This is the sixth album from Finnish black/death metallers Archgoat.
At this point Archgoat have been around for a very long time, but a new record still causes many people to sit up and take notice. Which leads us to Nightbringer, Lightbringer. It’s Archgoat, but expanded somewhat. Continue reading “Archgoat – Nightbringer, Lightbringer (Review)”
Ahh, the annual expedition to Damnation Festival in Manchester. It’s always a pleasure, never a chore. It’s a busy one this year; Damnation is all but sold out, and it feels it. As usual, it’s a very well-run and executed festival, and everything is a well-oiled machine at this point. Kudos to the organisers.
This year comes compete with increased production values and a professional camera crew for the main stage, filming the action for the side screens. It’s possible they’re here for other reasons too, but whether the band’s sets are being filmed for later release, we’ll have to wait and see. In fact, the main stage production in particular overall seems to have taken a step up again this year – a credit to Damnation for sure. Continue reading “Damnation Festival 2026 – BEC Arena, Manchester – 07/11/26-08/11/26 (Live Review)”
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)”
Tonight is a good night for sonic violence, and here are three bands very well-placed to dish it out. Within such a brutal niche as tonight’s show, Nails are big fish, (and that’s before you factor in the draw of the mighty Rotten Sound, as well as opener Invunche). Rebellion is therefore as busy as you’d expect it to be, and space is at a premium. If this show isn’t sold out, then it’s pretty damn close to it. Continue reading “Nails/Rotten Sound/Invunche – Rebellion, Manchester – 05/10/26 (Live 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)”
