#postblackmetal — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #postblackmetal, aggregated by home.social.
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ATELOPHOBIA (Suècia) presenta nou àlbum: "Moralisk Inflation" #Atelophobia #PostBlackMetal #Setembre2026 #Suècia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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ATELOPHOBIA (Suècia) presenta nou àlbum: "Moralisk Inflation" #Atelophobia #PostBlackMetal #Setembre2026 #Suècia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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ATELOPHOBIA (Suècia) presenta nou Split: "Faithless Wolves of the Old Soil" #Atelophobia #PostBlackMetal #Setembre2026 #Suècia #NouSplit #Metall #Metal #MúsicaMetal #MetalMusic
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ATELOPHOBIA (Suècia) presenta nou Split: "Faithless Wolves of the Old Soil" #Atelophobia #PostBlackMetal #Setembre2026 #Suècia #NouSplit #Metall #Metal #MúsicaMetal #MetalMusic
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STELLAR ROT (Estats Units) presenta nou àlbum: "Where the Formless Ones Dwell" #StellarRot #PostBlackMetal #Setembre2026 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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STELLAR ROT (Estats Units) presenta nou àlbum: "Where the Formless Ones Dwell" #StellarRot #PostBlackMetal #Setembre2026 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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OLD RUINS (Alemanya) presenta nou àlbum: "Mount Arreat" #OldRuins #HeavyMetal #PostBlackMetal #Setembre2026 #Alemanya #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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OLD RUINS (Alemanya) presenta nou àlbum: "Mount Arreat" #OldRuins #HeavyMetal #PostBlackMetal #Setembre2026 #Alemanya #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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PLÈVRE (França) presenta nou àlbum: "Cité mouroir" #Plèvre #PostBlackMetal #Setembre2026 #França #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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PLÈVRE (França) presenta nou àlbum: "Cité mouroir" #Plèvre #PostBlackMetal #Setembre2026 #França #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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FLUISTERAARS (Països Baixos) presenta nou àlbum: "Jacht der mysteriën" #Fluisteraars #PostBlackMetal #Setembre2026 #PaïsosBaixos #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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FLUISTERAARS (Països Baixos) presenta nou àlbum: "Jacht der mysteriën" #Fluisteraars #PostBlackMetal #Setembre2026 #PaïsosBaixos #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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MINUALA (Rússia) presenta nou single: "Kuu" #Minuala #BlackenedCrustPunk #PostBlackMetal #Setembre2026 #Rússia #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic
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MINUALA (Rússia) presenta nou single: "Kuu" #Minuala #BlackenedCrustPunk #PostBlackMetal #Setembre2026 #Rússia #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic
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Svmerion (MEX) + How To Disappear (MEX) + Nebelstørm (NL)
The Cave, Friday, September 11 at 09:00 PM GMT+2
Svmerion (MEX)
Fri September 11, 2026 starts at 23:00
Hailing from Gómez Palacio, Durango Mexican extreme metal force Svmerian delivers a savage blend of thrash and black metal fueled by themes of war, hatred, and violence. Formed in 2018, the band combines razor-sharp riffs, relentless aggression, and raw underground intensity into a sound that’s both chaotic and crushing. With a fierce DIY spirit and uncompromising energy, Svmerian continues to carve its name into the modern extreme metal scene.How To Disappear (MEX)
Fri September 11, 2026 starts at 22:00
Emerging from the underground with a bleak and emotionally charged sound, How to Disappear blends atmospheric black metal, post-metal, and haunting melancholy into an immersive sonic experience. Formed in 2022, the project explores themes of isolation, loss, and existential despair through crushing riffs, ethereal textures, and emotionally raw songwriting. Balancing aggression with cinematic atmosphere, How to Disappear crafts music that is as introspective as it is devastating.Nebelstørm (NL)
Fri September 11, 2026 starts at 21:00
Their performances are more rituals than concerts. Shrouded in smoke and minimal lighting, the band often literally disappears into the mist on stage, their silhouettes only vaguely visible as the music induces an almost trance-like state. The audience is immersed in a world where time fades and only the feeling of chill, darkness, and ecstasy remains. Although the band consciously remains independent of labels and commercial influences, they distribute their music through digital platforms and exclusive physical releases (often on limitededition cassette or vinyl). Each work is an incantation, a snapshot of inner turmoil and natural transience. NEBELSTØRM is built on mist, melancholy, and pure artistic conviction. In a world that is constantly getting louder, NEBELSTØRM whispers in stormy silence.https://offbeat.amsterdam/event/svmerion-mex-how-to-disappear-mex-nebelstorm-nl
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DRAUMUR (Rússia) presenta nou àlbum: "From Fading Sun to Dawn" #Draumur #Atmospheric #PostBlackMetal #Setembre2026 #Rússia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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DRAUMUR (Rússia) presenta nou àlbum: "From Fading Sun to Dawn" #Draumur #Atmospheric #PostBlackMetal #Setembre2026 #Rússia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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GREY SHORES (Suècia) presenta nou àlbum: "Dark Waters of Night" #GreyShores #PostBlackMetal #Shoegaze #Setembre2026 #Suècia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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GREY SHORES (Suècia) presenta nou àlbum: "Dark Waters of Night" #GreyShores #PostBlackMetal #Shoegaze #Setembre2026 #Suècia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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EPITIMIA (Rússia) presenta nou EP: "Тяготение" #Epitimia #AmbientBlackMetal #Atmospheric #PostBlackMetal #Setembre2026 #Rússia #NouEp #Metall #Metal #MúsicaMetal #MetalMusic
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EPITIMIA (Rússia) presenta nou EP: "Тяготение" #Epitimia #AmbientBlackMetal #Atmospheric #PostBlackMetal #Setembre2026 #Rússia #NouEp #Metall #Metal #MúsicaMetal #MetalMusic
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Free download codes:
Field Effect - Extreme Soul Modifications
"The quintessential psyche torture mixtape for cool summer nights."
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Free download codes:
Field Effect - Extreme Soul Modifications
"The quintessential psyche torture mixtape for cool summer nights."
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Free download codes:
Field Effect - Extreme Soul Modifications
"The quintessential psyche torture mixtape for cool summer nights."
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Free download codes:
Field Effect - Extreme Soul Modifications
"The quintessential psyche torture mixtape for cool summer nights."
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À SA PERTE (França) presenta nou àlbum: "Innocent·e·s" #ÀSaPerte #PostBlackMetal #Setembre2026 #França #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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À SA PERTE (França) presenta nou àlbum: "Innocent·e·s" #ÀSaPerte #PostBlackMetal #Setembre2026 #França #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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MARCCON (Brasil) presenta nou EP: "Eidolon" #Marccon #Shoegaze #BlackMetal #Depressive #PostBlackMetal #Agost2026 #Brasil #NouEp #Metall #Metal #MúsicaMetal #MetalMusic
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MARCCON (Brasil) presenta nou EP: "Eidolon" #Marccon #Shoegaze #BlackMetal #Depressive #PostBlackMetal #Agost2026 #Brasil #NouEp #Metall #Metal #MúsicaMetal #MetalMusic
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NIHILISTVOID (Guatemala) presenta nou single: "Funeral with No Name" #Nihilistvoid #PostBlackMetal #Agost2026 #Guatemala #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic
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NIHILISTVOID (Guatemala) presenta nou single: "Funeral with No Name" #Nihilistvoid #PostBlackMetal #Agost2026 #Guatemala #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic
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I love this album and also excited about the new release this fall.
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I love this album and also excited about the new release this fall.
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I love this album and also excited about the new release this fall.
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Lord Carrion – Man Made Hell Review By Thus SpokeThere 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
#2026 #30 #AmericanMetal #Aug26 #BlackMetal #BlackenedCrust #BlackenedHardcore #Crust #Hardcore #LordCarrion #ManMadeHell #PostBlackMetal #Review #Reviews #SelfReleases
DR: 6 | Format Reviewed: wav
Label: Self-Released
Websites: Bandcamp | Instagram
Releases Worldwide: August 24th, 2026 -
Lord Carrion – Man Made Hell Review By Thus SpokeThere 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
#2026 #30 #AmericanMetal #Aug26 #BlackMetal #BlackenedCrust #BlackenedHardcore #Crust #Hardcore #LordCarrion #ManMadeHell #PostBlackMetal #Review #Reviews #SelfReleases
DR: 6 | Format Reviewed: wav
Label: Self-Released
Websites: Bandcamp | Instagram
Releases Worldwide: August 24th, 2026 -
Lord Carrion – Man Made Hell Review By Thus SpokeThere 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
#2026 #30 #AmericanMetal #Aug26 #BlackMetal #BlackenedCrust #BlackenedHardcore #Crust #Hardcore #LordCarrion #ManMadeHell #PostBlackMetal #Review #Reviews #SelfReleases
DR: 6 | Format Reviewed: wav
Label: Self-Released
Websites: Bandcamp | Instagram
Releases Worldwide: August 24th, 2026 -
Lord Carrion – Man Made Hell Review By Thus SpokeThere 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
#2026 #30 #AmericanMetal #Aug26 #BlackMetal #BlackenedCrust #BlackenedHardcore #Crust #Hardcore #LordCarrion #ManMadeHell #PostBlackMetal #Review #Reviews #SelfReleases
DR: 6 | Format Reviewed: wav
Label: Self-Released
Websites: Bandcamp | Instagram
Releases Worldwide: August 24th, 2026 -
Lord Carrion – Man Made Hell Review By Thus SpokeThere 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
#2026 #30 #AmericanMetal #Aug26 #BlackMetal #BlackenedCrust #BlackenedHardcore #Crust #Hardcore #LordCarrion #ManMadeHell #PostBlackMetal #Review #Reviews #SelfReleases
DR: 6 | Format Reviewed: wav
Label: Self-Released
Websites: Bandcamp | Instagram
Releases Worldwide: August 24th, 2026 -
https://www.europesays.com/ie/640576/ Dymna Lotva – Vyraj Review #2026 #35 #Aug26 #BelarusianMetal #BlackMetal #DymnaLotva #Éire #Entertainment #FolkMetal #IE #Ireland #Music #PostBlackMetal #PostMetal #ProphecyProductions #Review #Reviews #Vyraj
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Dymna Lotva – Vyraj Review By Thus Spoke
The power of storytelling is well-known to Belarusian post-black outcasts Dymna Lotva. Their previous album, The Land Under the Black Wings: Blood, progressed that series through tragic true and folkloric tales, its overt tragedy in this sense bringing the real devastation wracking their native and settled home countries.1 Vyraj sees Dymna Lotva continue to communicate with stories. Taking its name from the Slavic mythological realm to which both migrating birds and the souls of the dead travel, there’s an explicit parallel with the members’ own emigration as well as themes of personal journey, life, and death. But there’s always been more to Dymna Lotva’s music than their symbolically powerful concepts, and Vyraj makes no exception.
Dymna Lotva already had somewhat of a winning formula in a uniquely executed blend of black, folk, and post-metal. They evolve anyway, bringing in and emphasising further an electronic side that ranges from shimmering, chimelike keys to soft symphonics. It’s never enough to overshadow the metallic and, at its best, amplifies the (melo)drama of the climaxes and adds more layers to the band’s nuanced and emotional sound. This new direction brings with it something of the anthemic, with songs reprising uplifting melodies, stepping into steady sways, and being narrated more often by a duet, if not a chorus of voices.2 Leading those voices is the force of nature Katsiaryna Mankevich, who once again absolutely kills it with her wrenching screams and solemn classical cleans. The music is more direct, due to all the above as well as a comparatively shorter runtime, with fewer tracks, each of which references the others through recurring motifs.
Vyraj condenses and concentrates Dymna Lotva’s characteristic potency and poignancy, which this time are tinged a touch more with the blush of hope than the blackness of rage. The urgent, cascading melodies ring with a thrilling solidarity (“Zory,” “Viedźmieragina,” “Ustań Za Mianie”) and the mournful soaring solos with bittersweet sadness (“Niama Darohi,” “Return my Coffin Home”). The highlight here, and also the crowning jewel of the album, is the centrepiece “Niama Darohi,” which practically hums with longing for freedom. It’s in these places that the new electronic elements work the most magic, spinning glittering counter-melodies or supporting the climax with subtle strings and fluttering keys. The atmosphere they bring is deepened by the way Dymna Lotva use the dynamics of rhythm and intensity to deepen their compositions and make them still more compelling. Variously whispered, spoken, rasped, screamed lines circulate spells amidst shifting tempos (“Veha,” “Viedźmieragina,” “Niama Darohi”); sung and screamed male and female voices call and respond and join together (“The Boat of Despair,” “Ustań Za Mianie,” “Return my Coffin Home”); and both the graceful lull of cleans and the vicious snarls of harsh vocals move in synchronisation with those of the lead guitars. This also serves to bring the fierceness into sharper focus, through emphasis and contrast alone, or the dramatic turn from this graceful tension into a building explosion of passion and electricity (“Zory,” “Veha,” “Viedźmieragina”).
All of Vyraj has a somewhat magical aura, thanks to the use of (children’s) group vocals and xylophone-esque chimes and ambience amidst the savage or sombre. At its most vibrant, it sings with so much feeling that I long desperately for a lyric sheet and the ability to speak the language(s) these songs are written in.3 The brightness of these highs also obscures the comparative dimness of the lows, where that fire seems to be missing, and mellowness and ambience win out (“The Boat of Despair,” “Bu Samoje”). This is some feat considering the fact that the overall production seems tailored to the increased electronic emphasis, which presses the beautiful layers together, and so the very aspects that lend Vyraj some new magic also weaken that magic’s power. Just a bit more space would do wonders.
But Dymna Lotva are not ones to fade into the background. They care about their stories and delivering them in a way that forces you to listen. Despite any unevenness, Vyraj has an intangible specialness to it that irresistibly pulls the listener back. This is a lovely, sad, empowering piece of art that deserves more than the length of its runtime to weave its world around you.
Rating: Very Good
#2026 #35 #Aug26 #BelarusianMetal #BlackMetal #DymnaLotva #FolkMetal #PostBlackMetal #PostMetal #ProphecyProductions #Review #Reviews #Vyraj
DR: 4 | Format Reviewed: 320 kbps mp3
Label: Prophecy Productions
Websites: Bandcamp | Facebook
Releases Worldwide: August 7th, 2026 -
Dymna Lotva – Vyraj Review By Thus Spoke
The power of storytelling is well-known to Belarusian post-black outcasts Dymna Lotva. Their previous album, The Land Under the Black Wings: Blood, progressed that series through tragic true and folkloric tales, its overt tragedy in this sense bringing the real devastation wracking their native and settled home countries.1 Vyraj sees Dymna Lotva continue to communicate with stories. Taking its name from the Slavic mythological realm to which both migrating birds and the souls of the dead travel, there’s an explicit parallel with the members’ own emigration as well as themes of personal journey, life, and death. But there’s always been more to Dymna Lotva’s music than their symbolically powerful concepts, and Vyraj makes no exception.
Dymna Lotva already had somewhat of a winning formula in a uniquely executed blend of black, folk, and post-metal. They evolve anyway, bringing in and emphasising further an electronic side that ranges from shimmering, chimelike keys to soft symphonics. It’s never enough to overshadow the metallic and, at its best, amplifies the (melo)drama of the climaxes and adds more layers to the band’s nuanced and emotional sound. This new direction brings with it something of the anthemic, with songs reprising uplifting melodies, stepping into steady sways, and being narrated more often by a duet, if not a chorus of voices.2 Leading those voices is the force of nature Katsiaryna Mankevich, who once again absolutely kills it with her wrenching screams and solemn classical cleans. The music is more direct, due to all the above as well as a comparatively shorter runtime, with fewer tracks, each of which references the others through recurring motifs.
Vyraj condenses and concentrates Dymna Lotva’s characteristic potency and poignancy, which this time are tinged a touch more with the blush of hope than the blackness of rage. The urgent, cascading melodies ring with a thrilling solidarity (“Zory,” “Viedźmieragina,” “Ustań Za Mianie”) and the mournful soaring solos with bittersweet sadness (“Niama Darohi,” “Return my Coffin Home”). The highlight here, and also the crowning jewel of the album, is the centrepiece “Niama Darohi,” which practically hums with longing for freedom. It’s in these places that the new electronic elements work the most magic, spinning glittering counter-melodies or supporting the climax with subtle strings and fluttering keys. The atmosphere they bring is deepened by the way Dymna Lotva use the dynamics of rhythm and intensity to deepen their compositions and make them still more compelling. Variously whispered, spoken, rasped, screamed lines circulate spells amidst shifting tempos (“Veha,” “Viedźmieragina,” “Niama Darohi”); sung and screamed male and female voices call and respond and join together (“The Boat of Despair,” “Ustań Za Mianie,” “Return my Coffin Home”); and both the graceful lull of cleans and the vicious snarls of harsh vocals move in synchronisation with those of the lead guitars. This also serves to bring the fierceness into sharper focus, through emphasis and contrast alone, or the dramatic turn from this graceful tension into a building explosion of passion and electricity (“Zory,” “Veha,” “Viedźmieragina”).
All of Vyraj has a somewhat magical aura, thanks to the use of (children’s) group vocals and xylophone-esque chimes and ambience amidst the savage or sombre. At its most vibrant, it sings with so much feeling that I long desperately for a lyric sheet and the ability to speak the language(s) these songs are written in.3 The brightness of these highs also obscures the comparative dimness of the lows, where that fire seems to be missing, and mellowness and ambience win out (“The Boat of Despair,” “Bu Samoje”). This is some feat considering the fact that the overall production seems tailored to the increased electronic emphasis, which presses the beautiful layers together, and so the very aspects that lend Vyraj some new magic also weaken that magic’s power. Just a bit more space would do wonders.
But Dymna Lotva are not ones to fade into the background. They care about their stories and delivering them in a way that forces you to listen. Despite any unevenness, Vyraj has an intangible specialness to it that irresistibly pulls the listener back. This is a lovely, sad, empowering piece of art that deserves more than the length of its runtime to weave its world around you.
Rating: Very Good
#2026 #35 #Aug26 #BelarusianMetal #BlackMetal #DymnaLotva #FolkMetal #PostBlackMetal #PostMetal #ProphecyProductions #Review #Reviews #Vyraj
DR: 4 | Format Reviewed: 320 kbps mp3
Label: Prophecy Productions
Websites: Bandcamp | Facebook
Releases Worldwide: August 7th, 2026 -
Dymna Lotva – Vyraj Review By Thus Spoke
The power of storytelling is well-known to Belarusian post-black outcasts Dymna Lotva. Their previous album, The Land Under the Black Wings: Blood, progressed that series through tragic true and folkloric tales, its overt tragedy in this sense bringing the real devastation wracking their native and settled home countries.1 Vyraj sees Dymna Lotva continue to communicate with stories. Taking its name from the Slavic mythological realm to which both migrating birds and the souls of the dead travel, there’s an explicit parallel with the members’ own emigration as well as themes of personal journey, life, and death. But there’s always been more to Dymna Lotva’s music than their symbolically powerful concepts, and Vyraj makes no exception.
Dymna Lotva already had somewhat of a winning formula in a uniquely executed blend of black, folk, and post-metal. They evolve anyway, bringing in and emphasising further an electronic side that ranges from shimmering, chimelike keys to soft symphonics. It’s never enough to overshadow the metallic and, at its best, amplifies the (melo)drama of the climaxes and adds more layers to the band’s nuanced and emotional sound. This new direction brings with it something of the anthemic, with songs reprising uplifting melodies, stepping into steady sways, and being narrated more often by a duet, if not a chorus of voices.2 Leading those voices is the force of nature Katsiaryna Mankevich, who once again absolutely kills it with her wrenching screams and solemn classical cleans. The music is more direct, due to all the above as well as a comparatively shorter runtime, with fewer tracks, each of which references the others through recurring motifs.
Vyraj condenses and concentrates Dymna Lotva’s characteristic potency and poignancy, which this time are tinged a touch more with the blush of hope than the blackness of rage. The urgent, cascading melodies ring with a thrilling solidarity (“Zory,” “Viedźmieragina,” “Ustań Za Mianie”) and the mournful soaring solos with bittersweet sadness (“Niama Darohi,” “Return my Coffin Home”). The highlight here, and also the crowning jewel of the album, is the centrepiece “Niama Darohi,” which practically hums with longing for freedom. It’s in these places that the new electronic elements work the most magic, spinning glittering counter-melodies or supporting the climax with subtle strings and fluttering keys. The atmosphere they bring is deepened by the way Dymna Lotva use the dynamics of rhythm and intensity to deepen their compositions and make them still more compelling. Variously whispered, spoken, rasped, screamed lines circulate spells amidst shifting tempos (“Veha,” “Viedźmieragina,” “Niama Darohi”); sung and screamed male and female voices call and respond and join together (“The Boat of Despair,” “Ustań Za Mianie,” “Return my Coffin Home”); and both the graceful lull of cleans and the vicious snarls of harsh vocals move in synchronisation with those of the lead guitars. This also serves to bring the fierceness into sharper focus, through emphasis and contrast alone, or the dramatic turn from this graceful tension into a building explosion of passion and electricity (“Zory,” “Veha,” “Viedźmieragina”).
All of Vyraj has a somewhat magical aura, thanks to the use of (children’s) group vocals and xylophone-esque chimes and ambience amidst the savage or sombre. At its most vibrant, it sings with so much feeling that I long desperately for a lyric sheet and the ability to speak the language(s) these songs are written in.3 The brightness of these highs also obscures the comparative dimness of the lows, where that fire seems to be missing, and mellowness and ambience win out (“The Boat of Despair,” “Bu Samoje”). This is some feat considering the fact that the overall production seems tailored to the increased electronic emphasis, which presses the beautiful layers together, and so the very aspects that lend Vyraj some new magic also weaken that magic’s power. Just a bit more space would do wonders.
But Dymna Lotva are not ones to fade into the background. They care about their stories and delivering them in a way that forces you to listen. Despite any unevenness, Vyraj has an intangible specialness to it that irresistibly pulls the listener back. This is a lovely, sad, empowering piece of art that deserves more than the length of its runtime to weave its world around you.
Rating: Very Good
#2026 #35 #Aug26 #BelarusianMetal #BlackMetal #DymnaLotva #FolkMetal #PostBlackMetal #PostMetal #ProphecyProductions #Review #Reviews #Vyraj
DR: 4 | Format Reviewed: 320 kbps mp3
Label: Prophecy Productions
Websites: Bandcamp | Facebook
Releases Worldwide: August 7th, 2026 -
Dymna Lotva – Vyraj Review By Thus Spoke
The power of storytelling is well-known to Belarusian post-black outcasts Dymna Lotva. Their previous album, The Land Under the Black Wings: Blood, progressed that series through tragic true and folkloric tales, its overt tragedy in this sense bringing the real devastation wracking their native and settled home countries.1 Vyraj sees Dymna Lotva continue to communicate with stories. Taking its name from the Slavic mythological realm to which both migrating birds and the souls of the dead travel, there’s an explicit parallel with the members’ own emigration as well as themes of personal journey, life, and death. But there’s always been more to Dymna Lotva’s music than their symbolically powerful concepts, and Vyraj makes no exception.
Dymna Lotva already had somewhat of a winning formula in a uniquely executed blend of black, folk, and post-metal. They evolve anyway, bringing in and emphasising further an electronic side that ranges from shimmering, chimelike keys to soft symphonics. It’s never enough to overshadow the metallic and, at its best, amplifies the (melo)drama of the climaxes and adds more layers to the band’s nuanced and emotional sound. This new direction brings with it something of the anthemic, with songs reprising uplifting melodies, stepping into steady sways, and being narrated more often by a duet, if not a chorus of voices.2 Leading those voices is the force of nature Katsiaryna Mankevich, who once again absolutely kills it with her wrenching screams and solemn classical cleans. The music is more direct, due to all the above as well as a comparatively shorter runtime, with fewer tracks, each of which references the others through recurring motifs.
Vyraj condenses and concentrates Dymna Lotva’s characteristic potency and poignancy, which this time are tinged a touch more with the blush of hope than the blackness of rage. The urgent, cascading melodies ring with a thrilling solidarity (“Zory,” “Viedźmieragina,” “Ustań Za Mianie”) and the mournful soaring solos with bittersweet sadness (“Niama Darohi,” “Return my Coffin Home”). The highlight here, and also the crowning jewel of the album, is the centrepiece “Niama Darohi,” which practically hums with longing for freedom. It’s in these places that the new electronic elements work the most magic, spinning glittering counter-melodies or supporting the climax with subtle strings and fluttering keys. The atmosphere they bring is deepened by the way Dymna Lotva use the dynamics of rhythm and intensity to deepen their compositions and make them still more compelling. Variously whispered, spoken, rasped, screamed lines circulate spells amidst shifting tempos (“Veha,” “Viedźmieragina,” “Niama Darohi”); sung and screamed male and female voices call and respond and join together (“The Boat of Despair,” “Ustań Za Mianie,” “Return my Coffin Home”); and both the graceful lull of cleans and the vicious snarls of harsh vocals move in synchronisation with those of the lead guitars. This also serves to bring the fierceness into sharper focus, through emphasis and contrast alone, or the dramatic turn from this graceful tension into a building explosion of passion and electricity (“Zory,” “Veha,” “Viedźmieragina”).
All of Vyraj has a somewhat magical aura, thanks to the use of (children’s) group vocals and xylophone-esque chimes and ambience amidst the savage or sombre. At its most vibrant, it sings with so much feeling that I long desperately for a lyric sheet and the ability to speak the language(s) these songs are written in.3 The brightness of these highs also obscures the comparative dimness of the lows, where that fire seems to be missing, and mellowness and ambience win out (“The Boat of Despair,” “Bu Samoje”). This is some feat considering the fact that the overall production seems tailored to the increased electronic emphasis, which presses the beautiful layers together, and so the very aspects that lend Vyraj some new magic also weaken that magic’s power. Just a bit more space would do wonders.
But Dymna Lotva are not ones to fade into the background. They care about their stories and delivering them in a way that forces you to listen. Despite any unevenness, Vyraj has an intangible specialness to it that irresistibly pulls the listener back. This is a lovely, sad, empowering piece of art that deserves more than the length of its runtime to weave its world around you.
Rating: Very Good
#2026 #35 #Aug26 #BelarusianMetal #BlackMetal #DymnaLotva #FolkMetal #PostBlackMetal #PostMetal #ProphecyProductions #Review #Reviews #Vyraj
DR: 4 | Format Reviewed: 320 kbps mp3
Label: Prophecy Productions
Websites: Bandcamp | Facebook
Releases Worldwide: August 7th, 2026 -
Dymna Lotva – Vyraj Review By Thus Spoke
The power of storytelling is well-known to Belarusian post-black outcasts Dymna Lotva. Their previous album, The Land Under the Black Wings: Blood, progressed that series through tragic true and folkloric tales, its overt tragedy in this sense bringing the real devastation wracking their native and settled home countries.1 Vyraj sees Dymna Lotva continue to communicate with stories. Taking its name from the Slavic mythological realm to which both migrating birds and the souls of the dead travel, there’s an explicit parallel with the members’ own emigration as well as themes of personal journey, life, and death. But there’s always been more to Dymna Lotva’s music than their symbolically powerful concepts, and Vyraj makes no exception.
Dymna Lotva already had somewhat of a winning formula in a uniquely executed blend of black, folk, and post-metal. They evolve anyway, bringing in and emphasising further an electronic side that ranges from shimmering, chimelike keys to soft symphonics. It’s never enough to overshadow the metallic and, at its best, amplifies the (melo)drama of the climaxes and adds more layers to the band’s nuanced and emotional sound. This new direction brings with it something of the anthemic, with songs reprising uplifting melodies, stepping into steady sways, and being narrated more often by a duet, if not a chorus of voices.2 Leading those voices is the force of nature Katsiaryna Mankevich, who once again absolutely kills it with her wrenching screams and solemn classical cleans. The music is more direct, due to all the above as well as a comparatively shorter runtime, with fewer tracks, each of which references the others through recurring motifs.
Vyraj condenses and concentrates Dymna Lotva’s characteristic potency and poignancy, which this time are tinged a touch more with the blush of hope than the blackness of rage. The urgent, cascading melodies ring with a thrilling solidarity (“Zory,” “Viedźmieragina,” “Ustań Za Mianie”) and the mournful soaring solos with bittersweet sadness (“Niama Darohi,” “Return my Coffin Home”). The highlight here, and also the crowning jewel of the album, is the centrepiece “Niama Darohi,” which practically hums with longing for freedom. It’s in these places that the new electronic elements work the most magic, spinning glittering counter-melodies or supporting the climax with subtle strings and fluttering keys. The atmosphere they bring is deepened by the way Dymna Lotva use the dynamics of rhythm and intensity to deepen their compositions and make them still more compelling. Variously whispered, spoken, rasped, screamed lines circulate spells amidst shifting tempos (“Veha,” “Viedźmieragina,” “Niama Darohi”); sung and screamed male and female voices call and respond and join together (“The Boat of Despair,” “Ustań Za Mianie,” “Return my Coffin Home”); and both the graceful lull of cleans and the vicious snarls of harsh vocals move in synchronisation with those of the lead guitars. This also serves to bring the fierceness into sharper focus, through emphasis and contrast alone, or the dramatic turn from this graceful tension into a building explosion of passion and electricity (“Zory,” “Veha,” “Viedźmieragina”).
All of Vyraj has a somewhat magical aura, thanks to the use of (children’s) group vocals and xylophone-esque chimes and ambience amidst the savage or sombre. At its most vibrant, it sings with so much feeling that I long desperately for a lyric sheet and the ability to speak the language(s) these songs are written in.3 The brightness of these highs also obscures the comparative dimness of the lows, where that fire seems to be missing, and mellowness and ambience win out (“The Boat of Despair,” “Bu Samoje”). This is some feat considering the fact that the overall production seems tailored to the increased electronic emphasis, which presses the beautiful layers together, and so the very aspects that lend Vyraj some new magic also weaken that magic’s power. Just a bit more space would do wonders.
But Dymna Lotva are not ones to fade into the background. They care about their stories and delivering them in a way that forces you to listen. Despite any unevenness, Vyraj has an intangible specialness to it that irresistibly pulls the listener back. This is a lovely, sad, empowering piece of art that deserves more than the length of its runtime to weave its world around you.
Rating: Very Good
#2026 #35 #Aug26 #BelarusianMetal #BlackMetal #DymnaLotva #FolkMetal #PostBlackMetal #PostMetal #ProphecyProductions #Review #Reviews #Vyraj
DR: 4 | Format Reviewed: 320 kbps mp3
Label: Prophecy Productions
Websites: Bandcamp | Facebook
Releases Worldwide: August 7th, 2026 -
My five picks for the #ThursdayFiveList are all sun related for a deeper cut in the theme #ShadowAndLight, here we go!
Terzij de Horde - Raise Them Towards The Sun https://musiccloud.io/HE5JQps1
Sun Worship - Pale Dawn https://musiccloud.io/vvinvHU0
Anciients - Raise the Sun https://musiccloud.io/GMo3pl0F
Sunrise Patriot Motion - Sunrise Labyrinthian https://musiccloud.io/gNPgti0W
Triggerfinger - By Absence of the Sun https://musiccloud.io/mwNh8gcn
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My five picks for the #ThursdayFiveList are all sun related for a deeper cut in the theme #ShadowAndLight, here we go!
Terzij de Horde - Raise Them Towards The Sun https://musiccloud.io/HE5JQps1
Sun Worship - Pale Dawn https://musiccloud.io/vvinvHU0
Anciients - Raise the Sun https://musiccloud.io/GMo3pl0F
Sunrise Patriot Motion - Sunrise Labyrinthian https://musiccloud.io/gNPgti0W
Triggerfinger - By Absence of the Sun https://musiccloud.io/mwNh8gcn
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My five picks for the #ThursdayFiveList are all sun related for a deeper cut in the theme #ShadowAndLight, here we go!
Terzij de Horde - Raise Them Towards The Sun https://musiccloud.io/HE5JQps1
Sun Worship - Pale Dawn https://musiccloud.io/vvinvHU0
Anciients - Raise the Sun https://musiccloud.io/GMo3pl0F
Sunrise Patriot Motion - Sunrise Labyrinthian https://musiccloud.io/gNPgti0W
Triggerfinger - By Absence of the Sun https://musiccloud.io/mwNh8gcn
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My five picks for the #ThursdayFiveList are all sun related for a deeper cut in the theme #ShadowAndLight, here we go!
Terzij de Horde - Raise Them Towards The Sun https://musiccloud.io/HE5JQps1
Sun Worship - Pale Dawn https://musiccloud.io/vvinvHU0
Anciients - Raise the Sun https://musiccloud.io/GMo3pl0F
Sunrise Patriot Motion - Sunrise Labyrinthian https://musiccloud.io/gNPgti0W
Triggerfinger - By Absence of the Sun https://musiccloud.io/mwNh8gcn
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My five picks for the #ThursdayFiveList are all sun related for a deeper cut in the theme #ShadowAndLight, here we go!
Terzij de Horde - Raise Them Towards The Sun https://musiccloud.io/HE5JQps1
Sun Worship - Pale Dawn https://musiccloud.io/vvinvHU0
Anciients - Raise the Sun https://musiccloud.io/GMo3pl0F
Sunrise Patriot Motion - Sunrise Labyrinthian https://musiccloud.io/gNPgti0W
Triggerfinger - By Absence of the Sun https://musiccloud.io/mwNh8gcn
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APRIL SPRING (Estats Units) presenta nou EP: "I Want to Make You Smile" #AprilSpring #Atmospheric #PostBlackMetal #Shoegaze #Agost2026 #EstatsUnits #NouEp #Metall #Metal #MúsicaMetal #MetalMusic
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APRIL SPRING (Estats Units) presenta nou EP: "I Want to Make You Smile" #AprilSpring #Atmospheric #PostBlackMetal #Shoegaze #Agost2026 #EstatsUnits #NouEp #Metall #Metal #MúsicaMetal #MetalMusic
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APRIL SPRING (Estats Units) presenta nou single: "Your Eyes" #AprilSpring #Atmospheric #PostBlackMetal #Shoegaze #Agost2026 #EstatsUnits #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic
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APRIL SPRING (Estats Units) presenta nou single: "Your Eyes" #AprilSpring #Atmospheric #PostBlackMetal #Shoegaze #Agost2026 #EstatsUnits #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic
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APRIL SPRING (Estats Units) presenta nou Split: "November Roses / April Spring" #AprilSpring #Atmospheric #PostBlackMetal #Shoegaze #Agost2026 #EstatsUnits #NouSplit #Metall #Metal #MúsicaMetal #MetalMusic
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APRIL SPRING (Estats Units) presenta nou EP: "Remembering These Moments" #AprilSpring #Atmospheric #PostBlackMetal #Shoegaze #Agost2026 #EstatsUnits #NouEp #Metall #Metal #MúsicaMetal #MetalMusic
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DISVAIR (Indonèsia) presenta nova demo: "What We Left Behind" #Disvair #PostBlackMetal #Agost2026 #Indonèsia #NovaDemo #Metall #Metal #MúsicaMetal #MetalMusic
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VIXENTA (Austràlia) presenta nou Split: "Ruin / / Reverie" #Vixenta #Ambient #PostBlackMetal #Juliol2026 #Austràlia #NouSplit #Metall #Metal #MúsicaMetal #MetalMusic
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AS BRIGHT AS THE STARS (Indonèsia) presenta nou àlbum: "Celestial Ascension" #AsBrightAsTheStars #PostBlackMetal #Juliol2026 #Indonèsia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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AS BRIGHT AS THE STARS (Indonèsia) presenta nou àlbum: "Celestial Ascension" #AsBrightAsTheStars #PostBlackMetal #Juliol2026 #Indonèsia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic