#satyricon — Public Fediverse posts

So krass, das Satyricon-Debüt - vor dem Hintergrund, dass Satyr und Frost damals um die 17 waren … Fast so genial wie Emperor. Ich komme aktuell nicht los von „Dark Medieval Times“. #satyricon

Aaaah, endlich Feierabend 🎧 #Satyricon

Kennt jemand das Album „Satyricon & Munch“? Ich denke, ich höre es gerade so, wie es gedacht ist - unter Kopfhörern, beim Betrachten der Munch-Werke im Booklet. Funktioniert auch ohne den Rahmen der Ausstellung, für die diese Komposition entstanden ist. #satyricon

Guter Sound, wenn man von allem genervt ist 🔥🕺 #Satyricon

@trendskater Immer Daumen hoch für #Satyricon, wobei ich ganz bewusst die ersten drei Alben vergöttert habe und „Nemesis Divina“ (für mich) definitiv die absolute Klimax war. 1996. Hach. 🖤🤘🏻

Morrrrrrn! 🕺😈 #satyricon

Nihil Admiral – The Axes, the Flesh Hooks and the Spits Review

Veiled in mystique, Nihil Admiral proves elusive as details about them dance outside my reach. Lacki…
#NewsBeep #News #Music #2.0 #2026 #Aug26 #BlackMetal #CA #Canada #Corroder #Darkthrone #Entertainment #GameofThrones #GoattheHead #Hellripper #Misotheist #NihilAdmiral #NorwegianMetal #Paysaged'Hiver #RaminDjawadi #RawBlackMetal #Rekviem #review #reviews #Satyricon #TheAxestheFleshHooksandtheSpits
https://www.newsbeep.com/ca/894495/

https://www.europesays.com/ie/686793/ Nihil Admiral – The Axes, the Flesh Hooks and the Spits Review #20 #2026 #Aug26 #BlackMetal #Corroder #Darkthrone #Éire #Entertainment #GameOfThrones #GoatTheHead #Hellripper #IE #Ireland #Misotheist #Music #NihilAdmiral #NorwegianMetal #PaysageD'Hiver #RaminDjawadi #RawBlackMetal #Rekviem #Review #Reviews #Satyricon #TheAxesTheFleshHooksAndTheSpits

Veiled in mystique, Nihil Admiral proves elusive as details about them dance outside my reach. Lacking a traditional landing page on socials or the Archives,1 I’m forced to draw conclusions and inferences without the comfort of cross-reference materials I usually take for granted. I’m not flying completely blind, though, as Nihil Admiral’s promo materials mention that this Trondheim, Norway troupe features members from Misotheist, Corroder, Goat the Head, and others. While no specific band members are mentioned in the press kit, the Bandcamp page for single “Life’s Lower Phase” offers a few names, though it’s unclear whether they’re all full-time members of Nihil Admiral’s debut. Regardless, involvement doesn’t necessarily beget quality, so let’s dive in and test how sharp The Axes, the Flesh Hooks and the Spits really are.

From the gritty production to the grainy, snowbound album art, The Axes could only be raw black metal. And as you might expect from a name like Nihil Admiral, the atmosphere is rife with lawlessness and wiolence. Given the raw aesthetic the band perpetuates, Nihil Admiral recalls early Darkthrone and Satyricon seen through the lens of Paysage d’Hiver. Misotheist supplies another suitable reference point, as The Axes’ furiously driving compositions remind me of the most aggressive moments in Misotheist’s discography, even if Nihil Admiral’s song lengths better map to crossover thrash. Given the high regard these inspirations engender, it should be no surprise that from moment to moment Nihil Admiral delivers wonderfully wicked black metal.

Rime-ridden, icy fury whips at each track on The Axes, defining the black metal onslaught permeating Nihil Admiral’s debut. Rabid tremolos fill scant runtimes along with manic blast beats and coarse, deathly roars (“The Axes, the Flesh Hooks, and the Spits”), which submit a welcome contrast against the requisite blackened rasps.2 Nearly every track launches its assault with frenzied riffs and an ugly barrage of snare ‘n’ kick abuse, and Nihil Admiral does it convincingly. “Stare” begins with a thrashy lick guaranteed to get heads banging while a scorching guitar gallops past with Hellrippering speed and riffcraft. Conversely, penultimate track “Southern Cross” enters with a slower, synth-forward build before loosing the tempestuous fury Nihil Admiral commands so well. Over eight lean tracks, The Axes, the Flesh Hooks and the Spits slash and skewer with keen edges.

However, despite the murderous precision of Nihil Admiral’s instruments, The Axes leaves more impression than impact. The band sounds properly pissed off, but I struggle to remember any of The Axes’ songs besides the back half of “The Eye of Logic,” and that’s only because of its similarity to Ramin Djawadi’s Game of Thrones title sequence. Otherwise, The Axes, the Flesh Hooks and the Spits’ meager runtime passes by in a scathing yet fleeting flurry. And speaking of the runtime, Nihil Admiral’s twenty-five minutes aren’t enough to satisfy. I usually applaud a less-is-moar approach, but given that The Axes doesn’t do enough to develop their arrangements, such a concise runtime suggests a lack of ideas that would have been better off marinating rather than serving half-baked. Closing track “Its Own Beyond” provides an apt example, where horns subtlety support guitar trems as they blur into an exciting mixture before the song just… ends. Potential abounds, and refining the songwriting to intentionally mold tension would have gone a long way towards delivering a more effective conclusion to The Axes, and applied across the album would have manifested a better experience altogether.

Though I’m left disappointed by Nihil Admiral’s debut, I’m excited by their potential. Captivating second-wave worship lives here, with glimmers of originality shimmering through the cracks. Unfortunately, the album is held back by an abrupt duration that doesn’t allow tracks to mature into their best possible forms. The Axes, the Flesh Hooks and the Spits doesn’t shy away from remorseless music subscribed to nihilism, but neither do these deadly implements hook me with their blackened burs. Even though The Axes miss their mark, with more deliberate songwriting I’m confident that next time Nihil Admiral wrests the reins of chaos, they can seize listeners with an experience worthy of their rank.

Rating: Disappointing
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Rekviem
Websites: Bandcamp3
Releases Worldwide: August 14th, 2026

Currently performing: #Satyricon 📍 #AlcatrazOpenAir

https://www.europesays.com/fi/286062/ Nummirock 40v: Torstain Festivaaliraportti – KaaosZine #AndOceans #asagraum #DeathbyRomy #Entertainment #FI #Finland #Finnish #gaerea #grave #KneelBeforeDeath #Music #Musiikki #nummirock #satyricon #SlowFall #Suomi #SwallowTheSun #TheGreatOstrobothnianTrendkiller #Thyrargo #viihde #wolfheart

@funkel @arnemart ok, Marduk e litt poser 🦄

Men eg tror du må spandere noe øl nå for å bevare freden 😂

#Deafheaven #Alcest #CradleOfFilth #Marduk #Gorgoroth #Satyricon #Kvelertak

Cradle må virkelig ha gitt inntrykk siden de blir nevnt 2 ganger 🫢

Nummirock Celebrated Its 40th Anniversary

https://voiceofnoir.com/2026/06/22/nummirock-celebrated-its-40th-anniversary/

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

"Satyricon & Munch" is amazing 👌

IMO one of the best things #Satyricon recorded in last 2 decades.

https://www.europesays.com/es/533462/ DIMMU BORGIR, SATYRICON y ENSLAVED agotan las entradas para el gran evento del Black Metal noruego #BlackMetal #DIMMUBORGIR #ENSLAVED #Entertainment #Entretenimiento #ES #España #MetalSinfónico #Music #Música #satyricon #Spain

#siverthoyem #satyricon

Dimmu Borgir, Satyricon and Enslaved booked for Norway’s Halloween “Super Bowl of Black Metal”

Dimmu Borgir have announced a Halloween homecoming dubbed “Unholy Halloween.” The Norwegian symphonic black metal outfit will headline…
#Norway #NO #Europe #Europa #EU #DimmuBorgir #Enslaved #hardcore #Lambgoat #Metal #News #Noreg #Norge #norway #nyheter #Satyricon
https://www.europesays.com/2904093/

https://www.europesays.com/2904093/ Dimmu Borgir, Satyricon and Enslaved booked for Norway’s Halloween “Super Bowl of Black Metal” #DimmuBorgir #Enslaved #hardcore #Lambgoat #Metal #News #Noreg #Norge #norway #nyheter #Satyricon

Dimmu Borgir, Satyricon and Enslaved booked for Norway’s Halloween “Super Bowl of Black Metal” https://www.byteseu.com/1925321/ #DimmuBorgir #Enslaved #hardcore #Lambgoat #Metal #News #Norway #Satyricon

https://www.europesays.com/dk/57003/ Dimmu Borgir, Satyricon & Enslaved Announce ‘Unholy Halloween’ Arena Show In Oslo #DimmuBorgir #Enslaved #Norway #Oslo #Satyricon

Three Norwegian black metal giants. One stage. One night.

Dimmu Borgir, Satyricon, and Enslaved unite this Halloween in Oslo.

Details: https://metalinsider.net/news/dimmu-borgir-satyricon-enslaved-unite-for-oslo-halloween-2026-show

#BlackMetal #DimmuBorgir #Satyricon #Enslaved

https://www.europesays.com/uk/845092/ Via Doloris – Guerre et Paix Review #1349 #1914 #2026 #35 #AnaalNathrakh #AtmosphericBlackMetal #BlackMetal #BlutAusNord #Entertainment #Fluisteraars #GuerreEtPaix #Havukruunu #Mar26 #music #NorwegianMetal #PaganBlackMetal #Review #Reviews #Satyricon #SeasonOfMist #UK #UnitedKingdom #ViaDoloris

Sometimes a record practically introduces itself with a shrug. Take Via Doloris and their debut Guerre et Paix. The band name? A shortened nod to the Via Dolorosa. The death of Jesus and some “suffering-as-identity” vibes that we’ve seen a thousand times in black metal. The album title? Literally War and Peace in French. The cover art? You’ve seen it. You have seen it—some grayscale, vaguely haunted expanse that could just as easily front a dozen other releases clogging up the “give in to your anger” section. None of this is a crime on its own, but stack all these choices together, and they start pinging that lizard-brain reviewer alarm: this looks like a mid-tier black metal album before a single note even plays. Then there’s the promo copy, dutifully promising “a passage through pain in search of meaning, and the distant, flickering promise of rebirth.” Is this thing good, or is it just another entry in the ever-expanding catalog of metal-by-numbers?

Via Doloris is the solo project of guitarist Gildas le Pape, who spent several years performing live with Satyricon, and Guerre et Paix marks his debut under the moniker. The sound is a comfortable middle ground between more straightforward, blast-driven, 2nd-wave riffing and more expansive, atmospheric impulses, with le Pape’s melody-forward riffs driving the compositions. His guitar work never veers too far off the blackened path, but he imbues each riff with a sneaky melodicity and deploys a fair amount of variety in his 6-stringed attack. There are notes of Havukruunu-esque pagan black melodies (“Communion”), swirling Blut Aus Nord icy arpeggios (“Omniprésents”), and searing, Anaal Nathkrakh-flavored bouts of black metal destruction (“For The Glory”). Throughout it all, le Pape’s knack for catchy, multi-faceted blackened riff-craft shines through. The parts are at once hypnotic and aggressive, and often deepened through intricate guitar layers, allowing songs to flow seamlessly between movements. I’ve found the entrancing outro to “Ultime Tourment” or the Fluisteraars-like motif of “Visdommens Vei 1” stuck in my head for weeks during the review, a testament to the strength of the guitar parts on display and to their immersive effect.

The songs on Guerre et Paix largely sit in the 6–7 minute range, and while Via Doloris doesn’t always wring every possible peak out of that runtime, le Pape makes it feel purposeful more often than not. A track like “Un Franc Soleil” is built around an engaging central riff that subtly evolves as the song progresses, even if it stops just shy of a full-blown crescendo. This approach carries across the record: rather than leaning on dramatic shifts, le Pape favors gradual layering and textural changes, letting songs breathe and unfold at their own pace. The songwriting tends to stick to a core tempo and feel, with variation coming from added guitar layers, drum patterns, or ambient elements rather than structural overhauls. While this can create a meditative consistency that makes certain parts and songs blend together, it ultimately works in the album’s favor, giving Guerre et Paix a cohesive, immersive flow that reinforces the strength of its ideas over the course of a full listen.

This is all buoyed by a seriously sharp production job. Guerre et Paix sounds immaculate. Produced by le Pape and mixed with Nicolai Codling, it opts for clarity over the genre’s usual haze with crystalline guitars front and center, cutting cleanly through even the densest passages. They’re icy but precise, with every layered phrase coming through intact instead of dissolving into mush. Frost (Satyricon, 1349) turns in a characteristically stellar session performance, and the mix gives him room to flex. The drums have a warm, natural quality to them that showcases a varied performance. It allows the more subdued sections to breathe while still filling the mix during more intense, blast-heavy moments. It all comes together to elevate the album’s most dynamic touches, letting details like the choral swell in “Omniprésents” or the melancholic closing progression of “Communion” land exactly as they should.

As it turns out, Guerre et Paix lands comfortably above the genre’s overcrowded middle tier. Via Doloris has delivered an immersive and nuanced atmospheric black metal record, carried by memorable, melodic guitar work that unfolds beautifully over contemplative songs. It sounds amazing and marks le Pape as a promising voice within the space. This is way better than the somewhat generic packaging would suggest.



Rating: 3.5/5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Season of Mist
Websites: viadoloris.bandcamp.com | instagram.com/via.doloris
Releases Worldwide: March 20th, 2026

Seeing an album described as “blackened death metal” almost always gets my juices flowing. The problem with that tag, however, is that it can mean anything from weird avant-garde blackened dissodeath (yuck) to Christcrushing necronuclear Blasphemy-worshipping goat metal (fukk yeah!!). But Bloodred are neither of those things. This German band is technically a duo but is really more like the solo project of vocalist, guitarist, and bassist Ron Merz, who’s been enlisting the talents of drummer Joris Nijenhuis (ex-Atrocity, ex-Leaves’ Eyes) since the band’s first releases back in the mid-2010s. I admittedly hadn’t heard of these guys when I saw their name crop up in our promo bin, but I decided to give their back catalog a whirl when I saw Amon Amarth was tagged as a similar artist on Encyclopedia Metallum. It turns out that comparison isn’t entirely off the mark, as the group’s three prior albums generally do sound like a band capitalizing on Amon Amarth’s more epic moments while increasing the black metal influence and stripping away a lot of the melody.

With fourth album Colours of Pain, Ron has again kept himself within the blackened death sphere, this time by producing what’s essentially a modern black metal album that still contains enough variety and heavier flourishes to keep it from being trapped solely within that genre’s confines. Roughly half the songs here are similar to the opener, “Ashes,” which faintly recalls Satyricon in how it bobs forward on rocking rhythms that support Ron’s wretched, raspy growls and headnod-worthy riffs. The song is a decent tune with guitar-work that’s clear and assertive, if somewhat unremarkable. Of the other songs in this style, “Mindvirus” and the closer, “Resist,” are the best of the bunch, with snappy mid-tempo drumming and catchy, “riding to war” riffs that are sure to earn them a spot on my future jogging playlists. In much of the record’s second half, things drift more into post-black metal territory, with tracks like “Death Machine” using slightly slower passages, flashes of melody, and high-register guitars to conjure the melodrama of stuff like Woods of Desolation.

On paper, Colours of Pain seems to be a pretty diverse set of songs. Yet, somehow, it still comes across as oddly homogenous. In part, this issue may be caused by Joris’s drumming: While I enjoy the man’s beats, I wouldn’t call his performance particularly dynamic, with much of the album cruising pleasantly along at a similar tempo. As a result, many of the songs end up having a similar overall feel, even when the underlying riffing is quite different. The blame is not solely his, however. While Ron employs some decent riffs here, he never delivers anything that truly grabs you by the balls, resulting in an album that requires a decent amount of undivided attention to reveal its charms. The production has a clear and balanced sound that reminds me of Art of Propaganda signees like Harakiri for the Sky, which works for Bloodred’s style but exacerbates the album’s homogeneity a bit by coming across just a touch too loud and clean for me.

Despite these shortcomings, Colours of Pain remains an enjoyable release overall, and its highlights become increasingly apparent with repeated listens. The title track, for instance, shifts between a nice shuffling, mid-tempo riff and more traditional black metal hammering, resulting in a cool song that sounds something like a socially-conscious version of Belphegor. “Heretics” is another good cut, featuring an odd sidewinding riff and a particularly combative tremolo line. The backing operatic vocals in “Winds of Oblivion” and the climax of “Ashes” are also a nice touch, with the former track also serving as one of the album’s only true “slow” songs (making it a perfect lead-up to the boisterous closer, “Resist”).

Colours of Pain is the type of album that you can put on for any extreme metal fan, and while they may not love it, they almost certainly won’t hate it. Although initial impressions suggest an album that’s too inoffensive for its own good, repeat listens reveal a record with enough quality ideas and variety to keep it from being just extreme metal elevator music. What’s more, a perusal of Bloodred’s website shows that Ron seems quite passionate about the music he makes and the politically tinged lyrics that color these songs. In all, if you’re looking for a modern extreme metal album that goes down easy, you could do far worse.



Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Massacre Records
Websites: bloodred.bandcamp.com | bloodredband.com | facebook.com/bloodredofficial
Releases Worldwide: February 13th, 2026

È completo l’ultimo numero della rivista #PEML, dedicato alla storia dei #testi e delle #edizioni. Il volume approfondisce la #scrittura, le sue varianti e i processi di pubblicazione, con particolare attenzione alla #criticatestuale. I contributi spaziano dall’epistolario di #UgoFoscolo alle conferenze di #AntonioStoppani, fino alle varianti del #Satyricon e di "Amo, dunque sono" di #SibillaAleramo.

⬇️ Disponibile qui in #OpenAccess:https://riviste.unimi.it/index.php/PEML/issue/view/2676?mtm_campaign=mastodon

#filologia
@cultura

And that's how it all began?? 🌚 #satyricon

Jeffrey's Bay; Shark Mermaid attack, CJ mcCreery. Byzantine WHORE Demmink CJ mcCreery!!!!! SABC Capetown timeline computers!!!
#luyanda #sabc #capetown #timelines #leeuwarden #samyaza #princeclaus #sharknado #doodseskader #satyricon #gracellachromium #whoreofbyzantium #ishtarinanna

So Satyricon assumes by telling us what we already know... anything is going to change? Yes you know, we know, now what? It's not making me move, it's not making you move until somebody does something... We're in the Zeta-snare. #king #satyricon #zetasnare #luciferexperiment #siverthoyem

Morbikon – Lost Within the Astral Crypts

By Owlswald

When he’s not dealing in the Slime and Punishment of Municipal Waste or pissing off the neighbors with Iron Reagan, axe-wielder Phil “Landphil” Hall channels his focus into Morbikon. Formed in 2020, Hall’s black metal side-project earned recognition from AMG Industries when Ferox highlighted the supergroup’s debut, Ov Mournful Twilight, as his surprise record of 2022. Rooted in all things kvlt and trve, the album’s second wave frostbitten anthems plunged into the remnants of burned churches and stale corpse paint, resulting in “eight meloblack rippers calibrated to bring winter to your soul and whiplash to your neck.” Now, Morbikon’s sophomore LP finds Hall honing his homage to the black arts, promising to descend his creation into a deeper, more sepulchral state. Ignite your torch and prepare the Necronomicon—it’s time to get Lost Within the Astral Crypts.

Lost Within the Astral Crypts forges the scorched spirit of Ov Mournful Twilight into a leaner, more technical and overwhelmingly black entity. Drawing on the lineup’s pedigree, Morbikon’s collective talent coalesces into an authoritative, and at times downright impressive, synthesis of 90s-influenced blackened thrash. Vocalist Mathias “Vreth” Lillmåns (Finntroll, …And Oceans) returns with his characteristic throat-ripping vocals, as furious down-picked riffs and swarming, lightning-quick tremolodic scales consistently anchor the material firmly in the black. Complementing Hall’s stylish fretwork, drummer Pierce Williams (Ænigmatum, ex-Skeletal Remains)—who replaces Dave Witte—adds raw, destructive rhythms with tight rolls and syncopations that are both refreshing and sophisticated. Tracks like “Unending Legions of Baal,” “Masters of Eternal Night” and “Flames that Bind and Shadows Cast” evoke a full-on black metal assault reminiscent of Satyricon or Emperor, complete with pounding double bass and subtle synths, while “Ghoul Infested Mausoleum” and “Heavens that Burn and Eons Divided” push the envelope with airy Wintersun melodicism peppered with thrash savagery.

The necrotic might of Lost Within the Astral Crypts rests in Morbikon’s technical excellence, elevating the album’s eight tracks beyond the seminal Scandinavian sound. Worshipping at the altar of the almighty riff, Hall and company immediately demonstrate their capabilities on “Heavens that Burn and Eons Divided”—an energetic, fun and melodic banger driven by a potent layered tremolo attack, fantasy-toned leads and Williams’ tomb-raiding blasts that promptly underscore Morbikon’s technical ambition. “Ghoul Infested Mausoleum” features the record’s best tremolo riff: a spectral high/low scale progression imbued with nocturnal gravity, bolstered by Williams’ accented beats and Lillmåns’ gnarly shrieks. Shreddy, virtuosic solos on the title track, “Flames that Bind and Shadows Cast” and “Numeric Portal Ascendency” push Lost Within the Astral Crypts past the point of a stereotypical tremolo-fest, while strategic thrash and death explorations (such as the opening passage of “Flames that Bind and Shadows Cast”) help maintain listener interest before regrounding the album’s dark, aggressive roots.

Given Morbikon’s stellar execution and the album’s efficient 43-minute runtime—with little bloat to be found—any criticism must instead focus on Lost Within the Astral Crypts’ songwriting. “Masters of Eternal Night” is a serviceable track, but often clings too tightly to classic Scandinavian conventions (even adopting a familiar Mayhem-like conclusion), rendering it less engaging than the album’s superior cuts. “Sworn to the Beheaded King” briefly adopts a more aggressive, in-your-face death metal spirit at its midpoint, including a tasteful guitar solo. Yet, these highlights can’t mask the track’s conventionality as it quickly retreats to familiar black metal terrain. Although the monolithic presence of Lost Within the Astral Crypts occasionally falters in favor of genre conventions, stagnant sections (“Ghoul Infested Mausoleum,” “Flames that Bind and Shadows Cast”) and even some superfluous wankery (“Lost Within the Astral Crypts”), the underlying songwriting remains solid, with engaging riffs and hooks that are strong enough to largely sustain the album’s momentum.

Lost Within the Astral Crypts is a worthy reinvention of a well-trodden sound. While the album is certainly not groundbreaking—nor is it trying to be—it demonstrates top-notch musical dexterity and delivers exceptionally well-executed material that is aggressive, dark and steeped in 90s nostalgia. At its weakest, Lost Within the Astral Crypts serves as a grim invitation to exhume those second-wave classics from your collection; at its strongest, it stands as a fun, rock-solid blackened thrash record that advances and validates Hall’s creative vision, confirming Morbikon’s vast potential.

Rating: Good
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Tankcrimes
Websites: instagram.com/morbikon | facebook.com/morbikon
Releases Worldwide: November 21st, 2025

#andOceans #2025 #30 #aenigmatum #americanMetal #blackMetal #emperor #finntroll #ironReagan #lostWithinTheAstralCrypts #mayhem #morbikon #municipalWaste #nov25 #review #reviews #satyricon #skeletalRemains #tankcrimes #wintersun

Gjendød – Svekkelse Review

By Grin Reaper

In a genre defined by trem-picking, unbridled shrieks, and lo-fi, treble-heavy production, Gjendød challenges a paradigm long synonymous with black metal—no bass, no problem. Though unabashedly black metal, Gjendød offers an alternative to typical second-wave stylings while still being recognizably influenced by them. Svekkelse is Gjendød’s sixth LP since founding duo K and KK joined forces in 2015. After releasing I Utakt med Verden in 2022, the Trondheim, Norway twosome enlisted drummer TK1 and Gjendød signed with Osmose Productions. These developments gave listeners 2024’s Livskramper and now Svekkelse. Both albums buck some of the musical stereotypes rife within the genre, yet it takes more than subverting expectations to write an estimable record. Is Gjendød up to the task?

The elements of Gjendød’s sound have been around since the band’s inception, with melodic leads and prominent bass strewn throughout their discography. But things didn’t crystallize until Livskramper, where Gjendød upped their commitment to melody, and the production took a step forward. Svekkelse continues the work Livskramper began. Bassist and vocalist KK’s gargles flirt with early Satyricon, which compounds with the bass-laden mix recalling The Shadowthrone. Musically, Gorgoroth’s Antichrist provides another point of comparison, although KK’s vocals won’t be mistaken for Hat’s croaks. Either way, those illustrious parallels give a suggestion of what to expect, though don’t go into Svekkelse anticipating a reproduction of either. What Gjendød has assembled is a vision all their own.

With dynamic guitar leads, sultry bass grooves, and proficient stickwork, Gjendød has no room for slouches. Every time I spin Svekkelse, it’s all about that bass. It’s so present in the mix that it’s impossible not to be entranced. Though bass is present throughout the album, opener “Likens bortgang” sets strong expectations. And when the pace slows in “En staur i hjertet,” the bass ambles out the gates to carry the melody with trem-picked chords underpinning blackened rasps. It would all be for naught if the bass-playing wasn’t accomplished enough to merit the spotlight. In this regard, KK does not disappoint, as bass lines slink with groovy, understated elegance. Gjendød’s talent isn’t limited to four-string heft,2 though, as guitarist K does a swell job through Svekkelse’s forty-two minutes. The tremolos are well-executed but standard black metal fare, and he spices things up with calculated whammy abuse (“Likens bortgang”), inducing surf-rock flavors when employed. K also tucks some nifty solos into Svekkelse, my personal favorite being in “Maktens sødme,” and occasionally inhabits skronky Voivodian territory (“Maktens sødme,” “En elv av kjøtt”). Rounding out the trio, drummer TK braces the band ably and unobtrusively, and while there’s no show-stopping kit work, the music never flags or sags for lack of a rhythmic cornerstone.

Churning out an album in a year is no mean feat, but more time between releases could have helped address the nagging issues holding Svekkelse back. Final track “Den falske råte” is a nasty, seven-minute ode to Norwegian black metal fury. It captures that sound well, but doesn’t connect with the preceding songs enough. Dropping it and pushing “En staur i hjertet” to the end would have made the album tighter, more consistent, and still allowed for a sprawling conclusion with sufficient gravity. Also, while there aren’t any bad songs on Svekkelse, the quality dips in the back half. Specifically, mid-paced sections muck with the overall flow, and the songs aren’t quite as memorable, making for a front-loaded listen. Despite these reservations, Gjendød delivers a success. While a high DR score isn’t a guarantee, the mix and master on Svekkelse are superb, deftly blending raw guitar and vocals with smooth, buttery bass. In total, there’s a lot to like.

Gjendød’s latest imparts a groovy twist on black metal in a one-sitting dose, which is better than a fair number of albums I’ve listened to this year. While Svekkelse won’t list for me, I expect I’ll return to it when I hear other promising black metal albums deficient in vitamin bass. Gjendød has defined a trademark sound, and with a little more attention to honing their songcraft, their next album could be something special. As it stands, Gjendød are on the cusp of something better, but after several listens, I’m not entirely convinced. Regardless, I’m invested in the evolution of their sound and excited to hear where they take things next.

Rating: Good!
DR: 10 | Format Reviewed: 320 kpbs mp3
Label: Osmose Productions
Website: Facebook
Releases Worldwide: September 26th, 2025

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Watched #Fellini #Satyricon last night, and saw the English dub; haven't watched that in a very long time. It's easier to watch if you're not trying to read the subtitles, but the English dub is quite a bit different from the English subtitles in the Italian version. A lot more cussing, for one: Encolpio keeps calling Ascylto "a shit", which had me laughing out loud more than once.

opinion: #satyricon fully embracing the black'n'roll sound on their more recent albums was a great idea. perfect fit for frost's bonham-y hammering on drums. also: bringing in sivert hoyem!

https://www.youtube.com/watch?v=Ws2MCnKtRX8