#solitude-aeturnus — Public Fediverse posts

https://www.europesays.com/es/523489/ MEGADETH estrenan “Ride The Lightning” en directo. KINNIA de nuevo en Madrid. Baja en SOLITUDE AETURNUS. #Entertainment #Entretenimiento #ES #España #KINNIA #Megadeth #Music #Música #SOLITUDEAETURNUS #Spain

https://www.europesays.com/uk/309769/ Anchorite – Realm of Ruin Review #2025 #3.5 #Anchorite #Argus #Aug25 #Candlemass #CryptSermon #DesolateRealm #DoomMetal #Entertainment #EpicDoomMetal #InternationalMetal #music #PaleDivine #RealmOfRuin #Review #Reviews #SolitudeAeturnus #Sorcerer #UK #UnitedKingdom

Anchorite – Realm of Ruin Review

2025 has not given me nearly enough epic doom. I need a lot of that stuff to offset…
#NewsBeep #News #Music #2025 #3.5 #Anchorite #Argus #AU #Aug25 #Australia #Candlemass #CryptSermon #DesolateRealm #DoomMetal #Entertainment #EpicDoomMetal #InternationalMetal #PaleDivine #RealmofRuin #review #reviews #SolitudeAeturnus #Sorcerer
https://www.newsbeep.com/au/37514/

Anchorite – Realm of Ruin Review

2025 has not given me nearly enough epic doom. I need a lot of that stuff to offset…
#NewsBeep #News #Music #2025 #3.5 #Anchorite #Argus #Aug25 #CA #Canada #Candlemass #CryptSermon #DesolateRealm #DoomMetal #Entertainment #EpicDoomMetal #InternationalMetal #PaleDivine #RealmofRuin #review #reviews #SolitudeAeturnus #Sorcerer
https://www.newsbeep.com/ca/39406/

Anchorite – Realm of Ruin Review

By Steel Druhm

2025 has not given me nearly enough epic doom. I need a lot of that stuff to offset my obsession with sub-basement phlegm-death, or my entire equilibrium starts to go pear-shaped and fall off the tracks. Luckily, international collective Anchorite are on the job with their sophomore opus, Realm of Ruin. Using the tried-and-trve sound profile of Candlemass, Solitude Aeturnus, Crypt Sermon, and Sorcerer, all the key landmarks are present, with heavy riffs, powerful vocals, and a sense of melancholy lurking behind the iron fistery. What gives Anchorite a leg up is a sizeable dose of testosterone and machismo in their doom chowder. They borrow from acts like Pale Divine and Argus and aim to kick you in the nether regions even as they harsh your mellow emotionally. Is that the sort of dual-tracked abuse you want from your metal? If so, follow me to the punishment area.

The gates open wide on the opening title track to reveal a powerful, punchy sound with burly riffs pushing the song forward as Leo Stivala (Forsaken, Pagan Altar) delivers manly, rough-hewn bellows and plaintive, somber tones as the moment requires. This is almost like vintage Iced Earth doing epic doom, and honestly, it works pretty damn well. Better still is “The Lighthouse Chronicles,” which takes you on a moody, emotional voyage over 7-plus minutes with hooks deployed expertly along the way to snare your ear. It’s plenty mournful and forlorn, but the epic energy crackles just below the surface and the riffs are meaty and forceful. The chorus is immediately memorable, supported by dour riffing that reeks of Paradise Lost. Add an intriguing midpoint segment that screams introspective Nevermore, and it’s clear Anchorite are onto something. Through it all, Stivala moves adroitly from rougher tones to weepy sadboi wails, convincing at all times. Showing Anchorite’s range, “Devil on the Throne” shifts to muscular, bluesy biker doom like Place of Skulls and Pale Divine. It’s less direct, more classically doomy, and 70s Sabbath jam-intensive. It checks all the boxes, and Stivala once again channels Warrel Dane’s potent spirit to good effect.

If things had slipped a bit on the album’s back half, I’d still be pretty impressed with Realm of Ruin. Instead, you get shellacked by the majesty and might of “The Apostate’s Prayer,” which is half vintage Candlemass, half Sorcerer, and all badass. The guitar work here is stellar, and Stivala ups his game significantly for a vocal tour de force running across misery, grief, and soul-killing inner conflict. His despondent cries of “I have fallen so far” will give you goose bumps and pierce your cold, dead heart. This tune is aces. Closer “Kingdom Undone” is another big moment with a gripping chorus that blends classic metal, doom, and just a hint of power cheese for something extra hooky. It reminds me of the material on Human Fortress’ stellar Defenders of the Crown, but with a melancholic sheen slathered over everything. There are no duds here, and every track brings something interesting to the table, though they don’t all reach the same peaks as the aforementioned highlights. A few tracks suffer from slight bloating around the edges, but at 54 minutes, Realm of Ruin doesn’t feel overlong, nor would I want to see any selections cut.

I’m quite impressed with Leo Stivala’s performance. He mixes forceful Jorn-esque bellows with effectively downcast classic doom singing and switches up his delivery enough to provide surprises and meet the material where it is. He’s got some of the same charm and appeal as Crypt Sermon’s Brooks Wilson, and also reminds one of Robert Lowe (Solitude Aeturnus) at times. Then there are the scattered Warrel Dane bits. Not bad company to find oneself in. Matching Stivala at each step is the guitar work by Martin Andersen. He blends classic heavy metal tropes with all the expected epic doom sounds and brings in touches of power metal to round out the experience. He delivers emotional moments in his solos and harmonies while keeping things heavier than one might expect. Impressive showing in all phases.

Realm of Ruin is one of those albums you enjoy on the first go-through, and with each spin, it reveals more of itself until you’re fully submerged in the band’s craftwork. Anchorite have writing chops, and Realm comes fairly close to reaching the upper levels of doom glory. As it stands, it’s an immersive stroll through the ruins with moments of genuine brilliance and grandeur. I’ll be watching these cats closely because their potential is writ large. A happy surprise and well recommended.

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Personal Records
Website: facebook.com/anchoritedoom
Releases Worldwide: August 1st, 2025

#2025 #35 #Anchorite #Argus #Aug25 #Candlemass #CryptSermon #DesolateRealm #DoomMetal #EpicDoomMetal #InternationalMetal #PaleDivine #RealmOfRuin #Review #Reviews #SolitudeAeturnus #Sorcerer

Einer meiner absoluten Lieblingssongs: „Scent of Death“ von der Doom-Legende Solitude Aeturnus.

In meinen Augen mit die beste Doom-Band aller Zeiten mit dem begnadeten Sänger Rob Lowe.

Solitude Aeturnus haben nur Klassealben veröffentlicht und sich meistens gesteigert. Um irgendwann festzustellen, dass sie diese Qualität nicht würden halten können und dann auch nichts mehr zu veröffentlichen. Muss man auch erst mal bringen.

Epischer abwechslungsreicher Doom-Metal mit göttlichem Gesang, Tiefe und Melodie en masse.

https://tidal.com/browse/track/72302510?u

#metal #rezensionen #doommetal #solitudeaeturnus #vinyl #music

Don't miss the third full length of the French Doom Metal band, CARCOLH, Twilight Of The Mortals on Sleeping Church Records on February 14th

"For Every Second..." is the first extract :

https://youtu.be/NTlka9yVLcI

#doommetal #newrelease #sleepingchurchrecords #candlemass #cryptsermon #solitudeaeturnus

Capilla Ardiente – Where Gods Live and Men Die Review

By Dolphin Whisperer

The only thing more metal than the glimmer of bloodied blade in the setting sun is the barbaric howl that reverberates afterward as a determination of victory. Early in heavy metal’s history, that kind of bravado embodied by the epic escapades of Iron Maiden, marching jams of Manilla Road, or the regressive rambunctiousness of Manowar separated that true spirit from burgeoning radio-friendly sounds in similarly incepted acts. In the modern day, the epic tag has carried on through the spirit of traditional heavy and doom-leaning acts—the Aceruses and Stygian Crowns of this world, among others. Capilla Ardiente too has carried the flag, with their 2019 opus The Siege harboring both the explosive nature required to wield steel and the patience to strike for killing impact. Less restrained in title, does Where Gods Live and Men Die possess the same battlefield tact?

If The Siege drew inspiration from a raid while the walls still stood in defense, Where Gods Live and Men Die finds itself amid the breeched fortifications. The Siege saw Felipe Plaza Kutzbach’s (Procession, Scald) barrel-chested, Bayley-intonated1 roars soar through the wade and gallop of Candlemassive riffs and aggressive Solitude Aeturnus charges against the heavy load of full gain bass thwonk—a tone far more common in stoner doom than in the moistened-loins epic world. Now, Where Gods sees an increased guide of wailing leads as histrionic intros and episodic transitions in its four episodic, long-form pieces. No matter the guitar tone, low and modern for rhythms or high and cutting for shredding hours, Claudio Botarro Neira’s monstrous four-string work never hides, finding its way to a tasteful clanging solo (“Not Here. Nowhere.,” “As I Lie on the Summit”) and dancing, progressive transition all the same.

For an act focused on building layers of harmony on mountains of riffs, Capilla Ardiente has chosen a robust and unsubtle production style for Where Gods Live and Men Die. From the opening notes a wall of distorted bass, modern-toned chords, and low-end harmonized riff lines ring in voluminous glory. Each line rings through with enough compression to allow clarity in assault, and maintains a pleasant warmth, particularly in ringing chord breakaways that segue various moments on this time-testing journey. Against Neira’s devouring bass presence, a gargantuan tone that in the wrong hands would be a recipe for bulldozed guitars, it’s no easy feat for riffs to maintain their own separate weight, and the amount of volume it takes to keep palm-muted touches crispy and trills defined can wear on the ears. But still, Capilla Ardiente plays around with enough higher frequency accents—Maiden worship roto tom fills, neoclassical melodic guitar quips—to keep the soundstage from collapsing in its own power.

Kutzbach’s well-framed vocal charisma remains equally important to the winding structure that defines Capilla Ardiente’s works. Many of his parts have a roundabout way of finding note resolution. The call-and-response vocal-guitar solo break in the midway point of “The Hands of Fate Around My Neck,” where many words fall just flat until descending into a double-tracked harmony or paired arpeggio, would be a hard sell if not for the backing triumph of the riff run that led up to it—and the blazing solo that follows it, for that matter. And Kutzbach himself holds the proper belief that a well-placed falsetto can raise the intensity level, with key breaks from his burly, tightroping baritone-shattering listening defenses as necessary. Truthfully, I’m not certain a more accurate voice2 could match the sword-clashing spirals that present in “Envenomed” or “As I Lie…” as the frenetic nature of the tempo accelerations and subsequent crawls spell for chaos not calculation. Just as in battle, it’s the last swing that matters, and Kutzbach knows this.

Through the various bouts I’ve had with Where Gods Live and Men Die, Capilla Ardiente continues to come out with sword raised high and head hanging low. Though their take on epic, progressive doom metal eschews the horrors of skirmish by focusing on the path necessary to rise above, its sullen dips into Peaceville aesthetics reminds us that the battlefield is not a jubilant place. Much like the music that Capilla Ardiente produces, navigating a dive into the fray requires careful attention to its twists. Where Gods Live and Men Die is a challenge, but not one without its spoils.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: High Roller Records3.
Websites: facebook.com/capillaardientedoom
Releases Worldwide: October 18th, 2024

#2024 #35 #BlazeBayley #Candlemass #CapillaArdiente #ChileanMetal #DoomMetal #EpicDoomMetal #HighRollerRecords #IronMaiden #Oct24 #Procession #ProgressiveDoomMetal #ProgressiveMetal #Review #Reviews #Scald #SolitudeAeturnus #TheSiege #WhereGodsLiveAndMenDie

Endonomos – Endonomos II – Enlightenment Review

By Steel Druhm

There’s something extra satisfying about gambling on a completely unknown act in the promo sump and being handsomely rewarded for the biscuit risk. Austria’s Endonomos describe themselves as “epic doom” and on their sophomore outing, Endonomos II – Enlightenment, they unveil a shockingly mature and intoxicating blend of classic doom, post-metal, and death that’s powerful, emotional, and captivating. Part Solitude Aeturnus, part Fvneral Fvkk, part Ghost Brigade and Darkest Era, Endonomos II marries doom’s past with the present in ways that feel organic and unforced, natural and logical. Cobbling together so many successful doom tropes from across multiple genre variants isn’t easy, but Endonomos forge long songs that flow effortlessly, shifting moods and textures as influences intertwine and coalesce into beautiful sadness and elegant despair. Enlightenment indeed!

You won’t wait long to be impressed either. 9-minute opener “Inversion” is a massive mission statement by Endonomos, delivering everything a doom fancier could ask for and MOAR. Beginning in classic doom style with big riffs and forlorn noodling with hints of prime Katatonia, things shift toward post-rock melodoom akin to Ghost Brigade with chillingly plaintive clean vocals scarring your soul before shifting into booming low register death roars that shake the foundations of burden. The guitars trill funerary lines and weep openly around whatever gravesite your mind manufactures and everything feels so sweetly morose. The song’s half over before you realize it, and you won’t want it to end, such is its depressive allure. Doom perfection. “Atheon Anarkhon” is darker and more dissonant with harsh edges protruding at every turn and death croaks leading the charge until despondent Patrick Walker-esque wailing vocals join the fray. This is more death doom than doom-death and it feels massive and crippling. The last few minutes truly blossom with the achingly forlorn cleans coming forward to spread grief as epic guitar lines borrow from While Heaven Wept to push the song to that next level of awesome.

My first thought upon hearing “Resolve” was that it could be a lost track from Fvneral Fvkk’s masterpiece Carnal Confessions. The way the vocals play off the despairing harmonies is very much the same and the vocals themselves are very reminiscent of the brilliant performance by Simon Schorneck (Cantor Cinedicus). Certain moments remind me of vintage Solitude Aeturnus as well and the guitar work is stunning and beautiful throughout. Ahab’s Daniel Droste provides guest vocals on “Hostile” and the mix of traditional Candlemass / Solitude Aeturnus style doom and modern flavors like Khemmis and Swallow the Sun is expertly realized for another major triumph of the broken heart. All six tracks deliver the rich, anguished goods and depression hasn’t sounded this good to me in a while. At no point do the songs feel bloated or in need of trimming though three of the six push well past 8 minutes. The album’s 48-plus minutes seem to vanish in a blip, making you feel like you lost time somewhere. That’s a sign of high-quality writing.

I’m very taken with the vocals by Lukas Haidinger. He channels a lot of genre heavyweights like Rob Lowe (Solitude Aeturnus), Krum (Darkest Era), Patrick Walker (40 Watt Sun, Warning) and Mikko Kotamäki (Swallow the Sun) and that’s fine company to find oneself in. His ability to sound despondent is a rare gift and his death vocals are top-shelf. He sells the songs like they’re sketchy junkers at a disreputable used car lot and you’ll buy in, with or without complementary undercoating. His bass work is also excellent, providing an ever-present and essential low-end rumble to the proceedings. Philipp Forster and Christoph Steinlechner bring a wealth of doom worship and technical acumen to the album, moving through the years to borrow the best bits from the biggest champions. You hear morose strumming from the Katatonia / Rapture schools sitting next to classic crunching and post-metal/post-rock minimalist wallowing and it all fuses seamlessly. Their riffs are crushing when they should be and the solos are poignant, elegant, and bewitching.

Endonomos find that elusive sweet spot between heavy and melodic and craft a collection of songs that allows them to punch far above their weight. Endonomos II – Enlightenment is easily one of the best doom albums of 2024 and one of the best of the last few years. If 2024 has yet to deliver the doom your masochistic heart longs for, this is it. Don’t miss the Endorama.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 319 kbps mp3
Label: Argonauta
Websites: endonomos.bandcamp.com | facebook.com/endonomos | instagram.com/endonomos
Releases Worldwide: September 27th, 2024

#2024 #40 #ArgonautaRecords #AustrianMetal #DarkestEra #DoomMetal #Endonomos #EndonomosIIEnlightenment #FvneralFvkk #GhostBrigade #Katatonia #Rapture #Review #Reviews #SolitudeAeturnus #SwallowTheSun #Votum

Crypt Sermon – The Stygian Rose Review

By Steel Druhm

Over the last few years, I’ve slowly morphed from the traditional/trve/doom metal guy into the rancid death metal guy. It seems 85% of the promos I grab these days are death-related or death-adjacent. Questionable tastes aside, I was still excited to change things up and bask in the latest from Philly’s doom wardens Crypt Sermon. When last we saw them nearly 5 years ago, they’d released their sophomore outing The Ruins of Fading Light. While I wasn’t as enamored with it as I was with their killer Out of the Garden debut, it had some stellar moments and it’s grown on me over the years. I hoped The Stygian Rose would trend more toward the debut, but instead, the band found a slick middle ground between the classic doom of the debut and the more exploratory style of The Ruins. The Stygian Rose reasserts the mighty influences of Candlemass and Solitude Aeturnus while allowing a large volume of traditional metal ideas to flow through the material like a refreshing blast of ice-cold beer. A slightly proggy edge surfaces at times too. In short, this is one fragrant corpse flower!

Opening monolith “Glimmers in the Underworld” wastes no time establishing its classic doom bona vides, sounding like a long-lost Solitude Aeturnus track with trve metal muscle included for added impact. The guitar work is stellar, switching from massive doom grooves to Judas Priest-esque dueling solos and Maiden-friendly harmonizing. Cutting through all this are the larger-than-life vocals of Brooks Wilson who sounds reborn, projecting might and majesty everywhere. Over the song’s 8-plus minutes, the band varies mood and tempo but never takes the boot off your neck or lets the momentum lag. It’s a triumph. The classic doom goodies continue on “Thunder (Perfect Mind)” which could have been on the debut. It sounds like a product of the doom revival of the late 80s/early 90s and the mournful guitars hit hard and chill the soul. Brooks completely owns this one with a tremendous performance, commanding the mic like a true Doom Lord.

The album highlight arrives with “Scrying Orb” where the band goes deep into classic doom for a massive, sweeping experience full of despondency and epic dimensions. There’s more feeling feeling here than on some entire doom albums and this is a Vegas-backed Song o’ the Year candidate. Brooks sounds wounded and vulnerable until it’s time to invoke the Elder Gods in a haunting, liturgical chant when the brilliant chorus arrives. This is a show-stopper and I can’t escape its wickedly mystical powers. Then comes the gigantic 11-minute closing title track to celebrate your interment in the mausoleum of metal excellence. Beginning with somber piano lines, things slowly climb toward doom grandiosity with Brooks joining the battle around the 3rd minute, delivering some of his best vocal work as he swings from leather-lunged raw bellowing to softer, poignant crooning. The guitar work is stunning and elegant, especially during the song’s final act. No song is weak, though the middle section is slightly less tremendous and a bit more proggy than the bookending moments. At 44:50, the album is the ideal length and even the long-form cuts avoid feeling fatty due to excellent structuring. The production by Arthur Rizk is spot on, giving the guitars mass and force and allowing tons of room for Brooks and company to hawk their sonic wares.

I couldn’t be more impressed by the guitar maelstrom generated by Steve Jansson (Daeva) and Frank Chin (also Daeva). They dig deep into Mount Doom for inspiration, plunging well below Balrog depths to reach the real gems. Their lusty infusion of traditional metal influences adds a glossy, vibrant coating to the heavy doom core, reminiscent of the glory days of Candlemass when Mats Björkman and Lars Johansson were on shred detail. The doom riffs are present and accounted for and all the extra embellishments are rich, meaty gravy. Brooks Wilson sounds completely renewed vocally. Where he sounded strained and thin at times on The Ruins of Fading Light, he sounds colossal and unstoppable here. He glides from strength to strength effortlessly while giving the material a ton of gravitas and power, like Rob Lowe in his prime sprinkled with Magic Dio Dust™. The songs are well thought-out, well-executed, and packed with sticky staying power.

I knew Crypt Sermon had better days ahead of them, and here they are. The Stygian Rose builds on the prior releases to create a towering doom edifice with an unshakeable foundation. If this isn’t the doom album of 2024, someone made a merger deal with the Devil. Now get to your morbid florist and buy a dozen of these long-stemmed doom wonders. Let the Sermon recommence.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Dark Descent
Websites: cryptsermon.com | cryptsermon.bandcamp.com | facebook.com/cryptsermon
Releases Worldwide: June 14th, 2024

#2024 #40 #AmericanMetal #Candlemass #CryptSermon #DarkDescentRecords #DoomMetal #HeavyMetal #Jun24 #OutOfTheGarden #Review #Reviews #SolitudeAeturnus #TheRuinsOfFadingLight #TheStygianRose

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#BraveWords
DiGELSOMINA Feat. Former CANDLEMASS / SOLITUDE AETURNUS Vocalist ROBERT LOWE Streaming New Song "Mahanaim"; Audio
Doom metal band, DiGelsomina, are streaming the new song, "Mahanaim", to be included on the band's upcoming debut album, Sic Itur Ad Astra. Composer-Guitarist Andy DiGelsomina states...

https://bravewords.com/news/digelsomina-feat-former-candlemass-solitude-aeturnus-vocalist-robert-lowe-streaming-new-song-mahanaim-audio

#Digelsomina #FormerCandlemass #SolitudeAeturnus #VocalistRobertLowe #Mahanaim #NewMusic #HeavyMetal #DoomMetal #UniqueSounds