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Æl-Fierlen – All Is Far Away Review

Like a specter emerging from the mist, Æl-Fierlen is a brand new post-black metal act that materialized in…
#NewsBeep #News #Music #2025 #3.0 #Æl-Fierlen #AllIsFarAway #BlackMetal #BritishMetal #CA #Canada #Entertainment #FolkMetal #Helga #Kalandra #PostRock #review #reviews #SelfRelease #Sep25 #Suldusk #Sylvaine
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Æl-Fierlen – All Is Far Away Review

By Killjoy

Like a specter emerging from the mist, Æl-Fierlen is a brand new post-black metal act that materialized in Southern England in 2024. Their name comes from an Anglo-Saxon phrase meaning “all is far away,” making their debut something of an eponymous record. This phrase resonates with me because, despite living so close to many wonderful outdoor locations, I don’t make nearly as much time as I ought to experience them. As if beckoning to me, Æl-Fierlen sums up their sound with the simple declaration, “We are what the woods sounds like.” If you long to become lost in mystic marvels, come take a walk through the metaphorical trees.

Just as a forest has both light and dark spots, so does the music of Æl-Fierlen. In this way, they sound very much like a sister group of Helga, weaving elegant post-rock together with strands of black metal. There is also a discernible folk tinge akin to cousin groups Kalandra and Suldusk. Æl-Fierlen mainly sticks to the brighter style of Kalandra, like a well-lit clearing near the outskirts. But sometimes the compositions dare to venture into darker Suldusk territory with ominous whispers and guitar strumming that erupt into blast beats and shrieks without warning. What these three related groups have in common is a captivating female lead vocalist, and Æl-Fierlen is similarly rooted in Stephanie Moffatt’s enchanting voice.

A lot hinges on Moffatt’s vocals and she comes through in a big way. Her singing has an otherworldly, spectral quality, yet is also warm and inviting. Then, in the final verse of “To Sleep Eternal,” she shifts to a higher octave which heightens the drama for a flourishing finish. However, much like Sylvaine, she is not confined to ethereal tones, adopting a piercing bite when the occasion calls for it. “Eðe”1 is the prime example of her masterful mixture of chilling rasps and guttural growls, and it also happens to be the song with the most black metal influence. Her coarse whispers cast a menacing shadow over “Pulrose,” just enough for an underscoring effect without being overused. All in all, Moffatt’s versatility is one of Æl-Fierlen’s most important assets.

Examined holistically, though, All Is Far Away seems a little thin in both sound and content. This is partly because the instrumental side often takes a stripped-back form, likely to accommodate the vocals. The other band members do have their moments to shine; I particularly enjoy it when Rob Melville’s guitar tremolos intertwine with drummer Ginger’s knotted double bass drum rhythms in the back half of “Ællmiht.” It’s just that these moments aren’t as pronounced or developed as I’d prefer. This might not have been much of an issue if there were a bit more to chew on. Clocking in at 33 minutes across only four tracks, All Is Far Away is barely longer than an EP. To Æl-Fierlen’s credit, even though most of the songs are in the 8-11 minute range, they flow silkily and hardly feel their length. One more such song would have been perfect.

Æl-Fierlen has a keen sense of grace and beauty. If, like me, you find it hard to set aside time to be physically present in nature, All Is Far Away offers a charming aural jaunt through the woods. Stephanie Moffatt’s delightful and multifaceted voice perfectly suits the evocative atmosphere. Each of the four tracks has its own distinct character, one leading into the next like a gently flowing brook. All Is Far Away is a cohesive and convincing first effort from a nascent group, albeit a tad on the lean side. While this may be more of a foundational work, I look forward to hearing what Æl-Fierlen builds atop it in the future.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: ael-fierlen.bandcamp.com | facebook.com/AElFierlen
Releases Worldwide: September 19th, 2025

#2025 #30 #AllIsFarAway #ÆlFierlen #BlackMetal #BritishMetal #FolkMetal #Helga #Kalandra #PostRock #Review #Reviews #SelfRelease #Sep25 #Suldusk #Sylvaine

Æl-Fierlen – All Is Far Away Review

By Killjoy

Like a specter emerging from the mist, Æl-Fierlen is a brand new post-black metal act that materialized in Southern England in 2024. Their name comes from an Anglo-Saxon phrase meaning “all is far away,” making their debut something of an eponymous record. This phrase resonates with me because, despite living so close to many wonderful outdoor locations, I don’t make nearly as much time as I ought to experience them. As if beckoning to me, Æl-Fierlen sums up their sound with the simple declaration, “We are what the woods sounds like.” If you long to become lost in mystic marvels, come take a walk through the metaphorical trees.

Just as a forest has both light and dark spots, so does the music of Æl-Fierlen. In this way, they sound very much like a sister group of Helga, weaving elegant post-rock together with strands of black metal. There is also a discernible folk tinge akin to cousin groups Kalandra and Suldusk. Æl-Fierlen mainly sticks to the brighter style of Kalandra, like a well-lit clearing near the outskirts. But sometimes the compositions dare to venture into darker Suldusk territory with ominous whispers and guitar strumming that erupt into blast beats and shrieks without warning. What these three related groups have in common is a captivating female lead vocalist, and Æl-Fierlen is similarly rooted in Stephanie Moffatt’s enchanting voice.

A lot hinges on Moffatt’s vocals and she comes through in a big way. Her singing has an otherworldly, spectral quality, yet is also warm and inviting. Then, in the final verse of “To Sleep Eternal,” she shifts to a higher octave which heightens the drama for a flourishing finish. However, much like Sylvaine, she is not confined to ethereal tones, adopting a piercing bite when the occasion calls for it. “Eðe”1 is the prime example of her masterful mixture of chilling rasps and guttural growls, and it also happens to be the song with the most black metal influence. Her coarse whispers cast a menacing shadow over “Pulrose,” just enough for an underscoring effect without being overused. All in all, Moffatt’s versatility is one of Æl-Fierlen’s most important assets.

Examined holistically, though, All Is Far Away seems a little thin in both sound and content. This is partly because the instrumental side often takes a stripped-back form, likely to accommodate the vocals. The other band members do have their moments to shine; I particularly enjoy it when Rob Melville’s guitar tremolos intertwine with drummer Ginger’s knotted double bass drum rhythms in the back half of “Ællmiht.” It’s just that these moments aren’t as pronounced or developed as I’d prefer. This might not have been much of an issue if there were a bit more to chew on. Clocking in at 33 minutes across only four tracks, All Is Far Away is barely longer than an EP. To Æl-Fierlen’s credit, even though most of the songs are in the 8-11 minute range, they flow silkily and hardly feel their length. One more such song would have been perfect.

Æl-Fierlen has a keen sense of grace and beauty. If, like me, you find it hard to set aside time to be physically present in nature, All Is Far Away offers a charming aural jaunt through the woods. Stephanie Moffatt’s delightful and multifaceted voice perfectly suits the evocative atmosphere. Each of the four tracks has its own distinct character, one leading into the next like a gently flowing brook. All Is Far Away is a cohesive and convincing first effort from a nascent group, albeit a tad on the lean side. While this may be more of a foundational work, I look forward to hearing what Æl-Fierlen builds atop it in the future.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: ael-fierlen.bandcamp.com | facebook.com/AElFierlen
Releases Worldwide: September 19th, 2025

#2025 #30 #AllIsFarAway #ÆlFierlen #BlackMetal #BritishMetal #FolkMetal #Helga #Kalandra #PostRock #Review #Reviews #SelfRelease #Sep25 #Suldusk #Sylvaine

Æl-Fierlen – All Is Far Away Review

By Killjoy

Like a specter emerging from the mist, Æl-Fierlen is a brand new post-black metal act that materialized in Southern England in 2024. Their name comes from an Anglo-Saxon phrase meaning “all is far away,” making their debut something of an eponymous record. This phrase resonates with me because, despite living so close to many wonderful outdoor locations, I don’t make nearly as much time as I ought to experience them. As if beckoning to me, Æl-Fierlen sums up their sound with the simple declaration, “We are what the woods sounds like.” If you long to become lost in mystic marvels, come take a walk through the metaphorical trees.

Just as a forest has both light and dark spots, so does the music of Æl-Fierlen. In this way, they sound very much like a sister group of Helga, weaving elegant post-rock together with strands of black metal. There is also a discernible folk tinge akin to cousin groups Kalandra and Suldusk. Æl-Fierlen mainly sticks to the brighter style of Kalandra, like a well-lit clearing near the outskirts. But sometimes the compositions dare to venture into darker Suldusk territory with ominous whispers and guitar strumming that erupt into blast beats and shrieks without warning. What these three related groups have in common is a captivating female lead vocalist, and Æl-Fierlen is similarly rooted in Stephanie Moffatt’s enchanting voice.

A lot hinges on Moffatt’s vocals and she comes through in a big way. Her singing has an otherworldly, spectral quality, yet is also warm and inviting. Then, in the final verse of “To Sleep Eternal,” she shifts to a higher octave which heightens the drama for a flourishing finish. However, much like Sylvaine, she is not confined to ethereal tones, adopting a piercing bite when the occasion calls for it. “Eðe”1 is the prime example of her masterful mixture of chilling rasps and guttural growls, and it also happens to be the song with the most black metal influence. Her coarse whispers cast a menacing shadow over “Pulrose,” just enough for an underscoring effect without being overused. All in all, Moffatt’s versatility is one of Æl-Fierlen’s most important assets.

Examined holistically, though, All Is Far Away seems a little thin in both sound and content. This is partly because the instrumental side often takes a stripped-back form, likely to accommodate the vocals. The other band members do have their moments to shine; I particularly enjoy it when Rob Melville’s guitar tremolos intertwine with drummer Ginger’s knotted double bass drum rhythms in the back half of “Ællmiht.” It’s just that these moments aren’t as pronounced or developed as I’d prefer. This might not have been much of an issue if there were a bit more to chew on. Clocking in at 33 minutes across only four tracks, All Is Far Away is barely longer than an EP. To Æl-Fierlen’s credit, even though most of the songs are in the 8-11 minute range, they flow silkily and hardly feel their length. One more such song would have been perfect.

Æl-Fierlen has a keen sense of grace and beauty. If, like me, you find it hard to set aside time to be physically present in nature, All Is Far Away offers a charming aural jaunt through the woods. Stephanie Moffatt’s delightful and multifaceted voice perfectly suits the evocative atmosphere. Each of the four tracks has its own distinct character, one leading into the next like a gently flowing brook. All Is Far Away is a cohesive and convincing first effort from a nascent group, albeit a tad on the lean side. While this may be more of a foundational work, I look forward to hearing what Æl-Fierlen builds atop it in the future.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: ael-fierlen.bandcamp.com | facebook.com/AElFierlen
Releases Worldwide: September 19th, 2025

#2025 #30 #AllIsFarAway #ÆlFierlen #BlackMetal #BritishMetal #FolkMetal #Helga #Kalandra #PostRock #Review #Reviews #SelfRelease #Sep25 #Suldusk #Sylvaine

Æl-Fierlen – All Is Far Away Review

By Killjoy

Like a specter emerging from the mist, Æl-Fierlen is a brand new post-black metal act that materialized in Southern England in 2024. Their name comes from an Anglo-Saxon phrase meaning “all is far away,” making their debut something of an eponymous record. This phrase resonates with me because, despite living so close to many wonderful outdoor locations, I don’t make nearly as much time as I ought to experience them. As if beckoning to me, Æl-Fierlen sums up their sound with the simple declaration, “We are what the woods sounds like.” If you long to become lost in mystic marvels, come take a walk through the metaphorical trees.

Just as a forest has both light and dark spots, so does the music of Æl-Fierlen. In this way, they sound very much like a sister group of Helga, weaving elegant post-rock together with strands of black metal. There is also a discernible folk tinge akin to cousin groups Kalandra and Suldusk. Æl-Fierlen mainly sticks to the brighter style of Kalandra, like a well-lit clearing near the outskirts. But sometimes the compositions dare to venture into darker Suldusk territory with ominous whispers and guitar strumming that erupt into blast beats and shrieks without warning. What these three related groups have in common is a captivating female lead vocalist, and Æl-Fierlen is similarly rooted in Stephanie Moffatt’s enchanting voice.

A lot hinges on Moffatt’s vocals and she comes through in a big way. Her singing has an otherworldly, spectral quality, yet is also warm and inviting. Then, in the final verse of “To Sleep Eternal,” she shifts to a higher octave which heightens the drama for a flourishing finish. However, much like Sylvaine, she is not confined to ethereal tones, adopting a piercing bite when the occasion calls for it. “Eðe”1 is the prime example of her masterful mixture of chilling rasps and guttural growls, and it also happens to be the song with the most black metal influence. Her coarse whispers cast a menacing shadow over “Pulrose,” just enough for an underscoring effect without being overused. All in all, Moffatt’s versatility is one of Æl-Fierlen’s most important assets.

Examined holistically, though, All Is Far Away seems a little thin in both sound and content. This is partly because the instrumental side often takes a stripped-back form, likely to accommodate the vocals. The other band members do have their moments to shine; I particularly enjoy it when Rob Melville’s guitar tremolos intertwine with drummer Ginger’s knotted double bass drum rhythms in the back half of “Ællmiht.” It’s just that these moments aren’t as pronounced or developed as I’d prefer. This might not have been much of an issue if there were a bit more to chew on. Clocking in at 33 minutes across only four tracks, All Is Far Away is barely longer than an EP. To Æl-Fierlen’s credit, even though most of the songs are in the 8-11 minute range, they flow silkily and hardly feel their length. One more such song would have been perfect.

Æl-Fierlen has a keen sense of grace and beauty. If, like me, you find it hard to set aside time to be physically present in nature, All Is Far Away offers a charming aural jaunt through the woods. Stephanie Moffatt’s delightful and multifaceted voice perfectly suits the evocative atmosphere. Each of the four tracks has its own distinct character, one leading into the next like a gently flowing brook. All Is Far Away is a cohesive and convincing first effort from a nascent group, albeit a tad on the lean side. While this may be more of a foundational work, I look forward to hearing what Æl-Fierlen builds atop it in the future.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: ael-fierlen.bandcamp.com | facebook.com/AElFierlen
Releases Worldwide: September 19th, 2025

#2025 #30 #AllIsFarAway #ÆlFierlen #BlackMetal #BritishMetal #FolkMetal #Helga #Kalandra #PostRock #Review #Reviews #SelfRelease #Sep25 #Suldusk #Sylvaine

Suldusk – Anthesis Review

By sentynel

Way back in early 2020, Suldusk played the last show I attended before fun was canceled. I was introduced by the non-suspiciously departed Emya‘s excellent TYMHM piece on one-woman debut Lunar Falls. This sort of black metal-inflected atmospheric folk is incredibly My Thing, as you can tell from where Helga landed on my list last year. So Suldusk were a pretty important fixture for me, particularly in the tough early pandemic months. The whole thing has that slight air of unreality you get with memories from around then. Now they’re back—finally—with a full band and signed to Napalm, so the stakes are high for Anthesis (meaning flowering, or the time when a flower is open).

Fortunately, Anthesis is an apt name, with Suldusk successfully finding their feet as a full band. This sort of music is made or broken first in its ability to conjure atmosphere, and Anthesis is steeped in atmosphere. The acoustic guitar, violin, and cello work reminds me at times of the wonderful Nebelung (“Leven,” “Crowns of Esper,” “Sphaera”) and at others of Hexvessel. Both are favorites in the “lost in a misty forest” genre. At its best it’s genuinely beautiful; as I edited this sentence I got entirely distracted by the progression in “Crowns of Esper.” The second make-or-break point is not getting so lost in the woods that memorable songs fall by the wayside. Here, Emily Highfield’s vocals do a lot of the heavy lifting. From the BSG theme-esque intro to the almost campfire folk melody of “Mythical Creatures” to the unsettling cries of “Sphaera,” she offers many of the record’s best moments. Balancing these two factors isn’t easy and Anthesis manages admirably.

Many bands in this genre suffer a slightly awkward relationship between the acoustic folk and black metal elements (Myrkur, the aforementioned Helga). Suldusk doesn’t have this issue. The actual metal is used very sparingly—about half of the tracks feature fully metal passages, with only “Verdalet” dominated by this sound. Where it’s used it accentuates the songs very well, with a satisfying flow between elements. Unfortunately, the production hampers things a bit here, a common black metal complaint. When distorted guitars and blast beats hit I want it to thunder, but the production doesn’t offer enough room above the acoustic sections. This lack of contrast robs it of some of the impact. This issue hits “Verdalet” the hardest, and its placement as the first real track after the intro gets the album off to a slightly awkward start. Fortunately, it’s all smooth sailing from there.

I’ve mentioned “Sphaera” a couple of times already, but it’s an early Song o’ the Year frontrunner. The artful buildup reminds me of The Otolith, and every part of it from the piano to the spoken word sample to the vocals hits perfectly. Title track “Anthesis” nails the folk/black metal balance perfectly; “Mythical Creatures” is the catchiest song on the record. Finale “A Luminous End” brings together everything the album does well, and adds a solo by site cello bae Raphael Weinroth-Browne. As I allude to above, while it’s not a one-woman show anymore, Emily Highfield’s vocals are the most obvious draw here. Her versatility is notable, from the warm, sweet tone seen on “Mythical Creatures” to the cutting clean tone and black metal howls of tracks like “Anthesis.” The addition of Shane Mulholland’s pretty tenor on a couple of songs (e.g. “Leven”) adds further vocal variety. But the most impressive bit is how smoothly the voices flow among the instruments (“Sphaera” again). There are a lot of instruments to balance here, and the composition across the whole record is excellent.

My fear of reviewing bands that mean a lot to me is here assuaged; I love Anthesis. Beyond the production gripe, I have nothing to complain about. It delivers everything I want from an album like this: I can get lost in the atmosphere, hum the songs, and headbang. Suldusk have successfully grown as a band, both literally and figuratively. They do more than the debut without losing what I loved about that record. Anthesis is beautiful, thoughtful, and moving.

Rating: Great
DR: Less than I’d like | Format Reviewed: Stream
Label: Napalm Records
Websites: suldusk.bandcamp.com | facebook.com/Suldusk
Releases Worldwide: March 1st, 2024

#2024 #40 #Anthesis #AtmosphericBlackMetal #AustralianMetal #BlackMetal #Folk #Helga #Hexvessel #Mar24 #Myrkur #NapalmRecords #Nebelung #Neofolk #Review #Reviews #Suldusk #TheOtolith

Suldusk – Anthesis Review

By sentynel

Way back in early 2020, Suldusk played the last show I attended before fun was canceled. I was introduced by the non-suspiciously departed Emya‘s excellent TYMHM piece on one-woman debut Lunar Falls. This sort of black metal-inflected atmospheric folk is incredibly My Thing, as you can tell from where Helga landed on my list last year. So Suldusk were a pretty important fixture for me, particularly in the tough early pandemic months. The whole thing has that slight air of unreality you get with memories from around then. Now they’re back—finally—with a full band and signed to Napalm, so the stakes are high for Anthesis (meaning flowering, or the time when a flower is open).

Fortunately, Anthesis is an apt name, with Suldusk successfully finding their feet as a full band. This sort of music is made or broken first in its ability to conjure atmosphere, and Anthesis is steeped in atmosphere. The acoustic guitar, violin, and cello work reminds me at times of the wonderful Nebelung (“Leven,” “Crowns of Esper,” “Sphaera”) and at others of Hexvessel. Both are favorites in the “lost in a misty forest” genre. At its best it’s genuinely beautiful; as I edited this sentence I got entirely distracted by the progression in “Crowns of Esper.” The second make-or-break point is not getting so lost in the woods that memorable songs fall by the wayside. Here, Emily Highfield’s vocals do a lot of the heavy lifting. From the BSG theme-esque intro to the almost campfire folk melody of “Mythical Creatures” to the unsettling cries of “Sphaera,” she offers many of the record’s best moments. Balancing these two factors isn’t easy and Anthesis manages admirably.

Many bands in this genre suffer a slightly awkward relationship between the acoustic folk and black metal elements (Myrkur, the aforementioned Helga). Suldusk doesn’t have this issue. The actual metal is used very sparingly—about half of the tracks feature fully metal passages, with only “Verdalet” dominated by this sound. Where it’s used it accentuates the songs very well, with a satisfying flow between elements. Unfortunately, the production hampers things a bit here, a common black metal complaint. When distorted guitars and blast beats hit I want it to thunder, but the production doesn’t offer enough room above the acoustic sections. This lack of contrast robs it of some of the impact. This issue hits “Verdalet” the hardest, and its placement as the first real track after the intro gets the album off to a slightly awkward start. Fortunately, it’s all smooth sailing from there.

I’ve mentioned “Sphaera” a couple of times already, but it’s an early Song o’ the Year frontrunner. The artful buildup reminds me of The Otolith, and every part of it from the piano to the spoken word sample to the vocals hits perfectly. Title track “Anthesis” nails the folk/black metal balance perfectly; “Mythical Creatures” is the catchiest song on the record. Finale “A Luminous End” brings together everything the album does well, and adds a solo by site cello bae Raphael Weinroth-Browne. As I allude to above, while it’s not a one-woman show anymore, Emily Highfield’s vocals are the most obvious draw here. Her versatility is notable, from the warm, sweet tone seen on “Mythical Creatures” to the cutting clean tone and black metal howls of tracks like “Anthesis.” The addition of Shane Mulholland’s pretty tenor on a couple of songs (e.g. “Leven”) adds further vocal variety. But the most impressive bit is how smoothly the voices flow among the instruments (“Sphaera” again). There are a lot of instruments to balance here, and the composition across the whole record is excellent.

My fear of reviewing bands that mean a lot to me is here assuaged; I love Anthesis. Beyond the production gripe, I have nothing to complain about. It delivers everything I want from an album like this: I can get lost in the atmosphere, hum the songs, and headbang. Suldusk have successfully grown as a band, both literally and figuratively. They do more than the debut without losing what I loved about that record. Anthesis is beautiful, thoughtful, and moving.

Rating: Great
DR: Less than I’d like | Format Reviewed: Stream
Label: Napalm Records
Websites: suldusk.bandcamp.com | facebook.com/Suldusk
Releases Worldwide: March 1st, 2024

#2024 #40 #Anthesis #AtmosphericBlackMetal #AustralianMetal #BlackMetal #Folk #Helga #Hexvessel #Mar24 #Myrkur #NapalmRecords #Nebelung #Neofolk #Review #Reviews #Suldusk #TheOtolith