#progressive-metal — Public Fediverse posts

Happy #birthday Esa Holopainen (1972)

Sky Is Mine - Amorphis
https://musiccloud.io/Fox8hN38

#melodicdeathmetal #progressivemetal

Happy #birthday Esa Holopainen (1972)

Sky Is Mine - Amorphis
https://musiccloud.io/Fox8hN38

#melodicdeathmetal #progressivemetal

Happy #birthday Esa Holopainen (1972)

Sky Is Mine - Amorphis
https://musiccloud.io/Fox8hN38

#melodicdeathmetal #progressivemetal

Happy #birthday Esa Holopainen (1972)

Sky Is Mine - Amorphis
https://musiccloud.io/Fox8hN38

#melodicdeathmetal #progressivemetal

Review: Green Carnation – A Dark Poem, Pt. III: The Messiah Complex

Published by Claire on 2026/09/302026/09/30 Album art by Niklas Sundin Style: Progressive metal (clean vocals)Recommended for fans of:…
#NewsBeep #News #Music #2026 #8 #cleanvocals #Englishlyrics #Entertainment #norway #Overground #ProgressiveMetal #SeasonofMist #september #UK #UnitedKingdom
https://www.newsbeep.com/uk/787572/

Review: Green Carnation – A Dark Poem, Pt. III: The Messiah Complex

Published by Claire on 2026/09/302026/09/30 Album art by Niklas Sundin Style: Progressive metal (clean vocals)Recommended for fans of:…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2026 #8 #cleanvocals #Englishlyrics #Entertainment #norway #overground #ProgressiveMetal #SeasonOfMist #september
https://www.newsbeep.com/us/865953/

Space is very metal. So I’ve always been surprised that it’s a relatively underdeveloped topic across most styles. Bands like Enshine, of course, make it all the rage every now and again, but it’s not something I see often. Orbital Soul System (formerly Orbital Dawn) is working to correct this perspective. The one-man solo project of one U-Gene (Rakoth) from Russia is now releasing its third full-length album, Nightwing. Boasting a tag of blackened progressive death metal and a clear cosmic theme, Orbital Soul System feels like it’s reaching for the stars with its latest—it’s certainly an ambitious moniker for a single artist. They say to shoot for the moon, because even if you miss, you’ll land among the stars. Let’s see where Nightwing lands.

Nightwing lands on the “death” side of its lengthy genre moniker, leaning on heavy riffs and harsh vocals and aiming to be a heavy-hitting cosmic spectacle. Space-themed synths hold up the melodic side, building spacious and appropriately cool atmospheres to give Orbital Soul System a distinct symphonic edge. Songs like “Enclosure” emulate Thy Catafalque, with heavy organ/synth use offsetting blackened death fury, and reaching for epic heights. Other tracks, like “The Wanderer,” take a slower and more deliberate approach, building on leads and melodies to create lengthy, intricate, and more progressive experiences. Throughout, U-Gene’s intentional, annunciated growls and whispered cleans are a frequent companion, but most of Nightwing is a feast for keys and guitars.

The cosmic theme of Nightwing, on the other hand, is a constant companion, so what you think about that theme will strongly impact how you enjoy Orbital Soul System. “The Last One,” for example, is the first break we get from the metal barrage, dialing up elements of electronica and introducing a heavy autotune to distort the lyrics into an alien, computer tongue. It works for the aesthetic, of course, but the delivery is, unsurprisingly, passionless. In truth, the growls have a similar issue—so well enunciated and intentional that they seem to exist more for the storytelling than to impart feeling—but it all “fits” an album of space-themed progressive death metal. “Into the Abyss” treads the line better, but it is interesting to notice that the main theme of the song involves three synth layers (as best as I can tell) and the only one adding melody is the simplest one, a basic-yet-effective tune that acts against the seriousness of the metal to give the song some bounce and character. I like it, but I can’t help but wonder if Orbital Soul System has traded some of its passion for music for its cosmic theme.

While I’m on the fence about the theme, I have a clearer issue with Nightwing that holds me back from really appreciating it, and it lies twofold in the album’s production. For one thing, the drums do not sound good, to the point that I wouldn’t be surprised to learn they aren’t real. They click and tap, but don’t add heft, and this is probably part of the reason I find Nightwing a less-than-impassioned listen. They sound the same in “Savage,” an instrumental, largely electric interlude track, as in the title track, my favorite song on Nightwing, a blackened epic of sweeping proportions, melodic and impressive—but not strong. This then exacerbates my next observation: nearly every song feels at least two minutes too long, including the three-minute opener. Most songs sit in the 7–9-minute range, but I think only one justifies the length (“Enclosure”). There are a ton of ideas in Nightwing, but 59 minutes is a long time for only nine tracks, too many of which spend time setting a mood that’s long been established.

Like Nightwing itself, I want to end this review on a positive note. Closer “42” is one of the best songs Orbital Soul System offers here, with a strong main riff, uplifting swells from the synths, and the album’s only guitar solo, which does a lot to lift the energy of the song. It’s a good indication that Orbital Soul System has a good instinct for its music and theme. For me, however, the choices made after the guitars are put away have made this an album I likely won’t return as often as even I’d like.

Rating: 2.5/5.0
DR: 5 | Format Reviewed: 319 kb/s mp3
Label: Self release
Websites: orbitalsoulsystem.bandcamp.com | facebook.com/Orbitalsoulsystemofficial
Releases Worldwide: October 1st, 2026

Space is very metal. So I’ve always been surprised that it’s a relatively underdeveloped topic across most styles. Bands like Enshine, of course, make it all the rage every now and again, but it’s not something I see often. Orbital Soul System (formerly Orbital Dawn) is working to correct this perspective. The one-man solo project of one U-Gene (Rakoth) from Russia is now releasing its third full-length album, Nightwing. Boasting a tag of blackened progressive death metal and a clear cosmic theme, Orbital Soul System feels like it’s reaching for the stars with its latest—it’s certainly an ambitious moniker for a single artist. They say to shoot for the moon, because even if you miss, you’ll land among the stars. Let’s see where Nightwing lands.

Nightwing lands on the “death” side of its lengthy genre moniker, leaning on heavy riffs and harsh vocals and aiming to be a heavy-hitting cosmic spectacle. Space-themed synths hold up the melodic side, building spacious and appropriately cool atmospheres to give Orbital Soul System a distinct symphonic edge. Songs like “Enclosure” emulate Thy Catafalque, with heavy organ/synth use offsetting blackened death fury, and reaching for epic heights. Other tracks, like “The Wanderer,” take a slower and more deliberate approach, building on leads and melodies to create lengthy, intricate, and more progressive experiences. Throughout, U-Gene’s intentional, annunciated growls and whispered cleans are a frequent companion, but most of Nightwing is a feast for keys and guitars.

The cosmic theme of Nightwing, on the other hand, is a constant companion, so what you think about that theme will strongly impact how you enjoy Orbital Soul System. “The Last One,” for example, is the first break we get from the metal barrage, dialing up elements of electronica and introducing a heavy autotune to distort the lyrics into an alien, computer tongue. It works for the aesthetic, of course, but the delivery is, unsurprisingly, passionless. In truth, the growls have a similar issue—so well enunciated and intentional that they seem to exist more for the storytelling than to impart feeling—but it all “fits” an album of space-themed progressive death metal. “Into the Abyss” treads the line better, but it is interesting to notice that the main theme of the song involves three synth layers (as best as I can tell) and the only one adding melody is the simplest one, a basic-yet-effective tune that acts against the seriousness of the metal to give the song some bounce and character. I like it, but I can’t help but wonder if Orbital Soul System has traded some of its passion for music for its cosmic theme.

While I’m on the fence about the theme, I have a clearer issue with Nightwing that holds me back from really appreciating it, and it lies twofold in the album’s production. For one thing, the drums do not sound good, to the point that I wouldn’t be surprised to learn they aren’t real. They click and tap, but don’t add heft, and this is probably part of the reason I find Nightwing a less-than-impassioned listen. They sound the same in “Savage,” an instrumental, largely electric interlude track, as in the title track, my favorite song on Nightwing, a blackened epic of sweeping proportions, melodic and impressive—but not strong. This then exacerbates my next observation: nearly every song feels at least two minutes too long, including the three-minute opener. Most songs sit in the 7–9-minute range, but I think only one justifies the length (“Enclosure”). There are a ton of ideas in Nightwing, but 59 minutes is a long time for only nine tracks, too many of which spend time setting a mood that’s long been established.

Like Nightwing itself, I want to end this review on a positive note. Closer “42” is one of the best songs Orbital Soul System offers here, with a strong main riff, uplifting swells from the synths, and the album’s only guitar solo, which does a lot to lift the energy of the song. It’s a good indication that Orbital Soul System has a good instinct for its music and theme. For me, however, the choices made after the guitars are put away have made this an album I likely won’t return as often as even I’d like.

Rating: 2.5/5.0
DR: 5 | Format Reviewed: 319 kb/s mp3
Label: Self release
Websites: orbitalsoulsystem.bandcamp.com | facebook.com/Orbitalsoulsystemofficial
Releases Worldwide: October 1st, 2026

Space is very metal. So I’ve always been surprised that it’s a relatively underdeveloped topic across most styles. Bands like Enshine, of course, make it all the rage every now and again, but it’s not something I see often. Orbital Soul System (formerly Orbital Dawn) is working to correct this perspective. The one-man solo project of one U-Gene (Rakoth) from Russia is now releasing its third full-length album, Nightwing. Boasting a tag of blackened progressive death metal and a clear cosmic theme, Orbital Soul System feels like it’s reaching for the stars with its latest—it’s certainly an ambitious moniker for a single artist. They say to shoot for the moon, because even if you miss, you’ll land among the stars. Let’s see where Nightwing lands.

Nightwing lands on the “death” side of its lengthy genre moniker, leaning on heavy riffs and harsh vocals and aiming to be a heavy-hitting cosmic spectacle. Space-themed synths hold up the melodic side, building spacious and appropriately cool atmospheres to give Orbital Soul System a distinct symphonic edge. Songs like “Enclosure” emulate Thy Catafalque, with heavy organ/synth use offsetting blackened death fury, and reaching for epic heights. Other tracks, like “The Wanderer,” take a slower and more deliberate approach, building on leads and melodies to create lengthy, intricate, and more progressive experiences. Throughout, U-Gene’s intentional, annunciated growls and whispered cleans are a frequent companion, but most of Nightwing is a feast for keys and guitars.

The cosmic theme of Nightwing, on the other hand, is a constant companion, so what you think about that theme will strongly impact how you enjoy Orbital Soul System. “The Last One,” for example, is the first break we get from the metal barrage, dialing up elements of electronica and introducing a heavy autotune to distort the lyrics into an alien, computer tongue. It works for the aesthetic, of course, but the delivery is, unsurprisingly, passionless. In truth, the growls have a similar issue—so well enunciated and intentional that they seem to exist more for the storytelling than to impart feeling—but it all “fits” an album of space-themed progressive death metal. “Into the Abyss” treads the line better, but it is interesting to notice that the main theme of the song involves three synth layers (as best as I can tell) and the only one adding melody is the simplest one, a basic-yet-effective tune that acts against the seriousness of the metal to give the song some bounce and character. I like it, but I can’t help but wonder if Orbital Soul System has traded some of its passion for music for its cosmic theme.

While I’m on the fence about the theme, I have a clearer issue with Nightwing that holds me back from really appreciating it, and it lies twofold in the album’s production. For one thing, the drums do not sound good, to the point that I wouldn’t be surprised to learn they aren’t real. They click and tap, but don’t add heft, and this is probably part of the reason I find Nightwing a less-than-impassioned listen. They sound the same in “Savage,” an instrumental, largely electric interlude track, as in the title track, my favorite song on Nightwing, a blackened epic of sweeping proportions, melodic and impressive—but not strong. This then exacerbates my next observation: nearly every song feels at least two minutes too long, including the three-minute opener. Most songs sit in the 7–9-minute range, but I think only one justifies the length (“Enclosure”). There are a ton of ideas in Nightwing, but 59 minutes is a long time for only nine tracks, too many of which spend time setting a mood that’s long been established.

Like Nightwing itself, I want to end this review on a positive note. Closer “42” is one of the best songs Orbital Soul System offers here, with a strong main riff, uplifting swells from the synths, and the album’s only guitar solo, which does a lot to lift the energy of the song. It’s a good indication that Orbital Soul System has a good instinct for its music and theme. For me, however, the choices made after the guitars are put away have made this an album I likely won’t return as often as even I’d like.

Rating: 2.5/5.0
DR: 5 | Format Reviewed: 319 kb/s mp3
Label: Self release
Websites: orbitalsoulsystem.bandcamp.com | facebook.com/Orbitalsoulsystemofficial
Releases Worldwide: October 1st, 2026

Space is very metal. So I’ve always been surprised that it’s a relatively underdeveloped topic across most styles. Bands like Enshine, of course, make it all the rage every now and again, but it’s not something I see often. Orbital Soul System (formerly Orbital Dawn) is working to correct this perspective. The one-man solo project of one U-Gene (Rakoth) from Russia is now releasing its third full-length album, Nightwing. Boasting a tag of blackened progressive death metal and a clear cosmic theme, Orbital Soul System feels like it’s reaching for the stars with its latest—it’s certainly an ambitious moniker for a single artist. They say to shoot for the moon, because even if you miss, you’ll land among the stars. Let’s see where Nightwing lands.

Nightwing lands on the “death” side of its lengthy genre moniker, leaning on heavy riffs and harsh vocals and aiming to be a heavy-hitting cosmic spectacle. Space-themed synths hold up the melodic side, building spacious and appropriately cool atmospheres to give Orbital Soul System a distinct symphonic edge. Songs like “Enclosure” emulate Thy Catafalque, with heavy organ/synth use offsetting blackened death fury, and reaching for epic heights. Other tracks, like “The Wanderer,” take a slower and more deliberate approach, building on leads and melodies to create lengthy, intricate, and more progressive experiences. Throughout, U-Gene’s intentional, annunciated growls and whispered cleans are a frequent companion, but most of Nightwing is a feast for keys and guitars.

The cosmic theme of Nightwing, on the other hand, is a constant companion, so what you think about that theme will strongly impact how you enjoy Orbital Soul System. “The Last One,” for example, is the first break we get from the metal barrage, dialing up elements of electronica and introducing a heavy autotune to distort the lyrics into an alien, computer tongue. It works for the aesthetic, of course, but the delivery is, unsurprisingly, passionless. In truth, the growls have a similar issue—so well enunciated and intentional that they seem to exist more for the storytelling than to impart feeling—but it all “fits” an album of space-themed progressive death metal. “Into the Abyss” treads the line better, but it is interesting to notice that the main theme of the song involves three synth layers (as best as I can tell) and the only one adding melody is the simplest one, a basic-yet-effective tune that acts against the seriousness of the metal to give the song some bounce and character. I like it, but I can’t help but wonder if Orbital Soul System has traded some of its passion for music for its cosmic theme.

While I’m on the fence about the theme, I have a clearer issue with Nightwing that holds me back from really appreciating it, and it lies twofold in the album’s production. For one thing, the drums do not sound good, to the point that I wouldn’t be surprised to learn they aren’t real. They click and tap, but don’t add heft, and this is probably part of the reason I find Nightwing a less-than-impassioned listen. They sound the same in “Savage,” an instrumental, largely electric interlude track, as in the title track, my favorite song on Nightwing, a blackened epic of sweeping proportions, melodic and impressive—but not strong. This then exacerbates my next observation: nearly every song feels at least two minutes too long, including the three-minute opener. Most songs sit in the 7–9-minute range, but I think only one justifies the length (“Enclosure”). There are a ton of ideas in Nightwing, but 59 minutes is a long time for only nine tracks, too many of which spend time setting a mood that’s long been established.

Like Nightwing itself, I want to end this review on a positive note. Closer “42” is one of the best songs Orbital Soul System offers here, with a strong main riff, uplifting swells from the synths, and the album’s only guitar solo, which does a lot to lift the energy of the song. It’s a good indication that Orbital Soul System has a good instinct for its music and theme. For me, however, the choices made after the guitars are put away have made this an album I likely won’t return as often as even I’d like.

Rating: 2.5/5.0
DR: 5 | Format Reviewed: 319 kb/s mp3
Label: Self release
Websites: orbitalsoulsystem.bandcamp.com | facebook.com/Orbitalsoulsystemofficial
Releases Worldwide: October 1st, 2026

TÅRFÖDD (Suècia) presenta nou àlbum: "En känsla av hopplöshet" #Tårfödd #PostBlack #ProgressiveMetal #Setembre2026 #Suècia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

TÅRFÖDD (Suècia) presenta nou àlbum: "En känsla av hopplöshet" #Tårfödd #PostBlack #ProgressiveMetal #Setembre2026 #Suècia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

The Ocean – Solaris Review

Sady, it’s been a while since we’ve really heard an incredible The Ocean record. While 2023’s Holocene wasn’t…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2026 #3.0 #Entertainment #GermanMetal #GreenCarnation #PelagicRecords #Post-Metal #ProgressiveMetal #review #reviews #Sep26 #Sludge #Solaris #TangerineDream #TheOcean
https://www.newsbeep.com/us/863819/

Sady, it’s been a while since we’ve really heard an incredible The Ocean record. While 2023’s Holocene wasn’t shit by any means, it was nothing like the run the band has had since 2013’s Pelagial. I’ve never been so captivated by a selection of consequential albums—only recently with the Green Carnation trilogy.1 Drifting away from the epochs, The Ocean sets off to the stars with this year’s Solaris. Not only are we heading up instead of staying below, but many of the band’s recent lineup has also moved on to their next stars and adventures. In particular, Loïc Rossetti’s voice is no longer with us, replaced by the duo Enrico Tiberi and Lane Shi. Along with spacey effects and instrumental vibes, these two bring a completely new dynamic to the band’s sound. If one were to assume Solaris marks the beginning of a new era, how will it fare compared to previous ones? Or does “51°28′30″ S, 73°6′11″ W” really represent the “Last Hope”?

Based on Stanisław Lem’s book of the same title, this new record is a mindfuck of emotion and unexplainable contradictions, much like the heartbreaking story that takes us to a research station above the surface of the water planet Solaris. Its black waters are assumed sentient, but what the crew experiences from this ocean sends them into a tailspin of fear and mental breakdown. The key work and atmosphere of Solaris work perfectly, thanks in large part to the contributions of the legendary Thorsten Quaeschning (Tangerine Dream). But where this psychological thriller takes us, one can only guess.

Smack dab in the middle of Berlin at Pelagic Records, “52°30’11” N, 13°26’12” E” begins our journey with gentle vibraphone, acoustic guitars, and our introduction to Tiberi. Then, the course is set in “Departure Song,” as our hero sets off to help the broken crew. The vibraphone and bass bleed into its introduction before distortion hits and the male/female combo soars. As it progresses through aggressive passages and impressive, forceful wailing from Shi, its cherry on top is the shared vocal structures of another classic The Ocean chorus. While this track is one of the best on the album, the follow-up, “Light Pollution,” is the weirdness that permeates through the scratching needle from here until the end. Female swoons haunt the track as the spacey effects drown out the stars and blot the sun. Harsh male vocals surface as we near the angry planet, while swirling transitions promise the uncertainty ahead. When it all crumbles, a nasty, sludgy trot rises to the surface to end it all.

As the album progresses, the intensity does as well—much like Pelagial all those years ago. As the unexplainable figures appear above and below, the frustration and confusion (for our characters and ourselves) increase until it erupts in “Belligerence.” It unleashes absolute chaos. Up to now, Tiberi’s vox were the only ones to rasp and scream, but now, Shi returns the favor. Trapped in the metallic confines that protect one from the frozen expanse, Tiberi and Shi do battle, dragging knuckles, nails, and teeth down every corridor. When the triplet attack arrives, the necks of any longtime The Ocean fan awaken. “Ultima Esperanza” pushes this concept to its breaking point, with moments of recollection, understanding, and hopelessness. As we near the emotional climax of overwhelm, loss, and pain, there’s really nothing to do but wave and fall.

While the book’s concept flows throughout with its unique The Ocean interpretation, some things plague Solaris. “Simulacra,” “Belligerence,” and “Ultima Esperanza” represent forty of the album’s seventy minutes—which is a lot. The seventeen-minute “Simulacra” is the biggest culprit, which is a shame because it showcases a lot of great, classic The Ocean vibes and its haunting importance to the concept. The two closing numbers match the story’s theme well,2 but their exclusive industrial approach stands out mightily. Many will complain about the vocals. They are so different from what fans are used to that it’s impossible to ignore. But their stellar performances cannot be dismissed. It’s just completely different than what we’re used to with the band. After numerous spins, I finally understand this album, and it gives the score a slight nudge. It’s different, but fans will find something to enjoy here.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Pelagic Records
Websites: theocean.bandcamp.com | facebook.com/theoceancollective
Releases Worldwide: September 25th, 2026

Sady, it’s been a while since we’ve really heard an incredible The Ocean record. While 2023’s Holocene wasn’t shit by any means, it was nothing like the run the band has had since 2013’s Pelagial. I’ve never been so captivated by a selection of consequential albums—only recently with the Green Carnation trilogy.1 Drifting away from the epochs, The Ocean sets off to the stars with this year’s Solaris. Not only are we heading up instead of staying below, but many of the band’s recent lineup has also moved on to their next stars and adventures. In particular, Loïc Rossetti’s voice is no longer with us, replaced by the duo Enrico Tiberi and Lane Shi. Along with spacey effects and instrumental vibes, these two bring a completely new dynamic to the band’s sound. If one were to assume Solaris marks the beginning of a new era, how will it fare compared to previous ones? Or does “51°28′30″ S, 73°6′11″ W” really represent the “Last Hope”?

Based on Stanisław Lem’s book of the same title, this new record is a mindfuck of emotion and unexplainable contradictions, much like the heartbreaking story that takes us to a research station above the surface of the water planet Solaris. Its black waters are assumed sentient, but what the crew experiences from this ocean sends them into a tailspin of fear and mental breakdown. The key work and atmosphere of Solaris work perfectly, thanks in large part to the contributions of the legendary Thorsten Quaeschning (Tangerine Dream). But where this psychological thriller takes us, one can only guess.

Smack dab in the middle of Berlin at Pelagic Records, “52°30’11” N, 13°26’12” E” begins our journey with gentle vibraphone, acoustic guitars, and our introduction to Tiberi. Then, the course is set in “Departure Song,” as our hero sets off to help the broken crew. The vibraphone and bass bleed into its introduction before distortion hits and the male/female combo soars. As it progresses through aggressive passages and impressive, forceful wailing from Shi, its cherry on top is the shared vocal structures of another classic The Ocean chorus. While this track is one of the best on the album, the follow-up, “Light Pollution,” is the weirdness that permeates through the scratching needle from here until the end. Female swoons haunt the track as the spacey effects drown out the stars and blot the sun. Harsh male vocals surface as we near the angry planet, while swirling transitions promise the uncertainty ahead. When it all crumbles, a nasty, sludgy trot rises to the surface to end it all.

As the album progresses, the intensity does as well—much like Pelagial all those years ago. As the unexplainable figures appear above and below, the frustration and confusion (for our characters and ourselves) increase until it erupts in “Belligerence.” It unleashes absolute chaos. Up to now, Tiberi’s vox were the only ones to rasp and scream, but now, Shi returns the favor. Trapped in the metallic confines that protect one from the frozen expanse, Tiberi and Shi do battle, dragging knuckles, nails, and teeth down every corridor. When the triplet attack arrives, the necks of any longtime The Ocean fan awaken. “Ultima Esperanza” pushes this concept to its breaking point, with moments of recollection, understanding, and hopelessness. As we near the emotional climax of overwhelm, loss, and pain, there’s really nothing to do but wave and fall.

While the book’s concept flows throughout with its unique The Ocean interpretation, some things plague Solaris. “Simulacra,” “Belligerence,” and “Ultima Esperanza” represent forty of the album’s seventy minutes—which is a lot. The seventeen-minute “Simulacra” is the biggest culprit, which is a shame because it showcases a lot of great, classic The Ocean vibes and its haunting importance to the concept. The two closing numbers match the story’s theme well,2 but their exclusive industrial approach stands out mightily. Many will complain about the vocals. They are so different from what fans are used to that it’s impossible to ignore. But their stellar performances cannot be dismissed. It’s just completely different than what we’re used to with the band. After numerous spins, I finally understand this album, and it gives the score a slight nudge. It’s different, but fans will find something to enjoy here.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Pelagic Records
Websites: theocean.bandcamp.com | facebook.com/theoceancollective
Releases Worldwide: September 25th, 2026

Sady, it’s been a while since we’ve really heard an incredible The Ocean record. While 2023’s Holocene wasn’t shit by any means, it was nothing like the run the band has had since 2013’s Pelagial. I’ve never been so captivated by a selection of consequential albums—only recently with the Green Carnation trilogy.1 Drifting away from the epochs, The Ocean sets off to the stars with this year’s Solaris. Not only are we heading up instead of staying below, but many of the band’s recent lineup has also moved on to their next stars and adventures. In particular, Loïc Rossetti’s voice is no longer with us, replaced by the duo Enrico Tiberi and Lane Shi. Along with spacey effects and instrumental vibes, these two bring a completely new dynamic to the band’s sound. If one were to assume Solaris marks the beginning of a new era, how will it fare compared to previous ones? Or does “51°28′30″ S, 73°6′11″ W” really represent the “Last Hope”?

Based on Stanisław Lem’s book of the same title, this new record is a mindfuck of emotion and unexplainable contradictions, much like the heartbreaking story that takes us to a research station above the surface of the water planet Solaris. Its black waters are assumed sentient, but what the crew experiences from this ocean sends them into a tailspin of fear and mental breakdown. The key work and atmosphere of Solaris work perfectly, thanks in large part to the contributions of the legendary Thorsten Quaeschning (Tangerine Dream). But where this psychological thriller takes us, one can only guess.

Smack dab in the middle of Berlin at Pelagic Records, “52°30’11” N, 13°26’12” E” begins our journey with gentle vibraphone, acoustic guitars, and our introduction to Tiberi. Then, the course is set in “Departure Song,” as our hero sets off to help the broken crew. The vibraphone and bass bleed into its introduction before distortion hits and the male/female combo soars. As it progresses through aggressive passages and impressive, forceful wailing from Shi, its cherry on top is the shared vocal structures of another classic The Ocean chorus. While this track is one of the best on the album, the follow-up, “Light Pollution,” is the weirdness that permeates through the scratching needle from here until the end. Female swoons haunt the track as the spacey effects drown out the stars and blot the sun. Harsh male vocals surface as we near the angry planet, while swirling transitions promise the uncertainty ahead. When it all crumbles, a nasty, sludgy trot rises to the surface to end it all.

As the album progresses, the intensity does as well—much like Pelagial all those years ago. As the unexplainable figures appear above and below, the frustration and confusion (for our characters and ourselves) increase until it erupts in “Belligerence.” It unleashes absolute chaos. Up to now, Tiberi’s vox were the only ones to rasp and scream, but now, Shi returns the favor. Trapped in the metallic confines that protect one from the frozen expanse, Tiberi and Shi do battle, dragging knuckles, nails, and teeth down every corridor. When the triplet attack arrives, the necks of any longtime The Ocean fan awaken. “Ultima Esperanza” pushes this concept to its breaking point, with moments of recollection, understanding, and hopelessness. As we near the emotional climax of overwhelm, loss, and pain, there’s really nothing to do but wave and fall.

While the book’s concept flows throughout with its unique The Ocean interpretation, some things plague Solaris. “Simulacra,” “Belligerence,” and “Ultima Esperanza” represent forty of the album’s seventy minutes—which is a lot. The seventeen-minute “Simulacra” is the biggest culprit, which is a shame because it showcases a lot of great, classic The Ocean vibes and its haunting importance to the concept. The two closing numbers match the story’s theme well,2 but their exclusive industrial approach stands out mightily. Many will complain about the vocals. They are so different from what fans are used to that it’s impossible to ignore. But their stellar performances cannot be dismissed. It’s just completely different than what we’re used to with the band. After numerous spins, I finally understand this album, and it gives the score a slight nudge. It’s different, but fans will find something to enjoy here.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Pelagic Records
Websites: theocean.bandcamp.com | facebook.com/theoceancollective
Releases Worldwide: September 25th, 2026

Sady, it’s been a while since we’ve really heard an incredible The Ocean record. While 2023’s Holocene wasn’t shit by any means, it was nothing like the run the band has had since 2013’s Pelagial. I’ve never been so captivated by a selection of consequential albums—only recently with the Green Carnation trilogy.1 Drifting away from the epochs, The Ocean sets off to the stars with this year’s Solaris. Not only are we heading up instead of staying below, but many of the band’s recent lineup has also moved on to their next stars and adventures. In particular, Loïc Rossetti’s voice is no longer with us, replaced by the duo Enrico Tiberi and Lane Shi. Along with spacey effects and instrumental vibes, these two bring a completely new dynamic to the band’s sound. If one were to assume Solaris marks the beginning of a new era, how will it fare compared to previous ones? Or does “51°28′30″ S, 73°6′11″ W” really represent the “Last Hope”?

Based on Stanisław Lem’s book of the same title, this new record is a mindfuck of emotion and unexplainable contradictions, much like the heartbreaking story that takes us to a research station above the surface of the water planet Solaris. Its black waters are assumed sentient, but what the crew experiences from this ocean sends them into a tailspin of fear and mental breakdown. The key work and atmosphere of Solaris work perfectly, thanks in large part to the contributions of the legendary Thorsten Quaeschning (Tangerine Dream). But where this psychological thriller takes us, one can only guess.

Smack dab in the middle of Berlin at Pelagic Records, “52°30’11” N, 13°26’12” E” begins our journey with gentle vibraphone, acoustic guitars, and our introduction to Tiberi. Then, the course is set in “Departure Song,” as our hero sets off to help the broken crew. The vibraphone and bass bleed into its introduction before distortion hits and the male/female combo soars. As it progresses through aggressive passages and impressive, forceful wailing from Shi, its cherry on top is the shared vocal structures of another classic The Ocean chorus. While this track is one of the best on the album, the follow-up, “Light Pollution,” is the weirdness that permeates through the scratching needle from here until the end. Female swoons haunt the track as the spacey effects drown out the stars and blot the sun. Harsh male vocals surface as we near the angry planet, while swirling transitions promise the uncertainty ahead. When it all crumbles, a nasty, sludgy trot rises to the surface to end it all.

As the album progresses, the intensity does as well—much like Pelagial all those years ago. As the unexplainable figures appear above and below, the frustration and confusion (for our characters and ourselves) increase until it erupts in “Belligerence.” It unleashes absolute chaos. Up to now, Tiberi’s vox were the only ones to rasp and scream, but now, Shi returns the favor. Trapped in the metallic confines that protect one from the frozen expanse, Tiberi and Shi do battle, dragging knuckles, nails, and teeth down every corridor. When the triplet attack arrives, the necks of any longtime The Ocean fan awaken. “Ultima Esperanza” pushes this concept to its breaking point, with moments of recollection, understanding, and hopelessness. As we near the emotional climax of overwhelm, loss, and pain, there’s really nothing to do but wave and fall.

While the book’s concept flows throughout with its unique The Ocean interpretation, some things plague Solaris. “Simulacra,” “Belligerence,” and “Ultima Esperanza” represent forty of the album’s seventy minutes—which is a lot. The seventeen-minute “Simulacra” is the biggest culprit, which is a shame because it showcases a lot of great, classic The Ocean vibes and its haunting importance to the concept. The two closing numbers match the story’s theme well,2 but their exclusive industrial approach stands out mightily. Many will complain about the vocals. They are so different from what fans are used to that it’s impossible to ignore. But their stellar performances cannot be dismissed. It’s just completely different than what we’re used to with the band. After numerous spins, I finally understand this album, and it gives the score a slight nudge. It’s different, but fans will find something to enjoy here.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Pelagic Records
Websites: theocean.bandcamp.com | facebook.com/theoceancollective
Releases Worldwide: September 25th, 2026

Isis – So Did We

PROMISE OF DECEIT (Mèxic) presenta nou àlbum: "The Art of Becoming Who You Are" #PromiseOfDeceit #ProgressiveMetal #MelodicDeath #DoomMetal #Setembre2026 #Mèxic #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

PROMISE OF DECEIT (Mèxic) presenta nou àlbum: "The Art of Becoming Who You Are" #PromiseOfDeceit #ProgressiveMetal #MelodicDeath #DoomMetal #Setembre2026 #Mèxic #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

Kamelot Announces Dark Asylum Europe Part II Tour with Cyhra for March 2027Ghost Cult Magazine

Symphonic metal legends Kamelot announce the Dark Asylum Europe Pa…
#Europe #EU #Cyhra #DarkAsylum #DarkAsylumEuropePartII #Epica #Europeantour #IgnaciaFernández #JacobHansen #JohanNunez #Kamelot #Karma #March2027 #NapalmRecords #OliverPalotai #PowerMetal #progressivemetal #SaschaPaeth #SeanTibbetts #symphonicmetal #TheBlackHalo #ThomasYoungblood #TommyKarevik
https://www.europesays.com/europe/147397/

Lost in Time: Pentagram (a.k.a. Mezarkabul) – Unspoken

Published by Francesco on 2026/09/272026/09/27 No artist credited. Style: Thrash metal, progressive metal, doom metal, Anatolian rock (clean…
#NewsBeep #News #Music #2001 #anatolianrock #AU #Australia #cleanvocals #DoomMetal #Entertainment #HeavyMetal #lostintime #mezarkabul #orientalmetal #pentagram #PowerMetal #ProgressiveMetal #SEPTEMBER #SonyMusic #ThrashMetal #turkey #türkiye
https://www.newsbeep.com/au/907596/

Lost in Time: Pentagram (a.k.a. Mezarkabul) – Unspoken

Published by Francesco on 2026/09/272026/09/27 No artist credited. Style: Thrash metal, progressive metal, doom metal, Anatolian rock (clean…
#NewsBeep #News #Music #2001 #anatolianrock #cleanvocals #DoomMetal #Entertainment #HeavyMetal #lostintime #mezarkabul #orientalmetal #pentagram #PowerMetal #ProgressiveMetal #september #SonyMusic #ThrashMetal #Turkey #türkiye #UK #UnitedKingdom
https://www.newsbeep.com/uk/784462/

Lost in Time: Pentagram (a.k.a. Mezarkabul) – Unspoken

Published by Francesco on 2026/09/272026/09/27 No artist credited. Style: Thrash metal, progressive metal, doom metal, Anatolian rock …
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2001 #anatolianrock #cleanvocals #DoomMetal #Entertainment #HeavyMetal #lostintime #mezarkabul #orientalmetal #Pentagram #PowerMetal #ProgressiveMetal #september #SonyMusic #ThrashMetal #Turkey #türkiye
https://www.newsbeep.com/us/862589/

https://www.europesays.com/ie/708734/ Lost in Time: Pentagram (a.k.a. Mezarkabul) – Unspoken #2001 #AnatolianRock #CleanVocals #DoomMetal #Éire #Entertainment #HeavyMetal #IE #Ireland #LostInTime #mezarkabul #Music #OrientalMetal #pentagram #PowerMetal #ProgressiveMetal #september #SonyMusic #ThrashMetal #Turkey #türkiye

https://www.europesays.com/uk/1224499/ Lost in Time: Pentagram (a.k.a. Mezarkabul) – Unspoken #2001 #AnatolianRock #CleanVocals #DoomMetal #Entertainment #HeavyMetal #LostInTime #mezarkabul #music #OrientalMetal #pentagram #PowerMetal #ProgressiveMetal #September #SonyMusic #ThrashMetal #Turkey #türkiye #UK #UnitedKingdom

SUNROAD (Brasil) presenta nou àlbum: "Eclipse of the Rising Sun" #Sunroad #ProgressiveMetal #Setembre2026 #Brasil #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

SUNROAD (Brasil) presenta nou àlbum: "Eclipse of the Rising Sun" #Sunroad #ProgressiveMetal #Setembre2026 #Brasil #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

I've had The Ocean's new album Solaris on repeat all day. It's so goddamned good. New vocalist Enrico Tiberi perfectly captures their sound, and I love the addition of Lane Shi (Otayonii). She reminds me of Julie Christmas on The Cult of Luna's Mariner.

#metal #TheOceanCollective #TheOcean #ProgressiveMetal

I've had The Ocean's new album Solaris on repeat all day. It's so goddamned good. New vocalist Enrico Tiberi perfectly captures their sound, and I love the addition of Lane Shi (Otayonii). She reminds me of Julie Christmas on The Cult of Luna's Mariner.

#metal #TheOceanCollective #TheOcean #ProgressiveMetal

I've had The Ocean's new album Solaris on repeat all day. It's so goddamned good. New vocalist Enrico Tiberi perfectly captures their sound, and I love the addition of Lane Shi (Otayonii). She reminds me of Julie Christmas on The Cult of Luna's Mariner.

#metal #TheOceanCollective #TheOcean #ProgressiveMetal

I've had The Ocean's new album Solaris on repeat all day. It's so goddamned good. New vocalist Enrico Tiberi perfectly captures their sound, and I love the addition of Lane Shi (Otayonii). She reminds me of Julie Christmas on The Cult of Luna's Mariner.

#metal #TheOceanCollective #TheOcean #ProgressiveMetal

THE OCEAN COLLECTIVE (Alemanya) presenta nou àlbum: "Solaris" #TheOceanCollective #ProgressiveMetal #AtmosphericSludge #PostMetal #Setembre2026 #Alemanya #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

THE OCEAN COLLECTIVE (Alemanya) presenta nou àlbum: "Solaris" #TheOceanCollective #ProgressiveMetal #AtmosphericSludge #PostMetal #Setembre2026 #Alemanya #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

THE OCEAN COLLECTIVE (Alemanya) presenta nou àlbum: "Solaris" #TheOceanCollective #ProgressiveMetal #AtmosphericSludge #PostMetal #Setembre2026 #Alemanya #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

Now playing:

The Ocean - Solaris
Bandcamp.com
https://theocean.bandcamp.com/album/solaris

#ProgressiveMetal #PostMetal

Now playing:

The Ocean - Solaris
Bandcamp.com
https://theocean.bandcamp.com/album/solaris

#ProgressiveMetal #PostMetal

Now playing:

The Ocean - Solaris
Bandcamp.com
https://theocean.bandcamp.com/album/solaris

#ProgressiveMetal #PostMetal

Today's music:

Numento - The Extortionist

https://youtu.be/g1NnOFmXBhc

#metal #ProgressiveMetal #AltMetal #finland #music #np #NowPlaying #MastoMusic

Today's music:

Numento - The Extortionist

https://youtu.be/g1NnOFmXBhc

#metal #ProgressiveMetal #AltMetal #finland #music #np #NowPlaying #MastoMusic

Today's music:

Numento - The Extortionist

https://youtu.be/g1NnOFmXBhc

#metal #ProgressiveMetal #AltMetal #finland #music #np #NowPlaying #MastoMusic

Today's music:

BLACK SPIKES - AUREA

https://youtu.be/rm2GvfboBtg

#metal #metalcore #ProgressiveMetal #lithuania #music #np #NowPlaying #MastoMusic

Today's music:

BLACK SPIKES - AUREA

https://youtu.be/rm2GvfboBtg

#metal #metalcore #ProgressiveMetal #lithuania #music #np #NowPlaying #MastoMusic

Today's music:

BLACK SPIKES - AUREA

https://youtu.be/rm2GvfboBtg

#metal #metalcore #ProgressiveMetal #lithuania #music #np #NowPlaying #MastoMusic