Decline of the I are a French post-black metal band and this is their fifth album.
Ahh, I do so enjoy a new Decline of the I album. Every album I seem to like more and more too. 2015’s Rebellion, 2018’s Escape, and especially 2021’s Johannes, were all very good records, and I’d recommend them all. Which brings us to Wilhelm, and the 48 minutes of new material it has to offer us. Continue reading “Decline of the I – Wilhelm (Review)”
This is the fifth album from German blackened metal act Mantar.
A new Mantar album is always an enjoyable event. 2018’s The Modern Art of Setting Ablaze and 2022’s Pain Is Forever and This Is the End were both compelling hybrids of black metal, punk, and grunge, so it’s with expectation that we turn to the 36-minute Post Apocalyptic Depression. Continue reading “Mantar – Post Apocalyptic Depression (Review)”
This is the seventh album from Canadian solo post-black metal band Unreqvited.
Pathway to the Moon contains 43 minutes of post-black metal, taking in elements of blackgaze, symphonic black metal, progressive metal, and post-rock along the way. If you are familiar with Unreqvited’s past work, Pathway to the Moon finds the artist taking their art to the next level. Everything here is an evolutionary step up, delivering music that is extremely well-rendered into its final form. Continue reading “Unreqvited – Pathway to the Moon (Review)”
This is the sixth album from UK one-man black metal band Saor.
After my 2022 introduction to Saor via the enjoyable Origins, I’ve since explored their back catalogue some more, and also seen them live and bought the t-shirt. This means I’ve been looking forward to Amidst the Ruins a great deal. Continue reading “Saor – Amidst the Ruins (Review)”
This is the sixth album from Austrian post-black metallers Harakiri for the Sky.
Harakiri for the Sky always seem to deliver albums that are lengthy, but rewarding. 2016’s III: Trauma, 2018’s Arson, and 2021’s Mӕre were all notable records in this regard. Now, with the arrival of Scorched Earth, have Harakiri for the Sky continued this trend of quality album releases? Continue reading “Harakiri for the Sky – Scorched Earth (Review)”
The Great Old Ones are a French black metal band and this is their fifth album.
It’s been six long years since 2019’s Cosmicism, but we finally have some new material from The Great Old Ones. I thoroughly enjoy their work, (also check out 2014’s Tekeli-li and 2017’s EOD: A Tale of Dark Legacy), so greedily consuming Kadath as soon as I could was always going to happen. Continue reading “The Great Old Ones – Kadath (Review)”
Vyre are a German progressive black metal band and this is their fourth album.
I’ve enjoyed watching Vyre develop their sound, from the post-black metal of 2014’s The Initial Frontier Pt. 2, to the increasingly avant-garde stylings of 2018’s Weltformel. Which brings us to Voidserpent, a new album that offers us 42 minutes of new material from this expressive and interesting act. What have they done this time around? Continue reading “Vyre – Voidserpent (Review)”
Bloodbark are a black metal band and this is their second album. The country of origin and number of members is apparently unknown.
Sacred Sound of Solitude provides us with 41 minutes of atmospheric black metal. The atmospheric core is augmented by elements of post-black metal, blackgaze, and post-rock, contributing to the richness of the album’s blackened heart. This approach allows Bloodbark to produce music that’s immersive and textured. Continue reading “Bloodbark – Sacred Sound of Solitude (Review)”
This is the second album from Swedish solo black metal act Häxkapell.
Om Jordens Blod och Urgravens Grepp is a 40-minute black metal album brought to us by a member of Sons of Crom. This is a detailed, multifaceted form of black metal, consisting of many component parts that work together to create something engaging and enjoyable. Continue reading “Häxkapell – Om Jordens Blod och Urgravens Grepp (Review)”
Barshasketh are a black metal band from New Zealand/Scotland and this is their fifth album.
I first encountered Barshasketh on their 2015 split with Void Ritual, and then again on their 2017 split with Outre. Both primed me for the emergence in 2019 of the formidable Barshasketh, which ably demonstrated what the band could do across a full length. Well, it may have taken the best part of six years, but Barshasketh have now returned with the 44-minute Antinomian Asceticism, and let me tell you, it’s lethal. Continue reading “Barshasketh – Antinomian Asceticism (Review)”
Wonderbox Metal 