#svartidaudi — Public Fediverse posts

Thunder rattles the ducts as my minions trudge through heated aluminum and flimsy copper to clean out the detritus left by endless storms. Sometimes I wonder if I should invest in a “health plan” for them to offset the debilitating turnover resulting from various mortal injuries and gruesome deaths this work incurs. And then I think again, and realize that would be a waste of “profits.” There will always be more dummies willing to dive in with the promise of treasure sparkling in their eyes.

Aaaaannnnyyyyway, nobody lost limb or life in the Filter today, but we did manage a decent haul. BEHOLD!

Kenstrosity’s Burning Bastion

Forsmán // Brenndar rústir & fuðrandi fjörur [June 26th, 2026 – Vesperian]

Iceland is where all the cool black metal kids sit. Smeary corpse paint, cloaks, throaty roars, somehow simultaneously wet and dry snare tones, and hooky riffs surrounded in lower-pitched tremolos make the Icelandic scene almost instantly recognizable. Forsmán are no exception, the young foursome abiding by the genre blueprint—in a similar way to bands like Svartidauði and Helfró—on remarkably professional debut Brenndar rústir & fuðrandi fjörur. A deathly kink lightly twists blasty riff freakouts (“Drottinn fyrirgefur allt,” “Valdníðsla”), but when they land their impact cracks the earth underfoot. A dissonant drama further characterizes Forsmán’s black metal core to scaffold riff-driven measures and off-kilter rhythms, and yet everything remains accessible and easily digestible (“Svartir svanir,” “Andvana,” “Barmafylltar fjöldagrafir”). While Forsmán aren’t attempting to redefine the style with this debut, they do earn a spot alongside the genre’s best with tight performances, fiery riff-forward writing, and a writhing personality that is vicious as much as it is beautifully expressed (“Kynjamyndir”). In short, Brenndar rústir & fuðrandi fjörur should not be missed, as it represents with great merit the high quality I’ve come to expect from the modern Icelandic black metal scene.

Owlswald’s Sunlit Secret

Entropist // The Vision [June 26, 2026 – Self Released]

Denver progressive death metal quintet Entropist is the very definition of a Stuck in the Filter unearthing. Their debut album, The Vision, slipped through the cracks amid our June promo flood and resurfaced too late for a standard review. Time to make amends. Mixed and mastered by Jamie King (Between the Buried and Me, The Contortionist), The Vision showcases a group brimming with talent and ambition.1 Blending death with elements of progressive metal, psychedelic rock, metalcore, jazz, and classical, The Vision is a melting pot of influences that thrives on vivid atmospherics and an effective dual-vocal approach from Parker Kitching and guitarist Solomon Smith, creating a sound that is adventurous and rewarding. “Intense Warmth” opens with a bout of hypnotic throat singing that morphs into layered croons. “Desert of Limbo’s” crawling melodies evoke Haken. Elsewhere, “The Ritual’s” eerie atmosphere and its intense bridge throw serious Aeolian-era The Ocean vibes, while “Devour Us” delivers exotic acoustic guitar and violin passages before closing with a swaggering groove and a contorted solo. “Creation” proves what Entropist is capable of when all the pieces lock together. Packed with Exoplanet-like riffs, alternating growls and soaring vocals, and a heaving half-time groove, the track’s eclecticism and momentum never let up. Not every experiment lands—”Revelation” and the aptly named “Wandering” lose sight of their destination—but there’s too much talent and creativity here to ignore. The Vision may be far from flawless, but it’s without a doubt an impressive debut.

Spicie Forrest’s Mathy Morsel

eleventwelfth // 11 [June 26, 2026 – Angular//Momentum Records]

Do you remember when Sithu Aye released that Senpai series?2 Airy, engaging, and wildly emotive, I’ve been chasing that sound ever since. eleventwelfth’s newest LP, 11, scratches that itch as it hasn’t been scratched in years. Part one in a concept duology3 that will serve as the Jakarta, Indonesia-based foursome’s sophomore offering, 11 follows its protagonist as they reckon with the necessary sacrifices one must make in pursuit of a dream. Largely rooted in indie and math rock, 11 unfolds in three acts filtered through aviation metaphors. Hopeful and tender melodies dance on strings like the wind through tall grass (“far away from here,” “collision”), while vocals effortlessly swoop and soar like an albatross on ocean air currents. 7-minute closer “communicate” swells inexorably, wind gathering under its wings until, at the midpoint, it takes off in a beautiful moment of catharsis. Synths and electronic elements evoke Porter Robinson’s Nurture in their gentle and ineffably nostalgic movements (“navigate,” “to fathom the throes”). When eleventwelfth leans into their Reliant K’d rock side, as on “ascending faster than before,” “fear of what’s beyond,” or “last here all alone,” 11 moves as if in a flow state—somehow simultaneously approaching lightspeed and locked in a timeless moment. This certainly isn’t the heaviest thing you’ll hear this year—it might be the lightest—but for those who know what it means to risk it all on hopes and dreams, 11 is not to be missed.

ClarkKent’s Energetic Inputs

Finsmoonth // Chrysalis of Astral Tears [June 13th, 2026 – Disaster Records]

Indonesia’s Finsmoonth puts on a clinic of melancholic atmospheric black metal with some first-rate tremolos and affecting performances. They partake in an aggressive, melodic form of the genre that’s similar to Walg in its relentlessness. Icy cold blast beats pummel your ears while the melodic tremolos prove a soothing balm wrapped in melancholy. The two guitarists, Zulk Adhe and Irwin Ranto, are tremolo wizards, serving quality leads on each song. My favorite, “Embers at Ethereal Dawn,” displays Finsmoonth’s ability to build up to powerful emotional climaxes. Tino Guruh proves an effective and consistent vocalist. His blackened rasps form the emotional core, and on “Embers at Ethereal Dawn,” he breaks into agonized cries that are just heartbreaking. The passing of the band’s bassist, Maulana Fachrul, less than two months ahead of the release of Chrysalis of Astral Tears adds further to the poignancy. Fachrul puts on a first-rate performance, with some stellar lonesome instrumental stretches on “An Endless Depth,” as well as a bit of smooth jazz noodling towards the end of “Foliage of the Wings.” If Indonesian black metal reminds you of Pure Wrath, then it might not be a surprise to learn that Januaryo Hardy contributes the cleans/chants, and even his wife, Isa Bellum, has a couple of small parts. I don’t know what’s going on in Jakarta to make these artists so sad, but they’re writing some damn fine music.

Inherits the Void // The Silent Abscission [June 19th, 2026 – Avantgarde Music]

France’s Antoine Scholtès has been quite busy since forming his solo black metal project, Inherits the Void, in 2020. Thus Spoke had kind words for the previous two, 2023’s The Impending Fall of Stars and 2024’s Scars of Yesteryear, comparing the former to the atmospheric meloblack of Mare Cognitum. This time around, Scholtès brings along some friends, including Romain Negro (Apolaustic, ex-Stortregn) to helm the mic. Romain brings a much more aggressive blackened edge to the vocals, cracking with a relentless energy. Scholtès still contributes backing vocals, and a mysterious Nicolas S. sings cleans on a couple of tracks, including a great soaring bit on the finale, “Inherits the Void.” The Silent Abscission feels a touch more aggressive than what Inherits the Void generally plays. Between the blast beats, furious tremolos, and Romain’s blackened assault, there’s a sense of constant kinetic motion. It’s true that some of this stuff can blend together, but there’s plenty of great melodies to keep it enjoyable from start to finish. While Scholtès continues to use synths and arpeggios as brief reprieves from the blast beat attack, he also invites Kevon S. to play some sax (“Wrath of the Endless Sea,” “Inherits the Void”), bringing to mind Burial in the Sky or White Ward. The Silent Abscission is yet another impressive outing in Inherits the Void’s discography, with Scholtès showing that he’s willing to take some risks in order to make things more interesting.

Grin Reaper’s Nocturnal Nuggets

Hecate // Comment Est la Nuit? [June 12th, 2026 – Self Released]

Since forming in 2009, French ensemble Hecate has steadily released reliable and trve black metal. Fourth album Comment Est la Nuit?4 serves as my introduction to the act, and after visiting earlier albums I’m confident that their latest is their greatest (so far).5 Where debut Chronicles d’un Autre Temps sounds more modern (think 1349 or Watain), subsequent albums gravitate towards raw production that radiates early second-wave energy. Comment Est la Nuit? perpetuates this aesthetic, though Hecate adorns it with classical frills that I find irresistible, such as their seamless integration of piano, flute, and cello with gusts of piercing tremolos and grating rasps. Though Comment Est la Nuit? remains solidly rooted in black metal, the keys function as a core component like never before. Each time I listen, Hecate reveals new facets that only get better with familiarity. The intro to “Aubes aux pâles salives” begins with a beautiful piano refrain supported by clean guitars and a subtle bass thread before tumbling into distorted trems that bear the same melodic framework. Likewise, the range of “Hymne au clair de lune” batters listeners between scathing muscle and delicate respites. I don’t expect Comment Est la Nuit? to change opinions about black metal, but those who enjoy it will find Hecate has written an engrossing experience that wonderfully details the rhythms of the night.

Stormkeep // The Nocturnes of Iswylm [June 12th, 2026 – Vesperian]

Like many, I eagerly awaited a full-length follow-up to Stormkeep’s magnificent debut Tales of Othertime, uncertain if or when it would arrive. Because the band’s other projects consistently enrapture me (Wayfarer and Blood Incantation, in particular), I never worried whether the Denver, Colorado collective’s sophomore platter would satisfy the promises made by Othertime. And while I’m not convinced that The Nocturnes of Iswylm reaches the heights the debut, Stormkeep still unleashes goodies aplenty that litter Nocturnes three-quarters of an hour. Gone are the instrumentals from Tales of Othertime—instead, Stormkeep dials down the cinema in favor of more straightforward meloblack, although drama still seethes beneath the surface. String embellishments dot the arrangements (“The Taste of Immortal Blood,” “Imperious Sanguine Eroticism,” “Carnal Tapestries of Nailtorn Flesh”), imparting dramatic flair and a welcome dimension to Stormkeep’s fantastical atmosphere. And like the cover art, The Nocturnes of Iswylm embraces darker textures that wrestle in doleful gloom, engendering a subtler experience that took time to sink in and appreciate. While this approach doesn’t ply the same epic theatricality as the debut, The Nocturnes of Iswylm nonetheless worms its way into ears and hearts with nefarious glamours that crackle with danger.

Belarus Beaver // Grind af den Brune Bäfver [June 17th, 2026 – Self Released]

Sweden plays host to many metallic endeavors, and I often feel like I’m picking up secondhand geography lessons as a result of listening to its exports. Belarus Beaver, then, supplies a toofer, as they began their journey in melodeath mecca Gothenburg before settling down in Jönköping (also home to Hällas, Rexoria, and Narnia). Rather than progressive rock or power metal, though, Belarus Beaver obliterates listeners with a bucktoothed bombshell of devastating deathgrind that’s at once savagely br00tal and pure fun. Also, it’s all about beavers. On fourth album Grind af den Brune Bäfver, Belarus Beaver weaves together groove-laced blasts with industrial trimmings that recall a mixture of early Anaal Nathrakh (“I Want to Pet a Beaver”) and Exhumed (“Den Gnagande Plågan,” “Begravd i en Flod”). Occasionally, though, Grind af den Brune Bäfver reaches for a twist in their songwriting repertoire that uplifts the music, like the Eastern stringed instrument at the beginning of “Urbävern” or the unexpected melodic guitar support midway through “Mutated Beaver Moose.” These moments and others like them elevate Grind af den Brune Bäfver above sheer novelty, and if you’re not sold on Beaver fever, you’re missing out. So let your hair down and give yourself over to the Grind—it’s dam fun.

Creeping Ivy’s Classic Catch

Dead Kosmonaut // Retrospectre [June 26th, 2026 – Edged Circle Productions]

Dead Kosmonaut conceived a perfect title for their third album. Since 2014, this Swedish quintet has been molding traditional heavy metal hearkening to the late 70s and early 80s. This style—the first wave of metal itself—haunts any and every musician in the genre with aspirations of crafting something trve. With the specter of retro metal hanging over the band’s collective head, Retrospectre delivers 38 minutes of classic goodness, imbued with a somber longing. Dead Kosmonaut is a well-credentialed crew, starting with guitarists Fredrik Folkare (ex-Necrophobic) and Peter Hallgren (Sorcerer), who dole out irresistible guitarmonies and audacious solos in the spirit of Iron Maiden (“Out of the Shadow Rising”). The rhythm section, comprised of bassist Mattias Reinholdsson and drummer Henrik Johansson (both ex-Book of Hours), punches through the mix with power and a bit of grit (“Wake of Aquarius”). And of course, vocalist Per ‘Hellbutcher’ Gustavsson shines, trading his black metal bona fides for commanding cleans that drive some damn fine choruses (“View from the Future”). Lyrically, the album especially develops its theme of retrospection in the latter half, with songs about aging (“Eyes Grow Old”), defeat (“The Battle is Over”), and the inexorable march of time (“The Retrospectre”). Retrospectre will certainly scratch any itches for timeless, classic metal, but Dead Kosmonaut have enough talent, character, and craftmanship to make their third offering more than mere nostalgia.

Decipher – ΘΕΛΗΜΑ (Thelema) Review

It’s not often I underrate something, but if there were ever a legitimate example, it might be my…
#NewsBeep #News #Music #2026 #3.5 #BlackMetal #BlackenedDeathMetal #Decipher #Dissection #Entertainment #GreekMetal #Mar26 #MelodicBlackMetal #review #Reviews #Svartidauði #Thelema #TranscendingObscurityRecords #UK #UnitedKingdom #Watain
https://www.newsbeep.com/uk/480932/

https://www.europesays.com/ie/390144/ Decipher – ΘΕΛΗΜΑ (Thelema) Review #2026 #35 #BlackMetal #BlackenedDeathMetal #Decipher #Dissection #Éire #Entertainment #GreekMetal #IE #Ireland #Mar26 #MelodicBlackMetal #Music #Review #Reviews #Svartidauði #Thelema #TranscendingObscurityRecords #Watain

https://www.europesays.com/uk/832406/ Decipher – ΘΕΛΗΜΑ (Thelema) Review #2026 #35 #BlackMetal #BlackenedDeathMetal #Decipher #Dissection #Entertainment #GreekMetal #Mar26 #MelodicBlackMetal #music #Review #Reviews #Svartidauði #Thelema #TranscendingObscurityRecords #UK #UnitedKingdom #Watain

It’s not often I underrate something, but if there were ever a legitimate example, it might be my review of Arcane Paths to Resurrection, the debut from Greek black metal trio Decipher. Upon revisiting it recently, I experienced newfound intense appreciation for their slightly crusty melodic black metal, and this all stemmed from my initial spins of sophomore ΘΕΛΗΜΑ.1 Not overly atmospheric, not supremely dissonant or integrated into death metal, nor straightforwardly raw and aggressive, Decipher maintain a style in Thelema that’s as subtly intriguing and melodic as it is punchy and to-the-point. The word Thelema means will2 and while there’s no lyric sheet or storytelling in promo material to elucidate the concept, the snatches of audible references to Satan, and the generally extreme, yet anthemic vibe of the music broadcast defiant rebellion and the burden of being, which suit that word well.

Decipher’s sound is broadly the same as on Arcane Paths, a Watain-meets-Dissection viciousness tempered—if you can call it that—by a darker, eerier side that pulls more from Icelandic acts like Svartidauði. Whilst remaining committed to frequent use of group-chanted and screamed vocal lines and plenty of recognisably malicious blackened riffery, Thelema sees the band experiment a little more. While not meandering—with the possible exception of “Bound to the Wheel”—songs spread their themes into more variations (“The Black March,” “Towards Renaissance”) or uncanny soloing, whilst rhythms shift more often, and build tension for longer before unravelling and transforming. The barely five minutes added is enough for the compositions to have more presence, whether with energetic malevolence (“Return to Naught,” “Seven Scars”) or ominous finality (“Liturgy”). Skirting the precipice that would see a descent into atmo-black, there’s a relaxation and a layering to the melodic lines that deepens and darkens the sound.

ΘΕΛΗΜΑ (Thelema) by DECIPHER

Thelema demonstrates that Decipher’s command of rhythm, melody, and grit has only gotten better, as it compels with the joint force of hookiness and evil. Using recurring patterns of riff, vocals, and percussion that each cue one another, Decipher create a thrashing feeling of push-and-pull that’s downright magnetic. A group wail precipitating a gnarly descending arpeggio (“Seven Scars”); the way a guitar clambers up and down to the precise beat of the drums (“Return to Naught,” “Hail Death”). These manifest organically out of existing tempos—blast beat (“Seven Scars”), march (“The Black March”), or shuffling skitter (“Towards Renaissance”) alike, making the shifts seamless and the identity consistent. Perhaps this is black metal that’s not unusual on paper, but adorned with Decipher’s now recognisable bright yet sinister melodies, and continually layered vocals, it sounds freshly thrilling. The tingles that go down my spine when I hear the first riff on opener “Return to Naught,” the solo that ends “The Black March,” and the overlaid cries and urgent tremolo of “Litany” have not yet failed to materialise.

Thelema’s enjoyability and power over its listener is also bolstered by Decipher’s additional refinements in areas not lacking before. By severing any instrumental interlude or protracted intro, the energy—however it transforms—and momentum are maintained, and the album has a more robust through-line. Rhythmic and thematic shifts flex and emerge variously with emphasis and mournful or spiteful intensity. The wails are just as agonised and chest-emptying in the latter half as they are in the first. Decipher’s production has also expanded to accommodate their slightly more nuanced and exploratory sound. Thelema sports a roomy mix that keeps the interspersed vocal and guitar lines, and the proudly beating drums and crashing cymbals equally audible and striking.

I recall bemoaning a lack of zhuzh in Arcane Paths and, whether or not I still consider that justified, it definitely wouldn’t be here. For all the new layers and senses of intrigue, Thelema remains a black metal album with standout moments that threaten to overshadow and desaturate the more standard fare, and may strike some harder than others. It yet undeniably shows Decipher carving out a decisive space for themselves that adumbrates a dark, delicious presence. Thelema stands one step behind the inexorability that confers greatness in its sphere. But it’s a small step.

Rating: Very Good
DR: 11 | Format Reviewed: 320kbps mp3
Label: Transcending Obscurity Records
Websites: Bandcamp | Facebook
Releases Worldwide: March 20th, 2026

https://www.europesays.com/nl/82710/ Martröð – Draumsýnir Eldsins | Zware Metalen #2025 #akhlys #Amusement #aosoth #black #BlackMetal #BlutAusNord #CarpeNoctem #celeste #DebemurMortiRecords #DraumsýnirEldsins #Dutch #Entertainment #hasard #ijsland #martröð #misþyrming #Music #Muziek #mysticism #mystískaos #nadra #Nederland #Nederlanden #Nederlands #Netherlands #NL #recensie #sinmara #skaphé #SólánVarma #svartidaudi #TerraTenebrosa #throane #ulcerate #VerenigdeStaten #wormlust #zhrine #ZwareMetalen

Solfatare – Asservis par l’espoir Review

By Kenstrosity

Belgian trio Solfatare prime the release of their debut record, Asservis par l’espoir, at a challenging time to compete in the black metal arena. With heavyweight acts dropping records right and left in this space in 2025, Asservis par l’espoir has its work cut out for it to make a big splash and a lasting impression. With only a demo to their name so far, Solfatare launch with a blank slate, adopting the traditional methods of offering as little identifying information as possible before unleashing its hellish shadow upon the land. We can only hope that that shadow obscures in totality all that stand before it, leaving only Solfatare in the hearts and minds of those who witness.

Asservis par l’espoir is nothing if not familiar. Black metal of this ilk gushes profusely out of the metalsphere, especially from regions of France, Germany, and Iceland. Belgium isn’t too far removed from those places, so influences ranging from Silhouette to Sun Worship to Svartidauði fit the prompt when taking in Solfatare’s material. Inject a bit of Vimur‘s sparkling brand of riff-craft, and Asservis par l’espoir becomes a compelling entry on paper. Boasting a rich and full mix that balances the razor’s edge of black metal with modern clarity and sharp detail, Solfatare’s debut record is a pleasure to hear. In short, we’re off to a great start with all of the surface-level check boxes ticked.

On the songwriting front, many of Asservis par l’espoir’s best tracks showcase the genre at its finest, writhing with curled tremolo bends, serrated riff patterns, and immense momentum. Of those best tracks, “Du deuil affairé” rises as the cream of the crop. In this example—and in penultimate epic “Sous des cieux absents” at its midpoint—the particular progression of oscillating trem-picked phrases and slithering arpeggiated embellishments that Solfatare implement make a stunning sequence, memorable for its musicality and striking in its gnarled form. More melodious—though still corrupted by a twist of discordant harmony—offerings such as “D’hommes et d’isoptères” and “Ozymandias” take advantage of their position, setting up (in the former) and resolving (in the latter) those vicious riff-centered outbursts. In fulfilling those roles, they create a dynamic experience unified by a common sound and structure. A predictable result of these dynamics is that Asservis par l’espoir races through its 42-minute span so quickly that I feel obligated to spin it again, if for no other reason than to make sure I didn’t miss out on any other notable moments.

As strongly as I maintain that albums like these are easy to love, and even easier to spin both casually and with focused intent, the challenge remains to distinguish oneself from the greater pool of artists creating similar works. It is here that I am not convinced Solfatare fully matured yet. To call Asservis par l’espoir a competent record in the style would be a mild understatement. It’s a compelling record in its own right for a significant chunk of its runtime, and an enjoyable one for the rest. However, its back half entries don’t shine as brightly as the first half’s, and even those don’t stand out well against the wider set of the style. Closing duo “Sous des cieux absents” and “Quand ton cerveau te surine le crâne” don’t lag behind in overall songwriting consistency, but they lack flavor. All of the elements are there—layered tremolos, vomitous wretches, thunderous percussion, transformative transitions, the works—but the intangibles remain on the table, unable to help Solfatare establish a distinct identity in their chosen field at the most important juncture for them to do so. If at the end of the record I am this unconfident that I could pull the band out of a lineup, it’s clear something that was needed didn’t make it to the final product.

Still, listeners could do worse than Asservis par l’espoir. Boasting a ton of high-octane, easily enjoyable material, Solfatare’s debut does justice to its genre. However, it lacks a unique voice to help it stand above the crowd. It just so happens that that crowd is very good at what they do, and it’s become overpopulated. While that means Solfatare have to work to find that special thing that gives them a voice and a point of view, I look forward to hearing the result of that inevitable discovery.

Rating: Mixed
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Signal Rex
Websites: solfatare.bandcamp.com | facebook.com/Solfatare
Releases Worldwide: May 2nd, 2025

#25 #2025 #AsservisParLEspoir #BelgianMetal #BlackMetal #May25 #Review #Reviews #SignalRex #Silhouette #Sofatare #SunWorship #Svartidauði #Vimur

Deathrite – Flames Licking Fever Review

By Alekhines Gun

Written By: Nameless_N00b_85

Sometimes it’s not about the brutality or the speed, it’s about the pizzazz. German band Deathrite began life as OSDM worship in 2010, before attempting to make their own mark by incorporating more punk riff simplicity and black metal atmospheres into one vile brew. Now, they stand poised to deliver their fifth outing, the oddly titled Flames Licking Fever, and the idea of such a trifecta of sounds certainly tickles the earballs. Do the ingredients come together in a potable stew, or should these flavors remain separated from each other for good?

Flames Licking Fever is drowning in atmosphere which lends it a clear auditory identity, and any one song, chosen at random, would convince you that you’d stumbled on something special. The slightly reverbed vocals and spaced instruments give it a flavor adjacent to the Icelandic black metal scene, particularly Svartidauði. This gives the more punk-flavored riffs an engaging auditory palate, particularly in the stuttering echoes and classic rock-tinged twang of “Gallows Trail.” Solos, when present, are engaging and enjoyably shreddy and vocalist Tony Heinrich howls with a more clean, thrash-oriented tone, which is well-suited to the echoing nature of the production. The whole package makes for excellent background music while cleaning or spending time with friends with its accessible tones, mid-paced chugs and gentle echoes, and if that sounds like a good time for you, this might be up your alley.

If you, however, think “excellent background music” is damning with faint praise, you are right on the money, as Flames Licking Fever is catastrophically boring. The entire compositional backbone of Deathrite consists of taking the more mid-paced heft of Mammoth Grinder or Genocide Pact and riding simplistic grooves well past their expiration point. Every song here except “Misanthropic Rush” is played at the same “brisk walk with a loved one” tempo, with minimal variations of bpm or rhythmic progression to keep things interesting. Opener “Crippled Ego” briefly deceives with its almost industrial-like intro of blast beats and cold, computer-like guitar tones, but this, alas, turns out to be one of the very few moments of energy in an otherwise morose presentation. From time to time a tired, trem-lead rears its head, but is invariably swallowed up in the atmosphere of the album due to its exhausted-sounding, bleary pace.

It doesn’t help that compositionally, Flames Licking Fever has precisely two tricks to keep the listener engaged: the occasional time signature shift, and an almost Beethoven-esque affection for trills. Making the strange track sequencing/compositional choice to end a song with a slow, boring chug or riff, only to open the very next song with an equally boring chug or riff, Deathrite compensate by attempting to trick the listener into thinking something interesting is about to happen by deftly switching from a 2/4 to a 3/4 time (“Flames Licking Fever,” “Bottomless Graves”), and crescendoing just a bit. Alas, each of these builds invariably return to more boring riffs. The riffs themselves are often punctuated by trills, most egregiously in “A Slave to a Poisoned Soul”, which neatly divide measures without adding anything to the overall composition. Eventually, the listener realizes this is the only musical flourish waiting for his ears, and the trills wear as thin as the riffs themselves. There’s certainly nothing wrong with time signature changes or trills, and many bands use them to great effect. However, the abominable simplicity of Deathrite’s toolkit only exacerbates the equally abominable simplicity of their riffcraft.

Like a water balloon being tossed at a brick wall, Flames Licking Fever comes and goes into our lives without leaving any real impact. There is no standout moment here; no particularly great riff, no song worth rewinding over, no air guitar-inducing enthusiasm or grunt-along-in-the-shower vocal phrasing, and beyond the excellent artwork, certainly no pizzazz. There is instead a collection of mid-paced, okay-caliber death adjacent punk riffs. Other than their efforts at a “grand finale” of a closing track, you could even consume the album on shuffle and not dramatically change the listening experience. If you need something peaceful to enjoy while doing your dishes or unwinding after a hard day at work, you might have found a winner here—otherwise there isn’t anything recommending this album over the rest of this year’s releases.

Rating: 1.5/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Into Endless Chaos Records
Websites: deathrite.bandcamp.com | de-de.facebook.com/deathrite666
Releases Worldwide: October 18th, 2024

#15 #2024 #Beethoven #BlackMetal #DeathMetal #Deathrite #FlamesLickingFever #GenocidePact #GermanMetal #IntoEndlessChaosRecords #MammothGrinder #Oct24 #OSDM #Punk #Review #Reviews #Svartidauði

Naxen – Descending Into a Deeper Darkness Review

By Dear Hollow

Last we met Germany’s Naxen, we were deep in the swills of the pandemic lockdown here in the States. Released in June of 2020, debut full-length Towards the Tomb of Times was a solid black metal affair that I gleefully awarded a 3.5 but just never listened to again. Not that it was bad by any means, but it did not have the staying power I expected. The trio exists in the cross-section of black metal, adhering to hints of melodic black and death metal, but is pure unadulterated black metal. As such, aside from the act’s adoration of alliteration, we’ve got ourselves a neat lil’ blackened number.

Naxen has been around the blackened block, having released alliterative albums since 2018, including EPs To Abide in Ancient Abysses, Of Fainting Faith in Futile Flesh, and The Perilous Path of Pain as well as 2020’s debut. If you know black metal, there’s really nothing terribly unique about Descending Into a Deeper Darkness, but that’s okay. Semi-raw, semi-dense tremolo and heavy guitar grooves dance about the ears with harsh rasps, while percussion varies between funereal plods and blazing blastbeats. United by a feeling of melancholy founded in more depressive interpretations, Naxen offers us a rock-solid black metal album that ascends its alliterative antecedent by an awful amount.

Comprising four tracks with lengthier compositions dominated by diminished chord progressions, songs are smartly composed and neatly executed. Naxen attacks with a blend of scathing and riffy, balanced by sustained melodic plucking that adds a beating heart to the mid-tempo attack. The melodic layers of guitar plucking in the closing portion of “Our Souls Shall Fall Forever” or the heart-wrenching melodic template of “Triumphant Tongue of a Thousand Swords,” for instance, make their respective attacks extremely memorable in the balance of melody and shredding punishment – seriously, the latter really provided the scratch to the brain I needed. These two are most solid, while the fluid movements of “To Writhe in the Womb of Night” revel in a Trist-esque tremolo buzz while shapes of vocals and melody emerge and submerge around it, including an immense percussive presence that feels nimble and pummeling in its necessary measures. The most traditionally punishing track is “A Shadow in the Fire – Pt. III (A Life Led by Loss),” more punky upbeat drumming colliding with barbed-wire tones of drawling guitar, stinging melodies, and rabid percussion fills.

There is little to complain about in terms of the album at large or Naxen’s performance, but it likely should go without saying that four tracks with massive track lengths require a fair amount of patience. As fluid and smartly composed as “To Writhe in the Womb of Night” is, for instance, its melodic approach does not hold up as well as “Triumphant Tongue of a Thousand Swords,” and it grows old quicker over nine minutes than the latter’s fourteen, while the melodies in “A Shadow in the Fire…” can feel directionless in comparison to its more crushing moments as well as its successor in the closing opus. As with its debut, Naxen exists in the shadow of the early 2010s black metal releases of the likes of Altar of Plagues, Svartidauði, or Wolves in the Throne Room, whose more protracted lengths added up to greater breathing room and dynamic growth for both contemplative and punishment, but it still requires a fair amount of patience to sit through.

Naxen will not change your mind about black metal, but they also don’t make any pretense about doing so. It’s black metal with a melodic sensibility and an ear for dynamic songwriting, nothing more and nothing less. The bookends are the undisputed highlights in expert balance of melody, crunch, and shred, although the relatively weaker middle portions feature neat punishment and fluid songwriting themselves. In the end, Descending Into a Deeper Darkness is far from mediocre, but its alliterative bad self doesn’t do its duty in decreasing black metal dread. If you are a black metal fan, dive deep into Descending Into a Deeper Darkness, never neglecting Naxen.

Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Vendetta Records
Websites: naxen.bandcamp.com | facebook.com/naxenbm
Releases Worldwide: May 3rd, 2024

#2024 #30 #AltarOfPlagues #BlackMetal #DescendingIntoADeeperDarkness #DSBM #GermanMetal #May24 #MelodicBlackMetal #Naxen #Review #Reviews #Svartidauði #Trist #VendettaRecords #WolvesInTheThroneRoom

Misotheist – Vessels by Which the Devil is Made Flesh Review

By Doom_et_Al

In the overcrowded field of black metal, it’s difficult to stand out. This is even more true when you commit to working within the confines of the genre, rather than, say, employing some gimmick like “black metal meets Barbie meets hardcore.” Yet within two albums, quietly standing out is exactly what mysterious Norwegian outfit Misotheist managed to do. Forging a path that threaded the needle between “accessible” and “dissonant as fuck,” their two previous efforts, 2019’s Misotheist (dreadfully underrated by some hack at this site) and 2021’s For the Glory of Your Redeemer (appropriately rated by some hack at this site), were standouts for fans of twisty, complex, dark black metal. Which means that a new release is suddenly a big event in metal circles. Or at least, it should be. Yet Vessels by Which the Devil is Made Flesh has weirdly flown under the radar. I’m here to tell you why it deserves time in your ear holes.

In keeping with its two predecessors, Vessels features three songs of varying lengths and differing styles. Thematically and sonically, it feels like an extension of For the Glory of Your Redeemer. This means the furious black metal tracks are built around the twin pillars of dissonance and repetition, with a tone that oscillates between fury and despair. If that sounds boring, it’s not. Think how awesome bands like Sinmara and Svartidauði, who employ a similar aesthetic and sound. Those elements are the building blocks of great metal, and Misotheist manage to add their own spin to it. Through wretchedly compelling vocals, a gritty production, and unsettling signature shifts, the band conjures up something deeply primal and choking. The claustrophobia is relentless, but Vessels is relentlessly listenable because the songs are some of the best Misotheist have ever created.

Whereas previous albums featured an almost post-metal dedication to shifting sections and movements, which sometimes felt disconnected, with Vessels, Misotheist’s sound has tightened up considerably. There’s still the feeling of intense claustrophobia, but it’s more disciplined now. The melodies are more melodic, the bass is more prominent, the slower sections are more unsettling. You can feel the band growing more confident. This is highlighted by the two album standouts, “Stigma” and “Whitewashed Tombs.” Both are well over 10 minutes, and they’re both masterpieces of mood and pacing. Misotheist can switch effortlessly between jaunty chugs, twisty, mid-paced dissonance, and furious riffage, all within one song. They make it all seem so easy that it’s only after multiple listens that the complexity is revealed. The climax of “Stigma,” with its crashing drums and subtle harmonics, is so seamlessly executed, you may miss how brilliantly everything has been woven together from patches of what came before. It’s this leap in songwriting that separates this album from their debut.

The production, while not shiny by any means (which wouldn’t work for music this dark), is also an improvement. I was hard on Misotheist for totally burying the bass, making the sound a bit tinny. Vessels corrects this and the texture that is added is immediately noticeable. The sound is richer and deeper, improving every facet of the songs. Nitpicks would be that middle song, “Vessels by Which the Devil is Made Flesh” isn’t quite as strong as the ones that bulwark it, although it does feature some interesting female vocals that complement the sound very well.

Misotheist continue to quietly impress. Every 2 or 3 years, these guys drop a dark, no-nonsense banger and then disappear. Their music is neither flashy nor cool, which is why it never winds up on any major lists, but underground fans have been paying attention. Vessels is yet another hit, honing their potent sound while providing fans of dark, dissonant black metal with everything they could want. Complex, interesting, furious… if you’re a fan of black metal, you don’t want to miss out on this one.

Rating: 4.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Terratur Possessions
Websites: terraturpossessions.bandcamp.com/album/vessels-by-which-the-devil-is-made-flesh
Released Worldwide: March 1st, 2024

#2024 #40 #BlackMetal #Mar24 #Misotheist #NorwegianMetal #Review #Reviews #Sinmara #Svartidauði #TerraturPossessions

best of 2023 albums 2/17:

#Voidescent - Dust and Embers

https://voidescent.bandcamp.com/album/dust-and-embers

My top pick in terms of #dissonant chaos in the vein of #Svartidaudi

#blackmetal #deathmetal #dissonantmetal #dissonantblackmetal

#ThursdayFiveList
#TheFire

( #Dolch ) - Burn
https://youtu.be/RpzijjSq1ZY

#CultofFire - अस्तित्व की चिता पर (On the Funeral Pyre of Existence)
https://youtu.be/fuAAQ9R1k9g

#Korgonthurus - Puhdistuksen Tulet (Cleansing Fires)
https://youtu.be/grgIu9wbj0I

#Svartidauði - Burning Worlds of Excrement
https://youtu.be/BrEHFC1ZC_8

#Ezkaton - Altars of the Flame
https://youtu.be/HUMyqR5Llgc

#blackmetal #doomgaze