocal attack whose soul in torment feels like a cry to break through tar-thick monotony. A rusty edge of noisy post-punk graces Maze with a palpable clanking and mammoth repetition that drives the nail deeper, while the songwriting of everything “post-” graces the tired proceedings with a repetitive and nihilistic krautrock approach. Sun of Nothing takes their signature sound deeper with an emphasis on mood and atmosphere. It’s a desperate and hopeless wandering through the human maze, a crooked path we all walk.
The foundation upon which Sun of Nothing builds its songcraft is a simple one, rooted in post-metal. Tension is established with slightly disconcerting minor riffs and a smoky, sludgy distortion, with dissonant plucking and melodic counterbalances. Centerpiece “Ghost Maze” and closer “Buried Endeavors” are great examples of this, Isis-esque rhythms and patient growth balanced by these chords and an uncanny valley approach to melodic transitions. Elsewhere, tracks “Liars in Wait” and “Voidhanger” embrace the vicious side with roiling percussion and blackened tremolo that is funneled through this palette and warped into something disconcerting and gloomy. This is guided by vocalist Ilias Apostolakis’ almost disjointed vocal approach, usually relying on a distant shriek or drawling roar.
The fluid and miasmic movement in the thick string attack of Maze sets the swampy setting, and Sun of Nothing’s variations feel like a soul attempting to break free of this labyrinth. Apostolakis’ vocals take center stage in staggering repetition in “Liars in Wait” and “After the Fall,” his sermonic roars reaching their breaking point in brutality and viciousness across the gloomy and droning guitars, feeling nearly uncomfortable in the nihilistic dichotomy. The chuggy riffs of “Voidhanger” and their nihilistic leads feel like a steel-toed boot kicking open a cheap apartment door, while the closing melodies feel like Sun of Nothing’s only moment of crystalline sadness rather than despondence. “Ghost Maze” offers more blackened influence in rattling blastbeats and simmering tension, as its blackened approach seems to simply add to the gloom rather than attempt to punch through it – a gloom that is capitalized upon in closer “Buried Endeavors” for a sound whose droning is emotional as well as instrumental.
Sun of Nothing’s sound may not be the most unique in its blend of sludgy post-metal, black metal, and noise rock, as acts like Hail Spirit Noir and Praise the Plague bend the definition of “post-black” to include more of the post-metal heft in this way. Maze’s breed of intensity is not always easy to cut through, as every movement points to its emphasis is on despondence and atmosphere, and memorable movements can be often an afterthought; simply put, Maze will not be for everyone. However, the Greek quartet’s ability to warp brutality and meditation to uniquely paint a picture of bleakness stands apart from their counterparts. But for those willing to revel in existential gloom, Sun of Nothing will offer a haze like few others.
Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Venerate Industries
Websites: sunofnothing.bandcamp.com | facebook.com/Sun0fNothing
Releases Worldwide: February 16th, 2024#2024 #35 #BlackMetal #Blindead #Cranial #Feb24 #GreekMetal #HailSpiritNoir #Industrial #Isis #LLNN #Maze #Neurosis #NoiseRock #PostBlackMetal #PostMetal #postPunk #PraiseThePlague #Review #Reviews #SludgeMetal #SunOfNothing #VenerateIndustries
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By Dear Hollow
Few albums reveled in existential despair like Sun of Nothing’s The Guilt of Feeling Alive. While punishing in ways that recall Neurosis or Blindead, it settled heavily into tension and despondence beneath the devastation. It always hinted at something without fully grasping it, fluid and powerful heft contrasting with an overwhelming bleakness. Despite its black metal influence, Sun of Nothing did not offer a bleakness like DSBM’s passing glance at a winter landscape, but represented the grey of its troubling cover art: the day-in and day-out of a cold, tired, and worn city, shrouded in smog. For its first album in fourteen years, the Greek quartet has offered something that stands shoulder to shoulder.
Maze is stacked with expectation, and it delivers. Sun of Nothing could have stayed in The Guilt’s lane and played it safe, but they amp up the punishment, hone the dichotomy, and paint a bleaker and more desperate picture than its predecessor could have imagined. Thick sludge riffs are the most noticeable, weighty affairs that recall post-metal’s more vicious moments in Cranial or LLNN, with dissonant leads that don’t necessarily dwell in eeriness and darkness as much as gloom and despondence. Contrasting this droning palette is a black metal-inclined vocal attack whose soul in torment feels like a cry to break through tar-thick monotony. A rusty edge of noisy post-punk graces Maze with a palpable clanking and mammoth repetition that drives the nail deeper, while the songwriting of everything “post-” graces the tired proceedings with a repetitive and nihilistic krautrock approach. Sun of Nothing takes their signature sound deeper with an emphasis on mood and atmosphere. It’s a desperate and hopeless wandering through the human maze, a crooked path we all walk.
The foundation upon which Sun of Nothing builds its songcraft is a simple one, rooted in post-metal. Tension is established with slightly disconcerting minor riffs and a smoky, sludgy distortion, with dissonant plucking and melodic counterbalances. Centerpiece “Ghost Maze” and closer “Buried Endeavors” are great examples of this, Isis-esque rhythms and patient growth balanced by these chords and an uncanny valley approach to melodic transitions. Elsewhere, tracks “Liars in Wait” and “Voidhanger” embrace the vicious side with roiling percussion and blackened tremolo that is funneled through this palette and warped into something disconcerting and gloomy. This is guided by vocalist Ilias Apostolakis’ almost disjointed vocal approach, usually relying on a distant shriek or drawling roar.
The fluid and miasmic movement in the thick string attack of Maze sets the swampy setting, and Sun of Nothing’s variations feel like a soul attempting to break free of this labyrinth. Apostolakis’ vocals take center stage in staggering repetition in “Liars in Wait” and “After the Fall,” his sermonic roars reaching their breaking point in brutality and viciousness across the gloomy and droning guitars, feeling nearly uncomfortable in the nihilistic dichotomy. The chuggy riffs of “Voidhanger” and their nihilistic leads feel like a steel-toed boot kicking open a cheap apartment door, while the closing melodies feel like Sun of Nothing’s only moment of crystalline sadness rather than despondence. “Ghost Maze” offers more blackened influence in rattling blastbeats and simmering tension, as its blackened approach seems to simply add to the gloom rather than attempt to punch through it – a gloom that is capitalized upon in closer “Buried Endeavors” for a sound whose droning is emotional as well as instrumental.
Sun of Nothing’s sound may not be the most unique in its blend of sludgy post-metal, black metal, and noise rock, as acts like Hail Spirit Noir and Praise the Plague bend the definition of “post-black” to include more of the post-metal heft in this way. Maze’s breed of intensity is not always easy to cut through, as every movement points to its emphasis is on despondence and atmosphere, and memorable movements can be often an afterthought; simply put, Maze will not be for everyone. However, the Greek quartet’s ability to warp brutality and meditation to uniquely paint a picture of bleakness stands apart from their counterparts. But for those willing to revel in existential gloom, Sun of Nothing will offer a haze like few others.
Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Venerate Industries
Websites: sunofnothing.bandcamp.com | facebook.com/Sun0fNothing
Releases Worldwide: February 16th, 2024#2024 #35 #BlackMetal #Blindead #Cranial #Feb24 #GreekMetal #HailSpiritNoir #Industrial #Isis #LLNN #Maze #Neurosis #NoiseRock #PostBlackMetal #PostMetal #postPunk #PraiseThePlague #Review #Reviews #SludgeMetal #SunOfNothing #VenerateIndustries
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White Ward - Love Exchange Failure
https://www.youtube.com/watch?v=DQ7Od-9l6Aw
Experimental-/Post Black Metal from Odessa, Ukraine
#WhiteWard #LoveExchangeFailure #BlackMetal #PostBlackMetal #ExperimentalBlackMetal #DebemurMortiProductions
