#postblackmetal — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #postblackmetal, aggregated by home.social.
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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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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 -
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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SAVE THE DATE & SPREAD THE WORD!
🦑 HELLSEATIC FESTIVAL 2027
⚓️ Schlachthof Bremen
🗓️ June 11-12, 2027SEA YOU THERE
#Metal #BlackMetal #PostBlackMetal #PostMetal #Doom #DoomMetal #IndustrialDoom #Sludge #PostRock #Rock #HardnHeavy #Shoegaze #ProgressiveGitarrenmusik #Underground #HeavyMusic
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#nowplaying #togethertothestars
Some swedish #postblackmetal #atmosphericblackmetal is exactly what I need now!
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Yesterday I discovered the band #TogetherToTheStars and I‘m already in love with their new Album Iridescence
#DepressiveBlackMetal #PostBlackMetal
:bandcamp:
https://togethertothestars.bandcamp.com/album/iridescence -
Free download codes:
The Utter - Pareidolia
"Contemporary death jazz"
#bandcampcodes #rock #jazz #postblackmetal #contemporarydeathjazz #music
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Wills Dissolve – The Heavens Are Not On Fire...
#BlackMetal #Metal #Opeth #PostBlackMetal #atmosphericblackmetal #deathdoom #doommetal #novembersdoom #postrock #Amadora
CC BY-NC (#CreativeCommons Attribution Non Commercial) #ccmusic
https://hypnoticdirgerecords.bandcamp.com/album/the-heavens-are-not-on-fire -
Sertraline – From Both Our Hands
#BlackMetal #Metal #PostBlackMetal #atmosphericblackmetal #deathdoom #doommetal #postrock #Amadora
CC BY-NC (#CreativeCommons Attribution Non Commercial) #ccmusic
https://hypnoticdirgerecords.bandcamp.com/album/from-both-our-hands-2 -
Blood Mother – Blood Mother Review By ClarkKent
After 18 years and five full-length albums as frontman to The Lion’s Daughter, Rick Giordano decided “the daughter had to die so that the mother could live.” If that sounds morbid, it’s on purpose, as Giordano’s new project, Blood Mother,1 offers itself as a “score to your own personal horror film.” In forming this new project, Giordano further forges his musical independence, having previously divorced his music from the confines of a label (Season of Mist) for 2023’s Bath House. This allows him to create music that doesn’t fit neatly into any one category, and it makes sense that Blood Mother play an unconventional genre: post-metal. The question looms on Blood Mother’s self-titled debut whether Giordano is able to achieve success on his own terms.
Blood Mother hits plenty of experimental beats, blending atmospheric elements with bouts of impressive riffs. An early guitar riff on “Bonecanter” scratches the Kyuss itch, and his simple yet catchy approach to riffcraft shows up time and again throughout the record. Blood Mother keeps the songwriting simple, but it’s far from boring. Some of the riff-heavy portions sound reminiscent of The Lion’s Daughter, but Blood Mother is less heavy and less industrial. Giordano plays with guitar tones, mixing up sleek riffs, acoustic arpeggios (“Trail of Screaming Dead”), and plenty of heavy reverb à la Cult of Luna (“The Night Fires,” “The Wound of Heaven”). It’s not all about riffs, however. Blood Mother incorporate plenty of atmospheric techniques, including synths, to set up eerie, sometimes sinister moods—”The Night Fires” perfectly encapsulates this approach, beginning with unsettling synths before easing into an energetic pace. Natural sounds also make their way into the music, with crickets chirping at the start and end of “The Night Fires,” and birds and monkeys calling out on “The Wound of Heaven.” These flourishes add subtle touches to the sense of unease bubbling beneath the surface.
Giordano proves an adept songwriter, composing music that patiently builds up to a climax and tells a story. Blood Mother masterfully set the mood, be that the eeriness of “The Night Fires” or the Western, Wayfarer-esque feel of “Lost in Thunder.” But he also realizes mood isn’t enough, and that’s where the riff comes in, not to mention some impressive drumming from Ramsier. On the masterful “Trail of Screaming Dead,” Blood Mother methodically builds upon itself, beginning with organs, then jumping into lively drums and riffs, slowly adding new elements until some memorable tremolos bring the song to a conclusion. The music feels like gritty poetry, and the lyrics reflect this, written in poetic form and performed artistically in Giordano’s husky growls.
At just over 30 minutes, Blood Mother is a morsel rather than a full feast, and its conclusion leaves it somewhat wanting. Of the six songs that comprise that runtime, five of them are terrific pieces that eschew traditional structures, filling up spaces with music that can be thoughtful, deliberate, and sometimes exciting. On occasion, Blood Mother make some odd choices, such as synths in the final minute of “The Night Fires” that are deliberately jarring as they switch from one speaker to the other. Yet it’s the record’s finale, “Pulled Apart,” that doesn’t quite hold a light to the tracks that precede it. It still contains great ideas, including some nifty riffs and kitwork, but also some noises that just don’t blend into the music very well. It’s the one tune that doesn’t quite hit as hard as the others, and the concluding fade-out ends Blood Mother on an anticlimactic disappearing act.
For me, this was the perfect promo to match my mood. I wanted something that entertained without being formulaic. I wanted something that didn’t hit the usual beats, but wasn’t too weird. Blood Mother checks all those boxes. Sure, Giordano may have a few kinks to work out, but for a first-time striking it out (mostly) on his own, this is a pretty remarkable record, one that’s full of surprises and nuances that make for rewarding repeat listens.
Rating: 3.5/5.0
#2026 #35 #AmericanMetal #BlackMetal #BloodMother #CultOfLuna #Jun26 #Kyuss #PostBlackMetal #PostMetal #Review #Reviews #SelfReleased #TheLionSDaughter #Wayfarer
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Self-Released
Website: Bandcamp | Facebook
Releases Worldwide: June 19th, 2026 -
Free download codes:
Halo of Teeth - Meditations On Dying
"'Meditations on Dying' is a 47 minute journey, across 4 epic tracks, through the human experience of death and dying, from depression to acceptance."
#experimental #blackmetal #avantgarde #antifascistblackmetal #postblackmetal #postmetal #music
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For @HailsandAles' #BlackMetalMonday:
#Apostle: A Splinter in the Infinite Noumenon
https://album.link/dtngq0kjsbff8
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So, it's not only #MittwochMetalMix but also #MusicWomenWednesday
To stay true (not Trve) for the first, some #postblackmetal from (DOLCH).
Does someone know, if they are still active?
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Silaera – An Aberration of the Void Review By Kenstrosity
Written By: Aleken’s Gunstrosity
Every year has one magical moment that I look forward to with great anticipation: the first metal release that wows me enough to think it’ll be my AotY. It’s an electric sensation, and it just so happens that Alekhines Gun brought first lightning to my world this year, in the form of atmospheric post-black metal band Silaera’s debut record, An Aberration of the Void. The Chicagoan triplet, established in 2019 as a one-man project, rounded out their lineup with a bassist and a second guitarist last year as they recorded their striking debut. Complete with a stunning Burke piece adorning its cover, An Aberration of the Void left Gun and I with our jaws on the floor, so much so that we had no choice but to write this review together. Two different voices, one unified piece.
An Aberration of the Void is an apt moniker for Silaera’s first outing, as the band masterfully wields all of black metal’s forms as if they were intrinsic properties of their very being. At once gorgeous, frightening, triumphant, and evil, An Aberration of the Void recalls the sweeping flares of Mare Cognitum (“A Celestial Grave”), the gentle caress of Noltem (the first quarter of “Fall into Cosmic Sleep”), the fervent dissonance of Vimur (“From Entropic Dust”), and the devastating heft of the altogether more vicious Keres (“Abhorring the Lifting of Eyes, the middle third of “Fall into Cosmic Sleep”). Yet, Silaera’s talent for transitions and assembly manage to craft a vision like visiting an alien planet; you’ve seen planets before, but none like this, and trying to classify its place in the cosmos in relation to other stars is a waste of time. This planet simply is. An Aberration’s production conjures specters of the celestial in similar fashion, transversely aligning full, rich chords, cavernous reverb, and a deep low end against crystalline shimmers and bright midranges. The result is a magical composition of unknown and unknowable beauty churning with the destructive energy of a collapsing star.
If you need a quick peak into the nebula awaiting, point your telescopes to “Abhorring the Lifting of Eyes,” a masterstroke of composition, creativity, and unpredictability. Launching with a sparkling1 trem-heavy intro, it glides into a long-form riff of cosmic mysticism before variating into a brutally heavy crush, which then spontaneously combusts into a jagged groove attack liable to snap your neck like a toothpick. Tellingly, vocals take a dumbfounding length of time to kick in, but aren’t noticed in their absence until they make their presence known—this serves only to enhance their impact. Moments of contrast like this abound on An Aberration, giving new meaning to the term “beauty and the beast,” but few hit harder than “From Entropic Dust” and epic closer “Fall into Cosmic Sleep” when they offset their impeccable atmospheric allure with deadly swings and terrifying dissonance. Imagine if Cosmic Putrification wrote an album about their feelings and had it produced by Blackbraid, and you’ll almost get it. Silaera takes their songwriting chiaroscuro even further, morphing and mutating phrases with each repetition so radically as to redefine, but never estrange, the tones and textures of the next measure.
That songwriting makes An Aberration of the Void engaging and stimulating from start to finish in spite of its uniformly long-form construction. You’d expect a record where no song falls below six minutes to feature some bloat, but not here. Not a moment wasted, An Aberration arranges compelling choices and elevating decorations around every corner, on both the songwriting and production front. The snare positively crackles and pops when devolving into ferocious blasts, but sibilates and snaps instead during gentler phrases to emphasize mood and atmosphere to great effect (“A Celestial Gaze”). A throaty rasp informs the more intense sections while guttural roars evoke a lurking monstrosity when the moment calls for something more ominous (“Fall into Cosmic Sleep”). Riffs pummel and pound with the terrible force of black holes, but delicate melodies ascend beyond the heavens in tandem to uplift the listener as the event horizon guarantees their final destination (“Abhorring the Lifting of Eyes,” “Fall into Cosmic Sleep”). This interplay of contrast and complement, paired with meticulous detailing, is the unfathomable core of An Aberration of the Void, and the main reason why it universally captivates my attention.
Criticisms are extremely difficult to commit to, not just for me, but also for Gun. Neither one of us felt any held water for longer than a few moments. We nonetheless noted that, for some, Silaera’s disparate references could feel disjointed in the moment,2 with cohesion only coming after focused spins. An Aberration of the Void also does not escape common genre trappings: maximum reverb, more runtime dedicated to slower paces than outright aggression, arpeggios everywhere. But in execution, these small points of contention feel like inseparable parts of the cosmos Silaera created, and what a wondrous cosmos it is.
Rating Consensus: Great!!3
#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 -
#BlackMetalMonday today and I need some energy to get me through the last bit of work today. So here we go, posted here before, but they deserve more visibility.
👥 Terzij De Horde
💿 In One Of These I Am Your Enemy - EP
🎶 In One Of These I Am Your Enemy
:bandcamp: https://terzijdehorde.bandcamp.com/track/in-one-of-these-i-am-your-enemy💬 "Unlimited Power. Unlimited Danger"
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Free download codes:
The Utter - Pareidolia
"Contemporary death jazz"
#bandcampcodes #rock #jazz #postblackmetal #contemporarydeathjazz #music
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Free download codes:
Miasme - Keep Them at a Distance
"Blackgaze/post black metal album from Miasme."
#metal #postblackmetal #atmosphericblackmetal #blackgaze #doomdeathmetal #music
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#NowPlaying #WhiteWard
Perfect for the finish line of the workday. Let's go!
https://album.link/wkrxqhh02cqbc#blackmetal #postblackmetal #avantgardemetal #darkjazz #atmosphericblackmetal
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GAEREA (Portugal) presenta nou àlbum: "Loss" #Gaerea #BlackMetal #PostBlackMetal #Març2026 #Portugal #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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Soo, heute dann mit #Außerwelt ins #Kakadu in #LimburgAnDerLahn. Erster Termin im kleinen #Tour Kalender für dieses Frühjahr, nachdem das Konzert einer anderen band gestern ausfallen musste. Mal schauen wie gut die Mixing Station sich im touring schlägt. Zum Glück eine kuschelige kleine Venue zum Start, da is der Mix nicht gaaanz so wild. Den Morgen jetzt erstmal mit Delay Cues weiter auswendig lernen verbringen.
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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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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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GAEREA (Portugal) presenta nou single: "Hellbound" #Gaerea #BlackMetal #PostBlackMetal #Octubre2025 #Portugal #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic
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By Killjoy
Jord began life in pretty much the exact way one would expect of an atmospheric black metal act. Founder Jörgen “Jurg” Ström would take daily walks through the forests of Sweden during fall 2020, during which he decided to start a nature-oriented musical endeavor. He quickly released two albums, Sol and Måne, on his own before recruiting guitarist Sebastian “Hravn” Svedlund and drummer Stefan Jansson, both of whom he had briefly performed with in Rimfrost and its splinter group Omnicidal. They worked together to create Tundra in 2023, and now look to extend their productive streak with Emellan Träden, Jord’s fourth full-length record in five years.
Jord is a sharp change of pace from the rowdy Rimfrost and Omnicidal, but by no means an unwelcome one. The earlier material that Jurg composed while living a nomadic van lifestyle is a faintly blackened post-rock, suggesting that he mainly listened to Alcest’s Kodama while driving. Emellan Träden retains a similar, albeit more refined, sound. Jord splashes in the same honey-sweet mountain lake as Einvigi or Vorna, the melodies steeped generously in the emotive splendor of Eneferens. The new band members appear to have brought more urgency and heft to Jord. Riffs are more plentiful and Hravn takes every opportunity to erupt in a lively guitar solo. Jansson’s drum beats are more forceful, pairing well with a bass tone that’s crunchy like crisp autumn leaves on the ground.
At first, Emellan Träden may seem more homogeneous than it actually is. Closer attention reveals ample variety, but more in the placement of the building blocks rather than the blocks themselves. For instance, the piano is central to Jord’s sound. Its simple yet wistful melodies underpin several songs (“Stay,” “King of the Night,” “Prinsessan Och Hästen”) in a manner like unto Kauan or Weltenbrandt. Jurg’s vocals are mainly a gravelly growl with a good amount of bite, but in “Stay” he adopts a sharper, rhythmic tone somewhat analogous to Vincent Jones (Æther Realm). His voice serves as an effective contrast with the female singing1 in “Hon Kallar,” which, when paired with a violi,n casts a hearty folk glow. Emellan Träden could have benefitted from a few more moments like this.
Emellan Träden strikes a decent balance between tranquility and heaviness. Jord seems most comfortable with a mid-paced tempo, where the emotional songwriting can shine brightest. The slight over-reliance on this trait might fall a bit flat for some listeners, but when Jord gets it right, the results are efficacious. “Vid Muren” starts off slow as an acoustic guitar intermingles with the electric, then gradually ramps up in velocity and intensity, culminating with a brisk guitar solo that could have sounded out of place without prior setup. Hravn’s soloing is one of the highlights of Emellan Träden, and “Den Brandgula Salen” in particular has the fingerprints of Rimfrost’s Expedition: Darkness all over it. The overall flow of Emellan Träden isn’t perfect, and at times a little jerky, but it’s nonetheless a treat to listen to as a whole.
While Jord’s origins may be stereotypical, its output quality is considerably above average. Emellan Träden is perhaps not the most original post-black record, but it’s among the better-executed ones I’ve heard in the style. Refreshingly, the melancholy and somberness are more of a tool than an end goal. The piano is a simple yet pleasant touch that goes a long way toward helping the music feel inviting. Emellan Träden is very good, but it feels like it’s missing that last little oomph of vitality to become great. Even so, it’s my idea of a perfect album to kick off this fall season.
Rating: 3.5/5.0
DR: 8 | Format Reviewed: 192 kbps mp3
Label: Hammerheart Records
Websites: jord-northernsilence.bandcamp.com | facebook.com/jordsounds
Releases Worldwide: September 5th, 2025#2025 #35 #Alcest #AtmosphericBlackMetal #Einvigi #EmellanTräden #Eneferens #HammerheartRecords #Jord #Kauan #Omnicidal #PostRock #PostBlackMetal #PostMetal #Review #Reviews #Rimfrost #Sep25 #SwedishMetal #Vorna #Weltenbrandt
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CRAWL BELOW (Estats Units) presenta nou EP: "Democracy Is So Last Season" #CrawlBelow #PostBlackMetal #Folk #Punk #Abril2025 #EstatsUnits #NouEp #Metall #Metal #MúsicaMetal #MetalMusic
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GREY AURA (Països Baixos) presenta nou àlbum: "Zwart vierkant: Slotstuk" #GreyAura #AvantGarde #Atmospheric #PostBlackMetal #Març2025 #PaïsosBaixos #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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Just in time for #BlackMetalMonday by @HailsandAles:
#TheGreatOldOnes: Under the Sign of Koth
https://song.link/nfmmtpxf5kdfg
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Irgendwas zwischen #DepressiveSuicidalBlackMetal , #AtmosphericBlackMetal und #PostBlackMetal, das sind Arx Atrata aus England.
Es geht gemächlich zu, dafür umso emotionaler... Ja, das passt eigentlich ganz gut, auch einfach mal so zur Stimmung.
Arx Atrata - The Hour
https://www.youtube.com/watch?v=TQMdptrip4A -
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
