This is the debut album from UK black metal band Cairiss.
A decade after 2016’s EP Fall comes its long-awaited follow up Wilderness. Fall was a notably strong first release, one that excelled in its own right, but that also dripped in potential for the future. Sadly, nothing ever came of it. Until now. With 42 minutes of new material from Cairiss, and a refreshed lineup, can Wilderness satisfy the probably unfairly high expectations put upon it? Continue reading “Cairiss – Wilderness (Review)”
This is the fifth album from Portuguese metal/post-black metal band Gaerea.
It’s been very interesting to watch Gaerea develop over the years, peaking their black metal assault on 2022’s Mirage, before adding in a few different textures and influences on 2024’s very well-received Coma. The latter was the band’s biggest stylistic shift until that point. Loss delivers an even larger Continue reading “Gaerea – Loss (Review)”
MØL are a post-black metal band from Denmark and this is their third album.
With 2018’s Jord and then 2021’s Diorama, MØL have established themselves as quality purveyors of sharp, shiny post-black metal. Now, with the 44-minute Dreamcrush, they consolidate their position, offering up their most polished and well-rounded album to date. Continue reading “MØL – Dreamcrush (Review)”
Another year, another Damnation Festival. Has it really been 20 years? I went to the very first one waaaaay back in 2005, and a love affair was born. It has been great to watch it become one of the world’s best festivals. Kudos to the organisers for their continued passion and ability.
This edition is therefore the festival’s twentieth year and sees Damnation bigger and arguably better than ever before. It’s across two days now, and the lineup is strong in both depth and breadth. From veteran classics to newborn sensations, the festival has it all. Continue reading “Damnation Festival 2025 – BEC Arena, Manchester – 08/11/25-09/11/25 (Live Review)”
This is the second album from UK mathcore band Pupil Slicer.
Following on from 2023’s well-received Blossom, Pupil Slicer have returned with the 36-minute Fleshwork. In this review I’ll make the case that this is peak Pupil Slicer so far. Fleshwork is a monster. If a mix of bands such as Converge, Deafheaven, Heriot, Rolo Tomassi, and Svalbard, sounds good, then this is one for you. Continue reading “Pupil Slicer – Fleshwork (Review)”
This is the sixth album from German black metal band Der Weg Einer Freiheit.
Innern is the greatly anticipated follow up to 2017’s Finisterre and 2021’s Noktvrn, the latter placing prominently on my 2021 end of year list, (which in retrospect Finisterre should also have done in 2017). It’s safe to say that I’ve been excitedly looking forward to this new record, especially after seeing the band at last year’s Fortress Festival. Continue reading “Der Weg Einer Freiheit – Innern (Review)”
This is the third album from US black metal band Oskoreien.
After enjoying both previous Oskoreien albums, it’s come as a surprise to discover that I never actually reviewed either of them. Hollow Fangs is a great opportunity to remedy this, and it’s Oskoreien’s first outing as a full band too. Hollow Fangs contains 39 minutes of new material, so let’s dive in. Continue reading “Oskoreien – Hollow Fangs (Review)”
Acceptance are a post-black metal band from the UK and this is their debut album.
Previously known as Fatalist, (with an album under that name, so whether this is their first or second I suppose is up for debate), Acceptance exist at an interesting intersection between atmospheric black metal, sludge, blackgaze, and post-rock. Continue reading “Acceptance – Crucifixion of Orchids (Review)”
This is the third album from Australian post-metal solo band Cave Sermon.
On Fragile Wings the artist behind Cave Sermon has created an interesting and enjoyable 4o minutes of music. It’s a hybrid style, combining death, black, sludge, progressive, and post-metal, resulting in an album that covers a lot of bases in a well-blended, immersive way. Continue reading “Cave Sermon – Fragile Wings (Review)”
Svnth are an Italian blackgaze band and this is their fourth album.
I’ve enjoyed watching Svnth develop over the years, back when they were called Seventh Genocide on 2017’s Toward Akina and 2018’s Svnth, and then when they changed their name for 2020’s Spring in Blue, which was their strongest outing yet, even making it onto my year end list. Which brings us, five years and a lineup change later, to the 37-minute Pink Noise Youth. Continue reading “Svnth – Pink Noise Youth (Review)”
Wonderbox Metal 