#sleeptoken — Public Fediverse posts

And don't you know I want to help you but I don't know how?

And are you really okay?

😭

#SleepToken

And don't you know I want to help you but I don't know how?

And are you really okay?

😭

#SleepToken

If you're curious about what's exactly happening on the drums, I just uploaded the isolated version of my latest cover 😃

Hope you like it, ciao!

:boost_requested:

https://makertube.net/w/axpkvitt4sUhbxwUDej3T9

#PeerTube #MakerTube #Video #FediArt #Artist #Art #Artists #Musician #Musicians #Music #MusiciansOfMastodon #MastoArt #Musodon #Drummer #Drums #Dreadlocks #Recording #Studio #DrumCover #SleepToken

If you're curious about what's exactly happening on the drums, I just uploaded the isolated version of my latest cover 😃

Hope you like it, ciao!

:boost_requested:

https://makertube.net/w/axpkvitt4sUhbxwUDej3T9

#PeerTube #MakerTube #Video #FediArt #Artist #Art #Artists #Musician #Musicians #Music #MusiciansOfMastodon #MastoArt #Musodon #Drummer #Drums #Dreadlocks #Recording #Studio #DrumCover #SleepToken

If you're curious about what's exactly happening on the drums, I just uploaded the isolated version of my latest cover 😃

Hope you like it, ciao!

:boost_requested:

https://makertube.net/w/axpkvitt4sUhbxwUDej3T9

#PeerTube #MakerTube #Video #FediArt #Artist #Art #Artists #Musician #Musicians #Music #MusiciansOfMastodon #MastoArt #Musodon #Drummer #Drums #Dreadlocks #Recording #Studio #DrumCover #SleepToken

If you're curious about what's exactly happening on the drums, I just uploaded the isolated version of my latest cover 😃

Hope you like it, ciao!

:boost_requested:

https://makertube.net/w/axpkvitt4sUhbxwUDej3T9

#PeerTube #MakerTube #Video #FediArt #Artist #Art #Artists #Musician #Musicians #Music #MusiciansOfMastodon #MastoArt #Musodon #Drummer #Drums #Dreadlocks #Recording #Studio #DrumCover #SleepToken

If you're curious about what's exactly happening on the drums, I just uploaded the isolated version of my latest cover 😃

Hope you like it, ciao!

:boost_requested:

https://makertube.net/w/axpkvitt4sUhbxwUDej3T9

#PeerTube #MakerTube #Video #FediArt #Artist #Art #Artists #Musician #Musicians #Music #MusiciansOfMastodon #MastoArt #Musodon #Drummer #Drums #Dreadlocks #Recording #Studio #DrumCover #SleepToken

Luca Mancini - Sleep Token - Chokehold - Drum Cover (Isolated Drums)

https://makertube.net/w/axpkvitt4sUhbxwUDej3T9

Luca Mancini - Sleep Token - Chokehold - Drum Cover (Isolated Drums)

https://makertube.net/w/axpkvitt4sUhbxwUDej3T9

Late to the party, but really digging #SleepToken these days

Late to the party, but really digging #SleepToken these days

Over a decade removed from the djent boom of the early 2010s, stylistic flagbearers Periphery have settled into a comfortable routine, periodically regrouping from side projects and business ventures to release a new record every few years. Cracks in that formula began to show on 2023’s Periphery V: Djent Is Not a Genre, where the compositions started to feel both formulaic and scattershot. Their new release, A Pale White Dot, is their first non-numbered album since the two-part Juggernaut (2015). It seems intended as a departure from their established release pattern and a chance to reconnect with a more instinctive, creatively driven approach written from a “top-down” perspective shaped by themes of isolation and loneliness. Periphery remains one of my favorite bands (even if I find myself stuffed into the occasional AMG locker for this opinion), and I’m always excited by the prospect of their technically minded, melodic, and smartly written take on progressive metalcore. By centering this record around a more focused concept and shedding some of the expectations attached to their numbered releases, can this league of extraordinary “djentlemen” deliver another satisfying dose of syncopated brilliance?

As Juggernaut did for Periphery I and II, A Pale White Dot streamlines the maximalist hyper-technicality of Periphery III–V in service of its concept, even if that comes at the expense of what once made the band so compelling. Periphery helped define the 2010s metalcore formula of “djent riff + soaring clean chorus + breakdown,” a blueprint that would eventually shape modern heavyweights like Sleep Token and Spiritbox. Their music could pivot seamlessly between dizzying guitar acrobatics and polished melodic hooks without sacrificing momentum, turning even the most familiar structures into sprawling narrative journeys. A Pale White Dot is the first record where this strength fades into the background, with a diminished presence of the “pure-riffery” and progressive elements the band is known for. With a few exceptions (the psychotic opening riff of “Malevolent” or the bombastic bridge of “Everyone Dies Alone”), a set of shorter songs is largely held together by straightforward chugs and massive vocal-forward choruses. Periphery still sounds like themselves, but the overall shape of these songs is far closer to run-of-the-mill “Octanecore” than ever before. For the first time in their career, it feels like Periphery is merely iterating on popular sounds, rather than pushing them forward.

I’d describe the songcraft on A Pale White Dot as frustratingly competent. Periphery clearly knows what they’re doing every step of the way, and the band still finds ways to inject personality and variety into familiar formulas, even as their material sounds increasingly more generic. As always, the musicianship is absurdly sharp across the board, and once you acclimate to his squeaky pop cleans, vocalist Spencer Sotelo proves to be an essential ingredient in this polyrhythmic pie. His delivery feels more powerful than ever, shifting effortlessly between varied harsh vocals and emphatic arena-ready hooks. “Mr. God” and “Subhuman” land as earth-shaking djentcore bruisers, but beyond this, each track demonstrates a surprising diversity of moods. Subdued, vocal-driven tracks erupt into blackened tremolo passages (“Obsession”) or ludicrous mid-song breakdowns (“Carry On”), while songs like “Talk” and “Heaven on High” recapture the band’s classic sense of breakneck momentum, swerving between entertaining djent, crushing breakdowns, and massive refrains. Despite these turns, the whole package feels decidedly safe. The different song sections arrive with predictable timing, and certain chorus chord progressions/melodies begin to feel so familiar that some climactic moments lose their impact, especially when a weaker hook like “Unlocking” fails to justify the buildup.

Whereas my favorite moments on past Periphery records tend to come from huge, cathartic climaxes, some of the strongest passages on A Pale White Dot instead lean into understated nuance. “Blackwall” follows in the footsteps of “Silhouette” from Periphery V as a synth-pop-leaning earworm, but its most compelling moment is an expansive IDM-influenced middle section where synth washes and digital percussion fully take over. The titular closing track is another quiet highlight, built around a delicate acoustic guitar melody wrapped in subtle electronic atmosphere. There are other standout sections, like the wisteria-tinged progression of “Neon Valley’s” chorus or the emotional guitar solo of “Everyone Dies Alone.” These highs serve as memorable moments that anchor repeat listens, even if no single track quite reaches the heights of the band’s very best work.

A Pale White Dot is an album that’s easy to admire on a craftsmanship level, but hard for me to connect with. Periphery remain highly accomplished musicians and effective songwriters. As a fan of their style, there are still plenty of moments and tracks to enjoy throughout. At the same time, this record marks a noticeable streamlining of their sound, trading much of their trademark progressiveness and technical intricacy for more straightforward material that sits closer to contemporary metalcore than much of their earlier work. It’s far from bad, but I’d be hard-pressed to pick it over any other Periphery album.

Rating: 2.5/5.0
DR: N/A | Format Reviewed: Stream to end all streams
Label: 3Dot Recordings
Websites: periphery.net | facebook.com/PeripheryBand
Releases Worldwide: May 15th, 2026

Over a decade removed from the djent boom of the early 2010s, stylistic flagbearers Periphery have settled into a comfortable routine, periodically regrouping from side projects and business ventures to release a new record every few years. Cracks in that formula began to show on 2023’s Periphery V: Djent Is Not a Genre, where the compositions started to feel both formulaic and scattershot. Their new release, A Pale White Dot, is their first non-numbered album since the two-part Juggernaut (2015). It seems intended as a departure from their established release pattern and a chance to reconnect with a more instinctive, creatively driven approach written from a “top-down” perspective shaped by themes of isolation and loneliness. Periphery remains one of my favorite bands (even if I find myself stuffed into the occasional AMG locker for this opinion), and I’m always excited by the prospect of their technically minded, melodic, and smartly written take on progressive metalcore. By centering this record around a more focused concept and shedding some of the expectations attached to their numbered releases, can this league of extraordinary “djentlemen” deliver another satisfying dose of syncopated brilliance?

As Juggernaut did for Periphery I and II, A Pale White Dot streamlines the maximalist hyper-technicality of Periphery III–V in service of its concept, even if that comes at the expense of what once made the band so compelling. Periphery helped define the 2010s metalcore formula of “djent riff + soaring clean chorus + breakdown,” a blueprint that would eventually shape modern heavyweights like Sleep Token and Spiritbox. Their music could pivot seamlessly between dizzying guitar acrobatics and polished melodic hooks without sacrificing momentum, turning even the most familiar structures into sprawling narrative journeys. A Pale White Dot is the first record where this strength fades into the background, with a diminished presence of the “pure-riffery” and progressive elements the band is known for. With a few exceptions (the psychotic opening riff of “Malevolent” or the bombastic bridge of “Everyone Dies Alone”), a set of shorter songs is largely held together by straightforward chugs and massive vocal-forward choruses. Periphery still sounds like themselves, but the overall shape of these songs is far closer to run-of-the-mill “Octanecore” than ever before. For the first time in their career, it feels like Periphery is merely iterating on popular sounds, rather than pushing them forward.

I’d describe the songcraft on A Pale White Dot as frustratingly competent. Periphery clearly knows what they’re doing every step of the way, and the band still finds ways to inject personality and variety into familiar formulas, even as their material sounds increasingly more generic. As always, the musicianship is absurdly sharp across the board, and once you acclimate to his squeaky pop cleans, vocalist Spencer Sotelo proves to be an essential ingredient in this polyrhythmic pie. His delivery feels more powerful than ever, shifting effortlessly between varied harsh vocals and emphatic arena-ready hooks. “Mr. God” and “Subhuman” land as earth-shaking djentcore bruisers, but beyond this, each track demonstrates a surprising diversity of moods. Subdued, vocal-driven tracks erupt into blackened tremolo passages (“Obsession”) or ludicrous mid-song breakdowns (“Carry On”), while songs like “Talk” and “Heaven on High” recapture the band’s classic sense of breakneck momentum, swerving between entertaining djent, crushing breakdowns, and massive refrains. Despite these turns, the whole package feels decidedly safe. The different song sections arrive with predictable timing, and certain chorus chord progressions/melodies begin to feel so familiar that some climactic moments lose their impact, especially when a weaker hook like “Unlocking” fails to justify the buildup.

Whereas my favorite moments on past Periphery records tend to come from huge, cathartic climaxes, some of the strongest passages on A Pale White Dot instead lean into understated nuance. “Blackwall” follows in the footsteps of “Silhouette” from Periphery V as a synth-pop-leaning earworm, but its most compelling moment is an expansive IDM-influenced middle section where synth washes and digital percussion fully take over. The titular closing track is another quiet highlight, built around a delicate acoustic guitar melody wrapped in subtle electronic atmosphere. There are other standout sections, like the wisteria-tinged progression of “Neon Valley’s” chorus or the emotional guitar solo of “Everyone Dies Alone.” These highs serve as memorable moments that anchor repeat listens, even if no single track quite reaches the heights of the band’s very best work.

A Pale White Dot is an album that’s easy to admire on a craftsmanship level, but hard for me to connect with. Periphery remain highly accomplished musicians and effective songwriters. As a fan of their style, there are still plenty of moments and tracks to enjoy throughout. At the same time, this record marks a noticeable streamlining of their sound, trading much of their trademark progressiveness and technical intricacy for more straightforward material that sits closer to contemporary metalcore than much of their earlier work. It’s far from bad, but I’d be hard-pressed to pick it over any other Periphery album.

Rating: 2.5/5.0
DR: N/A | Format Reviewed: Stream to end all streams
Label: 3Dot Recordings
Websites: periphery.net | facebook.com/PeripheryBand
Releases Worldwide: May 15th, 2026

🔥 #HAKEN is terug van weggeweest.
Na drie jaar stilte dropt de prog metalband de nieuwe single ‘in a fever dream’.
Voor het eerst werkte de band samen met producer George Lever (bekend van o.a. #Loathe, #SleepToken).

Check mijn BIR nieuwsitem:
🤘 https://www.brothersinraw.com/post/sounds-haken-in-a-fever-dream

#elestepariosiberiano does #SleepToken ‘s The Summoning: https://www.youtube.com/watch?v=IMAX4xtCX6Y #drumming #music

#elestepariosiberiano does #SleepToken ‘s The Summoning: https://www.youtube.com/watch?v=IMAX4xtCX6Y #drumming #music

A few days ago, I finally uploaded my latest drum cover!

This is "Chokehold" by Sleep Token, I hope you like it!

Enjoy 🙃

:boost_requested:

https://makertube.net/w/pk2AXKtpk36JpyY4S4Ez7J

#FediMusic #FediArt #Artist #Art #Artists #Musician #Musicians #Music #MusiciansOfMastodon #MastoArt #Musodon #Rock #Metal #Drums #Drummer #SleepToken

A few days ago, I finally uploaded my latest drum cover!

This is "Chokehold" by Sleep Token, I hope you like it!

Enjoy 🙃

:boost_requested:

https://makertube.net/w/pk2AXKtpk36JpyY4S4Ez7J

#FediMusic #FediArt #Artist #Art #Artists #Musician #Musicians #Music #MusiciansOfMastodon #MastoArt #Musodon #Rock #Metal #Drums #Drummer #SleepToken

Un poco más de música de la mano de Sleep Token, esta vez con la versión instrumental de 'Look To Windward'

#SleepToken

https://youtu.be/xhvpww21-10?si=9x0BTCrCA3DfLQcg

Un poco más de música de la mano de Sleep Token, esta vez con la versión instrumental de 'Look To Windward'

#SleepToken

https://youtu.be/xhvpww21-10?si=9x0BTCrCA3DfLQcg

Sleep Token sorprende con álbum version instrumental completo de «Even In Arcadia» | vía #NaciónRock

https://www.nacionrock.com/sleep-token-sorprende-con-album-version-instrumental-completo-de-even-in-arcadia/

#lanzamientos #sleeptoken

https://www.wacoca.com/media/650957/ SLEEP TOKEN、全米＆全英1位を獲得した『Even In Arcadia』のインスト・アルバムを本日5/8急遽配信！ | 激ロック ニュース #music #SLEEPTOKEN #音楽

Loving the new #SleepToken #EvenInArcadiaInstrumental album!

#music #metal #plex #plexamp #TIDAL

Loving the new #SleepToken #EvenInArcadiaInstrumental album!

#music #metal #plex #plexamp #TIDAL

Luca Mancini - Sleep Token - Chokehold - Drum Cover

https://makertube.net/w/pk2AXKtpk36JpyY4S4Ez7J

Luca Mancini - Sleep Token - Chokehold - Drum Cover

https://makertube.net/w/pk2AXKtpk36JpyY4S4Ez7J

Going through this Thursday working on internal revision paperwork that needs to be done EOD.

With the help of #plexamp and #SleepToken, no task is difficult!

#music #metal #selfhosting #selfhosted #homelab

Going through this Thursday working on internal revision paperwork that needs to be done EOD.

With the help of #plexamp and #SleepToken, no task is difficult!

#music #metal #selfhosting #selfhosted #homelab

Caminar mientras escuchas y disfrutas la música de #SleepToken puede ser una experiencia casi mística. En mi caso, lo es.

Caminar mientras escuchas y disfrutas la música de #SleepToken puede ser una experiencia casi mística. En mi caso, lo es.

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

Escuchar Sleep Token es plantearse entre 'como mola' y 'que orgasmo musical más grande' algo del palo de 'Vessel, quien te hizo daño? :_: '

#SleepToken #VesselEsElCantanteAToEsto #EsUnGrupoDificilDeExplicar #BloodSport #Musica

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

Escuchar Sleep Token es plantearse entre 'como mola' y 'que orgasmo musical más grande' algo del palo de 'Vessel, quien te hizo daño? :_: '

#SleepToken #VesselEsElCantanteAToEsto #EsUnGrupoDificilDeExplicar #BloodSport #Musica

Appeals Court upholds Kat Von D ruling with a catch; same court upholds dismissal of Top Gun case and Sleep Token accused of infringing on photographer.

https://www.plagiarismtoday.com/2026/01/05/3-count-sleep-token/

#Copyright #Tattoo #TopGunMaverick #SleepToken

Appeals Court upholds Kat Von D ruling with a catch; same court upholds dismissal of Top Gun case and Sleep Token accused of infringing on photographer.

https://www.plagiarismtoday.com/2026/01/05/3-count-sleep-token/

#Copyright #Tattoo #TopGunMaverick #SleepToken

Rocking the opener to the newest #SleepToken album, the slow burn banger "Look to Squidward"

Rocking the opener to the newest #SleepToken album, the slow burn banger "Look to Squidward"

Metal By Numbers 2025: Full year analysis in album sales:

#MetalByNumbers #SleepToken #Ghost #2025InReview #AlbumSales #Charts #2025Releases

Link: https://metalinsider.net/columns/metal-by-numbers/metal-by-numbers-2025-full-year-analysis-in-album-sales

Vessel allegedly released 31 yrs ago maybe

// #Metal #Metalcore #Music #SleepToken #TuneTuesday

Testing the new #Bitwarden Lite version via #Docker and listening to some #SleepToken (powered by #plexamp ofc!)

#selfhost #selfhosting #homelab #synology

#30DayAlbumCoverChallenge
#Day24 Album con 2 o 3 colores.

#SleepToken #TakeMeBackToEden #Discazo #DePrincipioAFin #MiPrimerContactoConElos

#30DayAlbumCoverChallenge
#Day24 Album con 2 o 3 colores.

#SleepToken #TakeMeBackToEden #Discazo #DePrincipioAFin #MiPrimerContactoConElos

Nattradio – The Longest Night Review

By Andy-War-Hall

It doesn’t seem to take long for the “wee hours” of the night to kick in these winter days. With them comes a very specific, almost hypnotic sadness that anyone who sleep has forsaken knows well. That tag-team of coldness and isolation brought on by the night just can’t be beat sometimes. Swedish goth/doom duo Nattradio know this sensation intimately, as their new album The Longest Night was written and shaped exclusively in the latest hours of the night. Injecting their Katatonia-inspired Gothic doom with elements of ambient music and noir jazz, Nattradio crafted their sophomore record to reflect the somberness of wakeful late nights, framing its ideal listening time in those hours. But will their efforts echo the sadness of the insomniac, or will The Longest Night just make them only long for sleep that much more?

Though Nattradio don’t skirt the qualifications of a metal band like Sleep Token or Ghost do, I am nonetheless reminded of more non-metal bands/artists than metal ones while listening to The Longest Night. Yes, Nattradio’s closest comparison is Katatonia, as songs like “Sketches from the Dark” and “Shifting Baseline” recall the slow, gloomy riffing of The Great Cold Distance, but The Cure seems to seep into The Longest Night’s formula just as often. Take the electronic drumming and wacky guitar effects of “Dark Streets” or the dreamy, heartbroken strings of “Rainbirds” and tell me you can’t picture Robert Smith listlessly crooning over them. Vocally, Martin Boman doesn’t have the grit typical to metal, but rather sits in the breathy middle of David Bowie and Thom Yorke. When engaged in ambient movements, Nattradio bring out the keys for spacious, dark atmospheres of jazzed-up smoothness that recall Poe and, similarly, could slide into the Alan Wake II soundtrack. Nattradio probably won’t hit for metal purists, but listeners of a wider range of genres might find a delightfully varied affair on The Longest Night.

Nattradio lean into their witching-hour moodiness above all else on The Longest Night. Slow, pensive progressions are imbued with mellow synths and Niklas Brodd’s layered guitars, while cold, bright piano chimes away on the interlude “All for You” and the ten-plus-minute title track. Boman’s high, soft delivery lends a precarious edge to The Longest Night, though his approach can feel unsuited for heavier moments and even plain off-key on “Sketches from the Dark.” Further, the soft vocals paired with Nattradio’s consistent bent towards melancholy mean The Longest Night is short on big, memorable moments. Even on The Longest Night’s most rocking tracks, “Shadow Speaker” and “Alright for Now,” the former featuring brisk double-kicks and the latter playing uber-catchy melodeath riffs that The Halo Effect would peddle, everything slows down eventually, and Boman’s wilting voice always brings back the melancholia before too long. In short, Nattradio’s brand of doom doesn’t dish out the riffs or theming meant to Fvneral Fvkk yov vp, but The Longest Night instead deals in a cozy melancholy, coldness you can settle into for a while.

Nattradio’s greatest strength on The Longest Night, however, is striking a compelling balance between busy and airy passages. Quiet verses and loud choruses are nothing new, but Nattradio always nail its execution, whether it’s moving from thumping bass to fist-pumping arena rock in “Alright for Now,” mournful piano to driving guitars on “The Longest Night,” or minimalist ambience giving way to thunderous tremolos on “Shadow Speaker.” The Longest Night’s dynamic mix really helps this end, allowing the big emotional shifts on “Night” and “The Longest Night” the breathing room needed to make it work. Nattradio know how to pace an album, and The Longest Night runs smoothly through its whole 52-minute runtime. Though lacking in powerful, “there it is” moments, The Longest Night is still an engaging record due to its expert balance not in light and dark but in fullness and ethereality.

The Longest Night isn’t anything to ruin your sleep schedule over, but Nattradio are a good group to turn to if you ever find yourself there already. Easy listening and sweetly sad, this is a record I found myself slightly more eager to get back to for each listen. Fans of Katatonia and anything under Goth’s sequined umbrella should consider checking this out. Nattradio knew what they were doing dropping The Longest Night at this time of year, and I’m sure I’ll return to it on some of my own long nights this winter.

Rating: Good
DR: 11 | Format Reviewed: 320 kb/s MP3
Label: Darkness Shall Rise Productions
Websites: nattradio.bandcamp.com | facebook.com/Nattradio
Releases Worldwide: December 12th, 2025

#2025 #30 #Ambient #DarknessShallRiseProductions #Dec25 #DoomMetal #FvneralFvkk #GothicMetal #Katatonia #Nattradio #Poe #Review #Reviews #SleepToken #SwedishMetal #TheCure #TheHaloEffect #TheLongestNight

Nattradio – The Longest Night Review

By Andy-War-Hall

It doesn’t seem to take long for the “wee hours” of the night to kick in these winter days. With them comes a very specific, almost hypnotic sadness that anyone who sleep has forsaken knows well. That tag-team of coldness and isolation brought on by the night just can’t be beat sometimes. Swedish goth/doom duo Nattradio know this sensation intimately, as their new album The Longest Night was written and shaped exclusively in the latest hours of the night. Injecting their Katatonia-inspired Gothic doom with elements of ambient music and noir jazz, Nattradio crafted their sophomore record to reflect the somberness of wakeful late nights, framing its ideal listening time in those hours. But will their efforts echo the sadness of the insomniac, or will The Longest Night just make them only long for sleep that much more?

Though Nattradio don’t skirt the qualifications of a metal band like Sleep Token or Ghost do, I am nonetheless reminded of more non-metal bands/artists than metal ones while listening to The Longest Night. Yes, Nattradio’s closest comparison is Katatonia, as songs like “Sketches from the Dark” and “Shifting Baseline” recall the slow, gloomy riffing of The Great Cold Distance, but The Cure seems to seep into The Longest Night’s formula just as often. Take the electronic drumming and wacky guitar effects of “Dark Streets” or the dreamy, heartbroken strings of “Rainbirds” and tell me you can’t picture Robert Smith listlessly crooning over them. Vocally, Martin Boman doesn’t have the grit typical to metal, but rather sits in the breathy middle of David Bowie and Thom Yorke. When engaged in ambient movements, Nattradio bring out the keys for spacious, dark atmospheres of jazzed-up smoothness that recall Poe and, similarly, could slide into the Alan Wake II soundtrack. Nattradio probably won’t hit for metal purists, but listeners of a wider range of genres might find a delightfully varied affair on The Longest Night.

Nattradio lean into their witching-hour moodiness above all else on The Longest Night. Slow, pensive progressions are imbued with mellow synths and Niklas Brodd’s layered guitars, while cold, bright piano chimes away on the interlude “All for You” and the ten-plus-minute title track. Boman’s high, soft delivery lends a precarious edge to The Longest Night, though his approach can feel unsuited for heavier moments and even plain off-key on “Sketches from the Dark.” Further, the soft vocals paired with Nattradio’s consistent bent towards melancholy mean The Longest Night is short on big, memorable moments. Even on The Longest Night’s most rocking tracks, “Shadow Speaker” and “Alright for Now,” the former featuring brisk double-kicks and the latter playing uber-catchy melodeath riffs that The Halo Effect would peddle, everything slows down eventually, and Boman’s wilting voice always brings back the melancholia before too long. In short, Nattradio’s brand of doom doesn’t dish out the riffs or theming meant to Fvneral Fvkk yov vp, but The Longest Night instead deals in a cozy melancholy, coldness you can settle into for a while.

Nattradio’s greatest strength on The Longest Night, however, is striking a compelling balance between busy and airy passages. Quiet verses and loud choruses are nothing new, but Nattradio always nail its execution, whether it’s moving from thumping bass to fist-pumping arena rock in “Alright for Now,” mournful piano to driving guitars on “The Longest Night,” or minimalist ambience giving way to thunderous tremolos on “Shadow Speaker.” The Longest Night’s dynamic mix really helps this end, allowing the big emotional shifts on “Night” and “The Longest Night” the breathing room needed to make it work. Nattradio know how to pace an album, and The Longest Night runs smoothly through its whole 52-minute runtime. Though lacking in powerful, “there it is” moments, The Longest Night is still an engaging record due to its expert balance not in light and dark but in fullness and ethereality.

The Longest Night isn’t anything to ruin your sleep schedule over, but Nattradio are a good group to turn to if you ever find yourself there already. Easy listening and sweetly sad, this is a record I found myself slightly more eager to get back to for each listen. Fans of Katatonia and anything under Goth’s sequined umbrella should consider checking this out. Nattradio knew what they were doing dropping The Longest Night at this time of year, and I’m sure I’ll return to it on some of my own long nights this winter.

Rating: Good
DR: 11 | Format Reviewed: 320 kb/s MP3
Label: Darkness Shall Rise Productions
Websites: nattradio.bandcamp.com | facebook.com/Nattradio
Releases Worldwide: December 12th, 2025

#2025 #30 #Ambient #DarknessShallRiseProductions #Dec25 #DoomMetal #FvneralFvkk #GothicMetal #Katatonia #Nattradio #Poe #Review #Reviews #SleepToken #SwedishMetal #TheCure #TheHaloEffect #TheLongestNight

Nattradio – The Longest Night Review

By Andy-War-Hall

It doesn’t seem to take long for the “wee hours” of the night to kick in these winter days. With them comes a very specific, almost hypnotic sadness that anyone who sleep has forsaken knows well. That tag-team of coldness and isolation brought on by the night just can’t be beat sometimes. Swedish goth/doom duo Nattradio know this sensation intimately, as their new album The Longest Night was written and shaped exclusively in the latest hours of the night. Injecting their Katatonia-inspired Gothic doom with elements of ambient music and noir jazz, Nattradio crafted their sophomore record to reflect the somberness of wakeful late nights, framing its ideal listening time in those hours. But will their efforts echo the sadness of the insomniac, or will The Longest Night just make them only long for sleep that much more?

Though Nattradio don’t skirt the qualifications of a metal band like Sleep Token or Ghost do, I am nonetheless reminded of more non-metal bands/artists than metal ones while listening to The Longest Night. Yes, Nattradio’s closest comparison is Katatonia, as songs like “Sketches from the Dark” and “Shifting Baseline” recall the slow, gloomy riffing of The Great Cold Distance, but The Cure seems to seep into The Longest Night’s formula just as often. Take the electronic drumming and wacky guitar effects of “Dark Streets” or the dreamy, heartbroken strings of “Rainbirds” and tell me you can’t picture Robert Smith listlessly crooning over them. Vocally, Martin Boman doesn’t have the grit typical to metal, but rather sits in the breathy middle of David Bowie and Thom Yorke. When engaged in ambient movements, Nattradio bring out the keys for spacious, dark atmospheres of jazzed-up smoothness that recall Poe and, similarly, could slide into the Alan Wake II soundtrack. Nattradio probably won’t hit for metal purists, but listeners of a wider range of genres might find a delightfully varied affair on The Longest Night.

Nattradio lean into their witching-hour moodiness above all else on The Longest Night. Slow, pensive progressions are imbued with mellow synths and Niklas Brodd’s layered guitars, while cold, bright piano chimes away on the interlude “All for You” and the ten-plus-minute title track. Boman’s high, soft delivery lends a precarious edge to The Longest Night, though his approach can feel unsuited for heavier moments and even plain off-key on “Sketches from the Dark.” Further, the soft vocals paired with Nattradio’s consistent bent towards melancholy mean The Longest Night is short on big, memorable moments. Even on The Longest Night’s most rocking tracks, “Shadow Speaker” and “Alright for Now,” the former featuring brisk double-kicks and the latter playing uber-catchy melodeath riffs that The Halo Effect would peddle, everything slows down eventually, and Boman’s wilting voice always brings back the melancholia before too long. In short, Nattradio’s brand of doom doesn’t dish out the riffs or theming meant to Fvneral Fvkk yov vp, but The Longest Night instead deals in a cozy melancholy, coldness you can settle into for a while.

Nattradio’s greatest strength on The Longest Night, however, is striking a compelling balance between busy and airy passages. Quiet verses and loud choruses are nothing new, but Nattradio always nail its execution, whether it’s moving from thumping bass to fist-pumping arena rock in “Alright for Now,” mournful piano to driving guitars on “The Longest Night,” or minimalist ambience giving way to thunderous tremolos on “Shadow Speaker.” The Longest Night’s dynamic mix really helps this end, allowing the big emotional shifts on “Night” and “The Longest Night” the breathing room needed to make it work. Nattradio know how to pace an album, and The Longest Night runs smoothly through its whole 52-minute runtime. Though lacking in powerful, “there it is” moments, The Longest Night is still an engaging record due to its expert balance not in light and dark but in fullness and ethereality.

The Longest Night isn’t anything to ruin your sleep schedule over, but Nattradio are a good group to turn to if you ever find yourself there already. Easy listening and sweetly sad, this is a record I found myself slightly more eager to get back to for each listen. Fans of Katatonia and anything under Goth’s sequined umbrella should consider checking this out. Nattradio knew what they were doing dropping The Longest Night at this time of year, and I’m sure I’ll return to it on some of my own long nights this winter.

Rating: Good
DR: 11 | Format Reviewed: 320 kb/s MP3
Label: Darkness Shall Rise Productions
Websites: nattradio.bandcamp.com | facebook.com/Nattradio
Releases Worldwide: December 12th, 2025

#2025 #30 #Ambient #DarknessShallRiseProductions #Dec25 #DoomMetal #FvneralFvkk #GothicMetal #Katatonia #Nattradio #Poe #Review #Reviews #SleepToken #SwedishMetal #TheCure #TheHaloEffect #TheLongestNight

Nattradio – The Longest Night Review

By Andy-War-Hall

It doesn’t seem to take long for the “wee hours” of the night to kick in these winter days. With them comes a very specific, almost hypnotic sadness that anyone who sleep has forsaken knows well. That tag-team of coldness and isolation brought on by the night just can’t be beat sometimes. Swedish goth/doom duo Nattradio know this sensation intimately, as their new album The Longest Night was written and shaped exclusively in the latest hours of the night. Injecting their Katatonia-inspired Gothic doom with elements of ambient music and noir jazz, Nattradio crafted their sophomore record to reflect the somberness of wakeful late nights, framing its ideal listening time in those hours. But will their efforts echo the sadness of the insomniac, or will The Longest Night just make them only long for sleep that much more?

Though Nattradio don’t skirt the qualifications of a metal band like Sleep Token or Ghost do, I am nonetheless reminded of more non-metal bands/artists than metal ones while listening to The Longest Night. Yes, Nattradio’s closest comparison is Katatonia, as songs like “Sketches from the Dark” and “Shifting Baseline” recall the slow, gloomy riffing of The Great Cold Distance, but The Cure seems to seep into The Longest Night’s formula just as often. Take the electronic drumming and wacky guitar effects of “Dark Streets” or the dreamy, heartbroken strings of “Rainbirds” and tell me you can’t picture Robert Smith listlessly crooning over them. Vocally, Martin Boman doesn’t have the grit typical to metal, but rather sits in the breathy middle of David Bowie and Thom Yorke. When engaged in ambient movements, Nattradio bring out the keys for spacious, dark atmospheres of jazzed-up smoothness that recall Poe and, similarly, could slide into the Alan Wake II soundtrack. Nattradio probably won’t hit for metal purists, but listeners of a wider range of genres might find a delightfully varied affair on The Longest Night.

Nattradio lean into their witching-hour moodiness above all else on The Longest Night. Slow, pensive progressions are imbued with mellow synths and Niklas Brodd’s layered guitars, while cold, bright piano chimes away on the interlude “All for You” and the ten-plus-minute title track. Boman’s high, soft delivery lends a precarious edge to The Longest Night, though his approach can feel unsuited for heavier moments and even plain off-key on “Sketches from the Dark.” Further, the soft vocals paired with Nattradio’s consistent bent towards melancholy mean The Longest Night is short on big, memorable moments. Even on The Longest Night’s most rocking tracks, “Shadow Speaker” and “Alright for Now,” the former featuring brisk double-kicks and the latter playing uber-catchy melodeath riffs that The Halo Effect would peddle, everything slows down eventually, and Boman’s wilting voice always brings back the melancholia before too long. In short, Nattradio’s brand of doom doesn’t dish out the riffs or theming meant to Fvneral Fvkk yov vp, but The Longest Night instead deals in a cozy melancholy, coldness you can settle into for a while.

Nattradio’s greatest strength on The Longest Night, however, is striking a compelling balance between busy and airy passages. Quiet verses and loud choruses are nothing new, but Nattradio always nail its execution, whether it’s moving from thumping bass to fist-pumping arena rock in “Alright for Now,” mournful piano to driving guitars on “The Longest Night,” or minimalist ambience giving way to thunderous tremolos on “Shadow Speaker.” The Longest Night’s dynamic mix really helps this end, allowing the big emotional shifts on “Night” and “The Longest Night” the breathing room needed to make it work. Nattradio know how to pace an album, and The Longest Night runs smoothly through its whole 52-minute runtime. Though lacking in powerful, “there it is” moments, The Longest Night is still an engaging record due to its expert balance not in light and dark but in fullness and ethereality.

The Longest Night isn’t anything to ruin your sleep schedule over, but Nattradio are a good group to turn to if you ever find yourself there already. Easy listening and sweetly sad, this is a record I found myself slightly more eager to get back to for each listen. Fans of Katatonia and anything under Goth’s sequined umbrella should consider checking this out. Nattradio knew what they were doing dropping The Longest Night at this time of year, and I’m sure I’ll return to it on some of my own long nights this winter.

Rating: Good
DR: 11 | Format Reviewed: 320 kb/s MP3
Label: Darkness Shall Rise Productions
Websites: nattradio.bandcamp.com | facebook.com/Nattradio
Releases Worldwide: December 12th, 2025

#2025 #30 #Ambient #DarknessShallRiseProductions #Dec25 #DoomMetal #FvneralFvkk #GothicMetal #Katatonia #Nattradio #Poe #Review #Reviews #SleepToken #SwedishMetal #TheCure #TheHaloEffect #TheLongestNight

Nattradio – The Longest Night Review

By Andy-War-Hall

It doesn’t seem to take long for the “wee hours” of the night to kick in these winter days. With them comes a very specific, almost hypnotic sadness that anyone who sleep has forsaken knows well. That tag-team of coldness and isolation brought on by the night just can’t be beat sometimes. Swedish goth/doom duo Nattradio know this sensation intimately, as their new album The Longest Night was written and shaped exclusively in the latest hours of the night. Injecting their Katatonia-inspired Gothic doom with elements of ambient music and noir jazz, Nattradio crafted their sophomore record to reflect the somberness of wakeful late nights, framing its ideal listening time in those hours. But will their efforts echo the sadness of the insomniac, or will The Longest Night just make them only long for sleep that much more?

Though Nattradio don’t skirt the qualifications of a metal band like Sleep Token or Ghost do, I am nonetheless reminded of more non-metal bands/artists than metal ones while listening to The Longest Night. Yes, Nattradio’s closest comparison is Katatonia, as songs like “Sketches from the Dark” and “Shifting Baseline” recall the slow, gloomy riffing of The Great Cold Distance, but The Cure seems to seep into The Longest Night’s formula just as often. Take the electronic drumming and wacky guitar effects of “Dark Streets” or the dreamy, heartbroken strings of “Rainbirds” and tell me you can’t picture Robert Smith listlessly crooning over them. Vocally, Martin Boman doesn’t have the grit typical to metal, but rather sits in the breathy middle of David Bowie and Thom Yorke. When engaged in ambient movements, Nattradio bring out the keys for spacious, dark atmospheres of jazzed-up smoothness that recall Poe and, similarly, could slide into the Alan Wake II soundtrack. Nattradio probably won’t hit for metal purists, but listeners of a wider range of genres might find a delightfully varied affair on The Longest Night.

Nattradio lean into their witching-hour moodiness above all else on The Longest Night. Slow, pensive progressions are imbued with mellow synths and Niklas Brodd’s layered guitars, while cold, bright piano chimes away on the interlude “All for You” and the ten-plus-minute title track. Boman’s high, soft delivery lends a precarious edge to The Longest Night, though his approach can feel unsuited for heavier moments and even plain off-key on “Sketches from the Dark.” Further, the soft vocals paired with Nattradio’s consistent bent towards melancholy mean The Longest Night is short on big, memorable moments. Even on The Longest Night’s most rocking tracks, “Shadow Speaker” and “Alright for Now,” the former featuring brisk double-kicks and the latter playing uber-catchy melodeath riffs that The Halo Effect would peddle, everything slows down eventually, and Boman’s wilting voice always brings back the melancholia before too long. In short, Nattradio’s brand of doom doesn’t dish out the riffs or theming meant to Fvneral Fvkk yov vp, but The Longest Night instead deals in a cozy melancholy, coldness you can settle into for a while.

Nattradio’s greatest strength on The Longest Night, however, is striking a compelling balance between busy and airy passages. Quiet verses and loud choruses are nothing new, but Nattradio always nail its execution, whether it’s moving from thumping bass to fist-pumping arena rock in “Alright for Now,” mournful piano to driving guitars on “The Longest Night,” or minimalist ambience giving way to thunderous tremolos on “Shadow Speaker.” The Longest Night’s dynamic mix really helps this end, allowing the big emotional shifts on “Night” and “The Longest Night” the breathing room needed to make it work. Nattradio know how to pace an album, and The Longest Night runs smoothly through its whole 52-minute runtime. Though lacking in powerful, “there it is” moments, The Longest Night is still an engaging record due to its expert balance not in light and dark but in fullness and ethereality.

The Longest Night isn’t anything to ruin your sleep schedule over, but Nattradio are a good group to turn to if you ever find yourself there already. Easy listening and sweetly sad, this is a record I found myself slightly more eager to get back to for each listen. Fans of Katatonia and anything under Goth’s sequined umbrella should consider checking this out. Nattradio knew what they were doing dropping The Longest Night at this time of year, and I’m sure I’ll return to it on some of my own long nights this winter.

Rating: Good
DR: 11 | Format Reviewed: 320 kb/s MP3
Label: Darkness Shall Rise Productions
Websites: nattradio.bandcamp.com | facebook.com/Nattradio
Releases Worldwide: December 12th, 2025

#2025 #30 #Ambient #DarknessShallRiseProductions #Dec25 #DoomMetal #FvneralFvkk #GothicMetal #Katatonia #Nattradio #Poe #Review #Reviews #SleepToken #SwedishMetal #TheCure #TheHaloEffect #TheLongestNight