#postmetal — Public Fediverse posts

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Heathen Tongues - Neurogenesis

"Two piece post-crust band from the metal capital of the world; Denver, Colorado"

https://getmusic.fm/l/jAnoXG

#grunge #doom #postmetal #stonermetal #psychedelicmetal #music

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Heathen Tongues - Neurogenesis

"Two piece post-crust band from the metal capital of the world; Denver, Colorado"

https://getmusic.fm/l/jAnoXG

#grunge #doom #postmetal #stonermetal #psychedelicmetal #music

CALYSS (Alemanya) presenta nou àlbum: "Vessel of Theseus" #Calyss #Sludge #PostMetal #Juliol2026 #Alemanya #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

MOUNTAINSCAPE (Regne Unit) presenta nou EP: "Traversing Realms" #Mountainscape #PostMetal #Juliol2026 #RegneUnit #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

VISCERA/// (Itàlia) presenta nou àlbum: "4: ⁠Assets for Psychedelic Warfare" #Viscera/// #Goregrind #Sludge #Drone #PostMetal #Juliol2026 #Itàlia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

https://www.youtube.com/watch?v=tDCCb4r1ISM

I love this collaboration between Neurosis and the Firekeeper Alliance, a suicide prevention and mental health group in the Blackfeet Nation. Powerful music and imagery. I wish I could attend the Fire in the Mountain music festival that they're organizing. https://firekeeperalliance.org/news/firekeeper-alliance-presents-the-workshop-and-speaker-series-at-fitm-26

#PostMetal #Neurosis

https://www.youtube.com/watch?v=tDCCb4r1ISM

I love this collaboration between Neurosis and the Firekeeper Alliance, a suicide prevention and mental health group in the Blackfeet Nation. Powerful music and imagery. I wish I could attend the Fire in the Mountain music festival that they're organizing. https://firekeeperalliance.org/news/firekeeper-alliance-presents-the-workshop-and-speaker-series-at-fitm-26

#PostMetal #Neurosis

HEATHEN TONGUES (Estats Units) presenta nova demo: "Neurogenesis" #HeathenTongues #PostMetal #Juliol2026 #EstatsUnits #NovaDemo #Metall #Metal #MúsicaMetal #MetalMusic

A woman walks into the stage. Middle aged, glasses, nothing really strikes of her at first glance. No clothes or tattoos that would shout metal. She's the random person before you at the bakery queue.

But then, she takes off her glasses, picks up the microphone, and silently looks at the audience in the way that someone looks into the infinite.

Then you know this is the calm before the storm... and that she IS the storm.

Machukha "Mochari" (full album)
https://www.youtube.com/watch?v=KOcqNCPwm7s

Saw them on Monday. Out of the for 4 people on stage, 3 were women. And they blew off my mind. You should catch them live. 🖤

#MusicWomenWednesday #blackmetal #postmetal

A woman walks into the stage. Middle aged, glasses, nothing really strikes of her at first glance. No clothes or tattoos that would shout metal. She's the random person before you at the bakery queue.

But then, she takes off her glasses, picks up the microphone, and silently looks at the audience in the way that someone looks into the infinite.

Then you know this is the calm before the storm... and that she IS the storm.

Machukha "Mochari" (full album)
https://www.youtube.com/watch?v=KOcqNCPwm7s

Saw them on Monday. Out of the for 4 people on stage, 3 were women. And they blew off my mind. You should catch them live. 🖤

#MusicWomenWednesday #blackmetal #postmetal

Here's the recording session of the first single by Man Of Ash!
Hope you like it! 🙃

https://makertube.net/w/jKP2SGFpJBCb5ZAHcRN2wM

#FediMusic #FediArt #Artist #Art #Arts #Artists #OriginalMusic #Musician #Musicians #Music #MusiciansOfMastodon #MastoArt #Musodon #Experimental #Ambient #Doom #DoomMetal #Metal #PostMetal #Sludge #SludgeMetal #Prague #Varna #Video #Studio #Recording #Drums #Drummer #PeerTube

Here's the recording session of the first single by Man Of Ash!
Hope you like it! 🙃

https://makertube.net/w/jKP2SGFpJBCb5ZAHcRN2wM

#FediMusic #FediArt #Artist #Art #Arts #Artists #OriginalMusic #Musician #Musicians #Music #MusiciansOfMastodon #MastoArt #Musodon #Experimental #Ambient #Doom #DoomMetal #Metal #PostMetal #Sludge #SludgeMetal #Prague #Varna #Video #Studio #Recording #Drums #Drummer #PeerTube

+++ BERLIN SWAMP FEST 2026 +++

Neue Zukunft, Thursday, September 10 at 05:00 PM GMT+2

SWAMPIANS!

YOU SHALL RECEIVE THE MESSAGE!

THE SONG OF THE SWAMP SINGS OF A NEW MAJESTIC GATHERING IN THE YEAR THAT WE COUNT AS 2026!

SO SAVE THE DATE 10. - 12. SEPTEMBER 2026!

Tell your loved ones and be ready for the most interdimensional underground fuzz heavy happening of the year!

LIVE SWAMP AND PROSPER!

https://berlin.askapunk.de/event/berlin-swamp-fest-2026

Doom gegen rechts 2

Haus der Jugend - Bunte Kuh, Friday, September 11 at 08:00 PM GMT+2

Uranus Front

Ten1000ton

Karatschai

https://berlin.askapunk.de/event/doom-gegen-rechts-2

100000 Tonnen Kruppstahl + ryr + War + Deibel

Friedenskirche (Charlottenburg), Saturday, October 31 at 03:30 PM GMT+1

Pünktlich zum Reformationstag führen wir in der Friedenskirche mal den kompletten Teeth Fletcher auf und spielen das komplette Doppelalbum komplett live und ohne Playbacks. Yeah!

https://100000tonnenkruppstahl.bandcamp.com/album/teeth-fletcher

https://100000tonnenkruppstahl.de/musik.html

https://www.instagram.com/100000tonnenkruppstahl/

Mit dabei sind War, ryr, Deibel und man darf und muss davon ausgehen, dass sie auch sehr gut sind:

https://ryrpostmetal.bandcamp.com/album/dislodged-2

https://www.instagram.com/ryrpostmetal/

https://venividiwar.bandcamp.com/

https://www.instagram.com/venividiwar

https://deibel.bandcamp.com/album/deibel

https://www.die-friedenskirche.de/

https://www.facebook.com/FriedenskircheBerlinCharlottenburg

Tickets und mehr Infos gibts dort:

https://rausgegangen.de/events/krachvonoben-0/

Mehr Details folgen wie immer.

https://berlin.askapunk.de/event/100000-tonnen-kruppstahl-ryr-war-deibel

The Ocean Release Powerful New Single “Belligerence”

https://voiceofnoir.com/2026/07/18/the-ocean-release-powerful-new-single-belligerence/

Free download codes:

Prism Paradox - Veiled Refractions

"Instrumental Metal inspired by ancient Mythology"

https://getmusic.fm/l/NuXmLw

#atmospheric #postmetal #progressivemetal #sludge #music

Free download codes:

Prism Paradox - Veiled Refractions

"Instrumental Metal inspired by ancient Mythology"

https://getmusic.fm/l/NuXmLw

#atmospheric #postmetal #progressivemetal #sludge #music

HÄMND (Suècia) presenta nou EP: "Bortom" #Hämnd #Sludge #PostMetal #Juliol2026 #Suècia #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

EMPTINESS (Bèlgica) presenta nou àlbum: "Nowhere Speaks" #Emptiness #BlackMetal #DeathMetal #PostMetal #PostPunk #Juliol2026 #Bèlgica #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

If These Trees Could Talk strikes me as a mildly ironic name for an instrumental group. But, then again, post-rock has the potential to be one of the most expressive musical genres when done correctly. This grove in Akron, Ohio, has been mostly silent for the last ten years since 2016’s The Bones of a Dying World, aside from a lone single in 2024. This probably explains why, despite their popularity, I was unfamiliar with If These Trees Could Talk until now, as I only developed a fondness for post-rock a few years ago. The Hidden Hand marks their second full-length with Metal Blade Records and fourth overall. How fruitful has the last decade been?

By and large, The Hidden Hand will not shock anyone with an affinity for post-rock of the instrumental persuasion. It is primarily constructed using crystalline notes and reverb-drenched chords, fluctuating between light and dark in a manner akin to pg.lost. Like We Lost the Sea, If These Trees Could Talk summon vivid soundscapes that encompass a wide variety of emotions and moods. Though this isn’t a huge sonic departure from their prior work, there are a few minor twists. The Hidden Hand sporadically borrows smidgens of bulky guitar tone from Russian Circles and Pelican, and there is even an unexpected cover of Aphex Twin’s “Flim” at the tail end of the album.

If These Trees Could Talk endeavors to wring the most from handfuls of simple tunes. This approach works well in some instances. The most notable of these is “Blurry Creatures,” featuring a recurring choral chant around which the multi-guitar lines coil like ivy on a trellis. “Moon Machine” is less successful as it stretches two alternating passages across 8 minutes, feeling fatiguing and formulaic. I enjoy The Hidden Hand more when the focus is on spinning poignant melodies (“Sea of Glass,” “Silence Between Mountains, Pts. 1 and 2”), but this does not happen as much as on former records. Instead, a heavier reliance on reverb at times feels antithetical to the desired atmosphere (“Moon Machine,” “Metanoia,” “Silence Between Mountains, Pt. 2”). Furthermore, the final track “Endlessly Connected” begins with soft, interwoven guitar strands that never get the chance to grow into something substantial.

The Hidden Hand is not composed in a way that appears to have considered the whole. Compared with the fluidity of prior albums, it’s more of a motley collection of tracks. This isn’t a bad thing in and of itself, but less overall synergy means less staying power in this case. “Metanoia” and “Flim” stick out in particular. The former leans into perky prog rock, and the latter, while a faithful cover, would have fit better in a setting such as Stardew Valley. Additionally, the percussion seems to have lost much of the free-flowing flair that helped foster the unity of The Bones of a Dying World. In The Hidden Hand, it mainly consists of standard rock beats dressed with syncopation, resulting in a more generic feeling across the board.

Ultimately, The Hidden Hand is not as convincing a comeback as I would have hoped. For whatever reason, some of the magic has disappeared in the last ten years. Given that this was my first experience with If These Trees Could Talk, I can say with certainty that this is not because of pent-up or unrealistic expectations. Their prior magnificence can still be heard in the likes of “Silence Between Mountains, Pt. 2” and “Blurry Creatures,” but, even so, The Hidden Hand likely won’t change anyone’s mind about whether they like instrumental-only music. While for me, The Hidden Hand isn’t worth the opportunity cost when craving post-rock, I’m grateful to have been introduced to The Bones of a Dying World, and I look forward to spending more time with that one.

Rating: 2.5/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Metal Blade Records
Websites: ifthesetreescouldtalk.bandcamp.com | facebook.com/treescouldtalk
Releases Worldwide: July 10th, 2026

If These Trees Could Talk strikes me as a mildly ironic name for an instrumental group. But, then again, post-rock has the potential to be one of the most expressive musical genres when done correctly. This grove in Akron, Ohio, has been mostly silent for the last ten years since 2016’s The Bones of a Dying World, aside from a lone single in 2024. This probably explains why, despite their popularity, I was unfamiliar with If These Trees Could Talk until now, as I only developed a fondness for post-rock a few years ago. The Hidden Hand marks their second full-length with Metal Blade Records and fourth overall. How fruitful has the last decade been?

By and large, The Hidden Hand will not shock anyone with an affinity for post-rock of the instrumental persuasion. It is primarily constructed using crystalline notes and reverb-drenched chords, fluctuating between light and dark in a manner akin to pg.lost. Like We Lost the Sea, If These Trees Could Talk summon vivid soundscapes that encompass a wide variety of emotions and moods. Though this isn’t a huge sonic departure from their prior work, there are a few minor twists. The Hidden Hand sporadically borrows smidgens of bulky guitar tone from Russian Circles and Pelican, and there is even an unexpected cover of Aphex Twin’s “Flim” at the tail end of the album.

If These Trees Could Talk endeavors to wring the most from handfuls of simple tunes. This approach works well in some instances. The most notable of these is “Blurry Creatures,” featuring a recurring choral chant around which the multi-guitar lines coil like ivy on a trellis. “Moon Machine” is less successful as it stretches two alternating passages across 8 minutes, feeling fatiguing and formulaic. I enjoy The Hidden Hand more when the focus is on spinning poignant melodies (“Sea of Glass,” “Silence Between Mountains, Pts. 1 and 2”), but this does not happen as much as on former records. Instead, a heavier reliance on reverb at times feels antithetical to the desired atmosphere (“Moon Machine,” “Metanoia,” “Silence Between Mountains, Pt. 2”). Furthermore, the final track “Endlessly Connected” begins with soft, interwoven guitar strands that never get the chance to grow into something substantial.

The Hidden Hand is not composed in a way that appears to have considered the whole. Compared with the fluidity of prior albums, it’s more of a motley collection of tracks. This isn’t a bad thing in and of itself, but less overall synergy means less staying power in this case. “Metanoia” and “Flim” stick out in particular. The former leans into perky prog rock, and the latter, while a faithful cover, would have fit better in a setting such as Stardew Valley. Additionally, the percussion seems to have lost much of the free-flowing flair that helped foster the unity of The Bones of a Dying World. In The Hidden Hand, it mainly consists of standard rock beats dressed with syncopation, resulting in a more generic feeling across the board.

Ultimately, The Hidden Hand is not as convincing a comeback as I would have hoped. For whatever reason, some of the magic has disappeared in the last ten years. Given that this was my first experience with If These Trees Could Talk, I can say with certainty that this is not because of pent-up or unrealistic expectations. Their prior magnificence can still be heard in the likes of “Silence Between Mountains, Pt. 2” and “Blurry Creatures,” but, even so, The Hidden Hand likely won’t change anyone’s mind about whether they like instrumental-only music. While for me, The Hidden Hand isn’t worth the opportunity cost when craving post-rock, I’m grateful to have been introduced to The Bones of a Dying World, and I look forward to spending more time with that one.

Rating: 2.5/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Metal Blade Records
Websites: ifthesetreescouldtalk.bandcamp.com | facebook.com/treescouldtalk
Releases Worldwide: July 10th, 2026

🌀 Russian Circles - Gnosis 🌀

Le 8e album du trio instrumental de post-metal, sorti en 2022 chez Sargent House. Un voyage sonore immersif, enregistré avec Kurt Ballou, qui alterne entre riffs massifs et ambiances psychédéliques. Le titre explore la quête de connaissance spirituelle. 🎸

#music #RussianCircles #Gnosis #PostMetal #Instrumental #KurtBallou #SargentHouse #textuumusic

https://russiancircles.bandcamp.com/track/gnosis

🌀 Russian Circles - Gnosis 🌀

Le 8e album du trio instrumental de post-metal, sorti en 2022 chez Sargent House. Un voyage sonore immersif, enregistré avec Kurt Ballou, qui alterne entre riffs massifs et ambiances psychédéliques. Le titre explore la quête de connaissance spirituelle. 🎸

#music #RussianCircles #Gnosis #PostMetal #Instrumental #KurtBallou #SargentHouse #textuumusic

https://russiancircles.bandcamp.com/track/gnosis

Emptiness, nothingness, absence, non-being: such evocations of negation abound in extreme metal, often justifiably given the visceral analogy between dense dissonance and existential dysphoria. Among the acts walking this walk, Belgium’s Emptiness proudly stalk, with the blurb for seventh full-length Nowhere Speaks explicitly stating that it is “entirely unconcerned with making its listener comfortable.” The group’s trajectory thus far has taken them from uncompromising blackened death into ever more ambient and experimental territory, where they first crossed into the AMG-verse via Jean-Luc Ricard’s 2014 TYMHM post on Nothing But the Whole, and returned in 2017 to send shivers down Grymm’s spine with Not For Music. The sudden pivot into French-sung, distortion-free Vide was no less disturbing for its quietitude, though it may have ironically alienated fans. Nowhere Speaks thus carries the weight of significant mystery: what form has Emptiness taken this time, and does it bear any connection to their past?

Nowhere Speaks sees Emptiness heap scorn over those who doubted them—this is all of Emptiness, and there’s nothing random about it. The album begins with this affirmation, picking up the riff that was cut-off midway from Nothing But the Whole’s closer “Lowland,” and carrying on (“Nothing But The Whole (Part 2)”). It ends with it too, final track “All For Nothing” lapsing into the malevolent soundscape of Nothing But The Whole’s first, “Go and Hope,” and stopping with similar abruptness—a synecdoche for the wider circularity that connects these two albums over a decade apart. This brings a weird closure to the former record, even as Nowhere Speaks’ ending perpetuates the unsettled and unsettling sempiternality. Emptiness’ self-referential horror doesn’t stop at album construction. In a direct mirror of predecessor Vide, which was recorded by each member in isolation and geographically distant, Nowhere Speaks was recorded live all at once in the studio. This reassembling works as a metaphor for this album’s sound, which reconstructs many of Emptiness’ elements in both familiar and unfamiliar ways.

Nowhere Speaks is the opposite of immediate; everything about it creeps. And it creeps inexorably, as certain as death. The dark melodies and restlessly stalking tempos (“Nowhere Speaks,” “Words to Wind,” “When the Whole Arrives”1) are only the half of it. Sometimes the music’s atmosphere incarnates as disso-death moodiness, (“Words to Wind,” “When the Whole Arrives”), sometimes as the blurriness of noisy atmo-black (“The Threat,” “One Must See All,” “All For Nothing”), sometimes as warped, static-scattered ambience (“Darkness Commands,” “Words to Wind,” “Next In Line”). Tremolos often feel almost warm (“Nowhere Speaks,” “All For Nothing”) until they aren’t (“Words to Wind”), and the stylistic incongruence between them and the electro-industrial edge that warps whispered growls creates an eerie tone throughout. The highest points are the culmination of these apparent inconsistencies, some new genre Emptiness have been crafting all this time—a pared-back blackened-death, dark ambient, groovy, and dissonant. It builds in the second act of “Words to Wind,” stalks with predatory grace at “When the Whole Arrives”‘s intro, and spreads insidiously in “Next In Line.” Emptiness pass through extreme metal and cloak elements in atmosphere, yet all this adds rather than subtracts tension and fearfulness.

These nuanced and unusual textures are intriguing, but they sometimes veer towards a mélange that’s too understated. Emptiness have absolutely nailed the vibe, and much of Nowhere Speaks does capitalise on the magical combination of pseudo-dissonant guitar, smothering dark ambience, and unusual compositional shapes. I can forgive the myriad interludes—some of which, particularly “Darkness Commands,” are excellent in their own right—which bleed in and out of the main songs. It’s the wavering vagaries in the midpoints and margins that threaten to fade too far into the background. The burying of instruments whilst nothing else drives a progression (“Nowhere Speaks,”); muffled voices and noise (“Words to Wind”), an immersion-breaking slide into the major (“Nowhere Speaks,” “The Clash of Forces,” “All for Nothing”). At least it sounds brilliant—all the layers distinguishable, the reverb a softness rather than an obstruction, the drums, vocals and guitars each having space to spook you.

Emptiness are evidently believers in the virtue of patience, answering the open question of Nothing But The Whole’s abrupt ending more than a decade after it was posed. Nowhere Speaks is no anomaly; give it time, and it spreads out like a great gulf of nothing.2 It may have taken many listens, but I’m now so immersed in the void of beautiful nothingness Emptiness have created, that it’s hard to remember I ever really had my doubts.

Rating: Very Good
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Season of Mist
Websites: Bandcamp | Facebook
Releases Worldwide: July 17th, 2026

Emptiness, nothingness, absence, non-being: such evocations of negation abound in extreme metal, often justifiably given the visceral analogy between dense dissonance and existential dysphoria. Among the acts walking this walk, Belgium’s Emptiness proudly stalk, with the blurb for seventh full-length Nowhere Speaks explicitly stating that it is “entirely unconcerned with making its listener comfortable.” The group’s trajectory thus far has taken them from uncompromising blackened death into ever more ambient and experimental territory, where they first crossed into the AMG-verse via Jean-Luc Ricard’s 2014 TYMHM post on Nothing But the Whole, and returned in 2017 to send shivers down Grymm’s spine with Not For Music. The sudden pivot into French-sung, distortion-free Vide was no less disturbing for its quietitude, though it may have ironically alienated fans. Nowhere Speaks thus carries the weight of significant mystery: what form has Emptiness taken this time, and does it bear any connection to their past?

Nowhere Speaks sees Emptiness heap scorn over those who doubted them—this is all of Emptiness, and there’s nothing random about it. The album begins with this affirmation, picking up the riff that was cut-off midway from Nothing But the Whole’s closer “Lowland,” and carrying on (“Nothing But The Whole (Part 2)”). It ends with it too, final track “All For Nothing” lapsing into the malevolent soundscape of Nothing But The Whole’s first, “Go and Hope,” and stopping with similar abruptness—a synecdoche for the wider circularity that connects these two albums over a decade apart. This brings a weird closure to the former record, even as Nowhere Speaks’ ending perpetuates the unsettled and unsettling sempiternality. Emptiness’ self-referential horror doesn’t stop at album construction. In a direct mirror of predecessor Vide, which was recorded by each member in isolation and geographically distant, Nowhere Speaks was recorded live all at once in the studio. This reassembling works as a metaphor for this album’s sound, which reconstructs many of Emptiness’ elements in both familiar and unfamiliar ways.

Nowhere Speaks is the opposite of immediate; everything about it creeps. And it creeps inexorably, as certain as death. The dark melodies and restlessly stalking tempos (“Nowhere Speaks,” “Words to Wind,” “When the Whole Arrives”1) are only the half of it. Sometimes the music’s atmosphere incarnates as disso-death moodiness, (“Words to Wind,” “When the Whole Arrives”), sometimes as the blurriness of noisy atmo-black (“The Threat,” “One Must See All,” “All For Nothing”), sometimes as warped, static-scattered ambience (“Darkness Commands,” “Words to Wind,” “Next In Line”). Tremolos often feel almost warm (“Nowhere Speaks,” “All For Nothing”) until they aren’t (“Words to Wind”), and the stylistic incongruence between them and the electro-industrial edge that warps whispered growls creates an eerie tone throughout. The highest points are the culmination of these apparent inconsistencies, some new genre Emptiness have been crafting all this time—a pared-back blackened-death, dark ambient, groovy, and dissonant. It builds in the second act of “Words to Wind,” stalks with predatory grace at “When the Whole Arrives”‘s intro, and spreads insidiously in “Next In Line.” Emptiness pass through extreme metal and cloak elements in atmosphere, yet all this adds rather than subtracts tension and fearfulness.

These nuanced and unusual textures are intriguing, but they sometimes veer towards a mélange that’s too understated. Emptiness have absolutely nailed the vibe, and much of Nowhere Speaks does capitalise on the magical combination of pseudo-dissonant guitar, smothering dark ambience, and unusual compositional shapes. I can forgive the myriad interludes—some of which, particularly “Darkness Commands,” are excellent in their own right—which bleed in and out of the main songs. It’s the wavering vagaries in the midpoints and margins that threaten to fade too far into the background. The burying of instruments whilst nothing else drives a progression (“Nowhere Speaks,”); muffled voices and noise (“Words to Wind”), an immersion-breaking slide into the major (“Nowhere Speaks,” “The Clash of Forces,” “All for Nothing”). At least it sounds brilliant—all the layers distinguishable, the reverb a softness rather than an obstruction, the drums, vocals and guitars each having space to spook you.

Emptiness are evidently believers in the virtue of patience, answering the open question of Nothing But The Whole’s abrupt ending more than a decade after it was posed. Nowhere Speaks is no anomaly; give it time, and it spreads out like a great gulf of nothing.2 It may have taken many listens, but I’m now so immersed in the void of beautiful nothingness Emptiness have created, that it’s hard to remember I ever really had my doubts.

Rating: Very Good
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Season of Mist
Websites: Bandcamp | Facebook
Releases Worldwide: July 17th, 2026

Yesterday I uploaded the new single of Man Of Ash also on my Faircamp!

https://www.lucamancini.com/music/file-001/

And at the same time I finally added myself on @fairplayer 😎

Hope you like it!

#FediMusic #FediArt #Artist #Art #Arts #Artists #OriginalMusic #Musician #Musicians #Music #MusiciansOfMastodon #MastoArt #Musodon #Faircamp #Fairplayer #Experimental #Ambient #Doom #DoomMetal #Metal #PostMetal #Sludge #SludgeMetal #Prague #Varna

Yesterday I uploaded the new single of Man Of Ash also on my Faircamp!

https://www.lucamancini.com/music/file-001/

And at the same time I finally added myself on @fairplayer 😎

Hope you like it!

#FediMusic #FediArt #Artist #Art #Arts #Artists #OriginalMusic #Musician #Musicians #Music #MusiciansOfMastodon #MastoArt #Musodon #Faircamp #Fairplayer #Experimental #Ambient #Doom #DoomMetal #Metal #PostMetal #Sludge #SludgeMetal #Prague #Varna

TERRAFORMER – Euryale (Kokomo & Terraformer)
#BlackMetal #Germany #Metal #ambient #doom #instrumental #instrumentalrock #mathrock #postrockinstrumental #postmetal #postrock #postrock #progressive #Belgium
CC BY-NC-ND (#CreativeCommons Attribution Non Commercial No Derivatives) #ccmusic
https://terraformer.bandcamp.com/album/euryale-kokomo-terraformer

TERRAFORMER – Euryale (Kokomo & Terraformer)
#BlackMetal #Germany #Metal #ambient #doom #instrumental #instrumentalrock #mathrock #postrockinstrumental #postmetal #postrock #postrock #progressive #Belgium
CC BY-NC-ND (#CreativeCommons Attribution Non Commercial No Derivatives) #ccmusic
https://terraformer.bandcamp.com/album/euryale-kokomo-terraformer

Wir suchen Shows - kennt ihr gute Locations/Festivals? 🔥✌️

Danke an obscure vita für das tolle Video vom mill'em all - es war eine große Ehre für uns! ❤️❤️

#live #metal #metalcore #postmetal #grafschaftbentheim

Wir suchen Shows - kennt ihr gute Locations/Festivals? 🔥✌️

Danke an obscure vita für das tolle Video vom mill'em all - es war eine große Ehre für uns! ❤️❤️

#live #metal #metalcore #postmetal #grafschaftbentheim

Man Of Ash released their first single, for which I had the pleasure to record drums!

It's hard for me to define which style it is, but if you're in some kind of metal, you might enjoy!

Hope you like it 🙃

:boost_requested:

https://manofash.bandcamp.com/track/file-001

#FediMusic #FediArt #Artist #Art #Arts #Artists #OriginalMusic #Musician #Musicians #Music #MusiciansOfMastodon #MastoArt #Musodon #Experimental #Ambient #Doom #Industrial #Metal #PostMetal #Sludge #SludgeMetal #Varna #Prague

Man Of Ash released their first single, for which I had the pleasure to record drums!

It's hard for me to define which style it is, but if you're in some kind of metal, you might enjoy!

Hope you like it 🙃

:boost_requested:

https://manofash.bandcamp.com/track/file-001

#FediMusic #FediArt #Artist #Art #Arts #Artists #OriginalMusic #Musician #Musicians #Music #MusiciansOfMastodon #MastoArt #Musodon #Experimental #Ambient #Doom #Industrial #Metal #PostMetal #Sludge #SludgeMetal #Varna #Prague

Pressor – Smell That You Like (Relit)
#Metal #classicrock #doom #doommetal #experimental #hardrock #industrial #postmetal #progressive #progressiverock #psychedelic #psychedelicrock #sludge #sludgemetal #stoner #stonerrock #SaintPetersburg
CC BY (#CreativeCommons Attribution) #ccmusic
https://pressor.bandcamp.com/album/smell-that-you-like-relit

Pressor – Smell That You Like (Relit)
#Metal #classicrock #doom #doommetal #experimental #hardrock #industrial #postmetal #progressive #progressiverock #psychedelic #psychedelicrock #sludge #sludgemetal #stoner #stonerrock #SaintPetersburg
CC BY (#CreativeCommons Attribution) #ccmusic
https://pressor.bandcamp.com/album/smell-that-you-like-relit

#saturday #4thofJuly #newepisode of What's This Called? #radioshow for #FreeformPortland 6-8 PM Pacific Time.

90.3 FM & 98.3 FM: #TerrestrialRadio in #portland & #streaming #aroundtheworld: http://listen.freeformportland.org:8000/stream

#ExpunkimentalMusic #Drone #noise #PostPunk #postmetal #psychedelic #AvantGarage #strangemusic #undergroundmusic #noiserock #freejazz #freemusic #hiphop #soulmusic #plunderphonics #outsidermusic #garagerock #FreedomRock #freeform

#ARCHIVED (#listen anytime): https://whatsthiscalled.net/2026/07/04/4-july-2026/

#saturday #4thofJuly #newepisode of What's This Called? #radioshow for #FreeformPortland 6-8 PM Pacific Time.

90.3 FM & 98.3 FM: #TerrestrialRadio in #portland & #streaming #aroundtheworld: http://listen.freeformportland.org:8000/stream

#ExpunkimentalMusic #Drone #noise #PostPunk #postmetal #psychedelic #AvantGarage #strangemusic #undergroundmusic #noiserock #freejazz #freemusic #hiphop #soulmusic #plunderphonics #outsidermusic #garagerock #FreedomRock #freeform

#ARCHIVED (#listen anytime): https://whatsthiscalled.net/2026/07/04/4-july-2026/

Cult of Luna, live at Hellfest Open Air 2026 – ARTE Concert

https://www.youtube.com/watch?v=vjfyT048SIE

Cult of Luna wird 1998 in Nordschweden gegründet. Die Zyklen von Sonne und Mond gehorchen hier nicht denselben Gesetzen wie andernorts; ähnlich steht es um die Musik der skandinavischen Band, die sich ebenfalls von allen gängigen Codes befreit: Sludge Metal, Post-Metal, Post-Hardcore, Progressive Metal …? Cult of Luna lässt sich in keine musikalische Schublade einordnen.

Sicher ist allerdings, dass die Songs von Cult of Luna eine Gefühlsachterbahn auslösen, die von lähmender Beklemmung bis hin zu ekstatischer Euphorie reicht. Diese fast transzendentale Erfahrung etabliert Cult of Luna als Referenzgruppe des Genres. Zu ihren Studioalben, die wahre Maßstäbe setzen, zählen Salvation (2004), Somewhere Along the Highway (2006), A Dawn to Fear (2019) und The Long Road North (2022).

Aber wie so oft bei Metalbands ist auch bei Cult of Luna eine Live-Show die beste Art, ihre Produktionen zu erleben und sich von einem unvergesslichen Sound-Tsunami mitreißen zu lassen. Die Valley Stage des Hellfest bietet dafür den passenden Rahmen.

Aufzeichnung vom 20. Juni 2026 beim Hellfest Open Air Festival in Clisson.

DANNAH PROJECT (Brasil) presenta nou àlbum: "A Tempestade" #DannahProject #HeavyMetal #PostMetal #Juliol2026 #Brasil #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic