#sylvaine — Public Fediverse posts

Towards the tail end of last year, a humble group from the UK called Asira shook up my top ten list. Little did I suspect that I would hear from some of these fine musicians again so soon. Five out of the six members of the blackgaze band Cairiss contributed in some way to As Ink in Water, and now they break a decade-long silence since debut album Fall. Wilderness seeks to express and overcome personal trauma and suffering while also validating those of its audience who are waging their own solitary or unseen battles. As such, this work of art transcends sole beauty or entertainment value to extend an invitation to process and heal in whatever way may be personally needed.

Wilderness is both a continuation and amplification of the potential teased on Fall. Cairiss remains rooted at the intersection of the gossamer elegance of Sylvaine and the blackened anguish of Unreqvited. This is an uncommon type of blackgaze that successfully flits between grandiose and intimate. Freya Brown, who previously handled all vocals, is now devoted primarily to those of the harsh variety.1 Her hard work paid off—her snarls and screams are much sharper, more expressive, and more dynamic all-around. Newcomer Lydia Williams takes charge of the clean singing with similarly breathtaking results. Additionally, the instrumental melodies are more poignant; hints of Asira’s and Opeth’s soulful, progressive guitarwork can be found throughout Wilderness (“The Guide,” “Dissociate”).

In my review of As Ink in Water, I noted that Asira showed a mastery of contrast, and this is even more true of Cairiss. It’s particularly evident every time the different vocalists overlap. When Lydia’s operatic singing crests into view in “The Guide” and interlaces with Freya’s fierce growls, the effect is chill-inducing. On the mellower side, “Integrate” brings Martin Williams’ voice to the forefront for the first and only time on Wilderness as he and Lydia harmonize into a blissful siren song. But perhaps no song encapsulates Cairiss’ wondrously dichotomous nature more than album closer ‘Wildfire.” It sounds like Freya poured every ounce of feeling she possessed into each syllable of her screams, which are periodically assuaged by soothing singing and an emotive guitar solo. I’m impressed by how well Cairiss can bring together such opposing elements without one ever overwhelming the other.

Wilderness is also well-balanced in other ways. This is a carefully constructed album wherein every moment serves a purpose. None of the songs ever stall or dissolve into aimlessness. Crescendos and climaxes arrive and depart in a smooth, natural flow (“Retrace,” “The Guide,” “Dissociate”), facilitated in large part by Connor Frapwell’s percussion. He excels at building and releasing dramatic tension, evoking the ebb and flow of a thunderstorm in “Retrace” and helping the extended intro of “Nervosa” feel much shorter than it is. The total runtime is a sensible 43 minutes, suggesting a good deal of self-editing, and I’m left wanting more as the final howl in “Wildfire” dies. If I have any complaints about Wilderness, it’s that I wish that the bass lines were a bit more prominent.

Time does not heal all wounds. Some must be confronted head-on, and that is what Cairiss does heartwrenchingly and unequivocally. While I wish that it had not needed to be born from a place of such anguish, Wilderness is one of the most authentic and cathartic pieces of music I’ve heard this year so far. Cairiss has leveled up considerably in the last ten years, each member’s individual strengths shining brightly in a musical subgenre where contrast is intrinsic. Fans of blackgaze—or the beautiful sides of metal in general—should heed the beckoning to venture off the beaten path into the Wilderness.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 192 kbps mp3
Label: Self-Release
Websites: cairiss.bandcamp.com | facebook.com/Cairiss
Releases Worldwide: July 31st, 2026

Towards the tail end of last year, a humble group from the UK called Asira shook up my top ten list. Little did I suspect that I would hear from some of these fine musicians again so soon. Five out of the six members of the blackgaze band Cairiss contributed in some way to As Ink in Water, and now they break a decade-long silence since debut album Fall. Wilderness seeks to express and overcome personal trauma and suffering while also validating those of its audience who are waging their own solitary or unseen battles. As such, this work of art transcends sole beauty or entertainment value to extend an invitation to process and heal in whatever way may be personally needed.

Wilderness is both a continuation and amplification of the potential teased on Fall. Cairiss remains rooted at the intersection of the gossamer elegance of Sylvaine and the blackened anguish of Unreqvited. This is an uncommon type of blackgaze that successfully flits between grandiose and intimate. Freya Brown, who previously handled all vocals, is now devoted primarily to those of the harsh variety.1 Her hard work paid off—her snarls and screams are much sharper, more expressive, and more dynamic all-around. Newcomer Lydia Williams takes charge of the clean singing with similarly breathtaking results. Additionally, the instrumental melodies are more poignant; hints of Asira’s and Opeth’s soulful, progressive guitarwork can be found throughout Wilderness (“The Guide,” “Dissociate”).

In my review of As Ink in Water, I noted that Asira showed a mastery of contrast, and this is even more true of Cairiss. It’s particularly evident every time the different vocalists overlap. When Lydia’s operatic singing crests into view in “The Guide” and interlaces with Freya’s fierce growls, the effect is chill-inducing. On the mellower side, “Integrate” brings Martin Williams’ voice to the forefront for the first and only time on Wilderness as he and Lydia harmonize into a blissful siren song. But perhaps no song encapsulates Cairiss’ wondrously dichotomous nature more than album closer ‘Wildfire.” It sounds like Freya poured every ounce of feeling she possessed into each syllable of her screams, which are periodically assuaged by soothing singing and an emotive guitar solo. I’m impressed by how well Cairiss can bring together such opposing elements without one ever overwhelming the other.

Wilderness is also well-balanced in other ways. This is a carefully constructed album wherein every moment serves a purpose. None of the songs ever stall or dissolve into aimlessness. Crescendos and climaxes arrive and depart in a smooth, natural flow (“Retrace,” “The Guide,” “Dissociate”), facilitated in large part by Connor Frapwell’s percussion. He excels at building and releasing dramatic tension, evoking the ebb and flow of a thunderstorm in “Retrace” and helping the extended intro of “Nervosa” feel much shorter than it is. The total runtime is a sensible 43 minutes, suggesting a good deal of self-editing, and I’m left wanting more as the final howl in “Wildfire” dies. If I have any complaints about Wilderness, it’s that I wish that the bass lines were a bit more prominent.

Time does not heal all wounds. Some must be confronted head-on, and that is what Cairiss does heartwrenchingly and unequivocally. While I wish that it had not needed to be born from a place of such anguish, Wilderness is one of the most authentic and cathartic pieces of music I’ve heard this year so far. Cairiss has leveled up considerably in the last ten years, each member’s individual strengths shining brightly in a musical subgenre where contrast is intrinsic. Fans of blackgaze—or the beautiful sides of metal in general—should heed the beckoning to venture off the beaten path into the Wilderness.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 192 kbps mp3
Label: Self-Release
Websites: cairiss.bandcamp.com | facebook.com/Cairiss
Releases Worldwide: July 31st, 2026

ANKEA Festival 2026 – A Promising New Chapter for Finland’s Metal Scene

https://voiceofnoir.com/2026/06/11/ankea-festival-2026-a-promising-new-chapter-for-finlands-metal-scene/

ANKEA Festival 2026 – A Promising New Chapter for Finland’s Metal Scene

https://voiceofnoir.com/2026/06/11/ankea-festival-2026-a-promising-new-chapter-for-finlands-metal-scene/

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

Friday @ 8pm - #Eivor (female vocalist, Faroese art pop/ nordic electro folk) in #SomervilleMA at the Theatre, $42+, decent seats still available. Synths and guitars, man, always a good combo. With #Sylvaine https://www.somervilletheatre.com/production/eivor/
https://www.youtube.com/@eivormusic/videos
#BostonWeekend 10/x

Friday @ 8pm - #Eivor (female vocalist, Faroese art pop/ nordic electro folk) in #SomervilleMA at the Theatre, $42+, decent seats still available. Synths and guitars, man, always a good combo. With #Sylvaine https://www.somervilletheatre.com/production/eivor/
https://www.youtube.com/@eivormusic/videos
#BostonWeekend 10/x

Demnächst: #Sylvaine veröffentlicht am 15.11.2024 „Silent Chamber, Noisy Heart (10th Anniversary Ed.)“.

🔗 https://gloomr.de/#1474

#Shoegaze #PostRock #DarkWave #Eisenwald #NeuesAlbum

#chillen am #silentsunday mit

#Malvina

https://www.arte.tv/de/videos/120095-000-A/malvina/

#JehnnyBeth

https://www.arte.tv/de/videos/116677-004-A/jehnny-beth/

und

#Sylvaine

https://www.arte.tv/de/videos/119957-009-A/sylvaine/

Danke #ARTE🤩

Festival Review: Hellfest 2024 – Day 1

Hellfest 2024 was the second edition I ever attended, this time as press. It's been a privilege to have been granted an accreditation for the four days and I intended to honour my commitments from the day I received this e-mail. I then checked out the bands that would talk to me the mos

https://www.moshville.co.uk/reviews/gig-review/2024/07/festival-review-hellfest-2024-day-1/

#GigReviews #AllThemWitches #Brujeria #GreenLung #Morne #Sylvaine

Sylvaine
https://www.youtube.com/watch?v=ydtsi9VEoxo
#youtube_arteconcert #sylvaine #sylvaine_hellfest #sylvaine_band #sylvaine_live_2024 #arte #concert #arte_concert #hellfest_2024 #hellfest_open_air #hellfest_live #hellfest_arte #hellfest_arte_concert #sylvaine_live #dark_shoegaze #shoegaze #shoegaze_music #live #music #2024 #hard_rock #metal #metal_music

Another one for @Kitty's #MittwochMetalMix:

Vestige: Deviens la Nuit

https://song.link/tcbbmt2x2g4dj

#PostMetal

FFO #Alcest #Loathe #Sylvaine

Sylvaine unveils “Eg Er Framand” visualizer; new EP arriving in March:

#Sylvaine #MarchReleases #NewMusic #NewVideo #EgErFramand #SeasonofMist

https://metalinsider.net/video/sylvaine-unveils-eg-er-framand-visualizer-new-ep-arriving-in-march