This is the fourth album from German blackened metal act Mantar.
This is the follow up to 2018’s The Modern Art of Setting Ablaze, (if you ignore the band’s cover album from 2020), and contains 41 minutes of new material. Pain Is Forever and This Is the End is the next logical evolution of Mantar’s sound, bringing a more direct song-focused approach to the music, while Continue reading “Mantar – Pain Is Forever and This Is the End (Review)”
Scarcity are a black metal band from the US and this is their debut album.
Consisting of one 47-minute song, (which is divided into five tracks), Aveilut is an experimental black metal journey into the expansive and creative vision of Scarcity, (who contain a member of Pyrrhon/Seputus handling vocals). Continue reading “Scarcity – Aveilut (Review)”
This is the second album from Australian death metallers Altars.
Ascetic Reflection contains 40 minutes of warped death metal. As a rough outline of the band’s sound, take a base of Morbid Angel and then add in elements of bands like Gorguts, Artificial Brain, and Ulcerate. Then know that that these lazy comparisons do nothing to prepare you for the journey that Ascetic reflection offers. Continue reading “Altars – Ascetic Reflection (Review)”
This is the fourth album from Canadian black/death metallers Begrime Exemious.
Rotting in the Aftermath contains 37 minutes of filthy underground death metal with a raw blackened edge of ice. This is the most death metal I’ve heard the band, and they sound like they’re enjoying themselves with it. Continue reading “Begrime Exemious – Rotting in the Aftermath (Review)”
Pestilent Hex are a black metal band from Finland and this is their debut album.
Brought to us by members of Corpsessed and Desolate Shrine, The Ashen Abhorrence contains 42 minutes of authentic second wave black metal. Worshipping at the altar of the 90s classics, Pestilent Hex combine elements of bands such as Emperor, Gehenna, Satyricon, Dimmu Borgir, and Arcturus, while injecting their own grim character, to produce an enjoyable slice of symphonic blackened art. Continue reading “Pestilent Hex – The Ashen Abhorrence (Review)”
Vong is a one-man black metal band from Vietnam and this is his debut album.
Apparently a demo version of this was released in 2019, but this definitive version is a complete rerecording of the songs, with some rearranging going on too.
Vong’s music is an atavistic example of the core blackened Continue reading “Vong – A Wander in Liminality (Review)”
This is the latest EP from Hulder, a one-woman black metal band from the US.
A 26-minute mini-album, The Eternal Fanfare has strong roots in the classic 90s era. It uses these influences well, but is not restricted by them. The artist behind the band clearly knows what she wants to achieve with her music, and uses influences Continue reading “Hulder – The Eternal Fanfare (Review)”
Umbra Conscientia are a black metal band from Costa Rica/Germany, and this is their second album.
Featuring current and ex-members of Corpse Garden, Nigredine Mundi contains 32 minutes of black metal that will flay your skin while it summons daemonic horrors to swallow your soul. Continue reading “Umbra Conscientia – Nigredine Mundi (Review)”
This is the second album from international black metal act Liber Null.
Brought to us by members of bands such as Fides Inversa, Frostmoon Eclipse, and Manetheren, For Whom Is the Night contains 39 minutes of lethal black metal venom. Continue reading “Liber Null – For Whom Is the Night (Review)”
This is the second album from Belgian black metal band Serpents Oath.
Ascension contains 42 minutes of second wave black metal played in the classic style.
Serpents Oath’s music is dark and aggressive. It combines lethal speed with mystical atmosphere. Blackened leads add melodic Continue reading “Serpents Oath – Ascension (Review)”
Wonderbox Metal 