Deathwhite are a melodic metal band from the US and this is their third album.
I’ve thoroughly enjoyed witnessing Deathwhite’s continued development, (check out Ethereal, Solitary Martyr, For a Black Tomorrow, and Grave Image), so the appearance of Grey Everlasting is very welcome. On their latest release Deathwhite spend 48 minutes doing what they do best, only better than they ever have done it before. Continue reading “Deathwhite – Grey Everlasting (Review)”
This is the second album from one-man Australian black metal act Aquilus.
Bellum I features 62 minutes of atmospheric black metal combined with folk and classical elements. The promo blurb states that Aquilus’ music is for fans of Midnight Odyssey, Skogen, and Falls of Rauros, which immediately caused me to be interested. I’d also add bands like Opeth, Ne Obliviscaris, Agalloch, and Wilderun to this list too. Continue reading “Aquilus – Bellum I (Review)”
Chrome Waves are a shoegaze/post-black metal band from the US and this is their third album.
The Rain Will Cleanse gives us a 41-minute journey into shoegaze-style post-black metal. The band’s style is essentially that of a heavier, post-blackened, shoegaze act. If you’re a fan of bands like Alcest, as well as acts like Varaha and Agalloch, and a touch of Anathema, then this is one you’re sure to want to check out. Continue reading “Chrome Waves – The Rain Will Cleanse (Review)”
This is the second album from Irish black metal band Corr Mhóna.
Abhainn is a 56-minute progressive black metal album that also contains a healthy amount of doom and folk influences. It’s ambitious and bold, but also very striking and well-realised. The band have clearly put a lot into this work, and it shows; Abhainn is Continue reading “Corr Mhóna – Abhainn (Review)”
This is the second album from UK black metal band Saarkoth.
Saarkoth’s Bandcamp page says that they are inspired by bands like Winterfylleth, Agalloch, and Emperor, and this serves as a good starting point for approaching Cult of Nature. However, although you can hear the influences and recognise the style, I’m pleased to say that Saarkoth have found their own voice within it. Continue reading “Saarkoth – Cult of Nature (Review)”
Amiensus are a progressive black metal band from the US, and this is their third album.
We last met Amiensus in 2017 with All Paths Lead to Death, which saw them in a more atavistic mood than debut album Restoration. Abreaction finds the band in a more expensive mood once more, while still retaining a core of blackened darkness and aggression. Continue reading “Amiensus – Abreaction (Review)”
This is the fourth album from Frigoris, an atmospheric post-black metal band from Germany.
Frigoris’ post-black metal is atmospheric and immersive, and as you journey across this 65-minute album, you’ll also discover aspects of doom, progressive metal, and post-rock that are incorporated into the music’s textured tapestry. Continue reading “Frigoris – …In Stille (Review)”
Ashbringer are an atmospheric black metal band from the US and this is their third album.
Ashbringer’s black metal combines aggressive blackness with melodic sensibilities and folk-influenced post-rock reflection. Elements of bands such as Fen, Agalloch, Falls of Rauros, Amiensus, and Alcest can be heard, but moulded and channelled through Ashbringer’s own collective experiences and personality. Continue reading “Ashbringer – Absolution (Review)”
This is the debut album from US black metal band Murk Rider.
Three enormous songs, with a combined duration of 82 minutes? Okay, I’ll bite.
An album of depth, both musically and thematically, Exile of Shadows is black metal in only one of its aspects, albeit a primary one. The band also occasionally incorporate apocalyptic sludge and stoner doom into their melting pot, as well as strands of classic heavy and speed metal. This curious, (yet effective), mixture means that Continue reading “Murk Rider – Exile of Shadows (Review)”
This is the debut album from Khôrada, a progressive/doom/post-metal band from the US.
Featuring most of the members of the much-missed Agalloch coupled with the singer of Giant Squid, this album contains 55 minutes of contemplative, intelligently-composed music.
Now here’s an album with real emotive power. The music can be loosely termed as progressive post-metal, but there’s a multitude of different styles skilfully incorporated into this release. Continue reading “Khôrada – Salt (Review)”
Wonderbox Metal 