#ulcerate — Public Fediverse posts

https://ulcerate.bandcamp.com/track/there-is-no-horizon

https://open.spotify.com/track/4PCz6kM0n0px9Tt8tnXyv4

#seekanddestroy #ulcerate #nowplaying #kexp

KEXP 🎶 #NowPlaying Bot @[email protected] · 2026-07-12 · 07:13 UTC

🇺🇦 #NowPlaying on #KEXP's #SeekAndDestroy

Ulcerate:
🎵 There Is No Horizon

https://ulcerate.bandcamp.com/track/there-is-no-horizon

https://open.spotify.com/track/4PCz6kM0n0px9Tt8tnXyv4

#nowplaying #kexp #seekanddestroy #ulcerate

KEXP 🎶 #NowPlaying Bot @[email protected] · 2026-07-12 · 07:13 UTC

🇺🇦 #NowPlaying on #KEXP's #SeekAndDestroy

Ulcerate:
🎵 There Is No Horizon

https://ulcerate.bandcamp.com/track/there-is-no-horizon

https://open.spotify.com/track/4PCz6kM0n0px9Tt8tnXyv4

#nowplaying #kexp #seekanddestroy #ulcerate

KEXP 🎶 #NowPlaying Bot @[email protected] · 2026-07-12 · 07:13 UTC

🇺🇦 #NowPlaying on #KEXP's #SeekAndDestroy

Ulcerate:
🎵 There Is No Horizon

https://ulcerate.bandcamp.com/track/there-is-no-horizon

https://open.spotify.com/track/4PCz6kM0n0px9Tt8tnXyv4

#ulcerate #seekanddestroy #kexp #nowplaying

KEXP 🎶 #NowPlaying Bot @[email protected] · 2026-07-12 · 07:13 UTC

🇺🇦 #NowPlaying on #KEXP's #SeekAndDestroy

Ulcerate:
🎵 There Is No Horizon

https://ulcerate.bandcamp.com/track/there-is-no-horizon

https://open.spotify.com/track/4PCz6kM0n0px9Tt8tnXyv4

#nowplaying #kexp #seekanddestroy #ulcerate

Angry Metal Guy @[email protected] · 2026-05-26 · 18:26 UTC

Galvanist – The Silence Between Stars Review By Spicie Forrest

I was initially surprised that Galvanist hailed from Bozeman, Montana, but I really have no right to feel that way. Based on its proximity to major outdoor destinations, I thought Bozeman would be like Jackson, Wyoming, where I briefly lived, but Google quickly disabused me of that notion. Suffice it to say, I have no idea what Bozeman’s music scene is like. But I’ll tell you what I do know. I know that Galvanist released debut Connection in 2022 and split Hollowtop with Ulm in 2024. I know they’re returning now with sophomore effort The Silence Between Stars. And after spinning this album every day for weeks, I know that all my expectations, like so much dust beneath the heel of an eldritch god, have been casually and utterly annihilated.

The promo material describes Galvanist as “blackened doom metal, progressive death metal, and experimental textures.” That may outline the canvas upon which Galvanist paints, but it does them little justice. Throughout The Silence Between Stars, I hear Animals as Leaders drowning in sludge (“Atrophy”) and Huntsmen channeling Thou (“Dreich,”1 “Spiorad”2). Woven into the fiber of their sound, I hear the swirling chaos of Ulcerate (“Hauntology”), creating a shifting maelstrom that denies me any safe or solid ground. Synths and keys, courtesy of lead guitarist Micah Tippit, lend Galvanist a threatening, extraterrestrial edge. Over it all, vocalist Tanner Erhart bellows with the raw intensity of acts like Ragana. Galvanist takes these ingredients and filters them through a clear and singular identity to create something entirely their own. Orders of magnitude greater than its descriptors, The Silence Between Stars is a journey by turns and at once deeply rooted in the homestead and violently flung to the darkest reaches of space.3

With every track but the 63-second intro4 clocking in at roughly 8–11 minutes, I worried The Silence Between Stars would suffer from bloat or overly aggressive proggery. My fears were unfounded. The Silence Between Stars demands my attention front to back, and at an easily digestible 40 minutes, I frequently find myself looping back for another spin. This isn’t so singular a work as Winter’s Gate or Mirror Reaper—there’s little need for gapless playback here—but each track flows so naturally into the next that I struggle to start anywhere but the beginning or stop anywhere but the end. I don’t know if this is a concept album, but it’s heady, interconnected subject matter5 demands more than just lyrical exposition. Galvanist is plenty capable, wielding mystifying time signature shifts (“Atrophy,” “Hauntology”), abrupt—but never jarring—compositional transitions, and mid-melody key changes (“Spiorad”) with aplomb. Galvanist adeptly handles such progressive elements to bake their storytelling directly into the music itself.

Even beyond its total disregard for my expectations, The Silence Between Stars continues to awe. Galvanist uses the soundstage to further cultivate that sense of being both grounded and in freefall. Bassist Kevin George’s mix leaves room for each instrument to breathe, but in a good way, only just. With a little added reverb, the result fosters that contradictory atmosphere even more, like suffocating in open air. Erhart’s rhythm guitars hang out on the wings, where microtonal variances between left and right ears create an incredible dissonance, a feeling of infinite liminality. Elements float in and out of the spotlight—like George’s bass at the midpoint of “Atrophy,” Chris Navarro’s drums at the end of “Hauntology,” or Tippit’s astounding leads on the back half of “Spiorad”—constantly redirecting my attention and driving me further into Galvanist’s labyrinth.

It is not often I have no complaints about an album, and rarer still, I have more praise than I can fit on the page. Had I time and space enough, I would still be raving about The Silence Between Stars long after the final keys of “Spiorad” fade to silence. From the cosmic violence of “Atrophy” to the striking bookends of “Dreich,” and from the spine-tingling keys of “Hauntology” to the magnificent, delirious climax of “Spiorad,” Galvanist has created something truly special. Like a will-o’-wisp or a foxfire trail coaxing you into the dark, The Silence Between Stars is disquieting yet tempting, unnerving yet comforting. I didn’t know what I was in for when I picked up Galvanist, but to shamelessly adapt my favorite line from the album,6 I crossed the threshold, and I found myself amidst worlds strange and wonderful.

Rating: 4.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Aeternitas Tenebrarum Musicae Fundamentum
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: May 27th, 2026

#2026 #45 #AnimalsAsLeaders #BellWitch #BlackMetal #DoomMetal #Galvanist #Huntsmen #Insomnium #May26 #ProgressiveDeath #Ragana #Review #Reviews #TheSilenceBetweenStars #Thou #Ulcerate

#animalsasleaders #bellwitch #blackmetal #doommetal #galvanist #huntsmen

Angry Metal Guy @[email protected] · 2026-05-26 · 18:26 UTC

Galvanist – The Silence Between Stars Review By Spicie Forrest

I was initially surprised that Galvanist hailed from Bozeman, Montana, but I really have no right to feel that way. Based on its proximity to major outdoor destinations, I thought Bozeman would be like Jackson, Wyoming, where I briefly lived, but Google quickly disabused me of that notion. Suffice it to say, I have no idea what Bozeman’s music scene is like. But I’ll tell you what I do know. I know that Galvanist released debut Connection in 2022 and split Hollowtop with Ulm in 2024. I know they’re returning now with sophomore effort The Silence Between Stars. And after spinning this album every day for weeks, I know that all my expectations, like so much dust beneath the heel of an eldritch god, have been casually and utterly annihilated.

The promo material describes Galvanist as “blackened doom metal, progressive death metal, and experimental textures.” That may outline the canvas upon which Galvanist paints, but it does them little justice. Throughout The Silence Between Stars, I hear Animals as Leaders drowning in sludge (“Atrophy”) and Huntsmen channeling Thou (“Dreich,”1 “Spiorad”2). Woven into the fiber of their sound, I hear the swirling chaos of Ulcerate (“Hauntology”), creating a shifting maelstrom that denies me any safe or solid ground. Synths and keys, courtesy of lead guitarist Micah Tippit, lend Galvanist a threatening, extraterrestrial edge. Over it all, vocalist Tanner Erhart bellows with the raw intensity of acts like Ragana. Galvanist takes these ingredients and filters them through a clear and singular identity to create something entirely their own. Orders of magnitude greater than its descriptors, The Silence Between Stars is a journey by turns and at once deeply rooted in the homestead and violently flung to the darkest reaches of space.3

With every track but the 63-second intro4 clocking in at roughly 8–11 minutes, I worried The Silence Between Stars would suffer from bloat or overly aggressive proggery. My fears were unfounded. The Silence Between Stars demands my attention front to back, and at an easily digestible 40 minutes, I frequently find myself looping back for another spin. This isn’t so singular a work as Winter’s Gate or Mirror Reaper—there’s little need for gapless playback here—but each track flows so naturally into the next that I struggle to start anywhere but the beginning or stop anywhere but the end. I don’t know if this is a concept album, but it’s heady, interconnected subject matter5 demands more than just lyrical exposition. Galvanist is plenty capable, wielding mystifying time signature shifts (“Atrophy,” “Hauntology”), abrupt—but never jarring—compositional transitions, and mid-melody key changes (“Spiorad”) with aplomb. Galvanist adeptly handles such progressive elements to bake their storytelling directly into the music itself.

Even beyond its total disregard for my expectations, The Silence Between Stars continues to awe. Galvanist uses the soundstage to further cultivate that sense of being both grounded and in freefall. Bassist Kevin George’s mix leaves room for each instrument to breathe, but in a good way, only just. With a little added reverb, the result fosters that contradictory atmosphere even more, like suffocating in open air. Erhart’s rhythm guitars hang out on the wings, where microtonal variances between left and right ears create an incredible dissonance, a feeling of infinite liminality. Elements float in and out of the spotlight—like George’s bass at the midpoint of “Atrophy,” Chris Navarro’s drums at the end of “Hauntology,” or Tippit’s astounding leads on the back half of “Spiorad”—constantly redirecting my attention and driving me further into Galvanist’s labyrinth.

It is not often I have no complaints about an album, and rarer still, I have more praise than I can fit on the page. Had I time and space enough, I would still be raving about The Silence Between Stars long after the final keys of “Spiorad” fade to silence. From the cosmic violence of “Atrophy” to the striking bookends of “Dreich,” and from the spine-tingling keys of “Hauntology” to the magnificent, delirious climax of “Spiorad,” Galvanist has created something truly special. Like a will-o’-wisp or a foxfire trail coaxing you into the dark, The Silence Between Stars is disquieting yet tempting, unnerving yet comforting. I didn’t know what I was in for when I picked up Galvanist, but to shamelessly adapt my favorite line from the album,6 I crossed the threshold, and I found myself amidst worlds strange and wonderful.

Rating: 4.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Aeternitas Tenebrarum Musicae Fundamentum
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: May 27th, 2026

#2026 #45 #AnimalsAsLeaders #BellWitch #BlackMetal #DoomMetal #Galvanist #Huntsmen #Insomnium #May26 #ProgressiveDeath #Ragana #Review #Reviews #TheSilenceBetweenStars #Thou #Ulcerate

#animalsasleaders #bellwitch #blackmetal #doommetal #galvanist #huntsmen

Angry Metal Guy @[email protected] · 2026-05-26 · 18:26 UTC

Galvanist – The Silence Between Stars Review By Spicie Forrest

I was initially surprised that Galvanist hailed from Bozeman, Montana, but I really have no right to feel that way. Based on its proximity to major outdoor destinations, I thought Bozeman would be like Jackson, Wyoming, where I briefly lived, but Google quickly disabused me of that notion. Suffice it to say, I have no idea what Bozeman’s music scene is like. But I’ll tell you what I do know. I know that Galvanist released debut Connection in 2022 and split Hollowtop with Ulm in 2024. I know they’re returning now with sophomore effort The Silence Between Stars. And after spinning this album every day for weeks, I know that all my expectations, like so much dust beneath the heel of an eldritch god, have been casually and utterly annihilated.

The promo material describes Galvanist as “blackened doom metal, progressive death metal, and experimental textures.” That may outline the canvas upon which Galvanist paints, but it does them little justice. Throughout The Silence Between Stars, I hear Animals as Leaders drowning in sludge (“Atrophy”) and Huntsmen channeling Thou (“Dreich,”1 “Spiorad”2). Woven into the fiber of their sound, I hear the swirling chaos of Ulcerate (“Hauntology”), creating a shifting maelstrom that denies me any safe or solid ground. Synths and keys, courtesy of lead guitarist Micah Tippit, lend Galvanist a threatening, extraterrestrial edge. Over it all, vocalist Tanner Erhart bellows with the raw intensity of acts like Ragana. Galvanist takes these ingredients and filters them through a clear and singular identity to create something entirely their own. Orders of magnitude greater than its descriptors, The Silence Between Stars is a journey by turns and at once deeply rooted in the homestead and violently flung to the darkest reaches of space.3

With every track but the 63-second intro4 clocking in at roughly 8–11 minutes, I worried The Silence Between Stars would suffer from bloat or overly aggressive proggery. My fears were unfounded. The Silence Between Stars demands my attention front to back, and at an easily digestible 40 minutes, I frequently find myself looping back for another spin. This isn’t so singular a work as Winter’s Gate or Mirror Reaper—there’s little need for gapless playback here—but each track flows so naturally into the next that I struggle to start anywhere but the beginning or stop anywhere but the end. I don’t know if this is a concept album, but it’s heady, interconnected subject matter5 demands more than just lyrical exposition. Galvanist is plenty capable, wielding mystifying time signature shifts (“Atrophy,” “Hauntology”), abrupt—but never jarring—compositional transitions, and mid-melody key changes (“Spiorad”) with aplomb. Galvanist adeptly handles such progressive elements to bake their storytelling directly into the music itself.

Even beyond its total disregard for my expectations, The Silence Between Stars continues to awe. Galvanist uses the soundstage to further cultivate that sense of being both grounded and in freefall. Bassist Kevin George’s mix leaves room for each instrument to breathe, but in a good way, only just. With a little added reverb, the result fosters that contradictory atmosphere even more, like suffocating in open air. Erhart’s rhythm guitars hang out on the wings, where microtonal variances between left and right ears create an incredible dissonance, a feeling of infinite liminality. Elements float in and out of the spotlight—like George’s bass at the midpoint of “Atrophy,” Chris Navarro’s drums at the end of “Hauntology,” or Tippit’s astounding leads on the back half of “Spiorad”—constantly redirecting my attention and driving me further into Galvanist’s labyrinth.

It is not often I have no complaints about an album, and rarer still, I have more praise than I can fit on the page. Had I time and space enough, I would still be raving about The Silence Between Stars long after the final keys of “Spiorad” fade to silence. From the cosmic violence of “Atrophy” to the striking bookends of “Dreich,” and from the spine-tingling keys of “Hauntology” to the magnificent, delirious climax of “Spiorad,” Galvanist has created something truly special. Like a will-o’-wisp or a foxfire trail coaxing you into the dark, The Silence Between Stars is disquieting yet tempting, unnerving yet comforting. I didn’t know what I was in for when I picked up Galvanist, but to shamelessly adapt my favorite line from the album,6 I crossed the threshold, and I found myself amidst worlds strange and wonderful.

Rating: 4.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Aeternitas Tenebrarum Musicae Fundamentum
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: May 27th, 2026

#2026 #45 #AnimalsAsLeaders #BellWitch #BlackMetal #DoomMetal #Galvanist #Huntsmen #Insomnium #May26 #ProgressiveDeath #Ragana #Review #Reviews #TheSilenceBetweenStars #Thou #Ulcerate

#animalsasleaders #bellwitch #blackmetal #doommetal #galvanist #huntsmen

Angry Metal Guy @[email protected] · 2026-05-26 · 18:26 UTC

Galvanist – The Silence Between Stars Review By Spicie Forrest

I was initially surprised that Galvanist hailed from Bozeman, Montana, but I really have no right to feel that way. Based on its proximity to major outdoor destinations, I thought Bozeman would be like Jackson, Wyoming, where I briefly lived, but Google quickly disabused me of that notion. Suffice it to say, I have no idea what Bozeman’s music scene is like. But I’ll tell you what I do know. I know that Galvanist released debut Connection in 2022 and split Hollowtop with Ulm in 2024. I know they’re returning now with sophomore effort The Silence Between Stars. And after spinning this album every day for weeks, I know that all my expectations, like so much dust beneath the heel of an eldritch god, have been casually and utterly annihilated.

The promo material describes Galvanist as “blackened doom metal, progressive death metal, and experimental textures.” That may outline the canvas upon which Galvanist paints, but it does them little justice. Throughout The Silence Between Stars, I hear Animals as Leaders drowning in sludge (“Atrophy”) and Huntsmen channeling Thou (“Dreich,”1 “Spiorad”2). Woven into the fiber of their sound, I hear the swirling chaos of Ulcerate (“Hauntology”), creating a shifting maelstrom that denies me any safe or solid ground. Synths and keys, courtesy of lead guitarist Micah Tippit, lend Galvanist a threatening, extraterrestrial edge. Over it all, vocalist Tanner Erhart bellows with the raw intensity of acts like Ragana. Galvanist takes these ingredients and filters them through a clear and singular identity to create something entirely their own. Orders of magnitude greater than its descriptors, The Silence Between Stars is a journey by turns and at once deeply rooted in the homestead and violently flung to the darkest reaches of space.3

With every track but the 63-second intro4 clocking in at roughly 8–11 minutes, I worried The Silence Between Stars would suffer from bloat or overly aggressive proggery. My fears were unfounded. The Silence Between Stars demands my attention front to back, and at an easily digestible 40 minutes, I frequently find myself looping back for another spin. This isn’t so singular a work as Winter’s Gate or Mirror Reaper—there’s little need for gapless playback here—but each track flows so naturally into the next that I struggle to start anywhere but the beginning or stop anywhere but the end. I don’t know if this is a concept album, but it’s heady, interconnected subject matter5 demands more than just lyrical exposition. Galvanist is plenty capable, wielding mystifying time signature shifts (“Atrophy,” “Hauntology”), abrupt—but never jarring—compositional transitions, and mid-melody key changes (“Spiorad”) with aplomb. Galvanist adeptly handles such progressive elements to bake their storytelling directly into the music itself.

Even beyond its total disregard for my expectations, The Silence Between Stars continues to awe. Galvanist uses the soundstage to further cultivate that sense of being both grounded and in freefall. Bassist Kevin George’s mix leaves room for each instrument to breathe, but in a good way, only just. With a little added reverb, the result fosters that contradictory atmosphere even more, like suffocating in open air. Erhart’s rhythm guitars hang out on the wings, where microtonal variances between left and right ears create an incredible dissonance, a feeling of infinite liminality. Elements float in and out of the spotlight—like George’s bass at the midpoint of “Atrophy,” Chris Navarro’s drums at the end of “Hauntology,” or Tippit’s astounding leads on the back half of “Spiorad”—constantly redirecting my attention and driving me further into Galvanist’s labyrinth.

It is not often I have no complaints about an album, and rarer still, I have more praise than I can fit on the page. Had I time and space enough, I would still be raving about The Silence Between Stars long after the final keys of “Spiorad” fade to silence. From the cosmic violence of “Atrophy” to the striking bookends of “Dreich,” and from the spine-tingling keys of “Hauntology” to the magnificent, delirious climax of “Spiorad,” Galvanist has created something truly special. Like a will-o’-wisp or a foxfire trail coaxing you into the dark, The Silence Between Stars is disquieting yet tempting, unnerving yet comforting. I didn’t know what I was in for when I picked up Galvanist, but to shamelessly adapt my favorite line from the album,6 I crossed the threshold, and I found myself amidst worlds strange and wonderful.

Rating: 4.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Aeternitas Tenebrarum Musicae Fundamentum
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: May 27th, 2026

#2026 #45 #AnimalsAsLeaders #BellWitch #BlackMetal #DoomMetal #Galvanist #Huntsmen #Insomnium #May26 #ProgressiveDeath #Ragana #Review #Reviews #TheSilenceBetweenStars #Thou #Ulcerate

#ulcerate #thou #thesilencebetweenstars #reviews #review #ragana

Angry Metal Guy @[email protected] · 2026-05-26 · 18:26 UTC

Galvanist – The Silence Between Stars Review By Spicie Forrest

I was initially surprised that Galvanist hailed from Bozeman, Montana, but I really have no right to feel that way. Based on its proximity to major outdoor destinations, I thought Bozeman would be like Jackson, Wyoming, where I briefly lived, but Google quickly disabused me of that notion. Suffice it to say, I have no idea what Bozeman’s music scene is like. But I’ll tell you what I do know. I know that Galvanist released debut Connection in 2022 and split Hollowtop with Ulm in 2024. I know they’re returning now with sophomore effort The Silence Between Stars. And after spinning this album every day for weeks, I know that all my expectations, like so much dust beneath the heel of an eldritch god, have been casually and utterly annihilated.

The promo material describes Galvanist as “blackened doom metal, progressive death metal, and experimental textures.” That may outline the canvas upon which Galvanist paints, but it does them little justice. Throughout The Silence Between Stars, I hear Animals as Leaders drowning in sludge (“Atrophy”) and Huntsmen channeling Thou (“Dreich,”1 “Spiorad”2). Woven into the fiber of their sound, I hear the swirling chaos of Ulcerate (“Hauntology”), creating a shifting maelstrom that denies me any safe or solid ground. Synths and keys, courtesy of lead guitarist Micah Tippit, lend Galvanist a threatening, extraterrestrial edge. Over it all, vocalist Tanner Erhart bellows with the raw intensity of acts like Ragana. Galvanist takes these ingredients and filters them through a clear and singular identity to create something entirely their own. Orders of magnitude greater than its descriptors, The Silence Between Stars is a journey by turns and at once deeply rooted in the homestead and violently flung to the darkest reaches of space.3

With every track but the 63-second intro4 clocking in at roughly 8–11 minutes, I worried The Silence Between Stars would suffer from bloat or overly aggressive proggery. My fears were unfounded. The Silence Between Stars demands my attention front to back, and at an easily digestible 40 minutes, I frequently find myself looping back for another spin. This isn’t so singular a work as Winter’s Gate or Mirror Reaper—there’s little need for gapless playback here—but each track flows so naturally into the next that I struggle to start anywhere but the beginning or stop anywhere but the end. I don’t know if this is a concept album, but it’s heady, interconnected subject matter5 demands more than just lyrical exposition. Galvanist is plenty capable, wielding mystifying time signature shifts (“Atrophy,” “Hauntology”), abrupt—but never jarring—compositional transitions, and mid-melody key changes (“Spiorad”) with aplomb. Galvanist adeptly handles such progressive elements to bake their storytelling directly into the music itself.

Even beyond its total disregard for my expectations, The Silence Between Stars continues to awe. Galvanist uses the soundstage to further cultivate that sense of being both grounded and in freefall. Bassist Kevin George’s mix leaves room for each instrument to breathe, but in a good way, only just. With a little added reverb, the result fosters that contradictory atmosphere even more, like suffocating in open air. Erhart’s rhythm guitars hang out on the wings, where microtonal variances between left and right ears create an incredible dissonance, a feeling of infinite liminality. Elements float in and out of the spotlight—like George’s bass at the midpoint of “Atrophy,” Chris Navarro’s drums at the end of “Hauntology,” or Tippit’s astounding leads on the back half of “Spiorad”—constantly redirecting my attention and driving me further into Galvanist’s labyrinth.

It is not often I have no complaints about an album, and rarer still, I have more praise than I can fit on the page. Had I time and space enough, I would still be raving about The Silence Between Stars long after the final keys of “Spiorad” fade to silence. From the cosmic violence of “Atrophy” to the striking bookends of “Dreich,” and from the spine-tingling keys of “Hauntology” to the magnificent, delirious climax of “Spiorad,” Galvanist has created something truly special. Like a will-o’-wisp or a foxfire trail coaxing you into the dark, The Silence Between Stars is disquieting yet tempting, unnerving yet comforting. I didn’t know what I was in for when I picked up Galvanist, but to shamelessly adapt my favorite line from the album,6 I crossed the threshold, and I found myself amidst worlds strange and wonderful.

Rating: 4.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Aeternitas Tenebrarum Musicae Fundamentum
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: May 27th, 2026

#2026 #45 #AnimalsAsLeaders #BellWitch #BlackMetal #DoomMetal #Galvanist #Huntsmen #Insomnium #May26 #ProgressiveDeath #Ragana #Review #Reviews #TheSilenceBetweenStars #Thou #Ulcerate

#animalsasleaders #bellwitch #blackmetal #doommetal #galvanist #huntsmen

Döbbie03 @[email protected] · 2026-05-10 · 02:42 UTC

Some excellent Kiwi bred Death Metal for this sunny Sunday afternoon.

The absolute kings of the NZ Metal scene.

#ulcerate #nowplaying

Döbbie03 @dobbie003 · 2026-05-10 · 02:42 UTC

Some excellent Kiwi bred Death Metal for this sunny Sunday afternoon.

The absolute kings of the NZ Metal scene.

#ulcerate #nowplaying

Döbbie03 @[email protected] · 2026-05-10 · 02:42 UTC

Some excellent Kiwi bred Death Metal for this sunny Sunday afternoon.

The absolute kings of the NZ Metal scene.

#ulcerate #nowplaying

Döbbie03 @[email protected] · 2026-05-10 · 02:42 UTC

Some excellent Kiwi bred Death Metal for this sunny Sunday afternoon.

https://growthmusic.bandcamp.com/album/under-the-under

The absolute kings of the NZ Metal scene.

#nowplaying #ulcerate

Your Future Ex @[email protected] · 2026-04-02 · 19:33 UTC

For #ThursDeath:

#Growth: Under the Under

https://growthmusic.bandcamp.com/album/under-the-under

#ulcerate #replicant #cemetery #progessivedeathmetal #growth #thursdeath

Your Future Ex @[email protected] · 2026-04-02 · 19:33 UTC

For #ThursDeath:

#Growth: Under the Under

https://growthmusic.bandcamp.com/album/under-the-under

#ulcerate #replicant #cemetery #progessivedeathmetal #growth #thursdeath

Your Future Ex @[email protected] · 2026-04-02 · 19:33 UTC

For #ThursDeath:

#Growth: Under the Under

https://growthmusic.bandcamp.com/album/under-the-under

#ulcerate #replicant #cemetery #progessivedeathmetal #growth #thursdeath

Your Future Ex @[email protected] · 2026-04-02 · 19:33 UTC

For #ThursDeath:

#Growth: Under the Under

https://growthmusic.bandcamp.com/album/under-the-under

#thursdeath #growth #progessivedeathmetal #cemetery #replicant #ulcerate

Your Future Ex @[email protected] · 2026-04-02 · 19:33 UTC

For #ThursDeath:

#Growth: Under the Under

#ulcerate #replicant #cemetery #progessivedeathmetal #growth #thursdeath

Your Future Ex @[email protected] · 2026-03-11 · 00:06 UTC

It's late now for #TuneTuesday's #RentFreeTracks, and I've shared this song earlier already, but I play this several times a day:

#Vitriol: Shame and Its Afterbirth

I can't not love the jewellery and the facial expressions 🤘

#ulcerate #hideousdivinity #atræbilis #technicaldeathmetal #vitriol #rentfreetracks

Your Future Ex @[email protected] · 2026-03-11 · 00:06 UTC

It's late now for #TuneTuesday's #RentFreeTracks, and I've shared this song earlier already, but I play this several times a day:

#Vitriol: Shame and Its Afterbirth

I can't not love the jewellery and the facial expressions 🤘

#ulcerate #hideousdivinity #atræbilis #technicaldeathmetal #vitriol #rentfreetracks

Your Future Ex @[email protected] · 2026-03-11 · 00:06 UTC

It's late now for #TuneTuesday's #RentFreeTracks, and I've shared this song earlier already, but I play this several times a day:

#Vitriol: Shame and Its Afterbirth

I can't not love the jewellery and the facial expressions 🤘

#ulcerate #hideousdivinity #atræbilis #technicaldeathmetal #vitriol #rentfreetracks

Your Future Ex @[email protected] · 2026-03-11 · 00:06 UTC

It's late now for #TuneTuesday's #RentFreeTracks, and I've shared this song earlier already, but I play this several times a day:

#Vitriol: Shame and Its Afterbirth

I can't not love the jewellery and the facial expressions 🤘

#tunetuesday #rentfreetracks #vitriol #technicaldeathmetal #atræbilis #hideousdivinity

Your Future Ex @[email protected] · 2026-03-11 · 00:06 UTC

It's late now for #TuneTuesday's #RentFreeTracks, and I've shared this song earlier already, but I play this several times a day:

#Vitriol: Shame and Its Afterbirth

I can't not love the jewellery and the facial expressions 🤘

#ulcerate #hideousdivinity #atræbilis #technicaldeathmetal #vitriol #rentfreetracks

Your Future Ex @[email protected] · 2026-03-04 · 12:54 UTC

#Unverkalt: Héréditaire

#ulcerate #pupilslicer #juliechristmas #postmetal #unverkalt #mittwochmetalmix

Your Future Ex @[email protected] · 2026-03-04 · 12:54 UTC

#Unverkalt: Héréditaire

#ulcerate #pupilslicer #juliechristmas #postmetal #unverkalt #mittwochmetalmix

Your Future Ex @[email protected] · 2026-03-04 · 12:54 UTC

#Unverkalt: Héréditaire

#ulcerate #pupilslicer #juliechristmas #postmetal #unverkalt #mittwochmetalmix

Your Future Ex @[email protected] · 2026-03-04 · 12:54 UTC

#Unverkalt: Héréditaire

#mittwochmetalmix #unverkalt #postmetal #juliechristmas #pupilslicer #ulcerate

Your Future Ex @[email protected] · 2026-03-04 · 12:54 UTC

#Unverkalt: Héréditaire

https://ulcerate.bandcamp.com/album/cutting-the-throat-of-god

#ulcerate #pupilslicer #juliechristmas #postmetal #unverkalt #mittwochmetalmix

Tim G @[email protected] · 2026-02-13 · 08:01 UTC

In more devastating tour news, Ulcerate is touring here in May. And it's the end of the tour for their last album, which I've listened to *a lot*. 💸 🎫

https://ulcerate.bandcamp.com/album/cutting-the-throat-of-god

#livemusic #ulcerate #deathmetal

Tim G @[email protected] · 2026-02-13 · 08:01 UTC

In more devastating tour news, Ulcerate is touring here in May. And it's the end of the tour for their last album, which I've listened to *a lot*. 💸 🎫

https://ulcerate.bandcamp.com/album/cutting-the-throat-of-god

#livemusic #ulcerate #deathmetal

Tim G @[email protected] · 2026-02-13 · 08:01 UTC

In more devastating tour news, Ulcerate is touring here in May. And it's the end of the tour for their last album, which I've listened to *a lot*. 💸 🎫

https://ulcerate.bandcamp.com/album/cutting-the-throat-of-god

#livemusic #ulcerate #deathmetal

Tim G @[email protected] · 2026-02-13 · 08:01 UTC

In more devastating tour news, Ulcerate is touring here in May. And it's the end of the tour for their last album, which I've listened to *a lot*. 💸 🎫

https://ulcerate.bandcamp.com/album/cutting-the-throat-of-god

#deathmetal #ulcerate #livemusic

Tim G @[email protected] · 2026-02-13 · 08:01 UTC

In more devastating tour news, Ulcerate is touring here in May. And it's the end of the tour for their last album, which I've listened to *a lot*. 💸 🎫

#livemusic #ulcerate #deathmetal

United Kingdom News Beep @[email protected] · 2026-02-10 · 23:00 UTC

Petrale – Goat at Sunset Review

We often wax eloquent on the distinctive factors between good and great. In a writing sphere where we…
#NewsBeep #News #Music #2026 #3.5 #BlackCilice #BlackMetal #CroatianMetal #Darkthrone #Entertainment #Feb26 #FellOmen #Independent/Unsigned #petrale #review #Reviews #UK #Ulcerate #UnitedKingdom
https://www.newsbeep.com/uk/418787/

#unitedkingdom #ulcerate #uk #reviews #review #petrale

UK @[email protected] · 2026-02-10 · 22:10 UTC

https://www.europesays.com/uk/755840/ Petrale – Goat at Sunset Review #2026 #3.5 #BlackCilice #BlackMetal #CroatianMetal #Darkthrone #Entertainment #Feb26 #FellOmen #Independent/Unsigned #music #petrale #Review #Reviews #UK #Ulcerate #UnitedKingdom

#unitedkingdom #ulcerate #uk #reviews #review #petrale

Ireland @[email protected] · 2026-02-10 · 20:44 UTC

https://www.europesays.com/ie/330489/ Petrale – Goat at Sunset Review #2026 #3.5 #BlackCilice #BlackMetal #CroatianMetal #Darkthrone #Éire #Entertainment #Feb26 #FellOmen #IE #Independent/Unsigned #Ireland #Music #petrale #Review #Reviews #Ulcerate

#ulcerate #reviews #review #petrale #music #ireland

Angry Metal Guy @[email protected] · 2026-02-10 · 17:01 UTC

Petrale – Goat at Sunset Review By Alekhines Gun

We often wax eloquent on the distinctive factors between good and great. In a writing sphere where we are strictly commanded to avoid “artistic bullshit” in our analysis in favor of more clinical, scientific examination, pinning down elements that distinguish the enjoyable from the memorable and the well-made from the impactful can make for a fun thought experiment or a maddening exercise in futility and thesaurus perusing. A few months ago, this very topic was brought up in the halls, and while staffers hemmed and hawed over nebulous ideas of quality, the ever-wise Dolphin Whisperer chimed in with a straight-to-the-point insight which stuck with me: “For me, the difference between good and great is whether I’d buy this for ten dollars.” Hailing from Croatia, one-man black metal project Petrale have arrived with some creepily straightforward artwork and an equally straightforward album title; will this be relegated to your ever-flowing streams, or have you reaching for your wallets?

Though classified as “raw black metal”, Goat at Sunset sidesteps stereotypes in presentation. Produced entirely on analogue open reel tape, this album contains the warmest, richest sound I’ve heard in some time. Rather than raw by way of underproduction like Fell Omen or draped in overly reverbed fog ala Black Cilice, each instrument has a charmingly clear enunciation while being mixed roughly around the edges with an organic, welcoming tone. Full, thick major(!) chord progressions (“Dorsal Horn”) give way to looping doses of Ulcerate-isms, which manage to be much more straightforward in execution while carving their own atmosphere of distant menace. The drums carry a dollop of modern Darkthrone in their presence, with the double bass successfully muddying the riffs just a touch, emphasizing the rawness in the nature of the production without relying on deliberate self-sabotage of aesthetic.

In that sound lies a standout assembly of riff which does a masterful job of evoking the artwork accompanying it. Far from being a nonstop collection of hazy blast beats and trem pickings, Goat at Sunset uses a healthy sense of dynamic composition and tempo changes to carry the listener through the entire body of work. Frequently throughout the album, breaks are used which evoke something spiritually akin to smokehouse lounge vibes (“The Postulating Conduit (Sunset)”, “Hunter”) while sometimes sandwiching more energetic riffs into doomy plods (“The Wedge That Was Supposed to Prevent Sin”). As the art shows the ominous goat head, far away but clearly defined and present, the reliance on dissonant foundations with sudden flourishes of clarity channels a soundtrack that doesn’t seek to quite open the gates of hell as much as let the listener observe such a thing from a long way off.

The net result renders Goat at Sunset as a genre offering that manages to hit a sweet spot of fusion between accessibility and roughness, and with atmosphere and musicianship. Special attention must be paid to the bass, carrying an absolutely delicious tone which permeates throughout the release, and is given multiple opportunities to shine and echo leads rather than down strumming through chord progressions. Even the concluding cover song (a cover of an artist called Sven Väth) channels a heavy dollop of upbeat major progressions into something that seems like an organic conclusion to the release rather than a merely tacked-on bonus track. It’s true that near the end, the album loses some of its steam and places more emphasis on slower theatrics rather than raw riffage, particularly if you disregard the cover and let the album end on its proper, more “official” note. Nevertheless, Petrale have crafted an album replete with memorable moments, unusual time signatures (the 7/4 break in “Dorsal Horn” being a real standout) and a fully realized atmosphere and mood.

Raw black metal stands alongside genres like stoner doom as being difficult to execute in a way worthy of a coveted 4.0. Petrale have come as close as I’ve heard in years by inverting, rather than rejecting, genre stereotypes. A production which is warm instead of abrasive on the ears, chords which carry harmony as much as dissonance, emphasis on dynamics as much as blast beats are all cobbled together to create an album which carves a clear personality for itself within the genre trappings. Rich enough in sound to welcome genre casuals while bleak enough to entice genre aficionados, Goat at Sunset has been a dark delight. Now, if you’ll excuse me, I have to go find my wallet and buy one of the 100 CD-R copies available. Hopefully, for ten dollars.

Rating: 3.5/5.0
DR: n/a | Format Reviewed: Stream
Label: Self-Released
Website: Album Bandcamp
Releases Worldwide: February 1st, 2026

#2026 #35 #BlackCilice #BlackMetal #CroatianMetal #Darkthrone #Feb26 #FellOmen #IndependentUnsigned #petrale #Review #Reviews #Ulcerate

#blackcilice #blackmetal #croatianmetal #darkthrone #feb26 #fellomen

Angry Metal Guy @[email protected] · 2026-02-10 · 17:01 UTC

Petrale – Goat at Sunset Review By Alekhines Gun

We often wax eloquent on the distinctive factors between good and great. In a writing sphere where we are strictly commanded to avoid “artistic bullshit” in our analysis in favor of more clinical, scientific examination, pinning down elements that distinguish the enjoyable from the memorable and the well-made from the impactful can make for a fun thought experiment or a maddening exercise in futility and thesaurus perusing. A few months ago, this very topic was brought up in the halls, and while staffers hemmed and hawed over nebulous ideas of quality, the ever-wise Dolphin Whisperer chimed in with a straight-to-the-point insight which stuck with me: “For me, the difference between good and great is whether I’d buy this for ten dollars.” Hailing from Croatia, one-man black metal project Petrale have arrived with some creepily straightforward artwork and an equally straightforward album title; will this be relegated to your ever-flowing streams, or have you reaching for your wallets?

Though classified as “raw black metal”, Goat at Sunset sidesteps stereotypes in presentation. Produced entirely on analogue open reel tape, this album contains the warmest, richest sound I’ve heard in some time. Rather than raw by way of underproduction like Fell Omen or draped in overly reverbed fog ala Black Cilice, each instrument has a charmingly clear enunciation while being mixed roughly around the edges with an organic, welcoming tone. Full, thick major(!) chord progressions (“Dorsal Horn”) give way to looping doses of Ulcerate-isms, which manage to be much more straightforward in execution while carving their own atmosphere of distant menace. The drums carry a dollop of modern Darkthrone in their presence, with the double bass successfully muddying the riffs just a touch, emphasizing the rawness in the nature of the production without relying on deliberate self-sabotage of aesthetic.

In that sound lies a standout assembly of riff which does a masterful job of evoking the artwork accompanying it. Far from being a nonstop collection of hazy blast beats and trem pickings, Goat at Sunset uses a healthy sense of dynamic composition and tempo changes to carry the listener through the entire body of work. Frequently throughout the album, breaks are used which evoke something spiritually akin to smokehouse lounge vibes (“The Postulating Conduit (Sunset)”, “Hunter”) while sometimes sandwiching more energetic riffs into doomy plods (“The Wedge That Was Supposed to Prevent Sin”). As the art shows the ominous goat head, far away but clearly defined and present, the reliance on dissonant foundations with sudden flourishes of clarity channels a soundtrack that doesn’t seek to quite open the gates of hell as much as let the listener observe such a thing from a long way off.

The net result renders Goat at Sunset as a genre offering that manages to hit a sweet spot of fusion between accessibility and roughness, and with atmosphere and musicianship. Special attention must be paid to the bass, carrying an absolutely delicious tone which permeates throughout the release, and is given multiple opportunities to shine and echo leads rather than down strumming through chord progressions. Even the concluding cover song (a cover of an artist called Sven Väth) channels a heavy dollop of upbeat major progressions into something that seems like an organic conclusion to the release rather than a merely tacked-on bonus track. It’s true that near the end, the album loses some of its steam and places more emphasis on slower theatrics rather than raw riffage, particularly if you disregard the cover and let the album end on its proper, more “official” note. Nevertheless, Petrale have crafted an album replete with memorable moments, unusual time signatures (the 7/4 break in “Dorsal Horn” being a real standout) and a fully realized atmosphere and mood.

Raw black metal stands alongside genres like stoner doom as being difficult to execute in a way worthy of a coveted 4.0. Petrale have come as close as I’ve heard in years by inverting, rather than rejecting, genre stereotypes. A production which is warm instead of abrasive on the ears, chords which carry harmony as much as dissonance, emphasis on dynamics as much as blast beats are all cobbled together to create an album which carves a clear personality for itself within the genre trappings. Rich enough in sound to welcome genre casuals while bleak enough to entice genre aficionados, Goat at Sunset has been a dark delight. Now, if you’ll excuse me, I have to go find my wallet and buy one of the 100 CD-R copies available. Hopefully, for ten dollars.

Rating: 3.5/5.0
DR: n/a | Format Reviewed: Stream
Label: Self-Released
Website: Album Bandcamp
Releases Worldwide: February 1st, 2026

#2026 #35 #BlackCilice #BlackMetal #CroatianMetal #Darkthrone #Feb26 #FellOmen #IndependentUnsigned #petrale #Review #Reviews #Ulcerate

#blackcilice #blackmetal #croatianmetal #darkthrone #feb26 #fellomen

Angry Metal Guy @[email protected] · 2026-02-10 · 17:01 UTC

Petrale – Goat at Sunset Review By Alekhines Gun

We often wax eloquent on the distinctive factors between good and great. In a writing sphere where we are strictly commanded to avoid “artistic bullshit” in our analysis in favor of more clinical, scientific examination, pinning down elements that distinguish the enjoyable from the memorable and the well-made from the impactful can make for a fun thought experiment or a maddening exercise in futility and thesaurus perusing. A few months ago, this very topic was brought up in the halls, and while staffers hemmed and hawed over nebulous ideas of quality, the ever-wise Dolphin Whisperer chimed in with a straight-to-the-point insight which stuck with me: “For me, the difference between good and great is whether I’d buy this for ten dollars.” Hailing from Croatia, one-man black metal project Petrale have arrived with some creepily straightforward artwork and an equally straightforward album title; will this be relegated to your ever-flowing streams, or have you reaching for your wallets?

Though classified as “raw black metal”, Goat at Sunset sidesteps stereotypes in presentation. Produced entirely on analogue open reel tape, this album contains the warmest, richest sound I’ve heard in some time. Rather than raw by way of underproduction like Fell Omen or draped in overly reverbed fog ala Black Cilice, each instrument has a charmingly clear enunciation while being mixed roughly around the edges with an organic, welcoming tone. Full, thick major(!) chord progressions (“Dorsal Horn”) give way to looping doses of Ulcerate-isms, which manage to be much more straightforward in execution while carving their own atmosphere of distant menace. The drums carry a dollop of modern Darkthrone in their presence, with the double bass successfully muddying the riffs just a touch, emphasizing the rawness in the nature of the production without relying on deliberate self-sabotage of aesthetic.

In that sound lies a standout assembly of riff which does a masterful job of evoking the artwork accompanying it. Far from being a nonstop collection of hazy blast beats and trem pickings, Goat at Sunset uses a healthy sense of dynamic composition and tempo changes to carry the listener through the entire body of work. Frequently throughout the album, breaks are used which evoke something spiritually akin to smokehouse lounge vibes (“The Postulating Conduit (Sunset)”, “Hunter”) while sometimes sandwiching more energetic riffs into doomy plods (“The Wedge That Was Supposed to Prevent Sin”). As the art shows the ominous goat head, far away but clearly defined and present, the reliance on dissonant foundations with sudden flourishes of clarity channels a soundtrack that doesn’t seek to quite open the gates of hell as much as let the listener observe such a thing from a long way off.

The net result renders Goat at Sunset as a genre offering that manages to hit a sweet spot of fusion between accessibility and roughness, and with atmosphere and musicianship. Special attention must be paid to the bass, carrying an absolutely delicious tone which permeates throughout the release, and is given multiple opportunities to shine and echo leads rather than down strumming through chord progressions. Even the concluding cover song (a cover of an artist called Sven Väth) channels a heavy dollop of upbeat major progressions into something that seems like an organic conclusion to the release rather than a merely tacked-on bonus track. It’s true that near the end, the album loses some of its steam and places more emphasis on slower theatrics rather than raw riffage, particularly if you disregard the cover and let the album end on its proper, more “official” note. Nevertheless, Petrale have crafted an album replete with memorable moments, unusual time signatures (the 7/4 break in “Dorsal Horn” being a real standout) and a fully realized atmosphere and mood.

Raw black metal stands alongside genres like stoner doom as being difficult to execute in a way worthy of a coveted 4.0. Petrale have come as close as I’ve heard in years by inverting, rather than rejecting, genre stereotypes. A production which is warm instead of abrasive on the ears, chords which carry harmony as much as dissonance, emphasis on dynamics as much as blast beats are all cobbled together to create an album which carves a clear personality for itself within the genre trappings. Rich enough in sound to welcome genre casuals while bleak enough to entice genre aficionados, Goat at Sunset has been a dark delight. Now, if you’ll excuse me, I have to go find my wallet and buy one of the 100 CD-R copies available. Hopefully, for ten dollars.

Rating: 3.5/5.0
DR: n/a | Format Reviewed: Stream
Label: Self-Released
Website: Album Bandcamp
Releases Worldwide: February 1st, 2026

#2026 #35 #BlackCilice #BlackMetal #CroatianMetal #Darkthrone #Feb26 #FellOmen #IndependentUnsigned #petrale #Review #Reviews #Ulcerate

#blackcilice #blackmetal #croatianmetal #darkthrone #feb26 #fellomen

Angry Metal Guy @[email protected] · 2026-02-10 · 17:01 UTC

Petrale – Goat at Sunset Review By Alekhines Gun

We often wax eloquent on the distinctive factors between good and great. In a writing sphere where we are strictly commanded to avoid “artistic bullshit” in our analysis in favor of more clinical, scientific examination, pinning down elements that distinguish the enjoyable from the memorable and the well-made from the impactful can make for a fun thought experiment or a maddening exercise in futility and thesaurus perusing. A few months ago, this very topic was brought up in the halls, and while staffers hemmed and hawed over nebulous ideas of quality, the ever-wise Dolphin Whisperer chimed in with a straight-to-the-point insight which stuck with me: “For me, the difference between good and great is whether I’d buy this for ten dollars.” Hailing from Croatia, one-man black metal project Petrale have arrived with some creepily straightforward artwork and an equally straightforward album title; will this be relegated to your ever-flowing streams, or have you reaching for your wallets?

Though classified as “raw black metal”, Goat at Sunset sidesteps stereotypes in presentation. Produced entirely on analogue open reel tape, this album contains the warmest, richest sound I’ve heard in some time. Rather than raw by way of underproduction like Fell Omen or draped in overly reverbed fog ala Black Cilice, each instrument has a charmingly clear enunciation while being mixed roughly around the edges with an organic, welcoming tone. Full, thick major(!) chord progressions (“Dorsal Horn”) give way to looping doses of Ulcerate-isms, which manage to be much more straightforward in execution while carving their own atmosphere of distant menace. The drums carry a dollop of modern Darkthrone in their presence, with the double bass successfully muddying the riffs just a touch, emphasizing the rawness in the nature of the production without relying on deliberate self-sabotage of aesthetic.

In that sound lies a standout assembly of riff which does a masterful job of evoking the artwork accompanying it. Far from being a nonstop collection of hazy blast beats and trem pickings, Goat at Sunset uses a healthy sense of dynamic composition and tempo changes to carry the listener through the entire body of work. Frequently throughout the album, breaks are used which evoke something spiritually akin to smokehouse lounge vibes (“The Postulating Conduit (Sunset)”, “Hunter”) while sometimes sandwiching more energetic riffs into doomy plods (“The Wedge That Was Supposed to Prevent Sin”). As the art shows the ominous goat head, far away but clearly defined and present, the reliance on dissonant foundations with sudden flourishes of clarity channels a soundtrack that doesn’t seek to quite open the gates of hell as much as let the listener observe such a thing from a long way off.

The net result renders Goat at Sunset as a genre offering that manages to hit a sweet spot of fusion between accessibility and roughness, and with atmosphere and musicianship. Special attention must be paid to the bass, carrying an absolutely delicious tone which permeates throughout the release, and is given multiple opportunities to shine and echo leads rather than down strumming through chord progressions. Even the concluding cover song (a cover of an artist called Sven Väth) channels a heavy dollop of upbeat major progressions into something that seems like an organic conclusion to the release rather than a merely tacked-on bonus track. It’s true that near the end, the album loses some of its steam and places more emphasis on slower theatrics rather than raw riffage, particularly if you disregard the cover and let the album end on its proper, more “official” note. Nevertheless, Petrale have crafted an album replete with memorable moments, unusual time signatures (the 7/4 break in “Dorsal Horn” being a real standout) and a fully realized atmosphere and mood.

Raw black metal stands alongside genres like stoner doom as being difficult to execute in a way worthy of a coveted 4.0. Petrale have come as close as I’ve heard in years by inverting, rather than rejecting, genre stereotypes. A production which is warm instead of abrasive on the ears, chords which carry harmony as much as dissonance, emphasis on dynamics as much as blast beats are all cobbled together to create an album which carves a clear personality for itself within the genre trappings. Rich enough in sound to welcome genre casuals while bleak enough to entice genre aficionados, Goat at Sunset has been a dark delight. Now, if you’ll excuse me, I have to go find my wallet and buy one of the 100 CD-R copies available. Hopefully, for ten dollars.

Rating: 3.5/5.0
DR: n/a | Format Reviewed: Stream
Label: Self-Released
Website: Album Bandcamp
Releases Worldwide: February 1st, 2026

#2026 #35 #BlackCilice #BlackMetal #CroatianMetal #Darkthrone #Feb26 #FellOmen #IndependentUnsigned #petrale #Review #Reviews #Ulcerate

#ulcerate #reviews #review #petrale #independentunsigned #fellomen

Angry Metal Guy @[email protected] · 2026-02-10 · 17:01 UTC

Petrale – Goat at Sunset Review By Alekhines Gun

We often wax eloquent on the distinctive factors between good and great. In a writing sphere where we are strictly commanded to avoid “artistic bullshit” in our analysis in favor of more clinical, scientific examination, pinning down elements that distinguish the enjoyable from the memorable and the well-made from the impactful can make for a fun thought experiment or a maddening exercise in futility and thesaurus perusing. A few months ago, this very topic was brought up in the halls, and while staffers hemmed and hawed over nebulous ideas of quality, the ever-wise Dolphin Whisperer chimed in with a straight-to-the-point insight which stuck with me: “For me, the difference between good and great is whether I’d buy this for ten dollars.” Hailing from Croatia, one-man black metal project Petrale have arrived with some creepily straightforward artwork and an equally straightforward album title; will this be relegated to your ever-flowing streams, or have you reaching for your wallets?

Though classified as “raw black metal”, Goat at Sunset sidesteps stereotypes in presentation. Produced entirely on analogue open reel tape, this album contains the warmest, richest sound I’ve heard in some time. Rather than raw by way of underproduction like Fell Omen or draped in overly reverbed fog ala Black Cilice, each instrument has a charmingly clear enunciation while being mixed roughly around the edges with an organic, welcoming tone. Full, thick major(!) chord progressions (“Dorsal Horn”) give way to looping doses of Ulcerate-isms, which manage to be much more straightforward in execution while carving their own atmosphere of distant menace. The drums carry a dollop of modern Darkthrone in their presence, with the double bass successfully muddying the riffs just a touch, emphasizing the rawness in the nature of the production without relying on deliberate self-sabotage of aesthetic.