#prophecyproductions — Public Fediverse posts

https://www.europesays.com/nl/293345/ Fen – Elemental Part One: Mourning Earth #albumrecensie #Amusement #BlackMetal #Dutch #elemental #ElementalPart1:MourningEarth #Entertainment #fen #MourningEarth #Music #Muziek #Nederland #Nederlanden #Nederlands #Netherlands #NL #PostMetal #progressive #ProphecyProductions #review #ZwareMetalen

https://www.europesays.com/be-nl/129127/ Fen – Elemental Part One: Mourning Earth #albumrecensie #Amusement #BE #België #Belgium #BlackMetal #elemental #ElementalPart1:MourningEarth #Entertainment #fen #MourningEarth #Music #Muziek #PostMetal #progressive #ProphecyProductions #review #ZwareMetalen

Klimt 1918 – Àmor
(Post-Rock, Shoegaze, Progrock / Prophecy Productions)
by @oranje1986

https://vinyl-keks.eu/klimt-1918-amor/

#Klimt1918 #Àmor
#PostRock #Shoegaze #Progrock #ProphecyProductions #vinyl #review #music

London, England’s Fen has a storied history at AMG, with five reviews spread across three different writers. The illustrious Madam X reviewed them thrice with mixed results, followed by Doom_et_Al’s laudatory commentary on The Dead Light and, most recently, Cherd’s favorable-but-less-impressed impression of Monuments to Absence. You should read their words because they’re excellent writers,1 but the upshot of their analysis is that Fen often crafts gorgeous layers of music that sometimes lose focus or take too long to spool out. Imagine my delight, then, when I discovered Fen’s newest album, Elemental Part One: Mourning Earth only runs forty-seven minutes.2 While the overall album length suggests improved self-editing, Mourning Earth is the first part of a greater effort and carries the risk of either feeling incomplete or disguising bloat between multiple releases. In the end, does Fen free their songwriting from the mires that held back some previous albums?

Throughout Mourning Earth, Fen conjures familiar reference points while evoking less obvious connections as well. Opener “Glacier” reminds me of “Storm Son,” the opening track to Enslaved’s E, with its prog-leaning clean guitars playing over galloping blast beats and beautifully written choral arrangements. The last third of “Glacier” and follow-up “Techtonic” rumble and quake with calls to Blood Mountain-era Mastodon,3 while “Massif” and “Abyssal Plain” drift into gazey waters, where shimmering guitars and haunting vocal stacks tread alongside Alcest. The opening riff on “Barrow” reminds me of a cross between Helloween’s “Future World” and something off Avatar’s Feathers & Flesh, casting ties to genres I never previously linked to Fen. Meanwhile, closing track “Moor” begins with sparkling builds akin to Saor and Agalloch, but when the atmosphere gives way to melody,4 I suddenly hear mid-aughts Amon Amarth. Everything on Mourning Earth points to a band harnessing a vast reach of styles and influences and fusing them into a vision uniquely their own.

Given Mourning Earth’s eclectic backdrop, its cohesion and effectiveness remain refreshingly intact. Throughout, Fen’s jaw-droppingly gorgeous textures harken to primordial environs that imbue the album with nature’s innate beauty. Mourning Earth’s midsection broods within layers of reverb and melancholy, entrancing listeners with hypnotic refrains and crystalline guitar work. “Massif,” though, kicks up past the halfway point, recalling the groove and melody from its first half while dialing up the heft and drama. “Techtonic” and “Barrow” both charge out in rollicking fashion, hitting hard early on. “Barrow” even permutates melodies from “Tectonic”‘s midsection, tethering the two songs in a satisfying harmony that took me many listens to notice and appreciate. Bookends “Glacier” and “Moor” round out Mourning Earth’s synchronicity as the longest tracks on the album, supplying grandeur and gravitas that ensure it begins and ends with fully baked moods.

In the past, Fen’s releases initially fascinated me yet lacked the staying power to compel frequent visits despite stellar moments. Mourning Earth changes that, and its forty-seven-minute runtime proves an incredible boon as the band expertly strikes the balance between anticipation and payoff. And despite being Fen’s shortest LP to date, Mourning Earth achieves a remarkable diversity of sounds and influences without ever sacrificing its singular identity. With the bloat plaguing earlier albums gone, not much else requires attention. More space within the mix would give the wealth of sounds a bit more breathing room, particularly on busier songs like “Tectonic” and “Barrow,” and “Abyssal Plain” doesn’t quite live up to the heights of other tracks. In all, though, Mourning Earth stands uncontested as my favorite Fen album to date.

Mourning Earth’s magic takes time to gestate, and over my repeated listens Fen’s hooks unfurled and took root as I helplessly succumbed to their enthralling collection of swamp songs. The Watcher’s spritely and ethereal guitars weave melodic threads throughout, even during atmospheric passages, and his withered rasps and roars scrape like the dry crackle of leaves while the wistful cleans brim with forlorn charm. Mourning Earth bursts at the seams with ideas and styles, and it continues to entice me as my time with this review draws nigh. I’m unclear on when Elemental Part Two may arrive or what it will be about, but Part One lets listeners know that this trio has plenty more to say before they Fenish.

Rating: Great
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Prophecy Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: August 21st, 2026

https://www.europesays.com/ie/640576/ Dymna Lotva – Vyraj Review #2026 #35 #Aug26 #BelarusianMetal #BlackMetal #DymnaLotva #Éire #Entertainment #FolkMetal #IE #Ireland #Music #PostBlackMetal #PostMetal #ProphecyProductions #Review #Reviews #Vyraj

The power of storytelling is well-known to Belarusian post-black outcasts Dymna Lotva. Their previous album, The Land Under the Black Wings: Blood, progressed that series through tragic true and folkloric tales, its overt tragedy in this sense bringing the real devastation wracking their native and settled home countries.1 Vyraj sees Dymna Lotva continue to communicate with stories. Taking its name from the Slavic mythological realm to which both migrating birds and the souls of the dead travel, there’s an explicit parallel with the members’ own emigration as well as themes of personal journey, life, and death. But there’s always been more to Dymna Lotva’s music than their symbolically powerful concepts, and Vyraj makes no exception.

Dymna Lotva already had somewhat of a winning formula in a uniquely executed blend of black, folk, and post-metal. They evolve anyway, bringing in and emphasising further an electronic side that ranges from shimmering, chimelike keys to soft symphonics. It’s never enough to overshadow the metallic and, at its best, amplifies the (melo)drama of the climaxes and adds more layers to the band’s nuanced and emotional sound. This new direction brings with it something of the anthemic, with songs reprising uplifting melodies, stepping into steady sways, and being narrated more often by a duet, if not a chorus of voices.2 Leading those voices is the force of nature Katsiaryna Mankevich, who once again absolutely kills it with her wrenching screams and solemn classical cleans. The music is more direct, due to all the above as well as a comparatively shorter runtime, with fewer tracks, each of which references the others through recurring motifs.

Vyraj condenses and concentrates Dymna Lotva’s characteristic potency and poignancy, which this time are tinged a touch more with the blush of hope than the blackness of rage. The urgent, cascading melodies ring with a thrilling solidarity (“Zory,” “Viedźmieragina,” “Ustań Za Mianie”) and the mournful soaring solos with bittersweet sadness (“Niama Darohi,” “Return my Coffin Home”). The highlight here, and also the crowning jewel of the album, is the centrepiece “Niama Darohi,” which practically hums with longing for freedom. It’s in these places that the new electronic elements work the most magic, spinning glittering counter-melodies or supporting the climax with subtle strings and fluttering keys. The atmosphere they bring is deepened by the way Dymna Lotva use the dynamics of rhythm and intensity to deepen their compositions and make them still more compelling. Variously whispered, spoken, rasped, screamed lines circulate spells amidst shifting tempos (“Veha,” “Viedźmieragina,” “Niama Darohi”); sung and screamed male and female voices call and respond and join together (“The Boat of Despair,” “Ustań Za Mianie,” “Return my Coffin Home”); and both the graceful lull of cleans and the vicious snarls of harsh vocals move in synchronisation with those of the lead guitars. This also serves to bring the fierceness into sharper focus, through emphasis and contrast alone, or the dramatic turn from this graceful tension into a building explosion of passion and electricity (“Zory,” “Veha,” “Viedźmieragina”).

All of Vyraj has a somewhat magical aura, thanks to the use of (children’s) group vocals and xylophone-esque chimes and ambience amidst the savage or sombre. At its most vibrant, it sings with so much feeling that I long desperately for a lyric sheet and the ability to speak the language(s) these songs are written in.3 The brightness of these highs also obscures the comparative dimness of the lows, where that fire seems to be missing, and mellowness and ambience win out (“The Boat of Despair,” “Bu Samoje”). This is some feat considering the fact that the overall production seems tailored to the increased electronic emphasis, which presses the beautiful layers together, and so the very aspects that lend Vyraj some new magic also weaken that magic’s power. Just a bit more space would do wonders.

But Dymna Lotva are not ones to fade into the background. They care about their stories and delivering them in a way that forces you to listen. Despite any unevenness, Vyraj has an intangible specialness to it that irresistibly pulls the listener back. This is a lovely, sad, empowering piece of art that deserves more than the length of its runtime to weave its world around you.

Rating: Very Good
DR: 4 | Format Reviewed: 320 kbps mp3
Label: Prophecy Productions
Websites: Bandcamp | Facebook
Releases Worldwide: August 7th, 2026

KLIMT 1918 - 'Àmor' by @klimt1918official & @prophecypro _ #Review Online Now @twilight_magazin

https://www.twilight-magazin.de/reviews/musik-review/klimt-1918-amor

#linsedunemanninen
#indierock
#metalpunksteel
#twilightmagazin
#harzhikingmetalpunk
#intensemusic
#prophecyproductions
#klimt1918

https://www.instagram.com/p/DarqahmDM0g/?igsh=MWd4a2JzaWJxdXZ6cA==

Xasthur have released "Put You Out of Your Misery," the first single from the upcoming album Open to Misinterpretation, arriving in October via Prophecy Productions.

Details: https://metalinsider.net/video/xasthur-unveil-new-single-put-you-out-of-your-misery

#Xasthur #OpenToMisinterpretation #PutYouOutOfYourMisery #ProphecyProductions

https://www.europesays.com/be-nl/94738/ Mortiis – Ghosts Of Europa #albumrecensie #Amusement #BE #België #Belgium #DepecheMode #electro #Entertainment #GermanElectro #GhostsOfEuropa #mortiis #Music #Muziek #NineInchNails #ProphecyProductions #review #TangerineDream #ZwareMetalen

https://www.europesays.com/nl/252562/ Mortiis – Ghosts Of Europa #albumrecensie #Amusement #DepecheMode #Dutch #electro #Entertainment #GermanElectro #GhostsOfEuropa #mortiis #Music #Muziek #Nederland #Nederlanden #Nederlands #Netherlands #NineInchNails #NL #ProphecyProductions #review #TangerineDream #ZwareMetalen

Mortiis has cut a swath through Norway’s music scene since 1992, beginning as the inaugural bassist for black metal pioneers Emperor. When Håvard “Mortiis” Ellefsen realized the blackened arts weren’t for him, he swapped his bass guitar for a keyboard and embarked on a journey that, six years and six full-length albums later, left him a progenitor and “Godfather” of dungeon synth. Over the following vicennial, Mortiis explored other musical outlets, from darkened synth-pop to industrial rock and murky ambient before returning to his dungeon synth roots with 2020’s Spirit of Rebellion. After revisiting the genre he helped found, Mortiis releases his 11th full-length album, Ghosts of Europa—in part shaped by a subsequently abandoned collaboration with Stephan Groth (Apoptygma Berzerk)—to pay homage to old German electronica, especially Tangerine Dream and Klaus Schulze. Mortiis took those early recordings and embarked on a six-year journey to transform them into Ghosts of Europa. Will Ghosts serve as the harbinger of Mortiis’s greatness, or be cursed to haunt the darkened shadows of Norwegian mediocrity?

Ghosts of Europa is sexy, spacy, and cinematic—a synth-forward record that draws from each of Mortiis’s electronic eras—moving from dungeon scenes to movie screens. Those familiar with Tangerine Dream’s ’80s “soundtrack” era,1 will feel that theatrical presence, in addition to early Enigma, Pink Floyd, and Dead Can Dance, in the windswept, dystopian synthscapes and expansive, Gregorian chant-inspired, Middle Eastern-influenced female wails of Ghosts’ more ambient moments (“Return to the Old Fields,” “Transcending Morpheus,” “Tribes of Dystopia”). When Ghosts of Europa shifts to straightforward, beat-driven electronics (“Ghosts of Europa,” 2 “Violent Silence”) it taps a Depeche Mode and Kraftwerk vein. Still, other Mortiis Era II specters haunt Ghosts’ halls on tracks like “Tundra, Heart of Hell,” an electro-rocker that channels She Wants Revenge and The Cult, just as “Farewell Romero” has a distinct Marilyn Manson feel to its slow, painful burn. Mortiis has reached the peak of his musical prowess, wielding a conductor’s control over his collaborators and delivering one of his most emotive albums.

Heaving with atmosphere, Ghosts of Europa punctuates its vast, sweeping sonicscapes with rich vocal textures and introspective lyrics. From the repetitive refrain “When we all fall down” that dominates the opening title track to the chorus on “The Faith That Fades Away” requesting “Leave me with my sins, leave me with my thoughts,” and on through “Farewell Romero”‘s painful admission “I found a way to kill some of the pain, like a warm and cleansing summer rain,” Ghosts’ lyrics serve as an apology to the relationships Mortiis admittedly damaged along the way.3 And to further execute his no-boundaries vision, Mortiis focused on vocal arrangements in a way he hasn’t on previous efforts, partnering with a cast ranging from Sarah Jezebel Deva (Cradle of Filth) and Illiana Tsakirake (Septicflesh) to Christopher Rakkestad (Elvarhøi, Bolverk) and Skinny Puppy’s Matthew Setzer,4 who join him and, along with a vocoder and some autotune modulation, cement completely the otherworldly experience Ghosts of Europa provides.

Effortlessly flowing and expertly paced, Ghosts of Europa is permeated with a laid-back melancholy, allowing Mortiis to undulate easily between extended ambient moments and more traditional synth-pop. This ebb and flow effectively renders Ghosts of Europa’s fifty-plus-minute runtime into something that feels much shorter. As with any great film, Ghosts of Europa begs to be heard in its linear totality, rather than having any of its constituent parts relegated to a cannibalized playlist, despite some of its more traditional moments being ripe for such compartmentalization. Mortiis has provided an experience akin to getting lost in any of his early, Era I dungeon albums, if that sparks you, but with dialogue and an impactfully matured, image-conjuring vivacity. I repeatedly found myself easily lost in the Neverending Story-like feel of Mortiis’s conjuration, enamored with every moment. My one critique is reserved for the album’s editing, which could easily be attributed to the product of the promo, but rests with the abrupt and awkward resolution of some of the tracks (“The Faith That Fades Away,” “Tundra, Heart of Hell,” and “Farewell, Romero”). Not nearly enough to ruin the experience, but worth mentioning.

I have never felt FOMO for missing out on Mortiis’s back catalog. I’m not particularly fond of dungeon synth as a genre, and took minuscule note of Mortiis’s shift into more traditional territory nearly 26 years ago. I was very drawn, however, to the stark cover art of Ghosts of Europa and the soul-syncing feel of the album’s title track. The door I walked through after listening to the whole thing converted me. Ghosts of Europa has earned my highest rating this year to date, and I can only recommend that you all give it a chance as well.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Prophecy Productions
Websites: Bandcamp | Facebook | Webstore
Releases Worldwide: June 26th, 2026

Mortiis has unveiled "Tundra, Heart of Hell," the latest single from the upcoming album Ghosts of Europa.

The gothic darkwave track blends influences from Bauhaus, Joy Division, and Nick Cave & The Bad Seeds.

Details: https://metalinsider.net/video/mortiis-unleash-tundra-heart-of-hell-single

#Mortiis #GhostsOfEuropa #Darkwave #GothicRock #DungeonSynth #IndustrialMusic #ProphecyProductions #MetalNews

Review: A Forest of Stars – Stack Overflow in Corpse Pile Interface

Published by Dave on 2026/06/032026/06/03 Artwork by: Curse Style: Avant-garde metal, atmospheric black metal, progressive metal (Mixed vocals)Recommended…
#NewsBeep #News #Music #2026 #8 #AtmosphericBlackMetal #avant-gardemetal #BlackMetal #CA #Canada #Englishlyrics #Entertainment #may #mixedvocals #ProgressiveMetal #ProphecyProductions #UnitedKingdom
https://www.newsbeep.com/ca/713361/

While most people would argue that “black metal” was founded by bands like Venom, Bathory, and Mercyful Fate, the scene didn’t really become what it is without the creation of Norwegian black metal. Which, in turn, people will argue was founded by Mayhem, Burzum, Darkthrone, Immortal, and the like. But people forget acts like Ulver, Urgehal, Satyricon, and Gorgoroth (and others) that helped form the genre. If you know Grier, you know how much Urgehal and Gorgoroth mean to his youthful, black metal development. They are also home to two of his favorite black metal raspers of all time: Trond Bråthen (Trondr Nefas) and Kristian Eivind Espedal (Gaahl), respectively. Before Gaahl made his mark on Gorgoroth classics like Twilight of the Idols – In Conspiracy with Satan and Ad Majorem Sathanas Gloriam, he already had his own band: Trelldom.

Trelldom doesn’t get enough love. But Angry Metal Guy knew what was up when he went back in time to explore easily one of the genre’s greatest hits: Til et annet…. This record is a fucking masterpiece that shows a side of Gaahl you might not know. Those who have followed him throughout his various exploits know full well that Gaahl is a weird guy with some of the creepiest fucking vocals on the planet. But Trelldom’s trilogy of albums from 1992 to 2007 was untouchable. Fast forward to 2024, and the band returns with …By the Shadows…, an even weirder concoction of songs than ever before. Taking a darker direction with a new lineup of legends, …By the Shadows… represented an impressive comeback for the band, rebranded into something more diverse and heartfelt than before. Right on the coattails of that album comes this year’s …By the Word…. And it’s everything you’d expect from a follow-up.

Returning with the mighty Stian Kårstad (ex-Djerv, ex-Gaahls Wyrd, ex-God Seed) and kit powerhouse Kenneth Kapstad (Thorns, Goat the Head, ex-God Seed, and a billion other bands), Gaahl rounds out his lineup with practitioners of the bass, saxophone, clarinet, organ, Dobro guitar, bass harmonica, mandolin, Shankar guitar, and even the fucking Optigan to deliver one of the most unique records of his life. “When This Was Young” opens the record with proggy bass and drums, matching perfectly with Gaahl’s soothing cleans. When the chuggery kicks in, Kapstad’s drums let loose, showing off his impressive skills and giving the song (A) Senile Animal-era Melvins vibes. As it progresses, the effects intensify, melding themselves into the guitars and creating unnecessary madness throughout.

But the opener might be the “chillest” song on the record. By “I Speak Forgotten Voices,” you’ll know that …By the Word… is far more unhinged than its predecessor. The overlapping effects, unsettling vocals, and relentless, pounding drums remove any peace …By the Shadows… might have had. But it’s the mindfucking back-to-back closers, “The Word – Choose to Vanish” and “In There Outside,” that show just how far Trelldom has pushed their sound. Chock-full of all those different instruments mentioned before, “The Word – Choose to Vanish” doesn’t so much add layers as mold everything into the most grotesque monster I’ve heard in a long time. And when you think you’ve heard everything you could from Trelldom, “In There Outside” proves to be one of the more diverse on the album. Throwing you off immediately, the whining woodwinds are replaced with yet another alteration of Gaahl’s vox as the song builds on itself over and over again, resulting in more orchestral qualities than any other track.

…By the Word… is batshit crazy and cerebrally damaging. Where …By the Shadows… at least had moments of relief, this new record does not. Beyond the weird combination of guitars, saxophone, and clarinet screaming at you from all directions, it’s the bass and drums that cause the most damage. Mixed far too the front, the drums, in particular, are ear-shattering. That sounds negative, but it does a hell of a job keeping you off balance. Specifically, when it comes to the devastating “Folding the Mind.” It’s almost as if the band decided it was time to let Kapstad off the leash. …By the Word… is an interesting album that pushes beyond anything the band has done before. It can never be Til et annet… but that’s OK because they aren’t going for it. This new era is worth exploring and …By the Word… is a new benchmark.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Prophecy Productions
Websites: trelldom.bandcamp.com | trelldom.no | facebook.com/trelldom1992
Releases Worldwide: May 29th, 2026

Fen have unveiled “Tectonic,” the first single and video from their upcoming album Elemental Part One: Mourning Earth, arriving August 21 via Prophecy Productions.

The new track serves as the opening chapter in an ambitious two-part concept and showcases the band's atmospheric post-black metal intensity.

Details: https://metalinsider.net/video/fen-unveil-new-singletectonic-announce-elemental-part-one-mourning-earth

#Fen #PostBlackMetal #BlackMetal #Tectonic #MourningEarth #ProphecyProductions #MetalNews

https://www.europesays.com/be-nl/60060/ A Forest Of Stars – Stack Overflow In Corpse Pile Interface #AForestOfStars #albumrecensie #Amusement #AscensionOfTheClowns #BE #België #Belgium #Entertainment #LupusLounge #Music #Muziek #ProphecyProductions #review #RootsCircleUsurpers #StackOverflowInCorpsePileInterface #StreetLevelVertigo #ZwareMetalen

A Forest of Stars – Stack Overflow in Corpse Pile Interface Review

There’s a common misconception from readers of this fine blog that we writers are well-versed, well-traveled, and have…
#NewsBeep #News #Music #2026 #4.0 #AForestofStars #AU #Australia #AvantgardeMetal #BritishMetal #Entertainment #May26 #MyDyingBride #ProphecyProductions #review #reviews #StackOverflowinCorpsePileInterface #voices
https://www.newsbeep.com/au/656550/

https://www.europesays.com/ie/473737/ A Forest of Stars – Stack Overflow in Corpse Pile Interface Review #2026 #40 #AForestOfStars #AvantgardeMetal #BritishMetal #Éire #Entertainment #IE #Ireland #May26 #Music #MyDyingBride #ProphecyProductions #Review #Reviews #StackOverflowInCorpsePileInterface #voices

A Forest of Stars – Stack Overflow in Corpse Pile Interface Review

There’s a common misconception from readers of this fine blog that we writers are well-versed, well-traveled, and have…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2026 #4.0 #AForestofStars #AvantgardeMetal #BritishMetal #Entertainment #May26 #MyDyingBride #ProphecyProductions #review #reviews #StackOverflowinCorpsePileInterface #Voices
https://www.newsbeep.com/us/629629/

A Forest of Stars – Stack Overflow in Corpse Pile Interface Review

There’s a common misconception from readers of this fine blog that we writers are well-versed, well-traveled, and have…
#NewsBeep #News #Music #2026 #4.0 #AForestofStars #AvantgardeMetal #BritishMetal #Entertainment #May26 #MyDyingBride #ProphecyProductions #review #Reviews #StackOverflowinCorpsePileInterface #UK #UnitedKingdom #voices
https://www.newsbeep.com/uk/571725/

https://www.europesays.com/uk/944629/ A Forest of Stars – Stack Overflow in Corpse Pile Interface Review #2026 #40 #AForestOfStars #AvantgardeMetal #BritishMetal #Entertainment #May26 #music #MyDyingBride #ProphecyProductions #Review #Reviews #StackOverflowInCorpsePileInterface #UK #UnitedKingdom #voices

There’s a common misconception from readers of this fine blog that we writers are well-versed, well-traveled, and have kept abreast of all the happenings and goings-on within the world of our favorite genre of music. I hate to pop your bubble gum, but that’s wildly untrue. We all have lives, careers, and people in our lives that take time away from listening to new music from artists that we have always loved or, in my case here, artists we’ve been wanting to check out, but for some reason haven’t. A Forest of Stars, the British avant-garde septet, are that band for me. Their newest, Stack Overflow in Corpse Pile Interface, their first album in eight years and sixth overall, is here for dissection, and I’m going in almost completely blind, and without a single note heard prior.

I’m already anticipating the hate mail for this, but from what everyone told me of AFoS, it’s a heady mix of British Black Metal,1 doom metal, and spoken word. All good things, in my book! Plus, Katheryne, Queen of the Ghosts helped bring back the violins for My Dying Bride’s 2009 album, For Lies I Sire, which again is a good thing! And despite it being over 73 minutes, Stack Overflow rarely meandered or sat in place for too long, making for an engaging listen throughout. Opener “Ascension of the Clowns” sets a doomed tone, quietly and somberly setting the scene before Mister Curse begins ranting like the proselytizers across the street from where I work. Maniacal and unrelenting, Curse’s caustic delivery and unhinged performances sometimes seem at odds with the framework of the music, but the two sides need each other as much as they want nothing to do with each other.

And that odd dichotomy propels Stack Overflow, especially in the final half-hour-plus one-two punch of both “Sway, Draped in Vague” and “Not Drinking Water.” The former, also awakening a faux dreamy vibe before sending the listener careening through the backstreets of London, with Curse and Katheryne trading off vocal lines while Mr. T.S. Kettleburner and Mr. William Wight-Barrow unleash some incredible riffs and tremolo melodies blanketing Katheryne’s sweeping violins towards the song’s middle, making the song’s 17 minutes feel like a journey. “Not Drinking Water,” in contrast, feels downtrodden in the beginning, containing some of the album’s slowest moments, before hitting what could accurately be called a humdinger of a jam session right at the song’s midpoint, with solos and hooks galore to wrap up both a fantastic closer, as well as a hell of a way to finish out the album.

Of course, there are some issues with Stack Overflow. While most of the material flows seamlessly, there does seem to be some fat to trim, especially in some of the more atmospheric moments. Also, while there isn’t a single weak moment on the album, it really is best experienced in one sitting with most of the lights off, some candles, your favorite beverage, and (if you partake) your smoking implement of choice, and for some, 73 minutes is a big ask for many of us, especially if you’re busy like I am. However, if you can make the time and get in the right headspace, you will be rewarded handsomely.

I’m due for some weirdness, especially in the departure of Voices.2 Not only does Stack Overflow in Corpse Pile Interface scratch that itch until it bleeds, but it also turned me on to a band that I went from “I need to check them out sometime” to “Okay, how much is their stuff on Bandcamp?” in record time. A Forest of Stars, in a just world, should be heralded as purveyors of odd, eclectic metal. Here’s hoping that Stack Overflow in Corpse Pile Interface is as much a jumping-on point for many of you as it was for me. Believe me, you can do a hell of a lot worse.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Prophecy Productions
Websites: Bandcamp | Facebook
Releases Worldwide: May 8th, 2026

https://www.europesays.com/uk/847300/ Moon Far Away – Acou Review #2026 #30 #Acou #DarkNeofolk #DeadCanDance #Entertainment #Mar26 #MoonFarAway #music #Nebelhexe #NotMetal #ProphecyProductions #Review #Reviews #RussianMetal #Tenhi #UK #UnitedKingdom

As a fledgling metalhead in the 90s and early 2000s, I spent many a day scouring my local record shop for new, interesting bands and artists due to magazine interviews, reviews, and the occasional word-of-mouth treatment from friends and artists alike. This adventurous time period was responsible for my dalliances and appreciation of the world of neofolk. Between the somber atmospheres of Tenhi and the thriving, teeming music of the late Nebelhexë, it opened up new avenues to explore and bands to check out. With this in mind, I decided to tackle Acou, the fifth album from Russian quartet Moon Far Away, only to realize that they’ve been around since 1994 and this is the first time hearing about (or anything from) them.

Well, at least I got to finally experience their music, as Acou is a fairly enjoyable album with some interesting angles. After a brief interlude, featuring a lone trumpet and some ambient chantings and melodies, the title track kicks off in earnest, showcasing just why Moon Far Away have earned the reputation as “The Russian Dead Can Dance” as the vocal harmonies of multi-instrumentalist Count Ash and his counterpart (and song lead) Leda intertwine during the chorus over a playful bassline from Zhigich and some driving percussion by Victorion, creating a rapturous atmosphere that also plays homage to their Russian roots. Elsewhere, “Steel Light Love” shows off their more Gothic leanings, with Count Ash taking the lead with Leda softly wailing in the background throughout the song’s majority. On these three songs, the band’s artistic strengths shine brilliantly, giving off the impression that this is a neofolk classic for the ages.

Acou by Moon far away

The problem is that there are other songs on here, and some of them pull the proceedings down quite a bit. “17 Years” features an older vocalist1 chant-singing partially off-key for over three minutes. Speaking of off-key, Count Ash’s voice on “Look, the Human Flocks…” keeps to a monotone, often at odds with Leda’s angelic vocals, and the song ends without building up to anything. But the biggest issue lies with “Soulofkey,” which starts off promisingly enough, with a haunting piano melody that burrows into your skull. Still, it keeps burrowing, because other than a few key changes, it just keeps going and going and going for the entirety of the song’s seven-minute runtime, losing all potency and interest.

At least Acou sounds great from a production standpoint. Zhigich’s bass is thick and meaty, and Victorion’s percussion hits with the impact his performances need. Even the traditional instruments, such as the flute and trumpet, all ring with a stark clarity that’s sometimes missing from neofolk music. I just wish the arrangements and performances were a bit tighter overall, because when Acou shines, it’s with a brilliance that few can match, and that’s no mean feat.

And that kills me, as I wanted to like Acou more than I do. When everyone’s on top of their game, Acou is a compelling album that’s teeming with life and vibrancy. But the hiccups on some of the tracks keep my enjoyment tempered, and that’s a shame because Moon Far Away impressed me on their best tracks, and they are giving me a new band to check out in the future. That said, there’s still plenty to like on here, and if you enjoy any of the bands I mentioned above, you could do much worse than what’s on offer here.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Prophecy Productions
Websites: Bandcamp | Facebook
Release Dates: EU: 2026.03.13 | NA: 03.27.2026

Nytt Land – Aba Khan Review

I’d like to share my favorite fact about Nytt Land, the Siberian dark folk project from husband and…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2026 #3.5 #AbaKhan #DarkFolk #Entertainment #Feb26 #folk #NotMetal #NyttLand #ProphecyProductions #review #reviews #Siberianmusic
https://www.newsbeep.com/us/478104/

I’d like to share my favorite fact about Nytt Land, the Siberian dark folk project from husband and wife, Anatoly and Natalia Pakhalenko.1 During my research for this review, I came across an old interview with Anatoly. He was discussing instrumental diversity on their then-upcoming release, ODAL. Of all the instruments Anatoly plays, the talharpa, an ancient Nordic bowed lyre, is his favorite. Do you know why it’s his favorite? BECAUSE HIS WIFE MADE IT FOR HIM. MADE IT. WITH HER OWN TWO HANDS.2 I can’t even imagine the incalculable value of such a gift. And I’m only half kidding when I say that fact alone makes Aba Khan—and anything else they release—worth a spin.

Nytt Land often releases albums strictly preserving the ancient traditions of their homeland, like 2025’s Songs of the Shaman, but Aba Khan follows a different path. Picking up the threads first woven on 2021’s Ritual and continued on 2023’s Torem, Aba Khan captures the energy of the shamanic rites of Nytt Land’s native Siberia. Nytt Land doesn’t perform any one specific rite on Aba Khan, but rather, Nytt Land channels their significance, their substance. As such, this isn’t a direct transcription or translation, but a respectful, contemporary interpretation that places listeners in the midst of ancestral proceedings. Produced with immersion in mind, the soundstage is dynamic and beautifully utilized. You can almost smell the clean air and feel the warmth of the bonfire as practitioners’ shifting vocals and well-placed instruments surround you, each given plenty of room to breathe and shine. To get the full effect, headphones are highly recommended here.

Aba Khan by Nytt Land

Production and mixing would mean little here, were it not for Nytt Land’s excellent performances. Natalia is the centerpiece, providing striking lead vocals and bringing to life the chanting, throat singing chorus of this ceremony (“Aba Khan,” “Taiga”). She and fellow drummer Aleksandr Rosliakov provide the raw, thunderous backbone for the album, stoking ritual fervor and reverence alike (“The Oath,” “Tygir Tayii (Heavenly Sacrifice)”).3 All other instruments are handled by Anatoly. Flutes, both bone and wood, alternate between heraldic (“Totem,” “Mansi”) and musical (“Taiga,” “Mansi”) duties, while strings—like the talharpa—guide Aba Khan through its eight movements. A high base quality means standout moments are few here, but the instrumental bridge of “Taiga,” which features mouth harp, flute, and talharpa all playing different melodies on top of a deep stringed foundation, is noteworthy, as is the absolutely massive, constant thrum of “Prayer.” It’s like listening to a god breathe.

According to the promo sheet, Aba Khan comprises a collection of shamanic vignettes, but it nevertheless possesses a loose narrative flow from one track to the next. This is largely driven by Natalia’s singing. Aba Khan is written entirely in indigenous Serbian languages and Old Norse, but Natalia defies the language barrier through measured swaying (“Taiga,” “Totem”), raw vulnerability (“The Oath,” “Prayer”) and ritualistic staccatos (“Tygir Tayii (Heavenly Sacrifice)”) to sketch the shape and purpose of each movement. I’m normally pretty unforgiving on intros, but “Aba Khan” serves more as an invocation or invitation before the ceremony begins in earnest with “Taiga.” Aside from mid-album snag “Uitag,” which dwells overlong in ambient repetition, Nytt Land moves with purpose through each movement. Aba Khan closes in a whirlwind, shifting from the tension of ceremonial action (“The Oath”) to that of anticipation (“Prayer”), before releasing it in spiraling celebration and catharsis (“Tygir Tayii”).

I don’t think anyone would argue the value of preservation efforts, but I might argue that Aba Khan does something even more important. Whether at a museum or on recordings like Songs of the Shaman, a clinical detachment separates us from feeling the gravity of these traditions as an insider would. Aba Khan annihilates that barrier. Using every tool at their disposal, Nytt Land communicates the emotions, atmosphere, and spirit of Siberia’s shamanic traditions through music, a universal language. This isn’t meant to be known in the mind. It’s meant to be felt in the heart. On Aba Khan, Nytt Land invites you to walk in their millennia-old shoes to a time and place where spirits rule, shamans protect the people, and old gods whisper.4

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Prophecy Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: February 20th, 2026

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

Album Review: Novembers Doom – ‘Major Arcana’

#NovembersDoom #MajorArcana #AlbumReview #ProphecyProductions #SeptemberReleases

Link: https://metalinsider.net/reviews/album-review-novembers-doom-major-arcana

Novembers Doom – Major Arcana Review

Chicago’s Novembers Doom have charted a unique course for themselves over the last 30 years. Their unnatural pairing…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2025 #3.0 #AmericanMetal #DoomMetal #Entertainment #FieldsofNephilim #MajorArcana #NovembersDoom #ProphecyProductions #review #reviews #Sep25 #WoodsofYpres
https://www.newsbeep.com/us/167836/

Novembers Doom – Major Arcana Review

By Steel Druhm

Chicago’s Novembers Doom have charted a unique course for themselves over the last 30 years. Their unnatural pairing of beefy, cargo-beshorted death metal and highly emotional doom originally felt unstable and liable to erupt into chaos at any moment, but over time, they became adept at finding the ideal balance between madman and sadboi. Albums like The Pale Haunt Departure and Hamartia were loaded with ripping riffs and plaintive gloom, and at their best, Novembers Doom can tear at the heartstrings even as they snap your neck. The wild swings from hugely emotional, weepy sadboi melancholy and femur-fracturing death could sometimes feel forced, but more often it just fucking worked. 2019s Nephilim Grove had big moments but felt underbaked with too much filler. It’s been almost six years since, but now we get their 12th album, Major Arcana, and hopefully, a rebound for these Autumnal leaf reapers of despair.

Nothing’s really changed in the way Novembers Doom approach their trade. After an ominous and forboding intro piece, they come out swinging on the massive title track and hit you like a runaway battleship with a wide collection of primal feelz. Grinding riffs are coated with Paul Kuhr’s excellent clean and death metal vocals as the intensity builds and Kuhr warns, “This has gone too far.” The way his vocals increase in intensity is gripping, and all the usual melodic tricks Novembers Doom are known for come to the fore. This is really good shit. Another high point comes with “Mercy,” where the band hits gold with an emotionally crushing piece that evokes Woods of Ypres, Pink Floyd, and latter-era Anthema. It will break your fucking heart with its beauty and poignancy. Also quite tasty is album centerpiece “Bleed Static,” which uses its 8-minute runtime to explore a variety of despondent emotions effectively. Elsewhere, “The Dance” sticks out for its very Amorphis-esque airy, melodic guitar work and a chorus that you can easily imagine Tomi Joutsen singing.

Unfortunately, the rest of Major Arcana doesn’t operate at this level, and though most tracks have something worthwhile to offer, they won’t whisk you away in a leafblower maelstrom. “Ravenous” is a basic melodeath tune that should run 3-4 minutes, but gets stretched to 6 for no good reason. The back third of the album is significantly less enthralling than the early tracks, and while the songs work in the context of the album, they aren’t especially captivating individually. At 56-plus minutes, it would have been easy to drop 2 or 3 tracks to deliver a leaner, meaner release, but that isn’t the Novembers Doom way. This is a mood piece kind of listen, though, and if you’re in the right state of mind, it will all drift by without much resistance.

As ever, Paul Kuhr is the epicenter of the band’s sound, and he does his usual first-rate job. His singing voice is so perfect for doom that he should run a clinic on it.1 He sounds so desperately hurt and broken on “Mercy” that you can’t help but want to give him a big hug and tell him everything will be OK. At times, his singing reminds me a lot of the late great Eric Wagner of Trouble, and that’s great company to be in. His death roars are also as good as ever, big, booming, nasty, and venomous. His transitions between extremes are smooth and well-timed, and he knows how to wring a song for the maximum emotional impact. Lawrence Roberts and Vito Marchese wield potent riff hammers that often feel like they belong on a caveman death metal platter. When they do lapse into doom and melancholic sadboi mode, they deliver the goods there too. On cuts like the title track, “Mercy,” and “Bleed Static,” you can feel the pathos dripping from their fretboards. I just wish they spread that quality more evenly across the whole record.

Albums like Major Arcana can end up a frustrating experience because you get a few really amazing songs and the remainder ends up looking pale in comparison, even if nothing is bad. Novembers Doom have struggled with this issue over their career, and both 2019s Nephilim Grove and this one are held back by inconsistent songcraft. This is a good release with really high points, but you’re left feeling it could be so much more. I want MOAR leaf doom, dammit!

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Prophecy Productions
Websites: novembersdoom1989.bandcamp.com | facebook.com/novembersdoom1989 | instagram.com/novembersdoom
Releases Worldwide: September 19th, 2025

#2025 #30 #AmericanMetal #DoomMetal #FieldsOfNephilim #MajorArcana #NovembersDoom #ProphecyProductions #Review #Reviews #Sep25 #WoodsOfYpres

http://africanpaper.com/2025/07/18/kayo-dot-neues-album-im-august/
#kayodot #everyrock #albumcomingsoon #prophecyproductions #postrock #postmetal #progressive

In the Woods… – Otra Review

By Dr. A.N. Grier

Oh, yay, I get to review In the Woods…!! How I haven’t reviewed them before is beyond me. I must have been in the bathroom or something. I’ve been jamming to these guys forever, which led me to another favorite band: Green Carnation. As stated before by Z and Ferox, these Norwegians are an odd bunch that can’t quite figure out what they want to be, like gender confusion but genre confusion. After almost four decades in business, they’ve tinkered with everything from black to doom to progressive metal. As of 2022’s Diversum, In the Woods… has pretty much combined all their genre influences into one. In some cases, it works; in other cases, it’s a touch messy. That said, I think I liked Diversum more than Ferox because I thought the individual songs came together nicely to create the album, though there were obvious issues with some of the tracks. Some of it might be the new singer on staff. Or, it could be the songwriting as a whole. But Fjellestad is a solid addition to the crew, returning once again for this year’s Otra. The question is, will we see another side of In the Woods…, or will they finally reel in their influences to release something stunning?

One thing I can say that should please those who weren’t quite thrilled with the new vocalist on Diversum is that Fjellestad and the band have come quite a way since 2022. I’m not saying the vocals are better (because he’s a good vocalist), but the performance and songwriting are stronger on Otra. It might be because this time around, the album has a theme that connects the songs. Personifying the Otra river in Norway, the album flows through tumultuous rapids and sputtering streams, bringing the water molecules together for a forty-five-minute rafting trip. Now that we are in a boat instead of the forest, will Otra supply a soothing mist to my face or give me… wood? Wait.

“The Things You Shouldn’t Know” begins right away with gentle guitars and soothing vocals before it erupts into harsh vox and a grooving black metal lick. As this eight-plus-minute beauty builds, it alternates between Green Carnation-like passages and Borknagar/Vintersorg-esque black metal blasts. You’ll also find passionate guitar leads here (and elsewhere on the album) that push the vocals to soaring heights. The bigness only gets bigger when a second voice partners with Fjellestad in the final chorus. “The Crimson Crown” is another biggun that opens with pleasing keys that morph into a blanket of atmoblack riffage before cruising into a bass-led verse. Then, the song explodes into a Borknagar-ish chorus with alternating clean and harsh vox that works so damn well. One of the song’s coolest sections involves a calmness over the water, where Fjellestad adds subtle movement to his voice that adds layers to the music.

Other stellar tracks are “Let Me Sing” and the closing number, “The Wandering Deity.” The closer expands on that vocal wizardry of “The Crimson Crown” by hypnotizing the airwaves with vibrato. This slick addition makes the song’s final chorus that much more impactful. Being less than six minutes in length, this song sure as hell does a lot. Using a Green Carnation foundation, it slithers its way through dark, black metal riffage, gorgeous melodies, and even some black ‘n’ roll a la Carpathian Forest. “Let Me Sing” begins as an innocent piece, introducing it with muffled keys. That’s until the sinister mid-paced chug comes in, accompanied by a surprising vocal arrangement that brings to mind Type O Negative and The Vision Bleak. This song is one of the better tracks at alternating between clean and harsh. I also can’t move on without mentioning the bass work. Not only is it more prominent than other tracks, but nothing quite gets me erect like a bass slide.

The track that does not do well at alternating between the soft and hard sections is “The Kiss and the Lie.” While not a terrible track, its transitions feel forced and awkward, making it difficult to enjoy compared to the other pieces. “Come Ye Sinners” almost suffers the same fate, but the performances make up for it in the back half to save it. While Otra would do better with a more dynamic master, I can’t deny that the songwriting and vocal performances are some of the best in this new era of In the Woods… Taking what they learned from Diversum and polishing it up, this outing is a tight, seven-track affair and one of my favorites of theirs. Though, it’s damn near impossible to achieve what they did in the past, Otra is a pleasing listen and well worth a spin for In the Woods… enthusiasts.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Prophecy Productions
Websites: in-the-woods.bandcamp.com | facebook.com/inthewoods
Releases Worldwide: April 11th, 2025

#2025 #35 #Apr25 #AvantGarde #BlackMetal #Borknagar #CarpathianForest #GothicMetal #GreenCarnation #InTheWoods #NorwegianMetal #Otra #ProgressiveMetal #ProphecyProductions #Review #Reviews #TheVisionBleak #TypeONegative #Vintersorg

Nazis raus. Neue Folge im #Podcast: https://www.metal1.info/podcast/blech-folge-45-toleranz-haltung-abgrenzung-und-die-causa-prophecy-mit-moritz-von-metal1-info/
#prophecy #prophecyproductions #metal #fcknzs

Dornenreich / Vinsta – Dortmund

Braving the thorny shutdown of London’s Heathrow Airport a week ago, I recently travelled to Dortmund by way of Düsseldorf on very little sleep. Awaiting an evening in attendance of Austrian Black Metal / Neofolk veterans (and fellow Prophecy labelmates) Dornenreich‘s recent Arcane Ceremonies acoustic tour.

Hosted in the atmospheric surrounds of Dortmund’s Pauluskirche, the Saturday service was certain to be something special, even as we stepped in from the somewhat urban Schützenstraße under fading daylight. The power of church architecture to draw focus away from the mundane and into the spiritual is never to be underestimated. A suitable match for the music of the night.

Sadly, original supports Perchta were unable to make the tour. Instead, we were treated to a captivating performance by fellow Austrians Vinsta. Originally a solo project by Perchta’s dulcimerist Moosemandl, a full band politely stepped up to deliver an acoustic set no less electrifying for the lack of amplification.

With the hammered dulcimer featuring strongly in Vinsta’s compositions, I was taken aback at how such a traditional instrument could sound thoroughly modern in the right hands. Progressive compositions and themes drew my interest, reinforced by tender, delicate violin. A fine replacement indeed.

It has been a long time since I last saw Dornenreich, playing their Black Metal in Bradford back at the turn of the century in support of “Her von welken Nächten”. Impressive enough at the time, it was a very different band that filled the pews tonight.

Older, perhaps wiser, and stripped down to a two-piece, vocalist Evíga was joined by violinist Ínve, and together they held the attention of all in attendance for a time that seemed eternal yet transient.

Performing a selection of reinterpretations from across their three decades of existence, focus was understandably from 2008 folk opus “In Luft geritzt.” Simpler song titles reflecting the intimacy of the evening, and carving their own way in the air.

Although my German skills are rusty these days, it was still enough to be able to follow along. The intent of the music carrying forward across the syntax of language even if the exact words escaped me. Drifting off on hypnagogic waves of emotional rapture, and very much taken through the dream.

Tremendous gratitude to dear friend Méli and family for the invite and ensuring I was well looked after during my all-too brief stay. After a decade of online interaction, it was delightful to finally meet in person, and especially enhance the occasion with fine food, beer, and finer conversation.

I will most definitely return!

https://heathenstorm.com/2025/03/31/dornenreich-vinsta-dortmund/

#acoustic #arcaneceremonies #church #dornenreich #dortmund #germany #livemusic #melimelancholia #music #neofolk #pauluskirche #perchta #prophecyproductions #vinsta

Unreqvited – A Pathway to the Moon Review

By Carcharodon

Unreqvited and I have history. The excellent Mosaic I: L’Amour et L’Ardeur (2018) was just the third review I wrote here and also my first 4.0.1 Since then, I’ve reviewed the slightly creaky Mosaic II: La déteste et la détresse (3.0) and the very good Beautiful Ghosts (3.5). Now back with seventh album, A Pathway to the Moon, Unreqvited are the band I’ve reviewed more than any other, and the bright, expansive synth work, paired with post-black explosions and howled, wordless vocals feel almost like a comforting hug at this point. While retaining a core sound, Unreqvited’s albums have moved progressively away from the DSBM / post-black stylings that defined their early releases, moving ever further into an ambient post-space. However, A Pathway to the Moon, sees possibly the biggest shift to date, the introduction of vocals. Like, proper singing, with words and stuff. So, what does sole member 鬼 (Ghost) have to say?

While closer to a traditional album in structure than Unreqvited’s previous output, A Pathway to the Moon gives the impression of a cinematic soundtrack. Flowing between something that, at times, nudges up against Ihsahn territory (“The Antimatter”), synth-dominated ambient work and soaring guitar- and vocal-led pieces that could almost be Caligula’s Horse in places (“The Starforger”), there’s a lot to take in. It’s credit to 鬼 that the album retains a cohesive feel, despite its chameleonic mood shifts. Bookended by the percussion-free dreams of “Overture: I Disintegrate” and “Departure: Everlasting Dream,” A Pathway to the Moon has the feel of a journey, guiding the listener through shifting landscapes. Or moonscapes. For all the lush synth work and keys, there’s something desolate and sad about the album, which has a much more despondent feel to it than 2021’s Beautiful Ghosts.

Perhaps A Pathway to the Moon’s feeling of loneliness is driven by the vocals. It turns out that 鬼’s voice, previously a wordless, howling demon, is actually high, clear, and fragile, with an almost ethereal edge to it, especially when double-tracked (“Void Essence / Frozen Tears”). In places, I was reminded of Mark Garrett’s (Kardashev) cleans, which is a very good thing indeed. While clean vocals now dominate, both black metal rasps and DSBM shrieks have their place in the mix but, from the outset to the close, it’s Unreqvited’s new face that we see the most. Whether set to warbling electronica (“Into the Starlit Beyond”) or dancing guitar lines (“The Starforger”), it’s hard to see the focus as anything but 鬼’s voice. There may be a degree to which this is because A Pathway to the Moon shatters my expectations of what an Unreqvited album is but there is no doubt that, after six albums more or less instrumental albums, 鬼 has found his voice.

The prominent introduction, not just of vocals, but of clean singing, came as a surprise to me. However, on reflection, it is also a natural progression in Unreqvited’s sound from previous outing, Beautiful Ghosts. It also aligns with the shift into being more of a touring band. While 鬼’s (surprisingly) strong voice carries the transition, to a certain degree, the compositional focus has also shifted slightly away from the gorgeous soundscapes that were the hallmark of Mosaic I and Empathica. While “Void Essence / Frozen Tears” showcases all aspects of Unreqvited’s sound to excellent effect, other tracks (most notably “Into the Starlit Beyond”) feel almost like something was taken away to make space for the vocals. To put it another way, rather than the vocals embellishing or enhancing what was great about Unreqvited, what used to be achieved instrumentally, is now achieved through the vocals. It’s still very good but weirdly has the feel of treading water, rather than moving forward. The drums are also pushed way down into the mix to make space for the vox, leaving the percussion lacking a bit of impact.

If that last paragraph reads as heavily critical of Unreqvited, it’s not meant to. I really enjoy A Pathway to the Moon but I’ve been on something of a journey with it. I generally don’t listen to advance tracks of things I know I’m going to review, preferring to come into the album as a whole. This meant the shift to singing caught me off guard. After I got over my surprise, I loved it but, the more time I spent with the album, the more I missed some of the rich textures and dynamics from previous records, some of which were left on the cutting room floor. That said, this is a hugely enjoyable, emotively written record that I thoroughly recommend.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Prophecy Productions
Websites: unreqvited.bandcamp.com | facebook.com/unreqvited
Releases Worldwide: February 7th, 2025

#2025 #35 #APathwayToTheMoon #AmbientMetal #Blackgaze #CaligulaSHorse #CanadianMetal #DSBM #Feb25 #Ihsahn #Kardashev #PostRock #PostBlackMetal #PostMetal #ProphecyProductions #Review #Reviews #Shoegaze #Synthwave #Unreqvited

Although I knew there were challenges ahead as the world ticked into 2024, I had no expectation of the struggles that would manifest from week one. Launching straight into the Mentors tour as festive fireworks still echoed was hardly the wisest timing; but through grit, good humour, and the able help of the Witchfinder, we made it a success.

With barely time to confirm venues and announce the Diocletian tour, a prolonged and vicious assault against my work began. Open threats made due to my association with Solstice soon impacted business outside the band. AI-generated screeds of anonymous accusation and outright fabrication risked cancellation of the entire tour. I thank the venues and promoters who saw these empty words for what they were – rewarded by sell-out shows across the country – and regret that others were so easily swayed despite our well-reasoned and oft-repeated rebuke.

Courage tested, and hesitant at the hand dealt my way in spite, I had no choice but to step up and stand against such petty subterfuge. Backing down is never an option, however tempting an easy life, and through stubborn resilience I found a notable shift in my friendships.

Those previously silent spoke in confidence, offering much needed words of support and deeds of decency – agreeing in areas of contention and respecting the right to disagree when not. Even as other promoters, in self-righteous convenience, colluded to run me out of their tiny fiefdoms.

Chatlogs from not-so-private ‘activist’ groups made for grim reading. My name, and those of my friends, fervently smeared by strangers. Contriving enemies across irrelevant and incorrect political divides for the sake of age-old grudges.

My bandmates rallied around me and I for them, inspirational in consistent strength of character. Facing cowardly condemnation from all quarters, we chose to focus on band business. Re-emerging around the Summer Sunstead to announce the Deströyer 666 tour and our signing to Prophecy Productions.

That tour was predictably targeted also, with disapprovers aflame in their apoplexy. The Glasgow show stalked with the social panache of a Peeping Tom. Full respect to those in London who shone a light on the more vocal detractors by naming and shaming at the venue.

Despite the efforts of those who seek silence, the bands played on. Each tour thrived in its own way, followed by smaller shows with Abysmal Grief and Deitus. I reflect positively on the outcome, even if future events are on hold as I focus elsewhere.

For such distractions take their toll. Energies devoted towards doing the right thing in the immediate gnawed away at the progress of long-term projects. Creativity stalled. Accountability waned. Health suffered. Balance restores.

It took a long time to return to the Orphan shoot, and I am deeply grateful we finally have a working cast and crew eager to bring it together – once schedules synchronise again.

Solstice grows from strength to strength. The current line-up is the tightest I have experienced in my six years on bass, united by an outlaw attitude and will to make music beyond the tropes of trite expectation. Prophecy Fest was a stand-out show, winning over the German crowd and justifying our place on such a prestigious label. Followed swiftly by a packed-out rampage across Finland, the support we’ve seen on all sides of the stage has been phenomenal.

I find myself walking different social circles now, having deftly circumnavigated the backbiting barriers evoked by gossip and hearsay. Feeble accusations dissipated by positive action, I cultivate kindness.

Renowned artists and musicians across the globe have reached out in respect of my stance. Deeper, more sincere friendships emerge, and bonds of blood and belonging are forged.

Yet the greatest triumph of this year is one which must be held tightest to my chest. All the effort and care invested into staying the course these past twelve months has been tremendously rewarded, as I do what I’ve always dreamed of at a scale unimagined. With wonderful opportunities already embraced on mutually beneficial terms and prosperity assured through hard work ahead.

It is the way of the weak to undermine all endeavours, and I am disappointed I cannot be more open about this achievement – mindful as I am of further feckless sabotage. A scar in the battle of hearts and minds. A blemish on the face of candour. But despite the schemes of lesser men, I have never been more certain of myself.

Success against organised adversity is the most radical response of all…

… and said I wouldn’t surrender!

https://heathenstorm.com/2024/12/31/the-year-that-radicalised-me/

#2024 #abysmalgrief #deitus #destroyer666 #diocletian #heathenstormproductions #livemusic #mentors #music #newmoonincapricorn #newyear #orphan #prophecyfest #prophecyproductions #roundup #solstice #tour

‘Wolfs-head!’ shall be cried against him, for that a wolf is a beast hated of all folk; and from that time forward it is lawful for anyone to slay him like a wolf.

– The Mirror of Justices, Andrew Horn

Very pleased to reveal a (relatively) tiny three-minute teaser of new Solstice material. Painstakingly crafted in preparation for our Prophecy Productions debut, the new line-up gives their all – even in this roughshod demo recording.

More shall be revealed in time, including the title…

https://youtu.be/uURNzmrHZWA?si=eIL1sHjHxBdestq-

https://heathenstorm.com/2024/11/07/hooves-on-english-soil/

#demo #epicmetal #heavymetal #metal #music #prophecyproductions #solstice

Whispering Void – At the Sound of the Heart review

By Mystikus Hugebeard

Whispering Void is, by all accounts, a supergroup. Created by former Trelldom guitarist Ronny Stavestrand, his Trelldom connections allowed him to bring Kristian Eivind Espedal (otherwise known as the problematic fave, Gaahl) onto the project. From there it snowballed, with Gaahl’s Wardruna tenure opening the door for vocalist Lindy-Fay Hella to join the project as well. Rounding out the formation is Iver Sandøy on drums, the drummer for Enslaved’s last two albums. So not only is Whispering Void a supergroup, but they’re probably one of the most Norwegian supergroups ever. Whispering Void channels the diverse musical backgrounds and ideologies of these Norwegian musicians through, in their own words, “an organic and free-spirited studio process,” culminating in their debut album, At the Sound of the Heart.

Whispering Void plays a rich blend of folk, prog, and post-rock that conjures to mind a strikingly Norwegian Crippled Black Phoenix. Clear guitar melodies gently propel songs forward amidst ebbing layers of percussion, strings, and vocals. At the Sound of the Heart has a clean prog-rock tone like that of Lunatic Soul while the songwriting builds towards grand, post-y climaxes, with some added ambient influences to enrich the sound. The performances are excellent, obviously, given the pedigree. The instrumentation from Stavestrand and Sandøy is clean and tight, Hella’s expressive vocals are full of emotion, and nobody can do gravelly spoken words quite like Gaahl. It’s not what I would call the most bodacious of supergroups, comprised of larger-than-life personalities, but the musicians of Whispering Void work together well.

Something that struck me early on regarding At the Sound of the Heart that took a while to put into words is how it feels devoid of ego. Supergroups are typically eager to showcase what certain members’ excel at in their own groups to the point of excess, and while Whispering Void does lean into its members’ strengths, it’s subtle and restrained. The music is thoughtfully composed in a way that strives for melodic clarity and atmospheric richness, which rings most clearly through At the Sound of the Heart’s first half. “Vinden Vier” tastefully pairs a beautiful melody sung by Hella with Gaahl’s percussive recitation of the song’s title, whereas “Vi Finnes” gives Gaahl’s vocals a greater spotlight as the haunting chorus escalates through the song. “Whispering Void” is a great track that dynamically leads through a clean guitar melody paired with Hella’s vocals into a chorus where Gaahl’s vocals complement Sandøy’s drumming prowess, culminating in a sublime melodic climax. It’s genuinely refreshing to hear such talented musicians who are all great on their own working together in a way that’s less about showing off and more about creating something unique through a free-form collaborative process.

As At the Sound of the Heart enters its second half, the results of that artistic process grow shakier. It’s tempting to wax poetic about some cerebral, damning problem rooted deep within the album’s second half to justify it, but truthfully, it’s the simple anticlimax of just being weaker than the first half. The songs are less gripping and slowly sink into the background—the melodies aren’t as strong, the song structure becomes predictable, the atmosphere less inviting. The title track and “We Are Here” adopt a gloomy and dramatic veneer that leans into Gaahl’s spoken words, but they’re frequently more of a whisper and the melodies just never really click. “Lauvvind” returns to the clean, prog-rock tone of the earlier songs, but has a jam-session feel that doesn’t quite land. The songs here aren’t even all that unpleasant, but they’re just boring enough. It’s like the first half marries a solid, driving composition with excellent atmosphere, while the second half lets the compositional strength seep away in favor of the vibes. Vibes can be good, but vibes do not a song make.

It is a unique challenge to score At the Sound of the Heart; in many ways, it defies scoring. At times sublime in its composition and at times little more than musicians just shooting the breeze, At the Sound of the Heart is an unobstructed view into an organic, collaborative artistic process that never truly fails, but only occasionally succeeds. The free-form nature of the music is clearly the point, and it would be a loss if Whispering Void abandoned their free-form experimentation for rigidity. I only wish Whispering Void made more stellar songs like those of the album’s first half, but perhaps you’ll feel differently, and I invite you to experience At the Sound of the Heart for yourself.

Rating: Mixed
DR: 7 | Format Reviewed: 320 kbps
Label: Prophecy Productions
Websites: facebook | bandcamp
Releases Worldwide: October 18th, 2024

#25 #2024 #Ambient #AtTheSoundOfTheHeart #CrippledBlackPhoenix #Enslaved #Folk #LunaticSoul #NorwegianMetal #Oct24 #PostRock #ProgRock #ProphecyProductions #Trelldom #Wardruna #WhisperingVoid

With just over a week before Solstice fly out to Finland, and life outside the band likewise refusing to slow down; I take brief pause to reflect on a wonderful weekend in and around Balver Höhle.

Prophecy Fest has always been a unique affair. Expertly curating an eclectic line-up of bands beyond the usual expectations of Extreme Metal. Personal highlights would have to be incendiary performances by both Perchta and Dymna Lotva – band of the weekend to both neck and ears. Wild noise and feminine fury contrasted by such as the acoustic introspection of Empyrium – performing the entirety of “Where at Night the Wood Grouse Plays” to a rapt audience moved by earnest, well-earned integrity; and of course Wolcensmen at the warm-up.

As for our own set, delivered without apology or compromise, I feel we carried ourselves well. Playing to many who may not be aware of our intent, a quintet of classics offered appropriate introduction – even as we meticulously work on new material for the forthcoming album. The many fists raised and cheers resounding throughout the cave prove our purpose found its place.

Joining the Prophecy family was a daunting prospect; with the tropes of Heavy Metal seeming cliched and primitive against such sophisticated, multi-textured soundscapes. Rather than cower intimidated, I choose to take this as vital inspiration to evolve and grow as an artist. To embrace and explore how these different styles may complement each other, rather than compete in the trite posturing and insecure blather of smaller circles.

To channel another cave, what we believe as reality can often be tainted by the shadowed projections of a narrow, stymied perspective. It is only by stepping into the light that we see what truth may come to pass.

The support and solidarity of our labelmates has been phenomenal. Breaking bread and making merry, sharing conversations insightful and inane. Friendships forged in Wieland’s Smithy, and camaraderie which will linger as steel.

Humblest praise also to the hard-working crew who tirelessly kept everything together over the festival. Their kind patience made us all feel welcome and valued, and none of this could happen without their exemplary efforts.

It is by no coincidence that we are all connected. A synchronicity of spirit and sincerity of soul. My gratitude abounds for the presence of those who share these precious moments of wonder; and for the opportunities presented as I walk my own creative path.

https://heathenstorm.com/2024/09/11/cave-of-wonder/

#dymnalotva #empyrium #heavymetal #livemusic #metal #music #neofolk #perchta #prophecyfest #prophecyproductions #solstice #wolcensmen

Vuur & Zijde – Boezem Review

By GardensTale

Few things make as big a difference to genre as vocals. If it doesn’t have raspy screeching, can it still be called black metal? If it doesn’t sound like a certain blue monster swapped his addiction from cookies to craniums, can it still be called death metal? Vuur & Zijde is a new project that tests these questions with an odd blend of post-black and post-punk, eschewing harsh vocals entirely and glorifying love rather than hate. It’s no wonder that the line-up contains, among others, two-thirds of Laster, a band that also does not seem overly concerned with ‘genre conventions’ or ‘making sense.’ With other members cribbed from Terzij de Horde and Witte Wieven, Vuur & Zijde is a cross-section of the Dutch black metal scene, with only vocalist Famke Canrinus new to the scene. But is black metal about love really black metal to love?

The blend peddled on Boezem makes more sense when heard rather than read. The post-punk is a fair bit more prominent than the post-black. The influence of the latter is largely confined to the atmospheric streams of tremolos drifting off the guitars. The drums often remain fairly stoic, holding a steady yet sparse mid-pace with a focus on the snare and low-impact kicks, which keeps the overall energy reserved for the occasional few stretches of blasts. A surprise highlight is the bass, its dynamic compositions granting the music a bit more flexibility and soul. Overall, the darkly gothic and stifling atmosphere draws favorable comparisons with Killing Joke with forays into Alcest territory.

Miss Canrinus is the heart of the band, with a vocal performance hewing closer to occult rock like Coven with a warm, bewitching quality. Her timbre is clear and inviting, occasionally reminding me of Anneke van Giersbergen (Vuur et al), but despite her technical proficiency, her approach isn’t terribly dynamic, using the same delivery and intensity across most of Boezem. “Nest” is an outlier, showcasing several characterizations with phrases at turns sardonic and consoling, but a sense of repetitiveness diminishes their impact. Thankfully, the instrumental variety is stronger across the album. The aggressive bursts of “Onbemind,” the gothic doom “Us,” the energetic haunting of “Omheind” and the echoing atmosphere of “Naakt” all display different sides of Vuur & Zijde and demonstrate its aptitude for diverse yet cohesive songwriting.

Despite the unusual sound, Boezem sounds remarkably cohesive and lived in, as if the band has been honing its compositions for years. The only big compositional bump is in the center, the lethargic and repetitive “Kuier” which combines spoken word with a plodding, incessant melody. It completely halts the album’s momentum, and actually takes away from follow-up “II,” a powerful, synth-heavy and atmospheric track with a slow start that would have benefited from more contrast to its predecessor. It’s a sizeable mark on Boezem’s otherwise impeccable flow, but thanks to the strength of the rest of the material and the excellent production, it doesn’t sink the ship.

Though I’m the furthest thing from nationalistic, I do feel a little pride at the state of Dutch underground metal. Vuur & Zijde is yet another example of the innovative, envelope-pushing music emerging from our scene. Combining disparate well-trod genres into a new and engaging sound is no small feat, but here it feels effortless, as if the band has never done anything else. Considering the pedigree of the musicians, it should come as no surprise, but so often experiments like this fail miserably anyway. Boezem has its issues, the centralized momentum-robber chief among them. But it’s a bold demonstration of Vuur & Zijde’s qualities in both composition and execution and a very promising start to a hopefully fruitful project.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Prophecy Productions
Websites: vuurenzijde.bandcamp.com | facebook.com/vuurenzijde
Releases Worldwide: July 12th, 2024

#2024 #30 #Alcest #Boezem #Coven #DutchMetal #GothicMetal #Jul24 #KillingJoke #Laster #PostBlackMetal #postPunk #ProphecyProductions #Review #Reviews #TerzijDeHorde #Vuur #VuurZijde #WitteWieven

#TheMetalDogArticleList
#BraveWords
HEXVESSEL Sign With Prophecy Productions; Share New Track "Under The Lake"
Finnish black metal act

https://bravewords.com/news/hexvessel-sign-with-prophecy-productions-share-new-track-under-the-lake

#Hexvessel #ProphecyProductions #BlackDeath #FinnishBlackMetal

Had anyone asked at the start of the year if I would find myself sharing a stage with the legendary Arthur Brown, let alone sharing a record label, then I would have laughed heartily at such a suggestion.

But it’s been a very strange year for SOLSTICE, one with too little laughter for my liking. Weathering a co-ordinated trial of malicious defamation and weaponised grudges, my bandmates and I have endured. Endeavours outside the band have also withstood associated sabotage, and my own work continues unabashed.

To that end, I want to thank all those who stand by us in private and in public; and especially Martin at Prophecy for his trust and support of the band despite the naysayers. Such a statement is proof itself that the accusations have no base in reality.

I shall also ‘thank’ those who joined in the dogpile, spewing petty online allegations in failed attempts to smear, then deleting their weasel words after the truth of things came to light. Their pseudo-pious virtue signalling, mewled from behind the cowardice of keyboards, has proved we are still very much a band worth talking about!

Both Solstice and WOLCENSMEN will play this year’s Prophecy Festival, and I look forward to what may come within the cave and without.

After many decades in and out of a handful of projects, it feels strange to be formally signed to a label as prestigious as Prophecy.

Does this mean I’m now a “professional” musician?

Solstice sign to Prophecy Productions

Prophecy Fest – Balver Höhle, Germany. September 5-7 2024

https://heathenstorm.com/2024/06/20/the-right-time-has-come/

#heavymetal #label #metal #music #prophecyproductions #signing #solstice #wolcensmen

Botanist – Paleobotany Review

By Thus Spoke

A band with a strong conceptual identity is always something. Whether that’s 1914 and their commitment to depicting the true horrors of world conflicts, or The Ocean, and their exploration of Earth’s many (pre-) historic eras. And were that a spectrum, experimental black metal collective Botanist would fall towards the latter end. Not only insofar as their music leans towards an airy, progressive, post-rock, but also their concept, which, if it wasn’t obvious, is flora. Paleobotany—the band’s eleventh LP—sees this similarity become even more blunt, centering as it does on the prehistoric plants of many millions of years ago. But let not such a comparison fool you; Botanist are–as they always have done—making music that’s totally unique to them. And it’s about ancient plants. Cool right?

Paleobotany is a subtle record, and it’s not what it first appears. Botanist have dialed back the ethereal atmospheres, whispers, and the deep-in-the-mix vocal production of previous outings. Taking a big step out of atmo-black and into something quite different, they remain just as roaming, progressive, and deep. This evolution is deceptively peaceful, with sunny melodies and harmonizing singing dominating its first half. But its carnivorous side soon comes to the fore with the prevalence of throaty growls and barbed tremolos. Songs that begin with gentle post-metal find their apexes in buzzing blackened bursts, and vice-versa. These dual aspects of light and dark are the two voices that tell the story, in wonder and zeal respectively, and their interplay leads to a compelling, if strange musical experience.

The strongest aspect of Paleobotany is its charm. There’s something about the way that delicate piano and hammered dulcimer meet with ripples of elastic, energetic drumming and the warmest of riffing that’s oddly magnetic. And Botanist pull this off in so many ways; from the dramatic, with surging refrains and blastbeats (“When Forests Turned to Coal,” “Archeamphora,” “Strychnos Electri”) to the subtle, with the ‘softer’ instrumentation taking the lead (“Aristolochia,” “Magnolia,” “Sigillaria”). Melody flows smoothly through floating, sparkling major, to wistful (“Magnolia,” “Royal Protea”), or even urgent (“Archeamphora,” “Dioon”) minor modulations, and into dissonance—and back—with grace. The dynamism is electric, but somehow understated, and never overwrought, as tremolos rise into glittering apexes, and d-beats cluster, rock-operatic cleans burst out into a new, subtly hinted-at refrain. It’s all genuinely lovely, the compositions so cleverly woven together that they carry you along through ups and downs on a stream of dancing arrangements. “Archeamphora,” “Sigillaria,” and “Royal Protea,” especially take the listener on one such miniature journey, whilst snappy “Wollemia Nobilis” injects a little much-needed bite by way of blackened jazziness, in direct opposite to “The Impact…”‘s drifting peace.

Such is the pull of Paleobotany that it seems to open up a little world of its own. It certainly helps that it’s so beautifully produced, with every strum, beat, every little sung note floating crisply like falling leaves in the air. Combined with interesting, intelligent song structures, the music becomes hazily, subtly immersive, and the cleans downright endearing. On paper, this album is not my thing at all, and yet I now find myself singing along happily throughout—especially at those moments when the vocals ascend into soaring, uplifting reprise (“Strychnos Electri,” “Royal Protea”). Not to mention how listening to this album set me off reading about the subjects of every song, from the “first to be carnivorous” “Archeamphora,” to the poisonous “Strychnos Electri”—the “ancient ancestor of everything that flowers”. Given how many albums Botanist have under their belt, you know what you’re getting in for when it comes to these cleans, but I’m guessing, if not, that they could be an acquired taste. Then again, they won me over, so I’d give them a chance.

Paleobotany was the breath of fresh air I didn’t know I needed. As someone who spends the majority of their listening time deep in the dissonant, angry, and bleak, Botanist’s ability to coax me into the light is a testament to the brilliant storytelling and compositional craftsmanship on display here. And it makes a good starting point for any new listener, with memorable, distinctly pretty refrains, and a solidity gained from the distancing from abstractions of atmo-black. Maybe it’s too early to say whether it’s Botanist’s best album, but it definitely marks a new moment in the sun for these plant-worshippers.

Rating: Very Good
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Prophecy Productions
Websites: Bandcamp | Facebook
Releases Worldwide: May 17th, 2024

#2024 #35 #AmericanMetal #BlackMetal #Botanist #Deafheaven #ExperimentalBlackMetal #ExperimentalMetal #May24 #Paleobotany #PostBlackMetal #PostMetal #ProphecyProductions #Review #Reviews #TheOcean

#TheMetalDogArticleList
#MetalSucks
Review: Botanist Solidify Love of Plants with New Release Paleobotany
More heavy music about plants.

https://www.metalsucks.net/2024/05/13/review-botanist-solidify-love-of-plants-with-paleobotany/

#Botanist #Paleobotany #Experimental #ProphecyProductions #Plants #AlbumReview #AvantGardeMetal #HammeredDulcimer

Album Review: DOOL – ‘The Shape of Fluidity’

#DOOL #AlbumReview #AprilReleases #ProphecyProductions

https://metalinsider.net/reviews/album-review-dool-the-shape-of-fluidity

The Vision Bleak – Weird Tales Review

By Dr. A.N. Grier

The Vision Bleak is one of those bands that gets me. Or, I get them? Whatever. This German, Goth outfit has been delivering haunting concept albums ranging from Lovecraftian characters to Edgar Allan Poe themes for twenty years. Even going as far as coining their unique brand of music as “horror metal.” Utilizing Type O Negative-esque booming vocals, surprisingly heavy riffs, and bombastic key-driven atmospheres, every The Vision Bleak album is Gothic metal goodness that’ll leave your skin crawling, hands bloody, and eyes leaking. Funny enough, 2016’s The Unknown was the first time any album I reviewed was chosen as the RotM. These eight long years have been quiet, undoubtedly due to the band brewing their next horrific release. Now it’s here and it’s like nothing they’ve ever done before.

For those diehard fans, there’s nothing to be concerned about when listening to this year’s Weird Tales. Musically, all is safe and sound. Nothing on Weird Tales is concerning. Well, minus the lyrical content and unsettling, beautiful, and devastating passages created as a tribute to the magazine of the same name. No, what’s so unique about this release compared to the band’s previous material is that it’s a single song. That’s right, The Vision Bleak has ventured into territories where few have succeeded and many have failed. Thankfully, Weird Tales sits happily next to greats like Green Carnation’s Light of Day, Day of Darkness and Edge of Sanity’s Crimson. As intended, it’s an album that cannot be experienced in pieces but must be cherished as a whole. But, how do you even review an album whose sections can only be measured in time? Thankfully, The Vision Bleak was kind enough to not only identify where the changes occurred but also title each of these twelve passages.

After opening the album in classic instrumental fashion, “Chapter II: In Rue d’Auseil” gets things moving with a Gothy groove and smooth vocals. A minute in, it transitions to an addictive chug that eventually sprouts wings and takes off like a demon hellbent on the pearly gates. Not that it’s new for the band, but kicking the album off with such a strong chorus does wonders for the rest of the album, encouraging me to dive in and never leave. “Chapter IV: Once I Was a Flower” is another chapter in the story that grips me tight and never lets me go. Opening with a gentle piano and acoustic guitar, the band borrows from the likes of Moonspell to drive the song with a charging rhythm and perfectly arranged vocal delivery. When those beautiful strings surface, this melodic beauty guides you into a hopeless graveyard where you’ll lie and cry forever.

“Chapter VIII: The Undying One” also has moments of utter sadness, made stronger by the combination of pained cleans and acoustic guitars. However, this rollercoaster ride goes further, taking you up and down in emotional mind-fucking segments. After beginning with a slithering riff engulfed in ghostly keys, the vocals arrive, bound in a cloak of hard-hitting riffage. After passing through a heart-wrenching interlude, the vocals and drums come screaming out of the mist, pushing hard on the wind. When you think the storm can’t get worse, the clouds split with a thunderous ruckus as the band unleashes the most badass riff on the record. “Chapter XI: Canticle” blends seamlessly with its former chapter to deliver a maddening frenzy of guitars and growls as the patient rips free from his straight jacket. After a short lull, a new lead emerges, growing into a snarling vocal performance and massive climb. For all its maniacal characteristics, it sheds the jacket and soars to new heights, pushing into the stratosphere with one of the most powerful choruses on the album.

Not surprisingly, The Vision Bleak has delivered on an album concept that rarely works. But, honestly, I didn’t think it would work as well as it did—most likely because I’m used to the song separation on their albums, typically finding myself targeting those song-of-the-year tracks the most when I return to one of their albums. So, it did take a couple of spins to absorb everything. But, with a few spins, you’ll also recognize and accept Weird Tales’ segments, transitions, and seamless characteristics. Due to its unique construction, it’s difficult to determine its place in the hierarchy of The Vision Bleak output. But, it has everything—growls and cleans, pianos and strings, acoustic and distorted guitars, orchestrations, and hard-hitting riffs that even go as far as the thrashy, Sodom-like qualities of “Chapter IX: Evil Dreams Run Deep.” But, nothing will prepare you for the heartbreaking and somewhat Amon Amarthian closer. So, enjoy.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Prophecy Productions | Bandcamp
Website: facebook.com/thevisionbleak.official
Releases Worldwide: April 12th, 2024

#2024 #40 #AmonAmarth #Apr24 #EdgeOfSanity #GermanMetal #GothicMetal #GreenCarnation #Moonspell #ProphecyProductions #Review #Reviews #Sodom #TheVisionBleak #TypeONegative #WeirdTales

Isenordal – Requiem for Eirênê Review

By El Cuervo

There’s one music quality I treasure above all else: dynamism. Without conscious thought I find myself drifting towards music in the promo pool promising varied or creative music. In the case of Washington’s Isenordal, the one sheet for their third full-length release, entitled Requiem for Eirênê, described music fusing funeral doom, black metal and neofolk. Few albums pledge such dynamism so I was eager to hear their take on this blend, and discover whether it would be as exciting as the description.

At first brush, Eirênê appears to adopt the lengthy, slow style of funeral doom, comprising just four main tracks running over eleven minutes each with a brief interlude in the middle. The real position is a little more varied. “A Moment Approaches Eternity” opens with an organ, cello and wind samples, which build a contemplative mood before the big but slow doom commences with heavy chords and a string section. Blackened screeches herald the arrival of black metal proper after a few minutes, developing the song with a new pace and intensity. Likewise, the back half of this track also conveys the greatest strength of the record; namely, its gradual but satisfying song progressions. The song smoothly flows between its core styles, from blackened barrages to stomping rhythms and back again. Isenordal leverage lots of sounds but weaves them together reasonably harmoniously.

When Eirênê blends its doom and black metal across its heavy passages, it’s at its best. The highlights feel climactic and overwhelming, including parts from “A Moment Approaches Eternity” and “Epiphanies of Abhorrence and Futility.” Isenordal find a way of making their heavy music unpredictable and intriguing. Sadly this contrasts strongly with the softer moments. While the two aforementioned tracks avoid the lethargy I tend to associate with doom metal, “Await Me Ultima Thule” and “Requiem for Eirênê” have it in spades. The melodies are pleasant at best, boring at worst. I like music that balances heavy with light but the apathy I experience over the opening five minutes of “Await Me Ultima Thule” demonstrate that Isenordal’s light qualities are unable to balance the stronger heavier ones into wholly enjoyable songs. The eleven minutes of this track feel much longer than the fifteen of the opener. This feeling extends into the short-but-feels-long piano-led interlude. I like Isenordal when they’re aiming for grand. But they’re nowhere near as good at being delicate.

Moreover, the few notable guitar leads (the rhythmic stomp from 9:15 on “A Moment Approaches Eternity,” the blackened maelstrom from 2:15 on “Epiphanies of Abhorrence and Futility”) highlight their general absence otherwise. I’m not left with a sense that Eirênê is stuffed with great riffs, which is an issue for a metal album. The leads are also buried in the mix by the rhythms, piano and strings. Metal with strings tends to form the dynamic music I enjoy most but here the ornamentation at the expense of the lead guitars which should occupy the core of the album. I also find an unfavorable weight devoted to the vocals as the death vox are deep and powerful, but the floating cleans are comparatively forgettable. There’s more of the latter when the former is clearly superior, contributing to the sense that the metal elements are subjugated to the non-metal ones, to Eirênê’s detriment.

Eirênê represents a chunky package; lengthy, but also densely compacted with detailed and varied music. Afforded the right headspace, it can have an impressive impact. But the music isn’t consistently strong enough – nor does it always focus on the right qualities – to demand my praise throughout. There’s an exciting band in Isenordal, but too much of the music on Eirênê is unexciting.

Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Prophecy Productions
Websites: bandcamp.isenordal.com | facebook.com/isenordal
Releases Worldwide: March 8th, 2024

#25 #2024 #AmericanMetal #BlackMetal #FuneralDoomMetal #Isenordal #Mar24 #ProphecyProductions #RequiemForEirênê #Review #Reviews

Album Review: Vemod return with ‘The Deepening’

#Vemod #TheDeepening #ProphecyProductions #AlbumReview #Darkgaze #JanuaryReleases #MetalInsider

https://metalinsider.net/reviews/album-review-vemod-return-with-the-deepening

Fvnerals – Let the Earth be Silent [Things You Might Have Missed 2023]

By Thus Spoke

While many within the genre drift towards the floaty, gazey, and even anodyne, my favorite kind of post-metal is the dark kind. Post-metal that uses resonant ambience, deep atmosphere, and echoing vocals to create a powerful, weighty sense of foreboding. So it was that back in February, Fvnerals, whose path and mine had not yet crossed, made me sit up and notice them. It seems that in the past, Fvnerals played it a little softer, and safer, with a mellower bent. But this time they’ve plumbed the depths of horror and melancholy. Coming somewhere between the nightmarish ominousness of Vous Autres and the brooding sulkiness of Darkher, Fvnerals pitched their approach just right to suck me in. And probably you too.

Let the Earth Be Silent is the perfect title. This album commands total attention—everything else must fade away as it totally envelops you. With calamitous bass drum branding a pattern into the mist (“Ashen Era,” “Annihilation,” “Yearning”); cymbals crashing into a void of ringing sound (“Barren”); moaning, haunting vocals rising and fading away; low, core-shaking riffs shuddering; and foghorn chords bending into the feedback (“Ashen Era,” “For Horror Eats the Light”), this thing is truly massive. Mood music in a particularly pure form, while its seven tracks are cleanly separated by silence, they feel simultaneously interwoven into a dark dream sequence—or perhaps that should be “nightmare sequence.” There’s a certain attitude that precipitates turning on Let the Earth Be Silent, and I found myself sinking into that attitude more and more as the year progressed. Drawn back in by its darkness.

Two main threads run through Let the Earth Be Silent: dread and lamentation. On the side of dread come the stretches of ever-increasing tension, as a ritualistic heartbeat ever so slightly increases the pulse (“Descent,” “Yearning”); wavering dissonant drone grows layers of muffled tremolo and eerie singing (“Ashen Era,” “For Horror Eats the Light,” “Barren”), or sharp exhales punctuate crescendoing horn and softly shuffling percussion (“Rite”). The low rumbles of bass, and deep atmospheres, infused with sinister minor melody and soft suggestions of riffery (“Annihilation,” “Barren”) create a goosebump-inducing aura of fear too, one that follows you across the record. But equally as penetrating are the mournful, multi-tracked female vocals, harmonizing as they rise and softly fade. These are the lament. While consistently affecting in their often-wordless cries of falling grace, they are particularly haunting on “Descent” and “Barren.” Songs will ramp up the anxiety, see eerie repetitious vocalizations ring over and over; stretch velvety post-metal ambience across ominous pauses, then with crashes of chords and percussion, the dam will break, and powerful poignant ululations will careen upwards out of the murk (“Ashen Era,” “Descent,” “Yearning”). Or they whisper and moan, layer over layer, and break out in pathetic, delicate refrains (“For Horror Eats the Light,” “Yearning”). And it’s beautiful.

As an incredibly atmospherically-centered post-metal album, you really do have to be in the right headspace to get everything you’re meant to out of it. While some tracks struck me immediately and indelibly (“Descent,” “Barren”), it was only when I gave it the full attention it deserves that it opened up and swallowed me whole. However, swallow me it absolutely did.

Tracks to check out: ”Descent,” “For Horror Eats the Light,” “Yearning,” “Barren”

#2023 #DarkAmbient #Fvnerals #LetTheEarthBeSilent #PostMetal #ProphecyProductions #ThingsYouMightHaveMissed2023 #VousAutres

#nowPlaying

E-L-R - Vexier

https://invidious.nerdvpn.de/playlist?list=OLAK5uy_mJel0_bU1q_P5Q_vh-Qjgfladri9iToWc

#ELR #Vexier #AtmosphericDoomMetal #PostMetal #DoomMetal #ProphecyProductions

#TheMetalDogArticleList
#BraveWords
PATTERN-SEEKING ANIMALS Release AI-Generated Music Video For “Somewhere North Of Nowhere”

https://bravewords.com/news/pattern-seeking-animals-release-ai-generated-music-video-for-somewhere-north-of-nowhere

#PatternSeekingAnimals
#AIGenerated
#MusicVideo
#SomewhereNorthOfNowhere
#Bravewords
#ProgRock
#ScienceAndArt
#KevinMoore
#ProphecyProductions
#TheHarvest

Dymna Lotva -Willothewisp

https://youtu.be/ggJijOuvY-k

#music #metal #doommetal #postmetal #dymnalotva #prophecyproductions

Fen - Scouring Ignorance [Official Music Video]

https://youtu.be/AUnu0FgbF5M

#music #metal #blackmetal #fen #prophecyproductions

Austere - Sullen [Official Music Video]

https://youtu.be/6_S4T28BtuM

#music #metal #blackmetal #Austere #prophecyproductions

Fvnerals - Yearning

https://youtu.be/ehhkVN_qSIM

#music #metal #heavymetal #ambientdoom #fvnerals #prophecyproductions