#theruinsofbeverast — Public Fediverse posts

RE: https://mastodon.nl/@metalfan_rssbot/116500596990865288

Maastricht #muziekgieterij Thursday, Nov 26
after Kortrijk #Alcatraz Friday, Aug 7
#theruinsofbeverast

RE: https://mastodon.nl/@metalfan_rssbot/116500596990865288

Maastricht #muziekgieterij Thursday, Nov 26
after Kortrijk #Alcatraz Friday, Aug 7
#theruinsofbeverast

A few weeks back, I crossed the sky to a snow-stricken Hamburg, honouring one of my favourite bands, The Ruins of Beverast, as they launched new album Tempelschlaf. Although the rigmarole of the journey is another story altogether, there remains much to be said about the gig itself.

No stranger to shows in and around the city, it was a delight to discover Bahnhof Pauli – a reasonably new venue in the middle of the Reeperbahn. Themed as a U-Bahn station, the intimate size offered a cosy platform for the evening’s entertainment.

German three-piece Ultima Necat delivered the first kill of the night, countering the shy sobriety of the crowd with swathes of incense and an unrelenting Black Metal assault. Their short opening set drew from debut cassette “Fragments of Pain” with primal urgency, shaking off any shivers and leaving folk eager for more.

The stage soon swelled with five-piece Rană, unleashing an uncompromising wall of sound to fill the venue. Evoking the blackened crust of fellow countrymen Downfall of Gaia, I soon found myself swept away. Captivating, compelling, and utterly crushing.

Moving up to centre-stage for the visceral intensity of Imha Tarikat, things got bloody. With frontman Ruhsuz enduring cut fingers from previous nights of the tour, he lasted as long as he could before setting guitar aside to belt out the rest of the set by lungs alone. Absolute dedication to the art, compelling fury from the front row. My apologies to bassist Ricardo (doing double duty from The Night Eternal) for pulling out his cables as things got a little rambunctious on my stumble to the floor.

Finally, the headliners. For all the times I’ve seen The Ruins of Beverast, I cannot honestly say I recall the details of their performance. Not that they don’t have my full and absolute attention when they play, but rather aural architect Alex von Meilenwald‘s compositions have an uncanny capacity to transcend the immediate. Demanding to be experienced on an emotional, ephemeral level where mere foot-tapping could not suffice.

With this set mostly culled from the new album, which I had barely familiarised myself with on the flight over, I had no choice, along with friends around me, but to dissolve into the moment. Giving my all in appreciation, intensity surging at every beat, and losing all earthly bonds in the experience.

A phenomenal introduction to Tempelschlaf, an album that reveals deeper dimensions with every play.

With Bölzer sadly cancelling their imminent Europe-wide Rex Revenant tour for medical reasons, TRoB’s launch celebrations are curtailed until festival dates later in the year. I wish the very best of health to all affected, and remain grateful for braving the elements to open the temple in person.

The Ruins of Beverast – Tempelschlaf Review

The Ruins of Beverast has never released a bad album. Its architect, Nagelfar alum Alexander von Meilenwald, has…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2026 #4.0 #BlackMetal #DeathMetal #DepecheMode #DoomMetal #Entertainment #GermanMetal #Jan26 #Nagelfar #review #reviews #Tempelschlaf #TheRuinsOfBeverast #TypeONegative #VanRecords
https://www.newsbeep.com/us/405106/

The Ruins of Beverast – Tempelschlaf Review

The Ruins of Beverast has never released a bad album. Its architect, Nagelfar alum Alexander von Meilenwald, has…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2026 #4.0 #BlackMetal #DeathMetal #DepecheMode #DoomMetal #Entertainment #GermanMetal #Jan26 #Nagelfar #review #reviews #Tempelschlaf #TheRuinsOfBeverast #TypeONegative #VanRecords
https://www.newsbeep.com/us/405106/

https://www.europesays.com/uk/693725/ The Ruins of Beverast – Tempelschlaf Review #2026 #4.0 #BlackMetal #DeathMetal #DepecheMode #DoomMetal #Entertainment #GermanMetal #Jan26 #music #Nagelfar #Review #Reviews #Tempelschlaf #TheRuinsOfBeverast #TypeONegative #UK #UnitedKingdom #VanRecords

https://www.europesays.com/ie/282418/ The Ruins of Beverast – Tempelschlaf Review #2026 #4.0 #BlackMetal #DeathMetal #DepecheMode #DoomMetal #Éire #Entertainment #GermanMetal #IE #Ireland #Jan26 #Music #Nagelfar #Review #Reviews #Tempelschlaf #TheRuinsOfBeverast #TypeONegative #VanRecords

The Ruins of Beverast has never released a bad album. Its architect, Nagelfar alum Alexander von Meilenwald, has both a devotion to the trve and old-school as well as a flexibility to experiment, creating a legendary discography that feels like a natural progression from beginning to end. From the early and raw marriage of black metal and doom that set the foundation with genre classics Unlock the Shrine and Rain Upon the Impure, to the more melodic and ritualistic horrors of Foulest Semen of a Sheltered Elite and Blood Vaults, culminating in the ritual-imbued pinnacle Exuvia, the act has an uncanny ability to recall the familiar while trudging into unexplored territory. Tempelschlaf is the newest installment of just that.

If I’m being honest, I was not a fan of predecessor The Thule Grimoires – not for a flaw on von Meilenwald’s part but of my own preferences. Case in point, its heavier Type O Negative Gothic leanings and interplay of chord structures and themes weren’t necessarily my cup of tea, although they definitely were the gone-but-unforgotten Akerblogger’s brew of choice. Tempelschlaf echoes The Thule Grimoires in psychedelic textures and a more prominent baritone clean vocal presence that conjures a ritualistic madness, streamlined into a stronger crescendo and sense of purpose, as well as its signature breed of atmospheric black-doom with a hint of death metal. Tempelschlaf is exactly what you’d expect from The Ruins of Beverast.

Tempelschlaf by The Ruins Of Beverast

As always, balance and songwriting are The Ruins of Beverast’s priority, demonstrating von Meilenwald’s dedication to both progression and devotion to the blackened arts. As seen throughout the act’s legendary discography, Tempelschlaf features seamless movements from furious blasting to simmering menace to crystalline psychedelia to climactic solos, which is a clear winning formula, bolstered by a dichotomy of plodding black/doom furor and ritualistic placidity. The opening title track is of special note for its shifts and subtlety: blackened intensity is placed in the background in favor of a mammoth and dense foray into doom-saturated goth rock, giving a blackened Depeche Mode vibe with a lack of harsh vocals and instead, baritone sermons atop pulsing ritualistic drums guiding into a dreary and menacing goth verses, drenched in frosted keys and psychedelic textures. It sets the tone for the rest of the album, giving The Ruins of Beverast perhaps their biggest crescendo yet.

While the focus shifts from a mind-altering breed of psychedelic and dense doom metal in the opener, the rest of the album offers no gentle reprieve. While the wavering between the simmering and the searing is an asset for The Ruins of Beverast, it’s far more intense with a trve blackened assault guiding the proceedings (“Day of the Poacher”), but the back half of the album finds the album remarkably cohesive – the collision of ideas creating some of the most epic and grandiose movements since Exuvia. The drums’ mammoth pace, the guitar tone whose heft and barb are equally displayed, the venomous and toxic shrieks, and the otherworldly atmosphere through classic synth textures assemble in a massive sound that already feels like AOTY material (“Cathedral of Bleeding Statues,” “Alpha Fluids,” “The Carrion Cocoon”), interspersed by moments of furious blackened intensity (“Babel, You Scarlet Queen!”) and the lull before the storm (“Last Theatre of the Sea”). These tracks are the exemplar for The Ruins of Beverast’s breed of blackened doom, once again reinforcing itself as the upper echelon through von Meilenwald’s legendary career.

It’s nearly impossible for Beverast to top Exuvia, but without its first two tracks, Tempelschlaf comes damn close. It is not that the title track or “Day of the Poacher” fall short, but rather that their place in the album is to set the stage for the better pieces, complete with more abrupt tonal shifts, heightened melody, and just a bit too much chaos. That being said, von Meilenwald once again outdoes himself with an album devoted to blackened fury, monolithic doom, and otherworldly atmospheric textures, incorporating hints of the psychedelic goth rock of The Thule Grimoires in a far more streamlined capacity. Tempelschlaf is The Ruins of Beverast doing business as usual: growth, experimentation, and excellence.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Ván Records
Websites: theruinsofbeverast.bandcamp.com | facebook.com/the.ruins.of.beverast
Releases Worldwide: January 9th, 2026

The Ruins of Beverast has never released a bad album. Its architect, Nagelfar alum Alexander von Meilenwald, has both a devotion to the trve and old-school as well as a flexibility to experiment, creating a legendary discography that feels like a natural progression from beginning to end. From the early and raw marriage of black metal and doom that set the foundation with genre classics Unlock the Shrine and Rain Upon the Impure, to the more melodic and ritualistic horrors of Foulest Semen of a Sheltered Elite and Blood Vaults, culminating in the ritual-imbued pinnacle Exuvia, the act has an uncanny ability to recall the familiar while trudging into unexplored territory. Tempelschlaf is the newest installment of just that.

If I’m being honest, I was not a fan of predecessor The Thule Grimoires – not for a flaw on von Meilenwald’s part but of my own preferences. Case in point, its heavier Type O Negative Gothic leanings and interplay of chord structures and themes weren’t necessarily my cup of tea, although they definitely were the gone-but-unforgotten Akerblogger’s brew of choice. Tempelschlaf echoes The Thule Grimoires in psychedelic textures and a more prominent baritone clean vocal presence that conjures a ritualistic madness, streamlined into a stronger crescendo and sense of purpose, as well as its signature breed of atmospheric black-doom with a hint of death metal. Tempelschlaf is exactly what you’d expect from The Ruins of Beverast.

Tempelschlaf by The Ruins Of Beverast

As always, balance and songwriting are The Ruins of Beverast’s priority, demonstrating von Meilenwald’s dedication to both progression and devotion to the blackened arts. As seen throughout the act’s legendary discography, Tempelschlaf features seamless movements from furious blasting to simmering menace to crystalline psychedelia to climactic solos, which is a clear winning formula, bolstered by a dichotomy of plodding black/doom furor and ritualistic placidity. The opening title track is of special note for its shifts and subtlety: blackened intensity is placed in the background in favor of a mammoth and dense foray into doom-saturated goth rock, giving a blackened Depeche Mode vibe with a lack of harsh vocals and instead, baritone sermons atop pulsing ritualistic drums guiding into a dreary and menacing goth verses, drenched in frosted keys and psychedelic textures. It sets the tone for the rest of the album, giving The Ruins of Beverast perhaps their biggest crescendo yet.

While the focus shifts from a mind-altering breed of psychedelic and dense doom metal in the opener, the rest of the album offers no gentle reprieve. While the wavering between the simmering and the searing is an asset for The Ruins of Beverast, it’s far more intense with a trve blackened assault guiding the proceedings (“Day of the Poacher”), but the back half of the album finds the album remarkably cohesive – the collision of ideas creating some of the most epic and grandiose movements since Exuvia. The drums’ mammoth pace, the guitar tone whose heft and barb are equally displayed, the venomous and toxic shrieks, and the otherworldly atmosphere through classic synth textures assemble in a massive sound that already feels like AOTY material (“Cathedral of Bleeding Statues,” “Alpha Fluids,” “The Carrion Cocoon”), interspersed by moments of furious blackened intensity (“Babel, You Scarlet Queen!”) and the lull before the storm (“Last Theatre of the Sea”). These tracks are the exemplar for The Ruins of Beverast’s breed of blackened doom, once again reinforcing itself as the upper echelon through von Meilenwald’s legendary career.

It’s nearly impossible for Beverast to top Exuvia, but without its first two tracks, Tempelschlaf comes damn close. It is not that the title track or “Day of the Poacher” fall short, but rather that their place in the album is to set the stage for the better pieces, complete with more abrupt tonal shifts, heightened melody, and just a bit too much chaos. That being said, von Meilenwald once again outdoes himself with an album devoted to blackened fury, monolithic doom, and otherworldly atmospheric textures, incorporating hints of the psychedelic goth rock of The Thule Grimoires in a far more streamlined capacity. Tempelschlaf is The Ruins of Beverast doing business as usual: growth, experimentation, and excellence.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Ván Records
Websites: theruinsofbeverast.bandcamp.com | facebook.com/the.ruins.of.beverast
Releases Worldwide: January 9th, 2026

The Ruins of Beverast has never released a bad album. Its architect, Nagelfar alum Alexander von Meilenwald, has both a devotion to the trve and old-school as well as a flexibility to experiment, creating a legendary discography that feels like a natural progression from beginning to end. From the early and raw marriage of black metal and doom that set the foundation with genre classics Unlock the Shrine and Rain Upon the Impure, to the more melodic and ritualistic horrors of Foulest Semen of a Sheltered Elite and Blood Vaults, culminating in the ritual-imbued pinnacle Exuvia, the act has an uncanny ability to recall the familiar while trudging into unexplored territory. Tempelschlaf is the newest installment of just that.

If I’m being honest, I was not a fan of predecessor The Thule Grimoires – not for a flaw on von Meilenwald’s part but of my own preferences. Case in point, its heavier Type O Negative Gothic leanings and interplay of chord structures and themes weren’t necessarily my cup of tea, although they definitely were the gone-but-unforgotten Akerblogger’s brew of choice. Tempelschlaf echoes The Thule Grimoires in psychedelic textures and a more prominent baritone clean vocal presence that conjures a ritualistic madness, streamlined into a stronger crescendo and sense of purpose, as well as its signature breed of atmospheric black-doom with a hint of death metal. Tempelschlaf is exactly what you’d expect from The Ruins of Beverast.

Tempelschlaf by The Ruins Of Beverast

As always, balance and songwriting are The Ruins of Beverast’s priority, demonstrating von Meilenwald’s dedication to both progression and devotion to the blackened arts. As seen throughout the act’s legendary discography, Tempelschlaf features seamless movements from furious blasting to simmering menace to crystalline psychedelia to climactic solos, which is a clear winning formula, bolstered by a dichotomy of plodding black/doom furor and ritualistic placidity. The opening title track is of special note for its shifts and subtlety: blackened intensity is placed in the background in favor of a mammoth and dense foray into doom-saturated goth rock, giving a blackened Depeche Mode vibe with a lack of harsh vocals and instead, baritone sermons atop pulsing ritualistic drums guiding into a dreary and menacing goth verses, drenched in frosted keys and psychedelic textures. It sets the tone for the rest of the album, giving The Ruins of Beverast perhaps their biggest crescendo yet.

While the focus shifts from a mind-altering breed of psychedelic and dense doom metal in the opener, the rest of the album offers no gentle reprieve. While the wavering between the simmering and the searing is an asset for The Ruins of Beverast, it’s far more intense with a trve blackened assault guiding the proceedings (“Day of the Poacher”), but the back half of the album finds the album remarkably cohesive – the collision of ideas creating some of the most epic and grandiose movements since Exuvia. The drums’ mammoth pace, the guitar tone whose heft and barb are equally displayed, the venomous and toxic shrieks, and the otherworldly atmosphere through classic synth textures assemble in a massive sound that already feels like AOTY material (“Cathedral of Bleeding Statues,” “Alpha Fluids,” “The Carrion Cocoon”), interspersed by moments of furious blackened intensity (“Babel, You Scarlet Queen!”) and the lull before the storm (“Last Theatre of the Sea”). These tracks are the exemplar for The Ruins of Beverast’s breed of blackened doom, once again reinforcing itself as the upper echelon through von Meilenwald’s legendary career.

It’s nearly impossible for Beverast to top Exuvia, but without its first two tracks, Tempelschlaf comes damn close. It is not that the title track or “Day of the Poacher” fall short, but rather that their place in the album is to set the stage for the better pieces, complete with more abrupt tonal shifts, heightened melody, and just a bit too much chaos. That being said, von Meilenwald once again outdoes himself with an album devoted to blackened fury, monolithic doom, and otherworldly atmospheric textures, incorporating hints of the psychedelic goth rock of The Thule Grimoires in a far more streamlined capacity. Tempelschlaf is The Ruins of Beverast doing business as usual: growth, experimentation, and excellence.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Ván Records
Websites: theruinsofbeverast.bandcamp.com | facebook.com/the.ruins.of.beverast
Releases Worldwide: January 9th, 2026

The Ruins of Beverast has never released a bad album. Its architect, Nagelfar alum Alexander von Meilenwald, has both a devotion to the trve and old-school as well as a flexibility to experiment, creating a legendary discography that feels like a natural progression from beginning to end. From the early and raw marriage of black metal and doom that set the foundation with genre classics Unlock the Shrine and Rain Upon the Impure, to the more melodic and ritualistic horrors of Foulest Semen of a Sheltered Elite and Blood Vaults, culminating in the ritual-imbued pinnacle Exuvia, the act has an uncanny ability to recall the familiar while trudging into unexplored territory. Tempelschlaf is the newest installment of just that.

If I’m being honest, I was not a fan of predecessor The Thule Grimoires – not for a flaw on von Meilenwald’s part but of my own preferences. Case in point, its heavier Type O Negative Gothic leanings and interplay of chord structures and themes weren’t necessarily my cup of tea, although they definitely were the gone-but-unforgotten Akerblogger’s brew of choice. Tempelschlaf echoes The Thule Grimoires in psychedelic textures and a more prominent baritone clean vocal presence that conjures a ritualistic madness, streamlined into a stronger crescendo and sense of purpose, as well as its signature breed of atmospheric black-doom with a hint of death metal. Tempelschlaf is exactly what you’d expect from The Ruins of Beverast.

Tempelschlaf by The Ruins Of Beverast

As always, balance and songwriting are The Ruins of Beverast’s priority, demonstrating von Meilenwald’s dedication to both progression and devotion to the blackened arts. As seen throughout the act’s legendary discography, Tempelschlaf features seamless movements from furious blasting to simmering menace to crystalline psychedelia to climactic solos, which is a clear winning formula, bolstered by a dichotomy of plodding black/doom furor and ritualistic placidity. The opening title track is of special note for its shifts and subtlety: blackened intensity is placed in the background in favor of a mammoth and dense foray into doom-saturated goth rock, giving a blackened Depeche Mode vibe with a lack of harsh vocals and instead, baritone sermons atop pulsing ritualistic drums guiding into a dreary and menacing goth verses, drenched in frosted keys and psychedelic textures. It sets the tone for the rest of the album, giving The Ruins of Beverast perhaps their biggest crescendo yet.

While the focus shifts from a mind-altering breed of psychedelic and dense doom metal in the opener, the rest of the album offers no gentle reprieve. While the wavering between the simmering and the searing is an asset for The Ruins of Beverast, it’s far more intense with a trve blackened assault guiding the proceedings (“Day of the Poacher”), but the back half of the album finds the album remarkably cohesive – the collision of ideas creating some of the most epic and grandiose movements since Exuvia. The drums’ mammoth pace, the guitar tone whose heft and barb are equally displayed, the venomous and toxic shrieks, and the otherworldly atmosphere through classic synth textures assemble in a massive sound that already feels like AOTY material (“Cathedral of Bleeding Statues,” “Alpha Fluids,” “The Carrion Cocoon”), interspersed by moments of furious blackened intensity (“Babel, You Scarlet Queen!”) and the lull before the storm (“Last Theatre of the Sea”). These tracks are the exemplar for The Ruins of Beverast’s breed of blackened doom, once again reinforcing itself as the upper echelon through von Meilenwald’s legendary career.

It’s nearly impossible for Beverast to top Exuvia, but without its first two tracks, Tempelschlaf comes damn close. It is not that the title track or “Day of the Poacher” fall short, but rather that their place in the album is to set the stage for the better pieces, complete with more abrupt tonal shifts, heightened melody, and just a bit too much chaos. That being said, von Meilenwald once again outdoes himself with an album devoted to blackened fury, monolithic doom, and otherworldly atmospheric textures, incorporating hints of the psychedelic goth rock of The Thule Grimoires in a far more streamlined capacity. Tempelschlaf is The Ruins of Beverast doing business as usual: growth, experimentation, and excellence.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Ván Records
Websites: theruinsofbeverast.bandcamp.com | facebook.com/the.ruins.of.beverast
Releases Worldwide: January 9th, 2026

The Ruins of Beverast has never released a bad album. Its architect, Nagelfar alum Alexander von Meilenwald, has both a devotion to the trve and old-school as well as a flexibility to experiment, creating a legendary discography that feels like a natural progression from beginning to end. From the early and raw marriage of black metal and doom that set the foundation with genre classics Unlock the Shrine and Rain Upon the Impure, to the more melodic and ritualistic horrors of Foulest Semen of a Sheltered Elite and Blood Vaults, culminating in the ritual-imbued pinnacle Exuvia, the act has an uncanny ability to recall the familiar while trudging into unexplored territory. Tempelschlaf is the newest installment of just that.

If I’m being honest, I was not a fan of predecessor The Thule Grimoires – not for a flaw on von Meilenwald’s part but of my own preferences. Case in point, its heavier Type O Negative Gothic leanings and interplay of chord structures and themes weren’t necessarily my cup of tea, although they definitely were the gone-but-unforgotten Akerblogger’s brew of choice. Tempelschlaf echoes The Thule Grimoires in psychedelic textures and a more prominent baritone clean vocal presence that conjures a ritualistic madness, streamlined into a stronger crescendo and sense of purpose, as well as its signature breed of atmospheric black-doom with a hint of death metal. Tempelschlaf is exactly what you’d expect from The Ruins of Beverast.

Tempelschlaf by The Ruins Of Beverast

As always, balance and songwriting are The Ruins of Beverast’s priority, demonstrating von Meilenwald’s dedication to both progression and devotion to the blackened arts. As seen throughout the act’s legendary discography, Tempelschlaf features seamless movements from furious blasting to simmering menace to crystalline psychedelia to climactic solos, which is a clear winning formula, bolstered by a dichotomy of plodding black/doom furor and ritualistic placidity. The opening title track is of special note for its shifts and subtlety: blackened intensity is placed in the background in favor of a mammoth and dense foray into doom-saturated goth rock, giving a blackened Depeche Mode vibe with a lack of harsh vocals and instead, baritone sermons atop pulsing ritualistic drums guiding into a dreary and menacing goth verses, drenched in frosted keys and psychedelic textures. It sets the tone for the rest of the album, giving The Ruins of Beverast perhaps their biggest crescendo yet.

While the focus shifts from a mind-altering breed of psychedelic and dense doom metal in the opener, the rest of the album offers no gentle reprieve. While the wavering between the simmering and the searing is an asset for The Ruins of Beverast, it’s far more intense with a trve blackened assault guiding the proceedings (“Day of the Poacher”), but the back half of the album finds the album remarkably cohesive – the collision of ideas creating some of the most epic and grandiose movements since Exuvia. The drums’ mammoth pace, the guitar tone whose heft and barb are equally displayed, the venomous and toxic shrieks, and the otherworldly atmosphere through classic synth textures assemble in a massive sound that already feels like AOTY material (“Cathedral of Bleeding Statues,” “Alpha Fluids,” “The Carrion Cocoon”), interspersed by moments of furious blackened intensity (“Babel, You Scarlet Queen!”) and the lull before the storm (“Last Theatre of the Sea”). These tracks are the exemplar for The Ruins of Beverast’s breed of blackened doom, once again reinforcing itself as the upper echelon through von Meilenwald’s legendary career.

It’s nearly impossible for Beverast to top Exuvia, but without its first two tracks, Tempelschlaf comes damn close. It is not that the title track or “Day of the Poacher” fall short, but rather that their place in the album is to set the stage for the better pieces, complete with more abrupt tonal shifts, heightened melody, and just a bit too much chaos. That being said, von Meilenwald once again outdoes himself with an album devoted to blackened fury, monolithic doom, and otherworldly atmospheric textures, incorporating hints of the psychedelic goth rock of The Thule Grimoires in a far more streamlined capacity. Tempelschlaf is The Ruins of Beverast doing business as usual: growth, experimentation, and excellence.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Ván Records
Websites: theruinsofbeverast.bandcamp.com | facebook.com/the.ruins.of.beverast
Releases Worldwide: January 9th, 2026

Auch ganz geil, dabei abends aus dem Bahnfenster die verschneite Landschaft vorbeiziehen zu sehen … #TheRuinsOfBeverast

https://www.europesays.com/nl/86163/ Topzware recensies van november 2025 #1914 #2025 #AltRock/postHardcore #Amusement #atmospheric #black #BlackenedDeath #CastleRat #doom #DoomMetal #Dutch #Entertainment #kauan #MelodischeMetalcore #Music #Muziek #Nederland #Nederlanden #Nederlands #Netherlands #NL #NOVEMBER #nyrak #OrderOfTheEbonHand #PostRock #punkrock #remina #SymphonicBlack #TheRuinsOfBeverast #TheStone #thrice #TopzwareRecensies #unitive/west #unwell #ViribusUnitis #ZwareMetalen

https://www.europesays.com/nl/67635/ The Ruins Of Beverast – Tempelschlaf #albumreview #Amusement #BlackMetal #Dutch #Entertainment #Music #Muziek #Nederland #Nederlanden #Nederlands #Netherlands #NL #tempelschlaf #TheRuinsOfBeverast #VánRecords #ZwareMetalen

Jade – Mysteries of a Flowery Dream Review

By Owlswald

Dreams are a gateway into the unconscious, a space where thoughts and emotions flow freely. They reveal what we often conceal, offering a unique and often unsettling insight into our inner worlds. Barcelonian quartet Jade explores this very terrain with their sophomore album Mysteries of a Flowery Dream. Emerging with 2018’s Smoking Mirror EP, Jade forges an atmo-death sound rooted in early death, doom, and black metal, fusing it with the dark and melancholic atmospheres of contemporaries like The Ruins of Beverast and Bølzer. Their 2022 debut, The Pacification of Death, plunged listeners into obscure depths with heavy, bleak, and hypnotic arrangements plastered with charismatic guitar melodies. 2024’s split EP with Sanctuarium, The Sempiternal Wound, followed, adding an aura of the occult to Jade’s nightmarish death/doom/black framework. With Burke’s visceral Ixchel portrayal adorning the cover,1 Jade now navigates the intense and dreamy dialogue between conscious and subconscious states with Mysteries.

Characterized by dark, murky and oscillating arrangements, Jade’s immersive sound reaches new heights on Mysteries. While not overtly technical or flashy, Mysteries’ enhanced atmosphere and sonic depth build upon The Sempiternal Wound, highlighting Jade’s superb songwriting. Oppressive, swirling tremolos and grimy palm-muted drawls meld with deep, thundering rhythms and fiendish growls to saturate lucid and dramatic songs with a sense of desperation. Opposing these haunting manifestations are stretches of defiant melodicism, with charming doom (“Darkness in Movement,” “The Stars’ Shelter”) and power-tinged (“9th Episode”) leads and solos that defuse Mysteries’ prevailing darkness with emotive force. J.’s bellowing and grandiose clean vocal passages—reminiscent of Sulphur Aeon’s M. and Ihsahn—add ephemeral surges of anguish and ethereality that lift one above the shadows. Although Jade’s sound may appear somewhat modest at first blush, Mysteries is a sensory-rich experience that demands patience but is well worth your time and attention.

Jade has precisely composed each of Mysteries’ seven tracks to guide one through their feverish vision. The album’s structure holds together extremely well thanks to excellent songwriting. Jade masterfully employs recurrent themes and soaring guitar leads and solos, seamlessly weaving Mysteries’ forty-three minutes into a unified entity. Swirling occult-like chanting and drum thrashes on “Shores of Otherness” underpin harmonious guitar swells while “Light’s Blood’s” robust and ascendent notes rise amidst spells of high-low tremolos. The classic Pink Floyd-enthused solo on interlude “The Stars’ Shelter (II)” soars above dark reverberated arpeggiations, contributing to Mysteries’ overall unity even as it explores different stylistic territory. Like different images of one mysterious and unsettling dream, Mysteries elicits a keen sense of cohesion. Yet, this doesn’t come at the expense of variation. “9th Episode” displays a galloping, urgent cadence with a meaner, anxiety-ridden edge while “The Stars’ Shelter (II)” offers a crucial moment of respite with its crestfallen touch. Through meticulous construction and contrasting elements, Jade has crafted an album that is cohesive and dynamic in equal measure.

For Jade’s caliber to shine, the album’s production better be on point and thankfully, Mysteries delivers in spades. Sounding vast and dynamic in my headphones, the vivid master illuminates every facet of Jade’s dream-like world. With guitars at its core, the mix carves out ample space for the supporting instrumentation to showcase their worth. As a result, each listen feels as exciting as the next—A testament to Mysteries’ complexity and sophistication. However, this intricacy also presents a challenge for passive listening. Despite its quality, I initially found Mysteries rather mundane and predictable due to the album’s similar traits blurring tracks like “Darkness in Movement” and “A Flowery Dream” together. But much like the gradual awakening from an intense dream, Mysteries’ hidden appeal surfaced once I gave it my undivided attention. From that point, my impressions quickly evolved into appreciation, and I found myself drawn back to Mysteries’ surreal world with regularity.

Demanding a conscious presence, atmo-death fans would be remiss to overlook Mysteries. Though Jade’s sound may seem ordinary at first, the sheer density and weight of Mysteries’ intricate sound takes time and patience to decode. But those who actively immerse themselves in Jade’s expansive world will be handsomely rewarded. The excellent songwriting, replete with its cohesion, balance, and dynamism, is impressive, steadily shifting my initial apathetic impressions to genuine appreciation. So don your finest headphones, sit bac,k and let Jade immerse you in their dreamlike world.

Rating: Very Good!
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Pulverised Records
Websites: emperorjade.bandcamp.com | facebook.com/jadestonemask
Releases Worldwide: May 9, 2025

#2025 #35 #AtmosphericDeathMetal #Bolzer #DeathDoom #DeathMetal #Ihsahn #Jade #May25 #MysteriesOfAFloweryDream #PinkFloyd #PulverisedRecords #Review #Reviews #SpanishMetal #SulphurAeon #TheRuinsOfBeverast

Jade – Mysteries of a Flowery Dream Review

By Owlswald

Dreams are a gateway into the unconscious, a space where thoughts and emotions flow freely. They reveal what we often conceal, offering a unique and often unsettling insight into our inner worlds. Barcelonian quartet Jade explores this very terrain with their sophomore album Mysteries of a Flowery Dream. Emerging with 2018’s Smoking Mirror EP, Jade forges an atmo-death sound rooted in early death, doom, and black metal, fusing it with the dark and melancholic atmospheres of contemporaries like The Ruins of Beverast and Bølzer. Their 2022 debut, The Pacification of Death, plunged listeners into obscure depths with heavy, bleak, and hypnotic arrangements plastered with charismatic guitar melodies. 2024’s split EP with Sanctuarium, The Sempiternal Wound, followed, adding an aura of the occult to Jade’s nightmarish death/doom/black framework. With Burke’s visceral Ixchel portrayal adorning the cover,1 Jade now navigates the intense and dreamy dialogue between conscious and subconscious states with Mysteries.

Characterized by dark, murky and oscillating arrangements, Jade’s immersive sound reaches new heights on Mysteries. While not overtly technical or flashy, Mysteries’ enhanced atmosphere and sonic depth build upon The Sempiternal Wound, highlighting Jade’s superb songwriting. Oppressive, swirling tremolos and grimy palm-muted drawls meld with deep, thundering rhythms and fiendish growls to saturate lucid and dramatic songs with a sense of desperation. Opposing these haunting manifestations are stretches of defiant melodicism, with charming doom (“Darkness in Movement,” “The Stars’ Shelter”) and power-tinged (“9th Episode”) leads and solos that defuse Mysteries’ prevailing darkness with emotive force. J.’s bellowing and grandiose clean vocal passages—reminiscent of Sulphur Aeon’s M. and Ihsahn—add ephemeral surges of anguish and ethereality that lift one above the shadows. Although Jade’s sound may appear somewhat modest at first blush, Mysteries is a sensory-rich experience that demands patience but is well worth your time and attention.

Jade has precisely composed each of Mysteries’ seven tracks to guide one through their feverish vision. The album’s structure holds together extremely well thanks to excellent songwriting. Jade masterfully employs recurrent themes and soaring guitar leads and solos, seamlessly weaving Mysteries’ forty-three minutes into a unified entity. Swirling occult-like chanting and drum thrashes on “Shores of Otherness” underpin harmonious guitar swells while “Light’s Blood’s” robust and ascendent notes rise amidst spells of high-low tremolos. The classic Pink Floyd-enthused solo on interlude “The Stars’ Shelter (II)” soars above dark reverberated arpeggiations, contributing to Mysteries’ overall unity even as it explores different stylistic territory. Like different images of one mysterious and unsettling dream, Mysteries elicits a keen sense of cohesion. Yet, this doesn’t come at the expense of variation. “9th Episode” displays a galloping, urgent cadence with a meaner, anxiety-ridden edge while “The Stars’ Shelter (II)” offers a crucial moment of respite with its crestfallen touch. Through meticulous construction and contrasting elements, Jade has crafted an album that is cohesive and dynamic in equal measure.

For Jade’s caliber to shine, the album’s production better be on point and thankfully, Mysteries delivers in spades. Sounding vast and dynamic in my headphones, the vivid master illuminates every facet of Jade’s dream-like world. With guitars at its core, the mix carves out ample space for the supporting instrumentation to showcase their worth. As a result, each listen feels as exciting as the next—A testament to Mysteries’ complexity and sophistication. However, this intricacy also presents a challenge for passive listening. Despite its quality, I initially found Mysteries rather mundane and predictable due to the album’s similar traits blurring tracks like “Darkness in Movement” and “A Flowery Dream” together. But much like the gradual awakening from an intense dream, Mysteries’ hidden appeal surfaced once I gave it my undivided attention. From that point, my impressions quickly evolved into appreciation, and I found myself drawn back to Mysteries’ surreal world with regularity.

Demanding a conscious presence, atmo-death fans would be remiss to overlook Mysteries. Though Jade’s sound may seem ordinary at first, the sheer density and weight of Mysteries’ intricate sound takes time and patience to decode. But those who actively immerse themselves in Jade’s expansive world will be handsomely rewarded. The excellent songwriting, replete with its cohesion, balance, and dynamism, is impressive, steadily shifting my initial apathetic impressions to genuine appreciation. So don your finest headphones, sit bac,k and let Jade immerse you in their dreamlike world.

Rating: Very Good!
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Pulverised Records
Websites: emperorjade.bandcamp.com | facebook.com/jadestonemask
Releases Worldwide: May 9, 2025

#2025 #35 #AtmosphericDeathMetal #Bolzer #DeathDoom #DeathMetal #Ihsahn #Jade #May25 #MysteriesOfAFloweryDream #PinkFloyd #PulverisedRecords #Review #Reviews #SpanishMetal #SulphurAeon #TheRuinsOfBeverast

Jade – Mysteries of a Flowery Dream Review

By Owlswald

Dreams are a gateway into the unconscious, a space where thoughts and emotions flow freely. They reveal what we often conceal, offering a unique and often unsettling insight into our inner worlds. Barcelonian quartet Jade explores this very terrain with their sophomore album Mysteries of a Flowery Dream. Emerging with 2018’s Smoking Mirror EP, Jade forges an atmo-death sound rooted in early death, doom, and black metal, fusing it with the dark and melancholic atmospheres of contemporaries like The Ruins of Beverast and Bølzer. Their 2022 debut, The Pacification of Death, plunged listeners into obscure depths with heavy, bleak, and hypnotic arrangements plastered with charismatic guitar melodies. 2024’s split EP with Sanctuarium, The Sempiternal Wound, followed, adding an aura of the occult to Jade’s nightmarish death/doom/black framework. With Burke’s visceral Ixchel portrayal adorning the cover,1 Jade now navigates the intense and dreamy dialogue between conscious and subconscious states with Mysteries.

Characterized by dark, murky and oscillating arrangements, Jade’s immersive sound reaches new heights on Mysteries. While not overtly technical or flashy, Mysteries’ enhanced atmosphere and sonic depth build upon The Sempiternal Wound, highlighting Jade’s superb songwriting. Oppressive, swirling tremolos and grimy palm-muted drawls meld with deep, thundering rhythms and fiendish growls to saturate lucid and dramatic songs with a sense of desperation. Opposing these haunting manifestations are stretches of defiant melodicism, with charming doom (“Darkness in Movement,” “The Stars’ Shelter”) and power-tinged (“9th Episode”) leads and solos that defuse Mysteries’ prevailing darkness with emotive force. J.’s bellowing and grandiose clean vocal passages—reminiscent of Sulphur Aeon’s M. and Ihsahn—add ephemeral surges of anguish and ethereality that lift one above the shadows. Although Jade’s sound may appear somewhat modest at first blush, Mysteries is a sensory-rich experience that demands patience but is well worth your time and attention.

Jade has precisely composed each of Mysteries’ seven tracks to guide one through their feverish vision. The album’s structure holds together extremely well thanks to excellent songwriting. Jade masterfully employs recurrent themes and soaring guitar leads and solos, seamlessly weaving Mysteries’ forty-three minutes into a unified entity. Swirling occult-like chanting and drum thrashes on “Shores of Otherness” underpin harmonious guitar swells while “Light’s Blood’s” robust and ascendent notes rise amidst spells of high-low tremolos. The classic Pink Floyd-enthused solo on interlude “The Stars’ Shelter (II)” soars above dark reverberated arpeggiations, contributing to Mysteries’ overall unity even as it explores different stylistic territory. Like different images of one mysterious and unsettling dream, Mysteries elicits a keen sense of cohesion. Yet, this doesn’t come at the expense of variation. “9th Episode” displays a galloping, urgent cadence with a meaner, anxiety-ridden edge while “The Stars’ Shelter (II)” offers a crucial moment of respite with its crestfallen touch. Through meticulous construction and contrasting elements, Jade has crafted an album that is cohesive and dynamic in equal measure.

For Jade’s caliber to shine, the album’s production better be on point and thankfully, Mysteries delivers in spades. Sounding vast and dynamic in my headphones, the vivid master illuminates every facet of Jade’s dream-like world. With guitars at its core, the mix carves out ample space for the supporting instrumentation to showcase their worth. As a result, each listen feels as exciting as the next—A testament to Mysteries’ complexity and sophistication. However, this intricacy also presents a challenge for passive listening. Despite its quality, I initially found Mysteries rather mundane and predictable due to the album’s similar traits blurring tracks like “Darkness in Movement” and “A Flowery Dream” together. But much like the gradual awakening from an intense dream, Mysteries’ hidden appeal surfaced once I gave it my undivided attention. From that point, my impressions quickly evolved into appreciation, and I found myself drawn back to Mysteries’ surreal world with regularity.

Demanding a conscious presence, atmo-death fans would be remiss to overlook Mysteries. Though Jade’s sound may seem ordinary at first, the sheer density and weight of Mysteries’ intricate sound takes time and patience to decode. But those who actively immerse themselves in Jade’s expansive world will be handsomely rewarded. The excellent songwriting, replete with its cohesion, balance, and dynamism, is impressive, steadily shifting my initial apathetic impressions to genuine appreciation. So don your finest headphones, sit bac,k and let Jade immerse you in their dreamlike world.

Rating: Very Good!
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Pulverised Records
Websites: emperorjade.bandcamp.com | facebook.com/jadestonemask
Releases Worldwide: May 9, 2025

#2025 #35 #AtmosphericDeathMetal #Bolzer #DeathDoom #DeathMetal #Ihsahn #Jade #May25 #MysteriesOfAFloweryDream #PinkFloyd #PulverisedRecords #Review #Reviews #SpanishMetal #SulphurAeon #TheRuinsOfBeverast

Jade – Mysteries of a Flowery Dream Review

By Owlswald

Dreams are a gateway into the unconscious, a space where thoughts and emotions flow freely. They reveal what we often conceal, offering a unique and often unsettling insight into our inner worlds. Barcelonian quartet Jade explores this very terrain with their sophomore album Mysteries of a Flowery Dream. Emerging with 2018’s Smoking Mirror EP, Jade forges an atmo-death sound rooted in early death, doom, and black metal, fusing it with the dark and melancholic atmospheres of contemporaries like The Ruins of Beverast and Bølzer. Their 2022 debut, The Pacification of Death, plunged listeners into obscure depths with heavy, bleak, and hypnotic arrangements plastered with charismatic guitar melodies. 2024’s split EP with Sanctuarium, The Sempiternal Wound, followed, adding an aura of the occult to Jade’s nightmarish death/doom/black framework. With Burke’s visceral Ixchel portrayal adorning the cover,1 Jade now navigates the intense and dreamy dialogue between conscious and subconscious states with Mysteries.

Characterized by dark, murky and oscillating arrangements, Jade’s immersive sound reaches new heights on Mysteries. While not overtly technical or flashy, Mysteries’ enhanced atmosphere and sonic depth build upon The Sempiternal Wound, highlighting Jade’s superb songwriting. Oppressive, swirling tremolos and grimy palm-muted drawls meld with deep, thundering rhythms and fiendish growls to saturate lucid and dramatic songs with a sense of desperation. Opposing these haunting manifestations are stretches of defiant melodicism, with charming doom (“Darkness in Movement,” “The Stars’ Shelter”) and power-tinged (“9th Episode”) leads and solos that defuse Mysteries’ prevailing darkness with emotive force. J.’s bellowing and grandiose clean vocal passages—reminiscent of Sulphur Aeon’s M. and Ihsahn—add ephemeral surges of anguish and ethereality that lift one above the shadows. Although Jade’s sound may appear somewhat modest at first blush, Mysteries is a sensory-rich experience that demands patience but is well worth your time and attention.

Jade has precisely composed each of Mysteries’ seven tracks to guide one through their feverish vision. The album’s structure holds together extremely well thanks to excellent songwriting. Jade masterfully employs recurrent themes and soaring guitar leads and solos, seamlessly weaving Mysteries’ forty-three minutes into a unified entity. Swirling occult-like chanting and drum thrashes on “Shores of Otherness” underpin harmonious guitar swells while “Light’s Blood’s” robust and ascendent notes rise amidst spells of high-low tremolos. The classic Pink Floyd-enthused solo on interlude “The Stars’ Shelter (II)” soars above dark reverberated arpeggiations, contributing to Mysteries’ overall unity even as it explores different stylistic territory. Like different images of one mysterious and unsettling dream, Mysteries elicits a keen sense of cohesion. Yet, this doesn’t come at the expense of variation. “9th Episode” displays a galloping, urgent cadence with a meaner, anxiety-ridden edge while “The Stars’ Shelter (II)” offers a crucial moment of respite with its crestfallen touch. Through meticulous construction and contrasting elements, Jade has crafted an album that is cohesive and dynamic in equal measure.

For Jade’s caliber to shine, the album’s production better be on point and thankfully, Mysteries delivers in spades. Sounding vast and dynamic in my headphones, the vivid master illuminates every facet of Jade’s dream-like world. With guitars at its core, the mix carves out ample space for the supporting instrumentation to showcase their worth. As a result, each listen feels as exciting as the next—A testament to Mysteries’ complexity and sophistication. However, this intricacy also presents a challenge for passive listening. Despite its quality, I initially found Mysteries rather mundane and predictable due to the album’s similar traits blurring tracks like “Darkness in Movement” and “A Flowery Dream” together. But much like the gradual awakening from an intense dream, Mysteries’ hidden appeal surfaced once I gave it my undivided attention. From that point, my impressions quickly evolved into appreciation, and I found myself drawn back to Mysteries’ surreal world with regularity.

Demanding a conscious presence, atmo-death fans would be remiss to overlook Mysteries. Though Jade’s sound may seem ordinary at first, the sheer density and weight of Mysteries’ intricate sound takes time and patience to decode. But those who actively immerse themselves in Jade’s expansive world will be handsomely rewarded. The excellent songwriting, replete with its cohesion, balance, and dynamism, is impressive, steadily shifting my initial apathetic impressions to genuine appreciation. So don your finest headphones, sit bac,k and let Jade immerse you in their dreamlike world.

Rating: Very Good!
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Pulverised Records
Websites: emperorjade.bandcamp.com | facebook.com/jadestonemask
Releases Worldwide: May 9, 2025

#2025 #35 #AtmosphericDeathMetal #Bolzer #DeathDoom #DeathMetal #Ihsahn #Jade #May25 #MysteriesOfAFloweryDream #PinkFloyd #PulverisedRecords #Review #Reviews #SpanishMetal #SulphurAeon #TheRuinsOfBeverast

Alukta – Merok Review

By Dear Hollow

When the phrase “ritualistic” is used in metal, my immediate thought is darkness. Haunted fire, pulsing rhythms, eerie chanting, and the opaque blessings of hateful gods spring to mind, a noisy and terrifying descent into madness. Rarely do I think of the music Alukta offers. While tagged as “ritualistic black doom,” this is no Batushka or Death. Void. Terror. You won’t find the same emphasis on diminished chord progressions, the frightful voices cursing the pitch-black abyss, or the shadow of religion casting a pall across the proceedings. Alukta instead offers a sound that is transcendental and gentle, a representation of grief and passage with the dead among the living.

Alukta is a Belgian/French duo consisting of the renowned Déhà, whose long list of quality projects goes without saying,1 and Marie of Brouillard and 1927 – both of whom are also sole members of atmoblack band Transcending Rites. The act formidably utilizes Déhà’s history of doom, whose weight is derived from emotive progressions, as well as Marie’s knack for hypnotic blackened passages converging in a graceful expression of grief and devastation. Debut Merok takes influence after the Torajan people of Indonesia, particularly their funeral rites: from the placement of mummified bodies among everyday routines, elaborate and lengthy rituals to ensure their safe and gradual passage to the afterlife Puya, to the mass machete slaughter of water buffalo, pigs, and chickens as gifts to the dead on their journey. While Merok lacks the teeth you typically think of in doom-inflected black metal, Alukta’s melodic signature and sonic representations of grief and devastation warrant a look.

First and foremost, Alukta feels remarkably respectful in its debut. Guided by sustained guitar melodies and raw production anchored by thunderous dirge-like doom percussion, it feels ritualistic without feeling unnecessarily sinister. The Torajan people’s relationship with death is complex, an expression of crippling grief and uproarious celebration in equal measure, and Merok succeeds in capturing this in a sound that feels nearly gentle in its rendezvous. Déhà and Marie both lend their harsh vocals and cleans, and the tremolo is unmistakably influenced by second-wave, but that melody and a heavy dosage of ritualistic elements in chanting and pulsing percussion add dimension and complexity that represent it well. That’s not to say that there aren’t moments of fury or darkened progressions, but Alukta ensures balance and restraint. From explosive crescendos building ritualistic elements (“Matampu’,” “Kombengi”) to heart-wrenching melodies (“Lassez enter ceux qui pleurent,” “Des Teintes d’éternité”) and the more ominous and haunting leads that sway between yearning and furious (“Aluk To Dolo,” “Exuvia”), the album is purposefully written and gracefully executed.

While it is very much the point of the album, Alukta lacks the teeth that give doom its impact or black metal its rawness. You will find few riffs within Merok’s particular ritual, and the “heavier” passages owe their weight to more minor chord progressions and diminished leads, and that can drag over the album’s relatively short runtime. Those looking for the next Death. Void. Terror. or The Ruins of Beverast, will be disappointed in the relatively toothless sound, but may be swayed by the shifted focus – the gravity is implied through the emotion it invokes rather than the riffs Alukta offers. Its multilayered attack makes its sound mammoth in overlapping ritualistic chanting or vocals and drums, but aside from the thundering snare, the weight is not a metallic one, recalling more so the likes of Ianai or Heilung.

While Alukta does not meet expectations for your latest trek to scream into the abyss, that does not necessarily mean it’s not worth your time. Merok is evocative and devastating in its own way without utilizing black’s rawness nor doom’s weight to communicate ritual and grief, relying on yearning melodies and chord progressions instead. For those expecting to be slaughtered like water buffalo in the traditional trademarks of the genre hallmarks, look elsewhere. However, suppose you’re intrigued by the prospects of a beautiful and gentle expression of devastation and pain in another culture’s complex relationship with death, through Déhà and Marie’s patient songwriting and performances. In that case, Merok holds treasure abound – for this life and maybe the next.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Transcendance
Websites: Too kvlt for webz
Releases Worldwide: May 2nd, 2025

#1927 #2025 #30 #Alukta #Batushka #BlackMetal #Brouillard #DeathVoidTerror_ #DoomMetal #Folk #Heilung #Ianai #InternationalMetal #May25 #Merok #Review #Reviews #Slow #TheRuinsOfBeverast #Transcendance #TranscendingRites #Yhdarl

Alukta – Merok Review

By Dear Hollow

When the phrase “ritualistic” is used in metal, my immediate thought is darkness. Haunted fire, pulsing rhythms, eerie chanting, and the opaque blessings of hateful gods spring to mind, a noisy and terrifying descent into madness. Rarely do I think of the music Alukta offers. While tagged as “ritualistic black doom,” this is no Batushka or Death. Void. Terror. You won’t find the same emphasis on diminished chord progressions, the frightful voices cursing the pitch-black abyss, or the shadow of religion casting a pall across the proceedings. Alukta instead offers a sound that is transcendental and gentle, a representation of grief and passage with the dead among the living.

Alukta is a Belgian/French duo consisting of the renowned Déhà, whose long list of quality projects goes without saying,1 and Marie of Brouillard and 1927 – both of whom are also sole members of atmoblack band Transcending Rites. The act formidably utilizes Déhà’s history of doom, whose weight is derived from emotive progressions, as well as Marie’s knack for hypnotic blackened passages converging in a graceful expression of grief and devastation. Debut Merok takes influence after the Torajan people of Indonesia, particularly their funeral rites: from the placement of mummified bodies among everyday routines, elaborate and lengthy rituals to ensure their safe and gradual passage to the afterlife Puya, to the mass machete slaughter of water buffalo, pigs, and chickens as gifts to the dead on their journey. While Merok lacks the teeth you typically think of in doom-inflected black metal, Alukta’s melodic signature and sonic representations of grief and devastation warrant a look.

First and foremost, Alukta feels remarkably respectful in its debut. Guided by sustained guitar melodies and raw production anchored by thunderous dirge-like doom percussion, it feels ritualistic without feeling unnecessarily sinister. The Torajan people’s relationship with death is complex, an expression of crippling grief and uproarious celebration in equal measure, and Merok succeeds in capturing this in a sound that feels nearly gentle in its rendezvous. Déhà and Marie both lend their harsh vocals and cleans, and the tremolo is unmistakably influenced by second-wave, but that melody and a heavy dosage of ritualistic elements in chanting and pulsing percussion add dimension and complexity that represent it well. That’s not to say that there aren’t moments of fury or darkened progressions, but Alukta ensures balance and restraint. From explosive crescendos building ritualistic elements (“Matampu’,” “Kombengi”) to heart-wrenching melodies (“Lassez enter ceux qui pleurent,” “Des Teintes d’éternité”) and the more ominous and haunting leads that sway between yearning and furious (“Aluk To Dolo,” “Exuvia”), the album is purposefully written and gracefully executed.

While it is very much the point of the album, Alukta lacks the teeth that give doom its impact or black metal its rawness. You will find few riffs within Merok’s particular ritual, and the “heavier” passages owe their weight to more minor chord progressions and diminished leads, and that can drag over the album’s relatively short runtime. Those looking for the next Death. Void. Terror. or The Ruins of Beverast, will be disappointed in the relatively toothless sound, but may be swayed by the shifted focus – the gravity is implied through the emotion it invokes rather than the riffs Alukta offers. Its multilayered attack makes its sound mammoth in overlapping ritualistic chanting or vocals and drums, but aside from the thundering snare, the weight is not a metallic one, recalling more so the likes of Ianai or Heilung.

While Alukta does not meet expectations for your latest trek to scream into the abyss, that does not necessarily mean it’s not worth your time. Merok is evocative and devastating in its own way without utilizing black’s rawness nor doom’s weight to communicate ritual and grief, relying on yearning melodies and chord progressions instead. For those expecting to be slaughtered like water buffalo in the traditional trademarks of the genre hallmarks, look elsewhere. However, suppose you’re intrigued by the prospects of a beautiful and gentle expression of devastation and pain in another culture’s complex relationship with death, through Déhà and Marie’s patient songwriting and performances. In that case, Merok holds treasure abound – for this life and maybe the next.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Transcendance
Websites: Too kvlt for webz
Releases Worldwide: May 2nd, 2025

#1927 #2025 #30 #Alukta #Batushka #BlackMetal #Brouillard #DeathVoidTerror_ #DoomMetal #Folk #Heilung #Ianai #InternationalMetal #May25 #Merok #Review #Reviews #Slow #TheRuinsOfBeverast #Transcendance #TranscendingRites #Yhdarl

Alukta – Merok Review

By Dear Hollow

When the phrase “ritualistic” is used in metal, my immediate thought is darkness. Haunted fire, pulsing rhythms, eerie chanting, and the opaque blessings of hateful gods spring to mind, a noisy and terrifying descent into madness. Rarely do I think of the music Alukta offers. While tagged as “ritualistic black doom,” this is no Batushka or Death. Void. Terror. You won’t find the same emphasis on diminished chord progressions, the frightful voices cursing the pitch-black abyss, or the shadow of religion casting a pall across the proceedings. Alukta instead offers a sound that is transcendental and gentle, a representation of grief and passage with the dead among the living.

Alukta is a Belgian/French duo consisting of the renowned Déhà, whose long list of quality projects goes without saying,1 and Marie of Brouillard and 1927 – both of whom are also sole members of atmoblack band Transcending Rites. The act formidably utilizes Déhà’s history of doom, whose weight is derived from emotive progressions, as well as Marie’s knack for hypnotic blackened passages converging in a graceful expression of grief and devastation. Debut Merok takes influence after the Torajan people of Indonesia, particularly their funeral rites: from the placement of mummified bodies among everyday routines, elaborate and lengthy rituals to ensure their safe and gradual passage to the afterlife Puya, to the mass machete slaughter of water buffalo, pigs, and chickens as gifts to the dead on their journey. While Merok lacks the teeth you typically think of in doom-inflected black metal, Alukta’s melodic signature and sonic representations of grief and devastation warrant a look.

First and foremost, Alukta feels remarkably respectful in its debut. Guided by sustained guitar melodies and raw production anchored by thunderous dirge-like doom percussion, it feels ritualistic without feeling unnecessarily sinister. The Torajan people’s relationship with death is complex, an expression of crippling grief and uproarious celebration in equal measure, and Merok succeeds in capturing this in a sound that feels nearly gentle in its rendezvous. Déhà and Marie both lend their harsh vocals and cleans, and the tremolo is unmistakably influenced by second-wave, but that melody and a heavy dosage of ritualistic elements in chanting and pulsing percussion add dimension and complexity that represent it well. That’s not to say that there aren’t moments of fury or darkened progressions, but Alukta ensures balance and restraint. From explosive crescendos building ritualistic elements (“Matampu’,” “Kombengi”) to heart-wrenching melodies (“Lassez enter ceux qui pleurent,” “Des Teintes d’éternité”) and the more ominous and haunting leads that sway between yearning and furious (“Aluk To Dolo,” “Exuvia”), the album is purposefully written and gracefully executed.

While it is very much the point of the album, Alukta lacks the teeth that give doom its impact or black metal its rawness. You will find few riffs within Merok’s particular ritual, and the “heavier” passages owe their weight to more minor chord progressions and diminished leads, and that can drag over the album’s relatively short runtime. Those looking for the next Death. Void. Terror. or The Ruins of Beverast, will be disappointed in the relatively toothless sound, but may be swayed by the shifted focus – the gravity is implied through the emotion it invokes rather than the riffs Alukta offers. Its multilayered attack makes its sound mammoth in overlapping ritualistic chanting or vocals and drums, but aside from the thundering snare, the weight is not a metallic one, recalling more so the likes of Ianai or Heilung.

While Alukta does not meet expectations for your latest trek to scream into the abyss, that does not necessarily mean it’s not worth your time. Merok is evocative and devastating in its own way without utilizing black’s rawness nor doom’s weight to communicate ritual and grief, relying on yearning melodies and chord progressions instead. For those expecting to be slaughtered like water buffalo in the traditional trademarks of the genre hallmarks, look elsewhere. However, suppose you’re intrigued by the prospects of a beautiful and gentle expression of devastation and pain in another culture’s complex relationship with death, through Déhà and Marie’s patient songwriting and performances. In that case, Merok holds treasure abound – for this life and maybe the next.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Transcendance
Websites: Too kvlt for webz
Releases Worldwide: May 2nd, 2025

#1927 #2025 #30 #Alukta #Batushka #BlackMetal #Brouillard #DeathVoidTerror_ #DoomMetal #Folk #Heilung #Ianai #InternationalMetal #May25 #Merok #Review #Reviews #Slow #TheRuinsOfBeverast #Transcendance #TranscendingRites #Yhdarl

Alukta – Merok Review

By Dear Hollow

When the phrase “ritualistic” is used in metal, my immediate thought is darkness. Haunted fire, pulsing rhythms, eerie chanting, and the opaque blessings of hateful gods spring to mind, a noisy and terrifying descent into madness. Rarely do I think of the music Alukta offers. While tagged as “ritualistic black doom,” this is no Batushka or Death. Void. Terror. You won’t find the same emphasis on diminished chord progressions, the frightful voices cursing the pitch-black abyss, or the shadow of religion casting a pall across the proceedings. Alukta instead offers a sound that is transcendental and gentle, a representation of grief and passage with the dead among the living.

Alukta is a Belgian/French duo consisting of the renowned Déhà, whose long list of quality projects goes without saying,1 and Marie of Brouillard and 1927 – both of whom are also sole members of atmoblack band Transcending Rites. The act formidably utilizes Déhà’s history of doom, whose weight is derived from emotive progressions, as well as Marie’s knack for hypnotic blackened passages converging in a graceful expression of grief and devastation. Debut Merok takes influence after the Torajan people of Indonesia, particularly their funeral rites: from the placement of mummified bodies among everyday routines, elaborate and lengthy rituals to ensure their safe and gradual passage to the afterlife Puya, to the mass machete slaughter of water buffalo, pigs, and chickens as gifts to the dead on their journey. While Merok lacks the teeth you typically think of in doom-inflected black metal, Alukta’s melodic signature and sonic representations of grief and devastation warrant a look.

First and foremost, Alukta feels remarkably respectful in its debut. Guided by sustained guitar melodies and raw production anchored by thunderous dirge-like doom percussion, it feels ritualistic without feeling unnecessarily sinister. The Torajan people’s relationship with death is complex, an expression of crippling grief and uproarious celebration in equal measure, and Merok succeeds in capturing this in a sound that feels nearly gentle in its rendezvous. Déhà and Marie both lend their harsh vocals and cleans, and the tremolo is unmistakably influenced by second-wave, but that melody and a heavy dosage of ritualistic elements in chanting and pulsing percussion add dimension and complexity that represent it well. That’s not to say that there aren’t moments of fury or darkened progressions, but Alukta ensures balance and restraint. From explosive crescendos building ritualistic elements (“Matampu’,” “Kombengi”) to heart-wrenching melodies (“Lassez enter ceux qui pleurent,” “Des Teintes d’éternité”) and the more ominous and haunting leads that sway between yearning and furious (“Aluk To Dolo,” “Exuvia”), the album is purposefully written and gracefully executed.

While it is very much the point of the album, Alukta lacks the teeth that give doom its impact or black metal its rawness. You will find few riffs within Merok’s particular ritual, and the “heavier” passages owe their weight to more minor chord progressions and diminished leads, and that can drag over the album’s relatively short runtime. Those looking for the next Death. Void. Terror. or The Ruins of Beverast, will be disappointed in the relatively toothless sound, but may be swayed by the shifted focus – the gravity is implied through the emotion it invokes rather than the riffs Alukta offers. Its multilayered attack makes its sound mammoth in overlapping ritualistic chanting or vocals and drums, but aside from the thundering snare, the weight is not a metallic one, recalling more so the likes of Ianai or Heilung.

While Alukta does not meet expectations for your latest trek to scream into the abyss, that does not necessarily mean it’s not worth your time. Merok is evocative and devastating in its own way without utilizing black’s rawness nor doom’s weight to communicate ritual and grief, relying on yearning melodies and chord progressions instead. For those expecting to be slaughtered like water buffalo in the traditional trademarks of the genre hallmarks, look elsewhere. However, suppose you’re intrigued by the prospects of a beautiful and gentle expression of devastation and pain in another culture’s complex relationship with death, through Déhà and Marie’s patient songwriting and performances. In that case, Merok holds treasure abound – for this life and maybe the next.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Transcendance
Websites: Too kvlt for webz
Releases Worldwide: May 2nd, 2025

#1927 #2025 #30 #Alukta #Batushka #BlackMetal #Brouillard #DeathVoidTerror_ #DoomMetal #Folk #Heilung #Ianai #InternationalMetal #May25 #Merok #Review #Reviews #Slow #TheRuinsOfBeverast #Transcendance #TranscendingRites #Yhdarl

Morast – Fentanyl Review

By Steel Druhm

I knew absolutely nothing of German blackened death-doom act Morast, but the promo description intrigued me and made me want to seize the means of review for their third album, Fentanyl. What I got for my troubles was the experience of being smashed into bloody jelly while simultaneously being suffocated by unspeakable evil and darkness. Fentanyl is a nihilistic nightmare of an album, crushingly heavy, unrelenting, and overloaded with oppressive atmospheres and existential dread. As caustic as the name implies, this hellish, dissonant soundscape borrows from acts like The Ruins of Beverast, Ulcerate, and vintage Behemoth, but it’s a unique monstrosity that wants to hurt you badly.

Opener “Of Furor and Ecstacy” wastes no time burning down your comfort zone with crawling, slithering abominations of sound as riffs lurch and ooze all over you before they start cracking bones to get at the marrow within. Ex-Nagelfar vocalist Zingultus roars and cackles insanely like someone possessed by a demonic entity, and his crazed, unsettling verbalizations recall Attila Csihar’s work on De Mysteriis Dom Sathanas. The riffs from J. Slug are insanely raw, crushing, and dissonant, scouring and abrading your nerve endings even as they piledriver you into the muddy earth. This is the sound of the comfortable world around you coming apart at the seams. “Aratron” continues to hammer at your sanity with massively inexorable riffs that pulverize all before them. If a song could break the heaviness scale, this is it. You need to hear this to appreciate just how monolithic it feels. Little bits of bleak post-y term work eventually leak in to add grim adornments and darken the mood as Zingultus uses deep, baritone cleans to impart an unnerving ritualistic vibe to the horror show. It’s all done so well that it becomes unnaturally gripping and inescapable.

Over the short but uniformly savage 34-minute runtime, Fentanyl delivers one sadistic beatdown after another. There’s a certain one-note flavor to the torture parade but within the meatgrinder, you’ll encounter a subtle variety of blades. “Walls Come Closer” is less dizzyingly chaotic, focusing on a grinding doom plod with vaguely melodic lines floating outside the abrasive riffs. “A Thousand and More” adopts the same formula but ratchets everything up for a grand flattening of reality via ginormous riffs and twisted vocals. Colossal closer “On Pyre” primes the pump with droning, disso leads, and sprinkles Behemoth-esque bits of grandiose bombast throughout its nearly 8-minute slog. It’s a wild ride but it could stand some trimming as things get a touch monotonous towards the end. Bloat exists on other cuts as well, but here it’s the most noticeable. The relative brevity of the album is a blessing, as much more of this kind of material would truly be too much to bear. The production is dense, oppressive, and suffocating, creating a genuine sense of claustrophobia. Unfortunately, there are weird glitches in the sound at times where the volume drops abruptly before eventually resetting. I’m hoping it’s a promo issue rather than an album problem because that would be a shame.

The fiends behind Fentanyl are well-traveled vets with lots of time in the trenches. J. Slug’s riffs and “harmonies” are the reason the album delivers such a massive impact. The man creates absolute horrors on his fretboard, triggering real feelings of anxiety, dread, and terror. Adding to the discomfort, Zingultus goes all in vocally, blending black and death tropes to destabilize the mind. He often sounds deranged and fanatical, lending the material an extra sense of volatility. Some of his lines sound pathologically insane, and he even verges on vomiting sounds on a few occasions during this vocal tour de force. Leonardo Bardelle absolutely smashes his kit into assdust but offers rare moments of calm restraint that make the harder moments all the more shocking and disruptive. A great performance by all involved.

Fentanyl is not an album to relax with on a quiet winter evening or to nod along to on your daily commute. This is the sound of a descent into Hell. You will be tested, tortured, and terrorized in equal measure. I got a lot more than I bargained for on this one, and Morast left a deep impression on my brain stem. Fentanyl falls just shy of greatness, but you should schedule a time to be brutalized by this thing ASAP. You know you deserve it for that awful thing you did.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Ván Records
Websites: facebook.com/officialmorast | instagram.com/morast_doom
Releases Worldwide: February 7th, 2025

#2025 #35 #Behemoth #BlackMetal #DeathMetal #DoomMetal #Feb25 #Fentanyl #GermanMetal #Morast #Nagelfar #Review #Reviews #TheRuinsOfBeverast #Ulcerate #VanRecords

Morast – Fentanyl Review

By Steel Druhm

I knew absolutely nothing of German blackened death-doom act Morast, but the promo description intrigued me and made me want to seize the means of review for their third album, Fentanyl. What I got for my troubles was the experience of being smashed into bloody jelly while simultaneously being suffocated by unspeakable evil and darkness. Fentanyl is a nihilistic nightmare of an album, crushingly heavy, unrelenting, and overloaded with oppressive atmospheres and existential dread. As caustic as the name implies, this hellish, dissonant soundscape borrows from acts like The Ruins of Beverast, Ulcerate, and vintage Behemoth, but it’s a unique monstrosity that wants to hurt you badly.

Opener “Of Furor and Ecstacy” wastes no time burning down your comfort zone with crawling, slithering abominations of sound as riffs lurch and ooze all over you before they start cracking bones to get at the marrow within. Ex-Nagelfar vocalist Zingultus roars and cackles insanely like someone possessed by a demonic entity, and his crazed, unsettling verbalizations recall Attila Csihar’s work on De Mysteriis Dom Sathanas. The riffs from J. Slug are insanely raw, crushing, and dissonant, scouring and abrading your nerve endings even as they piledriver you into the muddy earth. This is the sound of the comfortable world around you coming apart at the seams. “Aratron” continues to hammer at your sanity with massively inexorable riffs that pulverize all before them. If a song could break the heaviness scale, this is it. You need to hear this to appreciate just how monolithic it feels. Little bits of bleak post-y term work eventually leak in to add grim adornments and darken the mood as Zingultus uses deep, baritone cleans to impart an unnerving ritualistic vibe to the horror show. It’s all done so well that it becomes unnaturally gripping and inescapable.

Over the short but uniformly savage 34-minute runtime, Fentanyl delivers one sadistic beatdown after another. There’s a certain one-note flavor to the torture parade but within the meatgrinder, you’ll encounter a subtle variety of blades. “Walls Come Closer” is less dizzyingly chaotic, focusing on a grinding doom plod with vaguely melodic lines floating outside the abrasive riffs. “A Thousand and More” adopts the same formula but ratchets everything up for a grand flattening of reality via ginormous riffs and twisted vocals. Colossal closer “On Pyre” primes the pump with droning, disso leads, and sprinkles Behemoth-esque bits of grandiose bombast throughout its nearly 8-minute slog. It’s a wild ride but it could stand some trimming as things get a touch monotonous towards the end. Bloat exists on other cuts as well, but here it’s the most noticeable. The relative brevity of the album is a blessing, as much more of this kind of material would truly be too much to bear. The production is dense, oppressive, and suffocating, creating a genuine sense of claustrophobia. Unfortunately, there are weird glitches in the sound at times where the volume drops abruptly before eventually resetting. I’m hoping it’s a promo issue rather than an album problem because that would be a shame.

The fiends behind Fentanyl are well-traveled vets with lots of time in the trenches. J. Slug’s riffs and “harmonies” are the reason the album delivers such a massive impact. The man creates absolute horrors on his fretboard, triggering real feelings of anxiety, dread, and terror. Adding to the discomfort, Zingultus goes all in vocally, blending black and death tropes to destabilize the mind. He often sounds deranged and fanatical, lending the material an extra sense of volatility. Some of his lines sound pathologically insane, and he even verges on vomiting sounds on a few occasions during this vocal tour de force. Leonardo Bardelle absolutely smashes his kit into assdust but offers rare moments of calm restraint that make the harder moments all the more shocking and disruptive. A great performance by all involved.

Fentanyl is not an album to relax with on a quiet winter evening or to nod along to on your daily commute. This is the sound of a descent into Hell. You will be tested, tortured, and terrorized in equal measure. I got a lot more than I bargained for on this one, and Morast left a deep impression on my brain stem. Fentanyl falls just shy of greatness, but you should schedule a time to be brutalized by this thing ASAP. You know you deserve it for that awful thing you did.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Ván Records
Websites: facebook.com/officialmorast | instagram.com/morast_doom
Releases Worldwide: February 7th, 2025

#2025 #35 #Behemoth #BlackMetal #DeathMetal #DoomMetal #Feb25 #Fentanyl #GermanMetal #Morast #Nagelfar #Review #Reviews #TheRuinsOfBeverast #Ulcerate #VanRecords

Morast – Fentanyl Review

By Steel Druhm

I knew absolutely nothing of German blackened death-doom act Morast, but the promo description intrigued me and made me want to seize the means of review for their third album, Fentanyl. What I got for my troubles was the experience of being smashed into bloody jelly while simultaneously being suffocated by unspeakable evil and darkness. Fentanyl is a nihilistic nightmare of an album, crushingly heavy, unrelenting, and overloaded with oppressive atmospheres and existential dread. As caustic as the name implies, this hellish, dissonant soundscape borrows from acts like The Ruins of Beverast, Ulcerate, and vintage Behemoth, but it’s a unique monstrosity that wants to hurt you badly.

Opener “Of Furor and Ecstacy” wastes no time burning down your comfort zone with crawling, slithering abominations of sound as riffs lurch and ooze all over you before they start cracking bones to get at the marrow within. Ex-Nagelfar vocalist Zingultus roars and cackles insanely like someone possessed by a demonic entity, and his crazed, unsettling verbalizations recall Attila Csihar’s work on De Mysteriis Dom Sathanas. The riffs from J. Slug are insanely raw, crushing, and dissonant, scouring and abrading your nerve endings even as they piledriver you into the muddy earth. This is the sound of the comfortable world around you coming apart at the seams. “Aratron” continues to hammer at your sanity with massively inexorable riffs that pulverize all before them. If a song could break the heaviness scale, this is it. You need to hear this to appreciate just how monolithic it feels. Little bits of bleak post-y term work eventually leak in to add grim adornments and darken the mood as Zingultus uses deep, baritone cleans to impart an unnerving ritualistic vibe to the horror show. It’s all done so well that it becomes unnaturally gripping and inescapable.

Over the short but uniformly savage 34-minute runtime, Fentanyl delivers one sadistic beatdown after another. There’s a certain one-note flavor to the torture parade but within the meatgrinder, you’ll encounter a subtle variety of blades. “Walls Come Closer” is less dizzyingly chaotic, focusing on a grinding doom plod with vaguely melodic lines floating outside the abrasive riffs. “A Thousand and More” adopts the same formula but ratchets everything up for a grand flattening of reality via ginormous riffs and twisted vocals. Colossal closer “On Pyre” primes the pump with droning, disso leads, and sprinkles Behemoth-esque bits of grandiose bombast throughout its nearly 8-minute slog. It’s a wild ride but it could stand some trimming as things get a touch monotonous towards the end. Bloat exists on other cuts as well, but here it’s the most noticeable. The relative brevity of the album is a blessing, as much more of this kind of material would truly be too much to bear. The production is dense, oppressive, and suffocating, creating a genuine sense of claustrophobia. Unfortunately, there are weird glitches in the sound at times where the volume drops abruptly before eventually resetting. I’m hoping it’s a promo issue rather than an album problem because that would be a shame.

The fiends behind Fentanyl are well-traveled vets with lots of time in the trenches. J. Slug’s riffs and “harmonies” are the reason the album delivers such a massive impact. The man creates absolute horrors on his fretboard, triggering real feelings of anxiety, dread, and terror. Adding to the discomfort, Zingultus goes all in vocally, blending black and death tropes to destabilize the mind. He often sounds deranged and fanatical, lending the material an extra sense of volatility. Some of his lines sound pathologically insane, and he even verges on vomiting sounds on a few occasions during this vocal tour de force. Leonardo Bardelle absolutely smashes his kit into assdust but offers rare moments of calm restraint that make the harder moments all the more shocking and disruptive. A great performance by all involved.

Fentanyl is not an album to relax with on a quiet winter evening or to nod along to on your daily commute. This is the sound of a descent into Hell. You will be tested, tortured, and terrorized in equal measure. I got a lot more than I bargained for on this one, and Morast left a deep impression on my brain stem. Fentanyl falls just shy of greatness, but you should schedule a time to be brutalized by this thing ASAP. You know you deserve it for that awful thing you did.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Ván Records
Websites: facebook.com/officialmorast | instagram.com/morast_doom
Releases Worldwide: February 7th, 2025

#2025 #35 #Behemoth #BlackMetal #DeathMetal #DoomMetal #Feb25 #Fentanyl #GermanMetal #Morast #Nagelfar #Review #Reviews #TheRuinsOfBeverast #Ulcerate #VanRecords

Arte <3

The Ruins of Beverast - live @ Hellfest 2022

https://youtu.be/n-JlYBYf90k

#Arte #ArteConcert #TheRuinsOfBeverast #Hellfest #Hellfest2022

#nowPlaying

The Ruins of Beverast - Foulest Semen of a Sheltered Elite

https://www.youtube.com/watch?v=q0ArZreME5s

#TROB #TheRuinsOfBeverast #FoulestSemenOfAShelteredElite #BlackMetal #AthmosphericBlackMetal #DoomMetal