Underdark are a post-black metal band from the UK and this is their third album.
2021’s Our Bodies Burned Bright on Re-Entry favourably introduced us to Underdark, and 2023’s Managed Decline crystalised their talents nicely. The potential of a band like Underdark is huge, which brings us to 43-minute new platter O Come Forth Annihilation. Will the Underdark upward trajectory continue? That’s the question. Continue reading “Underdark – O Come Forth Annihilation (Review)”
This is the second album by Swedish black/death metallers Hyperion.
After a decade away, Hyperion have returned with the very ambitious Elysia. It’s a 74-minute epic, awash with talent and an undiminished ability to entertain and immerse. This is an expanded Hyperion, and it’s here to make an impact. Continue reading “Hyperion – Elysia (Review)”
Enslaved are a Norwegian progressive black metal band and this is their seventeenth album.
After the transformative journey that properly started with 2020’s Utgard and continued with 2023’s Heimdal, Enslaved have now arrived at the 44-minute Mið. An exemplar of progressive texture and classic blackened depth, Enslaved’s new record is a real winner. Continue reading “Enslaved – Mið (Review)”
This is the second album from Polish post-black metal band Cursebinder.
Psychohazard is the 53-minute follow up to 2023’s well-received Drifting. Cursebinder’s return is a welcome one as they bring their vision of blackened extremity to life across eight engaging tracks. Continue reading “Cursebinder – Psychohazard (Review)”
Anagnorisis are a post-black metal band from the US and this is their fourth album.
Caregriever brings together a variety of extreme metal elements into a compelling 41-minute post-blackened framework. Anagnorisis have been absent a decade, but Caregriever gives us reason to be thankful they have returned, albeit in dark circumstances. Continue reading “Anagnorisis – Caregriever (Review)”
This is the eighth album from US black metallers Wolves in the Throne Room.
Wolves in the Throne Room, kings of atmospheric black metal, have returned. Across 48 minutes of expressive, mood-rich music, Estuary once again reinforces their claim to the crown. Is Estuary the album so many people want it to be? Continue reading “Wolves in the Throne Room – Estuary (Review)”
This is the fifteenth album from French one-man black metal band Esoctrilihum.
One never knows what the artist behind the prolific Esoctrilihum is going to gift unto the unworthy world, which makes every release both a surprise and a treat. For Annochiül Xar Sorthïlazur, he has bequeathed us a lavish 69 minutes of symphonic avant-garde black/death metal. While that description may get stuck in the mouth, Annochiül Xar Sorthïlazur itself goes down remarkably smoothly for something so idiosyncratic and barbed. But then, Esoctrilihum always seems to deliver the goods. Continue reading “Esoctrilihum – Annochiül Xar Sorthïlazur (Review)”
Firtan are a German black metal band and this is their fifth album.
Following on from 2022’s Marter and 2024’s Ethos, Helios brings us 60 minutes of well-crafted atmospheric black metal and post-blackened might. It is a record that reeks of high quality. Firtan have obviously put a lot of energy and care into its creation, and the results pay off. Continue reading “Firtan – Helios (Review)”
Spirit Possession are a black metal band from the US and this is their third album.
Brought to us by a member of Black Curse/Ulthar, Cathedral Speech contains 43 minutes of engaging blackened mayhem. Spirit Possession are not your average black metal band, so get ready to inject something notable into your listening habits. Continue reading “Spirit Possession – Cathedral Speech (Review)”
Death. Void. Terror. are a black/death/doom metal band from Switzerland, and this is their third album.
This new record follows hot on the sulphurous heels of last month’s EP To the Great Monolith 2.5. So, what do these strange, otherworldly travellers have in store for us this time? The answer, is something unexpectedly special. Something, in fact, to shake you out of your complacency and really, truly, feel the music. Continue reading “Death. Void. Terror. – To the Great Monolith III: Rifts (Review)”
