#postblackmetal — Public Fediverse posts

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Field Effect - Extreme Soul Modifications

"The quintessential psyche torture mixtape for cool summer nights."

https://getmusic.fm/l/1czXrd

#postblackmetal #music

Free download codes:

Field Effect - Extreme Soul Modifications

"The quintessential psyche torture mixtape for cool summer nights."

https://getmusic.fm/l/1czXrd

#postblackmetal #music

Free download codes:

Field Effect - Extreme Soul Modifications

"The quintessential psyche torture mixtape for cool summer nights."

https://getmusic.fm/l/1czXrd

#postblackmetal #music

Free download codes:

Field Effect - Extreme Soul Modifications

"The quintessential psyche torture mixtape for cool summer nights."

https://getmusic.fm/l/1czXrd

#postblackmetal #music

À SA PERTE (França) presenta nou àlbum: "Innocent·e·s" #ÀSaPerte #PostBlackMetal #Setembre2026 #França #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

À SA PERTE (França) presenta nou àlbum: "Innocent·e·s" #ÀSaPerte #PostBlackMetal #Setembre2026 #França #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

For @HailsandAles' #BlackMetalMonday:

#Olhava: Memorial

https://album.link/t/478631930

#AtmosphericBlackMetal #Blackgaze #PostBlackMetal

FFO #ALightInTheDark #RemainingWarmth #Trna

GAEREA (Portugal) presenta nou àlbum: "Loss" #Gaerea #BlackMetal #PostBlackMetal #Març2026 #Portugal #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

Here at AMG Industries, we strive to unearth as many underground gems as possible. Sometimes, though, we may get a bit carried away, as Master of Muppets once did in a TYMHM article wherein he crammed as many shoutouts to other groups as possible. As this solitary line1 has been the only coverage Nullingroots has received here so far, allow me to introduce them more formally. Based in Phoenix, Arizona, Nullingroots was originally formed by Cameron Boesch as an instrumental post-metal solo project. Various shades of black metal were added over time alongside additional band members. The current iteration of Nullingroots includes Alex Haddad, the founder of rising progressive death metal act Dessiderium.2 Now, Fourth Dimensional Dreamscape signals Nullingroots’ re-emergence after a six-year hiatus.

I don’t know the extent to which Alex Haddad participated in writing Fourth Dimensional Dreamscape, but it certainly sounds as if he had a hand in it. The breezy major key melodies that defined last year’s Dessiderium record can be easily discerned in the guitar, bass, and piano, albeit filtered through a post-black lens instead of progressive death. In this way, I prefer Fourth Dimensional Dreamscape to its 2019 predecessor, Malady’s Black Maw, which was much more uniformly blackened with fewer instances to breathe. The most compelling moments now come from the piano and various other keyboard effects, which add a crystalline luster much like the otherworldly stylings of Unreqvited.

Fourth Dimensional Dreamscape by Nullingroots

Nullingroots packed a lot into the 55 minutes of Fourth Dimensional Dreamscape. The guitar chords often straddle the line between consonance and dissonance (“Fourth Dimensional Dreamscape,” “Remember My Name”). Drum tempo shifts are plentiful to the point of feeling erratic rather than progressive. The most intriguing track, “In Reverie’s Embrace,” combines a mystical keyboard tune with something almost resembling a rap beat played on the virtual drum kit. The vocals are the only area that can sometimes feel monotonous. The fierce rasps fit better within faster-paced songs like “Remember My Name,” but don’t mesh as well with the gentler “Memoir of a Frail Past,” though there are brief instances of smoother, gentler growls (“Life Thief”). The biggest missed opportunity is the complete absence of clean vocals, as Haddad’s singing would likely have complemented much of the instrumentation well if given the opportunity.

Despite its busyness, Fourth Dimensional Dreamscape doesn’t accomplish as much as it could. More often than not, it presents a jumble of independent moments as opposed to a fluid whole. Some of these moments are, admittedly, impressive, such as the guitar shredding partway through “The Optimist.” “Memoir of a Frail Past” and “In Reverie’s Embrace” fare better thanks to recurring keyboard melodies, but the rest of Fourth Dimensional Dreamscape is largely disjointed and at times nondescript. With a minimum track length of 7 minutes, the listener needs more reinforcement to stay grounded, especially in a setting where song intros and conclusions are regarded as optional. Ultimately, I don’t feel guided so much as roughly dragged through the majority of these long-form excursions.

Fourth Dimensional Dreamscape is a promising new sonic direction for Nullingroots after an extended absence, though it’s not without growing pains. I am convinced by the band members’ instrumental prowess, but less so by the songcraft. The first half goes down more smoothly than the second half, but the entire package isn’t sufficiently focused or cohesive. While it’s tough to wholeheartedly recommend Fourth Dimensional Dreamscape, with some tweaks and tightening, there’s a ton of potential for something really good to come. I’m (Nulling)rooting for them.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: PCM
Label: Self-Release
Websites: nullingroots.bandcamp.com | facebook.com/nullingroots
Releases Worldwide: February 11th, 2026

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.

#Konzert #Tontechnik #PostBlackMetal

Miasme – Keep Them at a Distance
#AtmosphericBlackMetal #Blackgaze #DoomDeathMetal #Metal #atmosphericblackmetal #blackmetal #dissonantblackmetal #doommetal #postblackmetal #postmetal #progressiveblackmetal #Bolesławiec
CC BY (#CreativeCommons Attribution) #ccmusic
https://miasme.bandcamp.com/album/keep-them-at-a-distance

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

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

Zerfall by Ellende

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

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

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

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

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

REMAINING WARMTH (Rússia) presenta nou àlbum: "When the Night Ends" #RemainingWarmth #Atmospheric #PostBlackMetal #Novembre2025 #Rússia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

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

GAEREA (Portugal) presenta nou single: "Hellbound" #Gaerea #BlackMetal #PostBlackMetal #Octubre2025 #Portugal #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

Jord – Emellan Träden Review

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

SVNTH (Itàlia) presenta nou àlbum: "Pink Noise Youth" #Svnth #BlackMetal #PostBlackMetal #PostRock #Abril2025 #Itàlia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

GREY AURA (Països Baixos) presenta nou àlbum: "Zwart vierkant: Slotstuk" #GreyAura #AvantGarde #Atmospheric #PostBlackMetal #Març2025 #PaïsosBaixos #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

For #BlackMetalMonday by @HailsandAles:

#Unreqvited: The Antimatter

https://song.link/287zmdk6f03qd

#AtmosphericBlackMetal #Blackgaze #PostBlackMetal

FFO #Heretoir #Skyforest #VioletCold

Am I in Trouble? – Spectrum Review

By Dolphin Whisperer

Tagging systems and organizational hierarchies tend to steer our ideas of genre classifications toward ins and outs, yeses and nos, boxes next to boxes, tags next to tags. In reality, though—and much in the way people go about describing things as being between x band and y band—genres do have their own spectrums. And in that spirit of living in an accumulation of converging aisles rather than following the merchandising plan, sole mind Steve Wiener (Negative Bliss, Ashenheart) debuts his Am I in Trouble? project as an homage to idiosyncratic acts of this splatter art nature. From his listening youth in the oddball ’00s black metal scene to his modern existence as an experienced, colorful auteur, will Wiener’s first outing as Am I in Trouble? earn him a spot at the top of the charts or in the time-out corner?

With one hand holding the play and whimsy of progressive music and the other gripping the flight of post-leaning drama, AIiT inserts various borrowed extreme elements as it sees fit across Spectrum’s prismatic run. At the cut of blackened melodies that sing with an Agallochified, sullen heart (“White,” “Black”) and the turn of spacey, eerie prog-Coded tails (“Pink,” “Blue”), AIiT finds many ways to show passion and reverence with a heart full of play. All too often, acts can get caught in their own lore, but as a project set out to recapture a remembered and studied sound, Spectrum swirls with its own shades in established, albeit eclectic, lines. In turn, Wiener possesses an equally shifting pipe set—never quite as goofy as early Arcturus bobblehead croons or as blood-freezing as searing Emperor cries—that remains unique enough to make the sound his own. And, with a few helping hands, cementing a more modern barked edge here and there keeps Spectrum from sounding dated in its tribute.

What continues to strike me most about Spectrum, though, is the sense of calm that persists around its extreme endeavors. Bookended by the acoustic and wistful melodies of “Yellow” and “Green,”1 AIiT manages to create a peaceful yet darting world with its jovial, marching open and lighthearted, whistling close. This sense of relaxing harmony pervades through fleeting melodies that warp into climbing yet restrained guitar leads (“White”) and heavily layered clean vocal layers that recall the buoyant nature of Lars Nedland at his cleanest (Age of Silence, White Void). Still, Wiener’s sense of stacking lines for atmosphere rather than anthemic impact allows his ventures into harsh switches to wedge a thicker slice of black metal fervor, both with guests2 and his own vicious shrieks (“Pink” and “Black” in particular).

This same floating character about the softer side of Spectrum’s compositions does cause a couple of hiccups along the way. It’s not that the ethereal nature of AIiT’s play with swelling, reverb-drenched chords (“Pink”) and shimmering patch swirls (“Black”) feel out of place in a black metal excursion of this nature—those elements stand as its highlights. With such careful focus on the expositional twinkle and conclusive prance, Spectrum can feel wanting and inhibited in explosive content. At just a touch over thirty minutes, its bursts feel like but splashes of color in the brilliance of cutting riffs and slithering screams. And with not a moment that needs removal—except for the break to silence in “Red” that bifurcates its movement a touch too long for my liking—Spectrum falls in the rare category of albums that could stand from an extra arrangement or two of AIiT’s broad, explorative palette.

Talent oozes through the meticulous web of studied, diverse black metal architecture that Am I in Trouble? possesses. And through Wiener’s variegated vision of what this style can be, Spectrum shows both its experimental roots and reverent presence. Atmosphere can be double-edged, though—both leaving me wanting more and allowing me to bend gracefully with its bows. I’m never sure whether one hit of Spectrum is enough. What I do know, though, is that I can feel the passion with which Wiener has embarked upon this journey, of one steady mind, and with help from friends, Spectrum makes me smile. I also know that with a debut of this fortitude, an installation of a grander, kaleidoscopic showing hangs in, hopefully, the not too distant future.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: PCM
Label: Self Release3
Websites: ampwall.com/a/amiintrouble4 | instagram.com/ami_in_trouble
Releases Worldwide: January 3rd, 2025

Show 4 footnotes

1. Guest flute work by Ember Belladonna, also on “White.” ↩
2. Jonathan Hernandez of Negative Bliss on “Red.” Alex Loach of Ashenheart on “Black.” ↩
3. Cassettes available through Negative Wingspan. Vinyl available approximately February 28th, 2025 through Bolverk Collective. ↩
4. Never heard of Ampwall? It’s a cool, new service created by Chris Grigg of Woe as an alternative e-commerce platform for musicians. While other platform expand, sell, and stagnate, Ampwall aims to maintain an artist-first development process. Check it out! ↩

#2025 #30 #Agalloch #AgeOfSilence #AmIInTrouble_ #Arcturus #Ashenheart #BlackMetal #Code #EmberBelladonna #Emperor #IndependentRelease #Jan25 #NegativeBliss #PostBlackMetal #PostMetal #ProgressiveBlackMetal #ProgressiveMetal #SelfRelease #Spectrum #WhiteVoid