#postblackmetal — Public Fediverse posts

Svmerion (MEX) + How To Disappear (MEX) + Nebelstørm (NL)

The Cave, Friday, September 11 at 09:00 PM GMT+2

Svmerion (MEX)

Fri September 11, 2026 starts at 23:00

How To Disappear (MEX)

Fri September 11, 2026 starts at 22:00

Nebelstørm (NL)

Fri September 11, 2026 starts at 21:00

https://offbeat.amsterdam/event/svmerion-mex-how-to-disappear-mex-nebelstorm-nl

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

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

GREY SHORES (Suècia) presenta nou àlbum: "Dark Waters of Night" #GreyShores #PostBlackMetal #Shoegaze #Setembre2026 #Suècia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

GREY SHORES (Suècia) presenta nou àlbum: "Dark Waters of Night" #GreyShores #PostBlackMetal #Shoegaze #Setembre2026 #Suècia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

For @HailsandAles' #BlackMetalMonday:

#Apostle: A Splinter in the Infinite Noumenon

https://album.link/dtngq0kjsbff8

#AtmosphericBlackMetal #Blackgaze #PostBlackMetal

FFO #Contempt #RatsWillFeast #TearsOfGaia

Free download codes:

Miasme - Keep Them at a Distance

"Blackgaze/post black metal album from Miasme."

https://getmusic.fm/l/82dmGR

#metal #postblackmetal #atmosphericblackmetal #blackgaze #doomdeathmetal #music

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

Reviewing albums explicitly labelled post-metal always seems to bring out my inner pedant. I know all genre labels are kind of meaningless, but post-metal specifically seems to simply be slapped onto anything with fewer riffs than your average atmo-black record, but a lot more cleans. Nonetheless, you know what it sounds like, in essence. If that essence had form, it could be Unverkalt on their third LP Héréditaire. Born in Greece and now split between Greece and Germany, Unverkalt’s self-styled avant-garde approach to post-metal takes its “heaviest and most heartfelt” form on this album, which also marks their signing with Season of Mist. Unknown to me beforehand, promotional references to Cut of Luna and Sylvaine in particular caught my eye, along with the art. I’m glad I picked it up because Unverkalt have something that approaches brilliance at many times. But in embodying the vague yet recognisable subgenre—and sounding good whilst doing it—Héréditaire fails to go further than the safety of the minimum required.

Ignore the artist touchstones in the promo; Unverkalt has little meaningful in common with them: a female lead vocalist is about where that starts and ends. If anything, the aura reflects more Harakiri for the Sky, Heretoir, or maybe Frayle. Lead vocalist Dimitra Kalavrezou sings with a distinctive, somewhat sweet intonation, and screams with articulate fierceness—impressive considering this is her first record providing harsh vocals. Her voice is joined by that of guitarist Eli Mavrychev and—in a late-album highlight—Sakis Tolis (“I, The Deceit”), often layered and intermingled to lend a chorus-of-many-voices air that can be quite powerful. This sense of solidarity and humanity ties into Héréditaire’s overt emotionality—easily its greatest asset—which revolves around mournful yet uplifting themes that rise from softly resonant notes into the (regrettably blurry) weeping of tremolo and chunky riffs. It’s through the continued swell and fade of each composition that we get to see the greats that Unverkalt is capable of.

Héréditaire by Unverkalt

Even as songs tend to repeat the same pattern, most manage to draw the listener in. Synths (“Oath ov Prometheus”), vaguely MENA-style saxophone (“Ænæ Lithi”), and sprinklings of piano (“Penumbrian Lament”), and humming strings (“Maladie de l’Esprit”)1 float in and out, and I only wish they were used more. Harnessing the drama of surging, urgent riffs (“Die Auslöschung,” “Oath ov Prometheus”) and heartfelt group screams and singing (“Death is Forever,” “A Lullaby for the Descent”), the iterated compositions win you over by sheer force. These plainly beautiful melodies and ardent vocal performances are inextricable, each lending the other a level of strength and gravity neither could claim in isolation. Some songs stand head and shoulders above others in this regard: “Die Auslöschung,” “Death is Forever,” “Maladie de l’Esprit,” and in particular, “I, the Deceit,” where Sakis Tolis brings not only his voice but a distinctly Scandinavian melodeath2 vibe to a song where he and Dimitria also duet in their shared native tongue. That song and many others are also examples of Unverkalt’s strange, quasi-pop-rock leanings that they incorporate through the use of bobbing, understated clean refrains that slingshot back into something heavier or more atmospheric (“Oath ov Prometheus,” “A Lullaby for the Descent,” “Introjects”). This weirdness sharpens Unverkalt’s style and works surprisingly well.

Héréditaire thus brims with feeling, strong melodies, and potential. Undeniably stirring at its best (“Die Auslöschung,” “I, the Deceit,” “Maladie de l’Esprit”), and with little idiosyncrasies of style giving it distinction, as a whole it feels oddly unrealised. One culprit is the shockingly compressed mix, which robs the guitars of their body and drums of their bite. Given the vocal range on display and the elements of instrumental experimentation (horns, piano, etc), this would sound far better with a roomier production. But it’s primarily the overly repetitive structure of the compositions that causes issues. Though the passion of the singing or screaming, and the force of a good melody cause you to briefly forget, every song follows essentially the same trajectory—or rather, the same sequence of things repeats across the album, sometimes spanning between songs. Whispers or quiet singing, a steady beat and post-rock atmosphere, black-adjacent speed and screaming, and a lapse into a swaying tempo. With nine tracks adding up to around 50 minutes, you start to notice.

I don’t want to rag on Héréditarire too much; it’s a good album. The fervency and melancholia of the vocal performances—from Dimitria especially—and melodies show the passion behind the project, and there’s a thread of individuality that could pull them out of obscurity. But for as expressive, intriguing, and compelling as their music often is, Unverkalt’s reluctance—or inability—to step outside of a template holds them down when they could be soaring.

Rating: Good
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Season of Mist
Websites: Bandcamp | Facebook
Releases Worldwide: February 27th, 2026

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

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

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

ASIRA – As Ink in Water
https://eternal-terror.com/?p=73402

RELEASE YEAR: 2025BAND URL: https://asira.bandcamp.com/

What we have here is a highly interesting and uniquely crafted release that displays passion and ambition in equal measure. Somewhere between post-black metal, modern progressive rock, and experimental shoegaze lies this epic and emotionally intense opus titled As Ink in Water by the Reading-based outfit intriguingly named […]

#ambientMusic #asInkInWater #asira #atmosphericBlackMetal #blackMetal #heavyMetal #melodicBlackMetal #postBlackMetal #progMetal #progRock #selfReleased #Shoegaze #stampedePress

Stuck in the Filter: May 2025’s Angry Misses

By Kenstrosity

Every day we toil, rain or shine, to find you the semi-finest ore of the month. Lately, though, it’s been mostly rain. Leaks abound, uniforms are soaked to the bone, the chutes are slick and slippery. We must continue, however, to provide for the masses!

Unfortunately, we don’t have any resources to keep anything dry in this godforsaken place. I hope you like your Filter nuggets soggy!

Kenstrosity’s Meanest Meanies

Death Whore // Blood Washes Everything Away [May 16th, 2025 – Self-Release]

Hailing from Nancy, France, crust/death newcomers Death Whore unleashed what is surely one of the meanest records of the year so far. A debut capable of humbling some of the better releases by far more seasoned acts, Blood Washes Everything Away is a nonstop cavalcade of stank-face, bone-shattering riffs. From the onset of vicious onslaught “Inhaling the Dead,” to the stomp and swerve that is the massive “Infernal Terror Machine” and “None Are Forgotten,” to the blistering and evil “12 Worm Wounds,” Death Whore crafted 11 brutally addictive, but smart and lean cuts guaranteed to snap necks. They allow only the sharpest hooks to imbue accessibility to this killer material, but make no sacrifice to the filthy, crust-laden tones and textures determined to pummel and paste (“Noyé dans le sang,” “Motorthroat ’79,” “Savage Aesthetic Revenge”). Throw in a refreshing message criticizing late-stage capitalistic trends, worldwide misappropriation of wealth by the elite class, and the futility of hard work in the modern era for those struggling to meet their basic needs (“You Owe Me a Living”), and you’ve got a record after my heart. I can already tell that I’m going to regret not saving Blood Washes Everything Away from Filter relegation by the time this publishes, but don’t let my transgression in this matter stop you from enjoying of deep Death Whore.

Executionist // Sacrament of the Sick [May 16th, 2025 – Self-Release]

West Virginian death thrashers Executionist were not on my radar. First off, I am, historically, very picky when it comes to thrash. It slaps when it slaps and leaves me cold when it doesn’t. Lately, though, I’ve been digging the style more and more, and Executionist’s particularly meaty take on Kreator WIOLENCE has my attention thoroughly affixed. With debut LP Sacrament of the Sick, Executionist bring on the riffs, but elevate them with blackened tremolos, rabid barks, and an immense bass tone. Opener proper “Edge of Annihilation” pulls no punches, but only hints at the quality held beyond. There’s an almost At the Gates-like sense of melody here, one which works in tandem with deadly riffs and blackened char instead of as a mere surface-level decoration (“Wheels of War,” “Divided We Stand… United We Fall”). While Sacrament of the Sick relies heavily on the long form for its song structures, creating a spot of bloat, there’s usually something memorable and interesting to keep me invested in the story from beginning to end (“Thy Kingdom Come,” “Sacrament of the Sick”). With just a little tightening of the screws, Executionist could easily become the next big name in thrash. Until then, rest easy knowing Sacrament of the Sick is a worthy contender on its own merits.

Thus Spoke’s Shiny Scraps

Ghost Bath // Rose Thorn Necklace [May 9th, 2025 – Nuclear Blast]

DSBM is a genre of necessity tied to a particular mood, and it’s not a happy one. In spite—or perhaps because—of this,1 it’s one I usually enjoy. Ghost Bath’s take on this particular type of misery music has fluctuated between more black metal and more post, and I personally found it never quite stuck. Rose Thorn Necklace, however, has kept me coming back for repeated mope sessions for weeks. It’s still recognisably Ghost Bath thanks to those same echoing howls that lurch into voiceless high-pitched wails (“Well, I Tried Drowning”), and a familiarity about the bitter refrains. But synths now play a prominent role in driving melody2 both dreamy (“Grotesque Display,” “Throat Cancer”) and uncomfortably upbeat (“Vodka Butterfly”), as things swing back in the direction of post-leaning DSBM. Layered strums lace into pessimistic chord swings and scream-resonant atmoblack (title, track, “Dandelion Tea,” “Stamen and Pistil”), sometimes recalling Harakiri for the Sky. It manages to be pretty, in that characteristically depressing way, as minor melodies bleed into blackened tantrums (“Well, I Tried Drowning”) or ride on synths as harrowing screams narrate (“Throat Cancer”). The snippets of coughing (“Dandelion Tea”), sobbing (“Vodka Butterfly”), and sirens (“Throat Cancer”) are par for the course, but still very effective, and the ending duo “Needles” and the horribly—but brilliantly—named “Throat Cancer” is kind of…genuinely lovely in a really gross, demoralising sense. I’m converted.

ClarkKent’s Bestial Beats

Animalize // Verminateur [May 23, 2025 – Dying Victims Productions]

While the album cover might not inspire confidence, make no mistake, Animalize is worthy of your attention. On their sophomore album, Verminateur, these Frenchmen bring youth and energy to the old school speed and traditional metal scene. They mix up mid-tempo tunes with high-octane thrash, and even throw in a lovely piano ballad for good measure (“Priere de Remords”). On tracks like “Chevel Astral” and “Au Jugement de Soi” you can hear influences ranging from Accept to Def Leppard, while the lightning-fast “Verminateur” sounds like a blast from Judas Priest’s Painkiller. Front man Coyote brings plenty of charm, ranging from excitedly shrill to cool-headed, all while executing some well-timed “oohs” and infectious laughter here and there. Fortunately, he doesn’t carry all of the weight. Jessman and RattleGab keep the riffs spicy throughout, ensuring Animalize never phones it in, while Lynx’s drumming adds some much-needed heft. The songwriting is nice and tight, allowing the album to clock in at a tidy 36 minutes. As good as each song is, the icing on the cake is “Envahisseurs,” which will end up as a strong candidate for song of the year. It brings a killer riff and thrilling energy that’s sure to get the Statue of Liberty to drop her torch and make some devil horns.

Owlswald’s Feathered Echoes

Pandemia // Darkened Devotion [May 16th, 2025 – Hammerheart Records]

After a decade between releases, Czech death metal veterans Pandemia burst back onto the scene with their sixth full-length, Darkened Devotion. Still channeling the menacing souls of legends like Vader and Immolation, Darkened Devotion marks a significant yet successful pivot towards a more accessible sound for Pandemia. Delivering bone-crushingly heavy and succinct songs that are both memorable and easily palatable, Pandemia haven’t lost their edge—they’ve simply refined it. From “Nightmare Paradox’s” gut-punching, wicked riffing to “Catalepsy’s” gratifying, atmospheric thrash-inspired arpeggiations, every part of Darkened Devotion feels focused and tastefully executed. New drummer Jake Bayer (Cutterred Flesh) is an absolute beast, shaping Darkened Devotion’s mammoth backbone with thunderous rapid-fire double bass runs (“Blessed, Blessed Oblivion,” “Depths”), intricate tom fills (“The Pallor of Detest,” “The Wretched Dance”) and precision blasts (“Nighttime Paradox,” “A Sea to Breathe In”). Returning guitarist Alex Marek—last heard on 2005’s Riven—unleashes a barrage of infectious shredding that makes headbanging involuntary. Jaroslav “Jarda” Friedrich’s bass and Jikra Krš’s vocals complement Bayer and Marek’s authority with angry drawls and guttural, gravely growls. The album’s overall tone is immense, effortlessly engulfing listeners into its nocturnal anxieties with ease. With Darkened Devotion, Pandemia have forged a refined and brutal auditory feast that genuinely took me by surprise. Embrace the darkness.

Killjoy’s Dreamy Delights

Asthénie // Iridescence [May 5th, 2025 – Self-Release]

Iridescence is literally a colorful piece of music. Named after the naturally occurring phenomenon of an object appearing to change colors, Asthénie assigned a different color to each of these five songs. The guitars are the main focus here—whether with a glimmer (“Mélèze”) or a shimmer (“Indigo”), they brilliantly showcase the prettier side of post metal. Hardcore-tinged screams boldly accentuate the guitars’ vibrant hues, providing heft and urgency. Somewhat ironically, “Gris” (meaning grey) takes up the most time at 11 minutes and is the most developed contrast between the calm and furious. At only 35 minutes in total, Iridescence passes like a beautiful breeze with little fluff or filler. While by no means necessary, some clean vocals could potentially add even more color to a future release. Though this is not the first instance this year of a post-black record patterned after various wavelengths in the visible light spectrum, Iridescence is resplendent in its own right.

Au Clair de Lune // In the Wake of Dusk [May 16th, 2025 – Self-Release]

Moonlight and bodies of water share an intrinsic artistic bond. There’s something deeply enchanting about a celestial, ghostly source of illumination amidst a dark, murky setting. Leonard Sinaguglia’s blackgaze project Au Clair de Lune aurally combines these two aesthetics via dreamy, floaty guitars and synths akin to Autumn Nostalgie and, of course, Alcest’s Écailles de Lune. At times, the melodies are smooth and glassy like the surface of a lake (“Echoing Silhouettes,” “Neon Dusk”). Other times, they’re upbeat and catchy as a rip current (“Anaemoia,” “Distant Glow”). The principal vocal style is a mild rasp, more for flavor than heaviness, though Falyriae adds her airy singing voice on occasion. Although the track order and overall pacing usually find a good balance between the atmospheric parts and the punchy parts, the longer track lengths make In the Wake of Dusk feel a bit fluffy in places. But even so, Au Clair de Lune provides a satisfying and transportative experience to an unearthly realm.

Dolphin Whisperer’s Dusky Deposition

Slumbering Sun // Starmony [May 9th, 2025 – Self Release]

Music is the closest thing we have to magic in this world. When a great song or a great album graces your ears, it’s a clean sweep to any combo the head, heart, and gyrating body. Such was the case with Lone Star Doomsters Slumbering Sun and their debut release The Ever-Living Fire back in 2023. With a fragile heart in one hand and a fat riff in the other, their take on the kind of sadboi doom you’d hear in bands like Warning or early Pallbearer struck me deep. On Starmony, much of the same elements return: growling bass underpinning stadium-sized riffs, Ozzy-like vocals that bustle with a modern emotion and charisma, and a posty playfulness that allows long-form compositions to swell and soar. The only trouble is that it takes a couple songs for Starmony to settle into that same form of riffed-out hypnosis, with the one-two intro of “Together Forever” and “Keep It a Secret” sounding like the middle drive of a live set rather than the start of an introspective journey. But with the violin-assisted weeping catharsis of “Midsommar Night’s Dream” and “Wanderlust,” the waltzing melody of “Danse Macabre,” and the Thin Lizzy-styled dueling leads of “The Tower,” Slumbering Sun again finds a monstrous groove in hopeful and hammering songcraft. And, of course, if you get a chance to catch this act live like I did, just a few days before The Dolphlet emerged, you’ll fall extra prey to the kinds of doomy incantations that Slumbering Sun conjures with their mystic-minded compositions. In fat riffs we trust, and in sorrowful hearts we linger.

Tyme’s Tragic Tones

Enterré Vivant // 悪罪 (Akuzaï) [May 26th, 2025 – Antiq]

Comprised of French multi-instrumentalist Erroiak and vocalist Sakrifiss—whose 25-year residency in Japan heavily influences the music—depressive black metallers Enterré Vivant’s3 third album, Akuzaï, blew me away. My DSBM bar was set long ago by Shining‘s unfuckwithable V: Halmstad, and yet Akuzaï has come along to give it a run for its money. Centered around 10 Buddhist sins, Akuzaï relates the experiences of Japanese civilians and victims during the Second World War. From the emotionally charged cover photo depicting a mother breastfeeding her newborn shortly after the bombing of Nagasaki,4 to the haunting interludes and shimmering, melancholic melodies within, Akuzaï melds traditional, tremolo-picked guitars and icy vocals ala Summoning and Emperor (“Sesshô,” “Shin’i”) with Moonsorrow-esque keys, Japanese-influenced flutes and violins, along with ghostly moaning howls to create its depressive atmospheres. Transitioning from the twisted croaks of interlude “Waraguchi,” album highlight “Jain” begins with mournful pianos and a pensive, tremolo-picked lead before crashing forth in waves of crushingly cascading chords and Sakrifiss’ tortured screams, its eight and a half minutes awash in black metal sadness. By the time the wails of a suffering child floated in around the seven-and-a-half-minute mark, my arms had broken out in goosebumps, and my heart was fucking broken. Offering yet another lens through which to view the torturous horrors of war, Akuzaï is harrowing, relentless, and not to be missed.

#2025 #Accept #Alcest #AmericanMetal #Animalize #Asthénie #AtTheGates #AtmosphericBlackMetal #AuClaireDeLune #AutumnNostalgie #Blackgaze #BloodWashesEverythingAway #Crust #CutterredFlesh #CzechMetal #DarkenedDevotion #DeathMetal #DeathWhore #DefLeppard #DoomMetal #DSBM #DyingVictimsProductions #Emperor #EnterréVivant #Executionist #Falyriae #FrenchMetal #GhostBath #HammerheartRecords #HarakiriForTheSky #Hardcore #HeavyMetal #Immolation #InTheWakeOfDusk #Iridescence #ItalianMetal #JudasPriest #Kreator #May25 #MelodicBlackMetal #MelodicDeathMetal #Moonsorrow #NuclearBlast #Pallbearer #Pandemia #PostBlackMetal #PostMetal #Review #Reviews #RoseThornNecklace #SacramentOfTheSick #SelfRelease #Shining #SlumberingSun #Starmony #StuckInTheFilter #StuckInTheFilter2025 #Summoning #ThinLizzy #ThrashMetal #Vader #Verminateur #Warning #悪罪Akuzaï_

Glassing – From the Other Side of the Mirror Review

By Dear Hollow

No one does music quite like Austin’s Glassing. Nearly impossible to pigeonhole in its blend of jagged riffs and crystalline melodies, critics have conjured the likes of post-metal, post-black, post-rock, mathcore, shoegaze, sludge, noise rock, screamo, and post-hardcore to describe it – none ever quite sticking the landing. Comparisons to Amenra, Deafheaven, Holy Fawn, and Infant Island are rife – fair but incomplete. Ascending to the ether with a style formed on 2017’s Light and Death, honed in 2019’s Spotted Horse, and perfected with 2021’s Twin Dream, Glassing seems to level up with each release, its tonal calculations more fluid and organic while its gritted-teeth punishment never foregone. From the Other Side of the Mirror is another chapter and success for an act renowned for excellence.

The style that Glassing proffers is best exemplified in the dichotomy of two tracks separated by brief interlude, “Defacer” and “Nominal Will.” The former is absolutely vicious with thick, chunky blackened sludge riffs raining down with volcanic ferocity; the latter deals in a consistently sanguine and heart-wrenching melodic lead guitar approach that floats above the bass-heavy chugs, giving purpose to the pain. This dichotomy, perhaps embodying two sides of the mirror, courses through the album’s forty-two minutes with a tantalizing simplicity of devastating riffs and heart-wrenching melody. It may not top Twin Dream in its ambition but its more contemplative tones and devastatingly thick riffs collide for an absolute tour-de-force nonetheless.

Glassing’s sound nonetheless feels more streamlined despite this dichotomy. Compared to Twin Dream, where multiple styles, vocals, and movements collided, From the Other Side of the Mirror feels refreshingly straightforward. Tracks like “Anything You Want,” “Nominal Will,” and “Ritualist” fuse undercurrents of pulsing blackened sludge with soaring guitar leads and choral cleans, moving between segments with seamless ease. Elsewhere, the two ends of the spectrum are showcased neatly, as the gentle melodies of “Nothing Touches You” and interlude “The Kestrel Goes” are starkly vulnerable compared to the heaviness. On the other end, tracks “As My Heart Rots” and “Circle Down” take notes from “Defacer” in blistering heaviness, relying on blackened tremolo, sludge weight, and a dissonant mathcore quality laid atop a post-metal blueprint, absolutely leveling with the hugeness of their riffs. Dustin Coffman’s vocals return to the simplicity of the blackened snarl, adding a needed edge. You can’t accuse Glassing of going soft.

While ambition is in the eye of the beholder, there are some simple setbacks to From the Other Side of the Mirror. Glassing’s strongest asset is its ability to build tension between jaggedness and melody, and while “Ritualist” and “Defacer” bend hard into this tension, other tracks simply fall into one or another. “Nothing Touches You” pales in comparison to “Anything You Want,” and the stark palettes between “Defacer” and “Nominal Will” can be jarring. Likewise between “Circle Down” and “Wake” – in spite of an interlude between them. While interludes “Sallow” and “The Kestrel Goes” attempt to smoothen transitions between these soundscapes, they largely come across as unnecessary. Worse, closer “Wake” does not feel as climactic as it ought to be, feeling more like a weaker “Anything You Want” with no distinct resolution.

In reality, Glassing’s biggest issue is its sequencing, in that each track is accomplished with gusto and bulletproof performances across the board, but placement within the album feels a bit off. Twin Dream relegated these soundscapes to the first half or the second through a hardcore filter, but From the Other Side of the Mirror attempts the herculean feat of streamlining them with more contemplative grace, adding greater weight to the no-holds-barred punishment of “Defacer,” “As My Heart Rots,” and “Circle Down.” I wouldn’t consider From the Other Side of the Mirror a step-down, but a different beast entirely – from one of the most exciting metal bands today.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Pelagic Records
Websites: glassing.bandcamp.com | glassingband.com | facebook.com/glassingband
Releases Worldwide: April 26th, 2024

#2024 #35 #Amenra #AmericanMetal #Apr24 #BlackMetal #BlackenedSludgeMetal #Deafheaven #FromTheOtherSideOfTheMirror #Glassing #HolyFawn #InfantIsland #Mathcore #NoiseRock #PelagicRecords #PostRock #PostBlackMetal #PostHardcore #PostMetal #Review #Reviews #Screamo #Shoegaze #SludgeMetal

Glassing – From the Other Side of the Mirror Review

By Dear Hollow

No one does music quite like Austin’s Glassing. Nearly impossible to pigeonhole in its blend of jagged riffs and crystalline melodies, critics have conjured the likes of post-metal, post-black, post-rock, mathcore, shoegaze, sludge, noise rock, screamo, and post-hardcore to describe it – none ever quite sticking the landing. Comparisons to Amenra, Deafheaven, Holy Fawn, and Infant Island are rife – fair but incomplete. Ascending to the ether with a style formed on 2017’s Light and Death, honed in 2019’s Spotted Horse, and perfected with 2021’s Twin Dream, Glassing seems to level up with each release, its tonal calculations more fluid and organic while its gritted-teeth punishment never foregone. From the Other Side of the Mirror is another chapter and success for an act renowned for excellence.

The style that Glassing proffers is best exemplified in the dichotomy of two tracks separated by brief interlude, “Defacer” and “Nominal Will.” The former is absolutely vicious with thick, chunky blackened sludge riffs raining down with volcanic ferocity; the latter deals in a consistently sanguine and heart-wrenching melodic lead guitar approach that floats above the bass-heavy chugs, giving purpose to the pain. This dichotomy, perhaps embodying two sides of the mirror, courses through the album’s forty-two minutes with a tantalizing simplicity of devastating riffs and heart-wrenching melody. It may not top Twin Dream in its ambition but its more contemplative tones and devastatingly thick riffs collide for an absolute tour-de-force nonetheless.

Glassing’s sound nonetheless feels more streamlined despite this dichotomy. Compared to Twin Dream, where multiple styles, vocals, and movements collided, From the Other Side of the Mirror feels refreshingly straightforward. Tracks like “Anything You Want,” “Nominal Will,” and “Ritualist” fuse undercurrents of pulsing blackened sludge with soaring guitar leads and choral cleans, moving between segments with seamless ease. Elsewhere, the two ends of the spectrum are showcased neatly, as the gentle melodies of “Nothing Touches You” and interlude “The Kestrel Goes” are starkly vulnerable compared to the heaviness. On the other end, tracks “As My Heart Rots” and “Circle Down” take notes from “Defacer” in blistering heaviness, relying on blackened tremolo, sludge weight, and a dissonant mathcore quality laid atop a post-metal blueprint, absolutely leveling with the hugeness of their riffs. Dustin Coffman’s vocals return to the simplicity of the blackened snarl, adding a needed edge. You can’t accuse Glassing of going soft.

While ambition is in the eye of the beholder, there are some simple setbacks to From the Other Side of the Mirror. Glassing’s strongest asset is its ability to build tension between jaggedness and melody, and while “Ritualist” and “Defacer” bend hard into this tension, other tracks simply fall into one or another. “Nothing Touches You” pales in comparison to “Anything You Want,” and the stark palettes between “Defacer” and “Nominal Will” can be jarring. Likewise between “Circle Down” and “Wake” – in spite of an interlude between them. While interludes “Sallow” and “The Kestrel Goes” attempt to smoothen transitions between these soundscapes, they largely come across as unnecessary. Worse, closer “Wake” does not feel as climactic as it ought to be, feeling more like a weaker “Anything You Want” with no distinct resolution.

In reality, Glassing’s biggest issue is its sequencing, in that each track is accomplished with gusto and bulletproof performances across the board, but placement within the album feels a bit off. Twin Dream relegated these soundscapes to the first half or the second through a hardcore filter, but From the Other Side of the Mirror attempts the herculean feat of streamlining them with more contemplative grace, adding greater weight to the no-holds-barred punishment of “Defacer,” “As My Heart Rots,” and “Circle Down.” I wouldn’t consider From the Other Side of the Mirror a step-down, but a different beast entirely – from one of the most exciting metal bands today.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Pelagic Records
Websites: glassing.bandcamp.com | glassingband.com | facebook.com/glassingband
Releases Worldwide: April 26th, 2024

#2024 #35 #Amenra #AmericanMetal #Apr24 #BlackMetal #BlackenedSludgeMetal #Deafheaven #FromTheOtherSideOfTheMirror #Glassing #HolyFawn #InfantIsland #Mathcore #NoiseRock #PelagicRecords #PostRock #PostBlackMetal #PostHardcore #PostMetal #Review #Reviews #Screamo #Shoegaze #SludgeMetal

Glassing – From the Other Side of the Mirror Review

By Dear Hollow

No one does music quite like Austin’s Glassing. Nearly impossible to pigeonhole in its blend of jagged riffs and crystalline melodies, critics have conjured the likes of post-metal, post-black, post-rock, mathcore, shoegaze, sludge, noise rock, screamo, and post-hardcore to describe it – none ever quite sticking the landing. Comparisons to Amenra, Deafheaven, Holy Fawn, and Infant Island are rife – fair but incomplete. Ascending to the ether with a style formed on 2017’s Light and Death, honed in 2019’s Spotted Horse, and perfected with 2021’s Twin Dream, Glassing seems to level up with each release, its tonal calculations more fluid and organic while its gritted-teeth punishment never foregone. From the Other Side of the Mirror is another chapter and success for an act renowned for excellence.

The style that Glassing proffers is best exemplified in the dichotomy of two tracks separated by brief interlude, “Defacer” and “Nominal Will.” The former is absolutely vicious with thick, chunky blackened sludge riffs raining down with volcanic ferocity; the latter deals in a consistently sanguine and heart-wrenching melodic lead guitar approach that floats above the bass-heavy chugs, giving purpose to the pain. This dichotomy, perhaps embodying two sides of the mirror, courses through the album’s forty-two minutes with a tantalizing simplicity of devastating riffs and heart-wrenching melody. It may not top Twin Dream in its ambition but its more contemplative tones and devastatingly thick riffs collide for an absolute tour-de-force nonetheless.

Glassing’s sound nonetheless feels more streamlined despite this dichotomy. Compared to Twin Dream, where multiple styles, vocals, and movements collided, From the Other Side of the Mirror feels refreshingly straightforward. Tracks like “Anything You Want,” “Nominal Will,” and “Ritualist” fuse undercurrents of pulsing blackened sludge with soaring guitar leads and choral cleans, moving between segments with seamless ease. Elsewhere, the two ends of the spectrum are showcased neatly, as the gentle melodies of “Nothing Touches You” and interlude “The Kestrel Goes” are starkly vulnerable compared to the heaviness. On the other end, tracks “As My Heart Rots” and “Circle Down” take notes from “Defacer” in blistering heaviness, relying on blackened tremolo, sludge weight, and a dissonant mathcore quality laid atop a post-metal blueprint, absolutely leveling with the hugeness of their riffs. Dustin Coffman’s vocals return to the simplicity of the blackened snarl, adding a needed edge. You can’t accuse Glassing of going soft.

While ambition is in the eye of the beholder, there are some simple setbacks to From the Other Side of the Mirror. Glassing’s strongest asset is its ability to build tension between jaggedness and melody, and while “Ritualist” and “Defacer” bend hard into this tension, other tracks simply fall into one or another. “Nothing Touches You” pales in comparison to “Anything You Want,” and the stark palettes between “Defacer” and “Nominal Will” can be jarring. Likewise between “Circle Down” and “Wake” – in spite of an interlude between them. While interludes “Sallow” and “The Kestrel Goes” attempt to smoothen transitions between these soundscapes, they largely come across as unnecessary. Worse, closer “Wake” does not feel as climactic as it ought to be, feeling more like a weaker “Anything You Want” with no distinct resolution.

In reality, Glassing’s biggest issue is its sequencing, in that each track is accomplished with gusto and bulletproof performances across the board, but placement within the album feels a bit off. Twin Dream relegated these soundscapes to the first half or the second through a hardcore filter, but From the Other Side of the Mirror attempts the herculean feat of streamlining them with more contemplative grace, adding greater weight to the no-holds-barred punishment of “Defacer,” “As My Heart Rots,” and “Circle Down.” I wouldn’t consider From the Other Side of the Mirror a step-down, but a different beast entirely – from one of the most exciting metal bands today.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Pelagic Records
Websites: glassing.bandcamp.com | glassingband.com | facebook.com/glassingband
Releases Worldwide: April 26th, 2024

#2024 #35 #Amenra #AmericanMetal #Apr24 #BlackMetal #BlackenedSludgeMetal #Deafheaven #FromTheOtherSideOfTheMirror #Glassing #HolyFawn #InfantIsland #Mathcore #NoiseRock #PelagicRecords #PostRock #PostBlackMetal #PostHardcore #PostMetal #Review #Reviews #Screamo #Shoegaze #SludgeMetal

here's the #Nietzu logo on its own. The new EP has been released and I've been enjoying it already. Definitely recommended

https://nietzu.bandcamp.com/album/monarch-of-sorrow

#blackmetal #postblackmetal #uk #art #design #logo #bandlogo