#solstafir — Public Fediverse posts

#2025 #30 #ArchitectureDuVertige #FrenchMetal #Laudare #Matrass #Oct25 #Përl #PostMetal #Review #Reviews #SelfRelease #Solstafir

By Killjoy

One of the cool things about post-metal is the virtually infinite leeway artists have to be as light or heavy as they like. Among my favorite artists in the genre are those who are masterful at balancing both sides. Përl has handcrafted a particularly dichotomous brand of post-metal in Paris, France, since 2008, drawing inspiration from the chiaroscuro art style characterized by the strong contrast between light and dark. This can be particularly difficult to execute because the opposing elements must be balanced impeccably in addition to being individually striking. How well has Përl mastered chiaroscuro on their fourth full-length record, Architecture du Vertige?

True to form, Përl paints with a wide variety of aural hues. Architecture du Vertige has a lot in common with the artistic post-metal of fellow countrymen Matrass, with burly bass grooves grappling with a charismatic female vocalist. Aline Boussaroque’s harsh vocals verge on hardcore or, occasionally, screamo in a way reminiscent of Laudare (sans cello). Conversely, her gentle croons are like a glossy lacquer coating, at times venturing into indie-pop or hip-hop territory. The heavy and light segments replace one another constantly, sometimes with a smooth ebb (“Au Royaume des songes”) and other times with a rough jerk (“La chute”). It’s a testament to Përl’s skill that they can work with so many influences not found in your typical post-metal record and sound confident while doing so.

All three core band members have spectacular synergy together. In addition to Boussaroque, Architecture du Vertige features Bastien Venzac on bass guitar and Thibault Delafosse on percussion.1 Refreshingly, both Venzac and Delafosse feel like equal partners with Boussaroque. The tom-heavy drum rhythms serve as transitions between sections and interplay with the bass lines to create compelling grooves. Delafosse responds accordingly to Boussaroque’s coarse screams and honeyed singing with blast beats or lightly syncopated rhythms. Her light rapping in “Naufragée des nuages” and “Fjara” lends entrancing verve and, surprisingly, is one of my favorite aspects of Architecture du Vertige. “Fjara” is, in fact, a Sólstafir cover, boldly slotted in the middle rather than tacked on at the end. Përl fleshed their version out considerably, with velvety passion imbued in each syllable and a smooth saxophone2 carefully woven into the latter half. I don’t know whether this trio has been together since the beginning, but it sure sounds like it.

But for some reason, Përl seems to lose their fire halfway through. The impressive momentum starts to peter out with the wintery electronic pulses of “Arcipelago,” which might have been a nice change of pace if not for what follows. “Land’s End”—the only song with any English lyrics—is something of a jumble. The peppy indie-pop choruses sound out of place, and the muddled vocal layers at the end stand in stark contrast with the hypnotic multi-tracked vocals in “Naufragée des nuages” earlier. Worse, closer “Que l’éclat fasse demeure” experiences a dearth of energy for minutes on end before surging to life in a whirlwind conclusion that can’t fully make up for it. I will say that this is when the most interesting guitarwork happens, as the guitar tends to take a backseat to the bass before this point.

It turns out that Architecture du Vertige is as dichotomous in memorability as it is stylistically. The front half is great, though with the caveat that one of the best songs is a (well-executed) cover. Unfortunately, the songwriting loses much of its luster in the back half, which ultimately holds Architecture du Vertige back as a whole. The members of Përl complement each other well, and they’ll be a force to be reckoned with if they can manage to write an entire record with the same energy as the first half. There is likely no better genre than post-metal to embody the chiaroscuro concept, and Përl has still put forth one of the more convincing efforts that I’ve heard. Stumbles notwithstanding, Përl is too talented to remain in obscurity.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: perl.bandcamp.com | facebook.com/perl.fr
Releases Worldwide: October 24th, 2025

Show 2 footnotes

With Chris Killin handling the guitar for live performances. ↩
Courtesy of Yannick Renaud. ↩

#architectureduvertige #frenchmetal #laudare #matrass #oct25 #perl

Angry Metal Guy @[email protected] · 2025-10-29 · 11:42 UTC

#2025 #30 #ArchitectureDuVertige #FrenchMetal #Laudare #Matrass #Oct25 #Përl #PostMetal #Review #Reviews #SelfRelease #Solstafir

By Killjoy

One of the cool things about post-metal is the virtually infinite leeway artists have to be as light or heavy as they like. Among my favorite artists in the genre are those who are masterful at balancing both sides. Përl has handcrafted a particularly dichotomous brand of post-metal in Paris, France, since 2008, drawing inspiration from the chiaroscuro art style characterized by the strong contrast between light and dark. This can be particularly difficult to execute because the opposing elements must be balanced impeccably in addition to being individually striking. How well has Përl mastered chiaroscuro on their fourth full-length record, Architecture du Vertige?

True to form, Përl paints with a wide variety of aural hues. Architecture du Vertige has a lot in common with the artistic post-metal of fellow countrymen Matrass, with burly bass grooves grappling with a charismatic female vocalist. Aline Boussaroque’s harsh vocals verge on hardcore or, occasionally, screamo in a way reminiscent of Laudare (sans cello). Conversely, her gentle croons are like a glossy lacquer coating, at times venturing into indie-pop or hip-hop territory. The heavy and light segments replace one another constantly, sometimes with a smooth ebb (“Au Royaume des songes”) and other times with a rough jerk (“La chute”). It’s a testament to Përl’s skill that they can work with so many influences not found in your typical post-metal record and sound confident while doing so.

All three core band members have spectacular synergy together. In addition to Boussaroque, Architecture du Vertige features Bastien Venzac on bass guitar and Thibault Delafosse on percussion.1 Refreshingly, both Venzac and Delafosse feel like equal partners with Boussaroque. The tom-heavy drum rhythms serve as transitions between sections and interplay with the bass lines to create compelling grooves. Delafosse responds accordingly to Boussaroque’s coarse screams and honeyed singing with blast beats or lightly syncopated rhythms. Her light rapping in “Naufragée des nuages” and “Fjara” lends entrancing verve and, surprisingly, is one of my favorite aspects of Architecture du Vertige. “Fjara” is, in fact, a Sólstafir cover, boldly slotted in the middle rather than tacked on at the end. Përl fleshed their version out considerably, with velvety passion imbued in each syllable and a smooth saxophone2 carefully woven into the latter half. I don’t know whether this trio has been together since the beginning, but it sure sounds like it.

But for some reason, Përl seems to lose their fire halfway through. The impressive momentum starts to peter out with the wintery electronic pulses of “Arcipelago,” which might have been a nice change of pace if not for what follows. “Land’s End”—the only song with any English lyrics—is something of a jumble. The peppy indie-pop choruses sound out of place, and the muddled vocal layers at the end stand in stark contrast with the hypnotic multi-tracked vocals in “Naufragée des nuages” earlier. Worse, closer “Que l’éclat fasse demeure” experiences a dearth of energy for minutes on end before surging to life in a whirlwind conclusion that can’t fully make up for it. I will say that this is when the most interesting guitarwork happens, as the guitar tends to take a backseat to the bass before this point.

It turns out that Architecture du Vertige is as dichotomous in memorability as it is stylistically. The front half is great, though with the caveat that one of the best songs is a (well-executed) cover. Unfortunately, the songwriting loses much of its luster in the back half, which ultimately holds Architecture du Vertige back as a whole. The members of Përl complement each other well, and they’ll be a force to be reckoned with if they can manage to write an entire record with the same energy as the first half. There is likely no better genre than post-metal to embody the chiaroscuro concept, and Përl has still put forth one of the more convincing efforts that I’ve heard. Stumbles notwithstanding, Përl is too talented to remain in obscurity.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: perl.bandcamp.com | facebook.com/perl.fr
Releases Worldwide: October 24th, 2025

#architectureduvertige #frenchmetal #laudare #matrass #oct25 #perl

Angry Metal Guy @[email protected] · 2025-10-29 · 11:42 UTC

#2025 #30 #ArchitectureDuVertige #FrenchMetal #Laudare #Matrass #Oct25 #Përl #PostMetal #Review #Reviews #SelfRelease #Solstafir

By Killjoy

One of the cool things about post-metal is the virtually infinite leeway artists have to be as light or heavy as they like. Among my favorite artists in the genre are those who are masterful at balancing both sides. Përl has handcrafted a particularly dichotomous brand of post-metal in Paris, France, since 2008, drawing inspiration from the chiaroscuro art style characterized by the strong contrast between light and dark. This can be particularly difficult to execute because the opposing elements must be balanced impeccably in addition to being individually striking. How well has Përl mastered chiaroscuro on their fourth full-length record, Architecture du Vertige?

True to form, Përl paints with a wide variety of aural hues. Architecture du Vertige has a lot in common with the artistic post-metal of fellow countrymen Matrass, with burly bass grooves grappling with a charismatic female vocalist. Aline Boussaroque’s harsh vocals verge on hardcore or, occasionally, screamo in a way reminiscent of Laudare (sans cello). Conversely, her gentle croons are like a glossy lacquer coating, at times venturing into indie-pop or hip-hop territory. The heavy and light segments replace one another constantly, sometimes with a smooth ebb (“Au Royaume des songes”) and other times with a rough jerk (“La chute”). It’s a testament to Përl’s skill that they can work with so many influences not found in your typical post-metal record and sound confident while doing so.

All three core band members have spectacular synergy together. In addition to Boussaroque, Architecture du Vertige features Bastien Venzac on bass guitar and Thibault Delafosse on percussion.1 Refreshingly, both Venzac and Delafosse feel like equal partners with Boussaroque. The tom-heavy drum rhythms serve as transitions between sections and interplay with the bass lines to create compelling grooves. Delafosse responds accordingly to Boussaroque’s coarse screams and honeyed singing with blast beats or lightly syncopated rhythms. Her light rapping in “Naufragée des nuages” and “Fjara” lends entrancing verve and, surprisingly, is one of my favorite aspects of Architecture du Vertige. “Fjara” is, in fact, a Sólstafir cover, boldly slotted in the middle rather than tacked on at the end. Përl fleshed their version out considerably, with velvety passion imbued in each syllable and a smooth saxophone2 carefully woven into the latter half. I don’t know whether this trio has been together since the beginning, but it sure sounds like it.

But for some reason, Përl seems to lose their fire halfway through. The impressive momentum starts to peter out with the wintery electronic pulses of “Arcipelago,” which might have been a nice change of pace if not for what follows. “Land’s End”—the only song with any English lyrics—is something of a jumble. The peppy indie-pop choruses sound out of place, and the muddled vocal layers at the end stand in stark contrast with the hypnotic multi-tracked vocals in “Naufragée des nuages” earlier. Worse, closer “Que l’éclat fasse demeure” experiences a dearth of energy for minutes on end before surging to life in a whirlwind conclusion that can’t fully make up for it. I will say that this is when the most interesting guitarwork happens, as the guitar tends to take a backseat to the bass before this point.

It turns out that Architecture du Vertige is as dichotomous in memorability as it is stylistically. The front half is great, though with the caveat that one of the best songs is a (well-executed) cover. Unfortunately, the songwriting loses much of its luster in the back half, which ultimately holds Architecture du Vertige back as a whole. The members of Përl complement each other well, and they’ll be a force to be reckoned with if they can manage to write an entire record with the same energy as the first half. There is likely no better genre than post-metal to embody the chiaroscuro concept, and Përl has still put forth one of the more convincing efforts that I’ve heard. Stumbles notwithstanding, Përl is too talented to remain in obscurity.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: perl.bandcamp.com | facebook.com/perl.fr
Releases Worldwide: October 24th, 2025

#architectureduvertige #frenchmetal #laudare #matrass #oct25 #perl

Angry Metal Guy @[email protected] · 2025-10-29 · 11:42 UTC

#2025 #30 #ArchitectureDuVertige #FrenchMetal #Laudare #Matrass #Oct25 #Përl #PostMetal #Review #Reviews #SelfRelease #Solstafir

By Killjoy

One of the cool things about post-metal is the virtually infinite leeway artists have to be as light or heavy as they like. Among my favorite artists in the genre are those who are masterful at balancing both sides. Përl has handcrafted a particularly dichotomous brand of post-metal in Paris, France, since 2008, drawing inspiration from the chiaroscuro art style characterized by the strong contrast between light and dark. This can be particularly difficult to execute because the opposing elements must be balanced impeccably in addition to being individually striking. How well has Përl mastered chiaroscuro on their fourth full-length record, Architecture du Vertige?

True to form, Përl paints with a wide variety of aural hues. Architecture du Vertige has a lot in common with the artistic post-metal of fellow countrymen Matrass, with burly bass grooves grappling with a charismatic female vocalist. Aline Boussaroque’s harsh vocals verge on hardcore or, occasionally, screamo in a way reminiscent of Laudare (sans cello). Conversely, her gentle croons are like a glossy lacquer coating, at times venturing into indie-pop or hip-hop territory. The heavy and light segments replace one another constantly, sometimes with a smooth ebb (“Au Royaume des songes”) and other times with a rough jerk (“La chute”). It’s a testament to Përl’s skill that they can work with so many influences not found in your typical post-metal record and sound confident while doing so.

All three core band members have spectacular synergy together. In addition to Boussaroque, Architecture du Vertige features Bastien Venzac on bass guitar and Thibault Delafosse on percussion.1 Refreshingly, both Venzac and Delafosse feel like equal partners with Boussaroque. The tom-heavy drum rhythms serve as transitions between sections and interplay with the bass lines to create compelling grooves. Delafosse responds accordingly to Boussaroque’s coarse screams and honeyed singing with blast beats or lightly syncopated rhythms. Her light rapping in “Naufragée des nuages” and “Fjara” lends entrancing verve and, surprisingly, is one of my favorite aspects of Architecture du Vertige. “Fjara” is, in fact, a Sólstafir cover, boldly slotted in the middle rather than tacked on at the end. Përl fleshed their version out considerably, with velvety passion imbued in each syllable and a smooth saxophone2 carefully woven into the latter half. I don’t know whether this trio has been together since the beginning, but it sure sounds like it.

But for some reason, Përl seems to lose their fire halfway through. The impressive momentum starts to peter out with the wintery electronic pulses of “Arcipelago,” which might have been a nice change of pace if not for what follows. “Land’s End”—the only song with any English lyrics—is something of a jumble. The peppy indie-pop choruses sound out of place, and the muddled vocal layers at the end stand in stark contrast with the hypnotic multi-tracked vocals in “Naufragée des nuages” earlier. Worse, closer “Que l’éclat fasse demeure” experiences a dearth of energy for minutes on end before surging to life in a whirlwind conclusion that can’t fully make up for it. I will say that this is when the most interesting guitarwork happens, as the guitar tends to take a backseat to the bass before this point.

It turns out that Architecture du Vertige is as dichotomous in memorability as it is stylistically. The front half is great, though with the caveat that one of the best songs is a (well-executed) cover. Unfortunately, the songwriting loses much of its luster in the back half, which ultimately holds Architecture du Vertige back as a whole. The members of Përl complement each other well, and they’ll be a force to be reckoned with if they can manage to write an entire record with the same energy as the first half. There is likely no better genre than post-metal to embody the chiaroscuro concept, and Përl has still put forth one of the more convincing efforts that I’ve heard. Stumbles notwithstanding, Përl is too talented to remain in obscurity.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: perl.bandcamp.com | facebook.com/perl.fr
Releases Worldwide: October 24th, 2025

#solstafir #selfrelease #reviews #review #postmetal #perl

Angry Metal Guy @[email protected] · 2025-10-29 · 11:42 UTC

#2025 #30 #ArchitectureDuVertige #FrenchMetal #Laudare #Matrass #Oct25 #Përl #PostMetal #Review #Reviews #SelfRelease #Solstafir

By Killjoy

One of the cool things about post-metal is the virtually infinite leeway artists have to be as light or heavy as they like. Among my favorite artists in the genre are those who are masterful at balancing both sides. Përl has handcrafted a particularly dichotomous brand of post-metal in Paris, France, since 2008, drawing inspiration from the chiaroscuro art style characterized by the strong contrast between light and dark. This can be particularly difficult to execute because the opposing elements must be balanced impeccably in addition to being individually striking. How well has Përl mastered chiaroscuro on their fourth full-length record, Architecture du Vertige?

True to form, Përl paints with a wide variety of aural hues. Architecture du Vertige has a lot in common with the artistic post-metal of fellow countrymen Matrass, with burly bass grooves grappling with a charismatic female vocalist. Aline Boussaroque’s harsh vocals verge on hardcore or, occasionally, screamo in a way reminiscent of Laudare (sans cello). Conversely, her gentle croons are like a glossy lacquer coating, at times venturing into indie-pop or hip-hop territory. The heavy and light segments replace one another constantly, sometimes with a smooth ebb (“Au Royaume des songes”) and other times with a rough jerk (“La chute”). It’s a testament to Përl’s skill that they can work with so many influences not found in your typical post-metal record and sound confident while doing so.

All three core band members have spectacular synergy together. In addition to Boussaroque, Architecture du Vertige features Bastien Venzac on bass guitar and Thibault Delafosse on percussion.1 Refreshingly, both Venzac and Delafosse feel like equal partners with Boussaroque. The tom-heavy drum rhythms serve as transitions between sections and interplay with the bass lines to create compelling grooves. Delafosse responds accordingly to Boussaroque’s coarse screams and honeyed singing with blast beats or lightly syncopated rhythms. Her light rapping in “Naufragée des nuages” and “Fjara” lends entrancing verve and, surprisingly, is one of my favorite aspects of Architecture du Vertige. “Fjara” is, in fact, a Sólstafir cover, boldly slotted in the middle rather than tacked on at the end. Përl fleshed their version out considerably, with velvety passion imbued in each syllable and a smooth saxophone2 carefully woven into the latter half. I don’t know whether this trio has been together since the beginning, but it sure sounds like it.

But for some reason, Përl seems to lose their fire halfway through. The impressive momentum starts to peter out with the wintery electronic pulses of “Arcipelago,” which might have been a nice change of pace if not for what follows. “Land’s End”—the only song with any English lyrics—is something of a jumble. The peppy indie-pop choruses sound out of place, and the muddled vocal layers at the end stand in stark contrast with the hypnotic multi-tracked vocals in “Naufragée des nuages” earlier. Worse, closer “Que l’éclat fasse demeure” experiences a dearth of energy for minutes on end before surging to life in a whirlwind conclusion that can’t fully make up for it. I will say that this is when the most interesting guitarwork happens, as the guitar tends to take a backseat to the bass before this point.

It turns out that Architecture du Vertige is as dichotomous in memorability as it is stylistically. The front half is great, though with the caveat that one of the best songs is a (well-executed) cover. Unfortunately, the songwriting loses much of its luster in the back half, which ultimately holds Architecture du Vertige back as a whole. The members of Përl complement each other well, and they’ll be a force to be reckoned with if they can manage to write an entire record with the same energy as the first half. There is likely no better genre than post-metal to embody the chiaroscuro concept, and Përl has still put forth one of the more convincing efforts that I’ve heard. Stumbles notwithstanding, Përl is too talented to remain in obscurity.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: perl.bandcamp.com | facebook.com/perl.fr
Releases Worldwide: October 24th, 2025

Show 2 footnotes

With Chris Killin handling the guitar for live performances. ↩
Courtesy of Yannick Renaud. ↩

#architectureduvertige #frenchmetal #laudare #matrass #oct25 #perl

Ayreonaut @[email protected] · 2025-10-14 · 17:19 UTC

Die #Sòlstafir „Hin helga Kvöl“ ist mir neulich noch in den Einkaufskorb gerutscht, bereits reduziert und bevor sie aus den Shops verschwindet, musste ich noch zugreifen — immerhin steht die Platte schon seit einer ganzen Weile auf der Habenwollen-Liste.

Wenige Bands erlebe ich so intensiv wie Sòlstafir.
Ich verstehe die isländischen Texte zwar nicht, werde aber dafür von den durch die Songs transportierten, eindringlichen Emotionen immer unmittelbar berührt.

Lieblingssong auf dieser Platte: Blakkrakki

#nowplaying #vinyl

#vinyl #nowplaying #solstafir

Ayreonaut @[email protected] · 2025-10-14 · 17:19 UTC

Die #Sòlstafir „Hin helga Kvöl“ ist mir neulich noch in den Einkaufskorb gerutscht, bereits reduziert und bevor sie aus den Shops verschwindet, musste ich noch zugreifen — immerhin steht die Platte schon seit einer ganzen Weile auf der Habenwollen-Liste.

Wenige Bands erlebe ich so intensiv wie Sòlstafir.
Ich verstehe die isländischen Texte zwar nicht, werde aber dafür von den durch die Songs transportierten, eindringlichen Emotionen immer unmittelbar berührt.

Lieblingssong auf dieser Platte: Blakkrakki

#nowplaying #vinyl

#vinyl #nowplaying #solstafir

festivalplaylist.com @[email protected] · 2025-04-01 · 00:20 UTC

Artist removed from Dunk! Festival 2025: ❌ Solstafir ❌

🎶 Listen to the current LineUp on YouTube and Spotify: https://fyrefestivals.co
🎟️ Get your Tickets now: https://prf.hn/l/EJnYMdO

#Dunk_Festival_2025 #Solstafir #fyre_festivals #livemusic #youtube #spotify #music #musicfestivals #playlist #tickets #announcement

#dunk_festival_2025 #solstafir #fyre_festivals #livemusic #youtube #spotify

festivalplaylist.com @[email protected] · 2025-04-01 · 00:20 UTC

Artist removed from Dunk! Festival 2025: ❌ Solstafir ❌

🎶 Listen to the current LineUp on YouTube and Spotify: https://fyrefestivals.co
🎟️ Get your Tickets now: https://prf.hn/l/EJnYMdO

#Dunk_Festival_2025 #Solstafir #fyre_festivals #livemusic #youtube #spotify #music #musicfestivals #playlist #tickets #announcement

#dunk_festival_2025 #solstafir #fyre_festivals #livemusic #youtube #spotify

festivalplaylist.com @[email protected] · 2025-04-01 · 00:20 UTC

Artist removed from Dunk! Festival 2025: ❌ Solstafir ❌

🎶 Listen to the current LineUp on YouTube and Spotify: https://fyrefestivals.co
🎟️ Get your Tickets now: https://prf.hn/l/EJnYMdO

#Dunk_Festival_2025 #Solstafir #fyre_festivals #livemusic #youtube #spotify #music #musicfestivals #playlist #tickets #announcement

#dunk_festival_2025 #solstafir #fyre_festivals #livemusic #youtube #spotify

festivalplaylist.com @[email protected] · 2025-04-01 · 00:20 UTC

Artist removed from Dunk! Festival 2025: ❌ Solstafir ❌

🎶 Listen to the current LineUp on YouTube and Spotify: https://fyrefestivals.co
🎟️ Get your Tickets now: https://prf.hn/l/EJnYMdO

#Dunk_Festival_2025 #Solstafir #fyre_festivals #livemusic #youtube #spotify #music #musicfestivals #playlist #tickets #announcement

#announcement #tickets #playlist #musicfestivals #music #spotify

festivalplaylist.com @[email protected] · 2025-04-01 · 00:20 UTC

Artist removed from Dunk! Festival 2025: ❌ Solstafir ❌

🎶 Listen to the current LineUp on YouTube and Spotify: https://fyrefestivals.co
🎟️ Get your Tickets now: https://prf.hn/l/EJnYMdO

#Dunk_Festival_2025 #Solstafir #fyre_festivals #livemusic #youtube #spotify #music #musicfestivals #playlist #tickets #announcement

#dunk_festival_2025 #solstafir #fyre_festivals #livemusic #youtube #spotify

Meshuggah Mischell ✅ @[email protected] · 2025-01-28 · 08:21 UTC

Next #record at the #homeoffice

Heavy Metal from #Iceland : #katla #modurastin Limited Edition

The Band of the former #solstafir
Drummer Guðmundur Óli Pálmason

#modurastin #katla #iceland #homeoffice #record #solstafir

Meshuggah Mischell ✅ @[email protected] · 2025-01-28 · 08:21 UTC

Next #record at the #homeoffice

Heavy Metal from #Iceland : #katla #modurastin Limited Edition

The Band of the former #solstafir
Drummer Guðmundur Óli Pálmason

#record #homeoffice #iceland #katla #modurastin #solstafir

Meshuggah Mischell ✅ @[email protected] · 2025-01-28 · 08:21 UTC

Next #record at the #homeoffice

Heavy Metal from #Iceland : #katla #modurastin Limited Edition

The Band of the former #solstafir
Drummer Guðmundur Óli Pálmason

#solstafir #modurastin #katla #iceland #homeoffice #record

Angry Metal Guy @[email protected] · 2025-01-08 · 14:40 UTC

#2025 #35 #Bergthron #BlackMetal #Borknagar #GermanMetal #Havukruunu #Jan25 #NeuAsenLand #ProgressiveMetal #ProgressiveRock #Review #Reviews #Rush #Solstafir #TrollzornRecords

By Killjoy

Some people just can’t be rushed. Neu Asen Land is the first sign of life from the German atmospheric/progressive black metal band Bergthron since 2010. That’s a 15-year hiatus lasting almost the entire time that our beloved blog has been in operation! The exact identities of the band members have historically been difficult to ascertain,1 but the promotional material describes them as explorers who used this time for expeditions to remote forests and the Arctic Circle. Talk about a sabbatical! Given all of this, I expect I’m far from the only one who hadn’t heard of Bergthron before now. However, when even an unfamiliar group survives such a long break it bakes a certain level of interest into the new offering. After all, why break the silence after all this time without something worth saying?

Neu Asen Land’s most striking quality is how it manages to be both rugged and refined. This is evident from the intro “Skandinavische Expansion” which features a medley of gruff chants and growls on top of subdued piano keys. The vocals are a many-headed beast, with at least two members working together at any given time to produce rough shouts and sonorous cleans. Bergthron abandoned the darker, more industrial feel of 2010’s EXP. Autarktis somewhere along the way in favor of an eclectic blend of Sólstafir’s free-spirited rock, Borknagar’s brisk progressive black metal, and Havukruunu’s raw verve. They eschew many of the modern editing conventions, resulting in a more natural, unfiltered sound. Despite the lengthy hiatus, there’s no doubt that these guys are still comfortable playing together.

Bergthron make it abundantly clear that they write and perform solely on their own terms. The drumming is energetic, with rapid-fire double kick and long, indulgent fills (“Aufbruch nach Neu Asen Land,” “Gefangene der Polarnacht”). The bass lines in songs such as “SOG” and “Horizont in Flammen” are distinct and intricate, on par with those of the guitar. Like the weather, the musical conditions can drastically change without notice. Bergthron often slow down and let their prog rock roam free; much of “Gefangene der Polarnacht” in particular sounds akin to a blackened Rush. They play with temperature contrasts by placing balmy guitar melodies alongside shimmering wintery synths, which gives Neu Asen Land the feel of a sunny, snowy day. These atypical song structures might be jarring to some, but I find them charming overall.

Neu Asen Land’s biggest shortcoming is there isn’t quite enough of it to go around. At 32 minutes, there is zero bloat–exactly what one might expect of lean outdoorsmen. Of course, this isn’t a problem on its own, but every minute is even more important when there are less of them to spare, and this is why the concluding track “Skaldenruhm erstarrt in Zeit” falls so flat. It’s not a bad song, but it begins with eerie synths and ends with weak meandering, closing the album with a whimper in stark contrast with the vibrancy that came before. If Bergthron hadn’t let their blazing campfire die a bit too early, Neu Asen Land would likely be knocking on the door of greatness.

While I wasn’t able to send Bergthron off, Neu Asen Land is of such quality that I’m happy to welcome them back. They are clearly a well-traveled group of individuals and this is reflected in every fiber of their comeback album. While undeniably lacking polish, it possesses a handcrafted charm that I’m unlikely to experience again anytime soon. I can recommend this for those who like their black metal lively and unpredictable. If one of your New Year’s resolutions is to discover more good music in 2025, Neu Asen Land stands ready to help start the year strong.

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Trollzorn Records
Websites: bergthron.bandcamp.com | bergthron.de
Releases Worldwide: January 6th, 2025

#bergthron #blackmetal #borknagar #germanmetal #havukruunu #jan25

Angry Metal Guy @[email protected] · 2025-01-08 · 14:40 UTC

#2025 #35 #Bergthron #BlackMetal #Borknagar #GermanMetal #Havukruunu #Jan25 #NeuAsenLand #ProgressiveMetal #ProgressiveRock #Review #Reviews #Rush #Solstafir #TrollzornRecords

By Killjoy

Some people just can’t be rushed. Neu Asen Land is the first sign of life from the German atmospheric/progressive black metal band Bergthron since 2010. That’s a 15-year hiatus lasting almost the entire time that our beloved blog has been in operation! The exact identities of the band members have historically been difficult to ascertain,1 but the promotional material describes them as explorers who used this time for expeditions to remote forests and the Arctic Circle. Talk about a sabbatical! Given all of this, I expect I’m far from the only one who hadn’t heard of Bergthron before now. However, when even an unfamiliar group survives such a long break it bakes a certain level of interest into the new offering. After all, why break the silence after all this time without something worth saying?

Neu Asen Land’s most striking quality is how it manages to be both rugged and refined. This is evident from the intro “Skandinavische Expansion” which features a medley of gruff chants and growls on top of subdued piano keys. The vocals are a many-headed beast, with at least two members working together at any given time to produce rough shouts and sonorous cleans. Bergthron abandoned the darker, more industrial feel of 2010’s EXP. Autarktis somewhere along the way in favor of an eclectic blend of Sólstafir’s free-spirited rock, Borknagar’s brisk progressive black metal, and Havukruunu’s raw verve. They eschew many of the modern editing conventions, resulting in a more natural, unfiltered sound. Despite the lengthy hiatus, there’s no doubt that these guys are still comfortable playing together.

Bergthron make it abundantly clear that they write and perform solely on their own terms. The drumming is energetic, with rapid-fire double kick and long, indulgent fills (“Aufbruch nach Neu Asen Land,” “Gefangene der Polarnacht”). The bass lines in songs such as “SOG” and “Horizont in Flammen” are distinct and intricate, on par with those of the guitar. Like the weather, the musical conditions can drastically change without notice. Bergthron often slow down and let their prog rock roam free; much of “Gefangene der Polarnacht” in particular sounds akin to a blackened Rush. They play with temperature contrasts by placing balmy guitar melodies alongside shimmering wintery synths, which gives Neu Asen Land the feel of a sunny, snowy day. These atypical song structures might be jarring to some, but I find them charming overall.

Neu Asen Land’s biggest shortcoming is there isn’t quite enough of it to go around. At 32 minutes, there is zero bloat–exactly what one might expect of lean outdoorsmen. Of course, this isn’t a problem on its own, but every minute is even more important when there are less of them to spare, and this is why the concluding track “Skaldenruhm erstarrt in Zeit” falls so flat. It’s not a bad song, but it begins with eerie synths and ends with weak meandering, closing the album with a whimper in stark contrast with the vibrancy that came before. If Bergthron hadn’t let their blazing campfire die a bit too early, Neu Asen Land would likely be knocking on the door of greatness.

While I wasn’t able to send Bergthron off, Neu Asen Land is of such quality that I’m happy to welcome them back. They are clearly a well-traveled group of individuals and this is reflected in every fiber of their comeback album. While undeniably lacking polish, it possesses a handcrafted charm that I’m unlikely to experience again anytime soon. I can recommend this for those who like their black metal lively and unpredictable. If one of your New Year’s resolutions is to discover more good music in 2025, Neu Asen Land stands ready to help start the year strong.

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Trollzorn Records
Websites: bergthron.bandcamp.com | bergthron.de
Releases Worldwide: January 6th, 2025

#bergthron #blackmetal #borknagar #germanmetal #havukruunu #jan25

Angry Metal Guy @[email protected] · 2025-01-08 · 14:40 UTC

#2025 #35 #Bergthron #BlackMetal #Borknagar #GermanMetal #Havukruunu #Jan25 #NeuAsenLand #ProgressiveMetal #ProgressiveRock #Review #Reviews #Rush #Solstafir #TrollzornRecords

By Killjoy

Some people just can’t be rushed. Neu Asen Land is the first sign of life from the German atmospheric/progressive black metal band Bergthron since 2010. That’s a 15-year hiatus lasting almost the entire time that our beloved blog has been in operation! The exact identities of the band members have historically been difficult to ascertain,1 but the promotional material describes them as explorers who used this time for expeditions to remote forests and the Arctic Circle. Talk about a sabbatical! Given all of this, I expect I’m far from the only one who hadn’t heard of Bergthron before now. However, when even an unfamiliar group survives such a long break it bakes a certain level of interest into the new offering. After all, why break the silence after all this time without something worth saying?

Neu Asen Land’s most striking quality is how it manages to be both rugged and refined. This is evident from the intro “Skandinavische Expansion” which features a medley of gruff chants and growls on top of subdued piano keys. The vocals are a many-headed beast, with at least two members working together at any given time to produce rough shouts and sonorous cleans. Bergthron abandoned the darker, more industrial feel of 2010’s EXP. Autarktis somewhere along the way in favor of an eclectic blend of Sólstafir’s free-spirited rock, Borknagar’s brisk progressive black metal, and Havukruunu’s raw verve. They eschew many of the modern editing conventions, resulting in a more natural, unfiltered sound. Despite the lengthy hiatus, there’s no doubt that these guys are still comfortable playing together.

Bergthron make it abundantly clear that they write and perform solely on their own terms. The drumming is energetic, with rapid-fire double kick and long, indulgent fills (“Aufbruch nach Neu Asen Land,” “Gefangene der Polarnacht”). The bass lines in songs such as “SOG” and “Horizont in Flammen” are distinct and intricate, on par with those of the guitar. Like the weather, the musical conditions can drastically change without notice. Bergthron often slow down and let their prog rock roam free; much of “Gefangene der Polarnacht” in particular sounds akin to a blackened Rush. They play with temperature contrasts by placing balmy guitar melodies alongside shimmering wintery synths, which gives Neu Asen Land the feel of a sunny, snowy day. These atypical song structures might be jarring to some, but I find them charming overall.

Neu Asen Land’s biggest shortcoming is there isn’t quite enough of it to go around. At 32 minutes, there is zero bloat–exactly what one might expect of lean outdoorsmen. Of course, this isn’t a problem on its own, but every minute is even more important when there are less of them to spare, and this is why the concluding track “Skaldenruhm erstarrt in Zeit” falls so flat. It’s not a bad song, but it begins with eerie synths and ends with weak meandering, closing the album with a whimper in stark contrast with the vibrancy that came before. If Bergthron hadn’t let their blazing campfire die a bit too early, Neu Asen Land would likely be knocking on the door of greatness.

While I wasn’t able to send Bergthron off, Neu Asen Land is of such quality that I’m happy to welcome them back. They are clearly a well-traveled group of individuals and this is reflected in every fiber of their comeback album. While undeniably lacking polish, it possesses a handcrafted charm that I’m unlikely to experience again anytime soon. I can recommend this for those who like their black metal lively and unpredictable. If one of your New Year’s resolutions is to discover more good music in 2025, Neu Asen Land stands ready to help start the year strong.

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Trollzorn Records
Websites: bergthron.bandcamp.com | bergthron.de
Releases Worldwide: January 6th, 2025

#trollzornrecords #solstafir #rush #reviews #review #progressiverock

Angry Metal Guy @[email protected] · 2025-01-08 · 14:40 UTC

#2025 #35 #Bergthron #BlackMetal #Borknagar #GermanMetal #Havukruunu #Jan25 #NeuAsenLand #ProgressiveMetal #ProgressiveRock #Review #Reviews #Rush #Solstafir #TrollzornRecords

By Killjoy

Some people just can’t be rushed. Neu Asen Land is the first sign of life from the German atmospheric/progressive black metal band Bergthron since 2010. That’s a 15-year hiatus lasting almost the entire time that our beloved blog has been in operation! The exact identities of the band members have historically been difficult to ascertain,1 but the promotional material describes them as explorers who used this time for expeditions to remote forests and the Arctic Circle. Talk about a sabbatical! Given all of this, I expect I’m far from the only one who hadn’t heard of Bergthron before now. However, when even an unfamiliar group survives such a long break it bakes a certain level of interest into the new offering. After all, why break the silence after all this time without something worth saying?

Neu Asen Land’s most striking quality is how it manages to be both rugged and refined. This is evident from the intro “Skandinavische Expansion” which features a medley of gruff chants and growls on top of subdued piano keys. The vocals are a many-headed beast, with at least two members working together at any given time to produce rough shouts and sonorous cleans. Bergthron abandoned the darker, more industrial feel of 2010’s EXP. Autarktis somewhere along the way in favor of an eclectic blend of Sólstafir’s free-spirited rock, Borknagar’s brisk progressive black metal, and Havukruunu’s raw verve. They eschew many of the modern editing conventions, resulting in a more natural, unfiltered sound. Despite the lengthy hiatus, there’s no doubt that these guys are still comfortable playing together.

Bergthron make it abundantly clear that they write and perform solely on their own terms. The drumming is energetic, with rapid-fire double kick and long, indulgent fills (“Aufbruch nach Neu Asen Land,” “Gefangene der Polarnacht”). The bass lines in songs such as “SOG” and “Horizont in Flammen” are distinct and intricate, on par with those of the guitar. Like the weather, the musical conditions can drastically change without notice. Bergthron often slow down and let their prog rock roam free; much of “Gefangene der Polarnacht” in particular sounds akin to a blackened Rush. They play with temperature contrasts by placing balmy guitar melodies alongside shimmering wintery synths, which gives Neu Asen Land the feel of a sunny, snowy day. These atypical song structures might be jarring to some, but I find them charming overall.

Neu Asen Land’s biggest shortcoming is there isn’t quite enough of it to go around. At 32 minutes, there is zero bloat–exactly what one might expect of lean outdoorsmen. Of course, this isn’t a problem on its own, but every minute is even more important when there are less of them to spare, and this is why the concluding track “Skaldenruhm erstarrt in Zeit” falls so flat. It’s not a bad song, but it begins with eerie synths and ends with weak meandering, closing the album with a whimper in stark contrast with the vibrancy that came before. If Bergthron hadn’t let their blazing campfire die a bit too early, Neu Asen Land would likely be knocking on the door of greatness.

While I wasn’t able to send Bergthron off, Neu Asen Land is of such quality that I’m happy to welcome them back. They are clearly a well-traveled group of individuals and this is reflected in every fiber of their comeback album. While undeniably lacking polish, it possesses a handcrafted charm that I’m unlikely to experience again anytime soon. I can recommend this for those who like their black metal lively and unpredictable. If one of your New Year’s resolutions is to discover more good music in 2025, Neu Asen Land stands ready to help start the year strong.

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Trollzorn Records
Websites: bergthron.bandcamp.com | bergthron.de
Releases Worldwide: January 6th, 2025

Show 1 footnote

The information on their Metal Archives page does not appear to be very reliable or current. There are names listed on the Bandcamp pages of some prior albums but without any indication of each member’s role or which ones still maintain their association with the band. ↩

#bergthron #blackmetal #borknagar #germanmetal #havukruunu #jan25

Rockaxis @[email protected] · 2024-12-09 · 13:00 UTC

🔥 ¡Empezamos otra semana a bordo de #4x4 de radio @rockaxisoficial! 🔥

Hoy vamos con pura cosecha 2024. Escuchamos lo nuevo de #1000Mods, #SwallowTheSun, #Solstafir y #Opeth 👏

Lunes 10 y 22 Hrs en http://Rockaxis.Fm

Conduce @PabloCerda1

🐦🔗 https://farside.link/x.com/rockaxisoficial/status/1866105264765645127#m

#4x4 #1000mods #swallowthesun #solstafir #opeth #radio

Rockaxis @[email protected] · 2024-12-09 · 13:00 UTC

🔥 ¡Empezamos otra semana a bordo de #4x4 de radio @rockaxisoficial! 🔥

Hoy vamos con pura cosecha 2024. Escuchamos lo nuevo de #1000Mods, #SwallowTheSun, #Solstafir y #Opeth 👏

Lunes 10 y 22 Hrs en http://Rockaxis.Fm

Conduce @PabloCerda1

🐦🔗 https://farside.link/x.com/rockaxisoficial/status/1866105264765645127#m

#4x4 #1000mods #swallowthesun #solstafir #opeth #radio

Rockaxis @[email protected] · 2024-12-09 · 13:00 UTC

🔥 ¡Empezamos otra semana a bordo de #4x4 de radio @rockaxisoficial! 🔥

Hoy vamos con pura cosecha 2024. Escuchamos lo nuevo de #1000Mods, #SwallowTheSun, #Solstafir y #Opeth 👏

Lunes 10 y 22 Hrs en http://Rockaxis.Fm

Conduce @PabloCerda1

🐦🔗 https://farside.link/x.com/rockaxisoficial/status/1866105264765645127#m

#rockaxis #radio #opeth #solstafir #swallowthesun #1000mods

Rockaxis @[email protected] · 2024-12-09 · 13:00 UTC

🔥 ¡Empezamos otra semana a bordo de #4x4 de radio @rockaxisoficial! 🔥

Hoy vamos con pura cosecha 2024. Escuchamos lo nuevo de #1000Mods, #SwallowTheSun, #Solstafir y #Opeth 👏

Lunes 10 y 22 Hrs en http://Rockaxis.Fm

Conduce @PabloCerda1