This is the fifth album from Italian doom band Shores of Null.
Shores of Null do god work, as exemplified by 2020’s stellar Beyond the Shores (on Death and Dying) and 2023’s very enjoyable The Loss of Beauty. Homesick brings us 48 minutes of new material from the band, and it’s another worthy addition to the Shores of Null discography. Continue reading “Shores of Null – Homesick (Review)”
This is the third album from US death/doom metal band Mother of Graves.
Mother of Graves have had an enviable run so far. Starting with their impressive debut EP In Sombre Dreams in 2021, they capitalised on this with their first full length the following year – Where the Shadows Adorn. However, it was 2024’s mighty The Periapt of Absence that really put them on the wider death/doom map. Which brings us gloomily to the 46-minute The Light That Keeps Us. Have Mother of Graves continued their ascent into the metallic heavens? Continue reading “Mother of Graves – The Light That Keeps Us (Review)”
This is the seventh album from Aphonic Threnody, a funeral doom band from the UK.
It’s always a pleasure to listen to a new Aphonic Threnody album. The primary artist behind the band, (also in Arrant Saudade, Dea Marica, and Towards Atlantis Lights), has been remarkably consistent over the years, reappearing regularly to unleash another colossal opus on the funeral death/doom underground. With this in mind, your further listening assignments include 2017’s Of Loss and Grief, 2020’s The Great Hatred, 2021’s The All Consuming Void, 2022’s The Loneliest Walk, and last year’s A Silence Too Old. Continue reading “Aphonic Threnody – Grace My Heart (Review)”
This is the second album from Brazilian progressive doom/post-metal band Loneshore.
Nothing Left to Deconstruct contains 52 minutes of immersive soundscapes for the listener to explore. Loneshore’s music is a mix of styles, which can be loosely termed as a combination of progressive doom and post-metal. Whatever you call it though, it’s pretty damn good. Continue reading “Loneshore – Nothing Left to Deconstruct (Review)”
This is the fifth album from US death/doom band Temple of Void.
It’s safe to say I’m a fan of Temple of Void. I’ve thoroughly enjoyed all of the band’s albums, (Of Terror and the Supernatural, Lords of Death, The World That Was, and Summoning the Slayer), bought the t-shirt, and one day hope to catch them live. Until then, we have a brand spanking new record to eagerly devour – The Crawl, which Continue reading “Temple of Void – The Crawl (Review)”
It’s been a few years since the last edition of Reaper Festival, so this show appearing once more was a welcome surprise when it did. The lineup is extremely strong, and it promises to be a great weekend. Kudos to the organisers too, (the always great Reaper Agency), for specifically Continue reading “Reaper Festival 2026 – Rebellion, Manchester, 14/02/26-15/02/26 (Live Review)”
Fossilization are a Brazilian death metal band and this is their second album.
Following on from 2023’s monstrous Leprous Daylight, Fossilization have once more emerged from their ancient slumber with the 36-minute Advent of Wounds. Strap yourself into the slime-covered pain machine, as it’s about to get nasty. Continue reading “Fossilization – Advent of Wounds (Review)”
This is the fourth album from US black/death/doom act Worm.
In many quarters Necropalace is a big deal. Through a range of EPs, splits, and albums, (such as Foreverglade and Bluenothing), Worm have continued to develop and grow over the years, essentially Continue reading “Worm – Necropalace (Review)”
Another year, another list. 2025 followed 2024 as it was meant to, and brought with it a plethora of new metal albums to get excited about. Continue reading “Wonderbox Metal End of Year List – Best Metal of 2025”
This is the third album from Ukrainian doom metal band Vin de Mia Trix.
Palimpsests was a record that topped my 20174 year end list, but that was a long time ago, and I never really expected to hear from Vin de Mia Trix again after so long. However, they resurfaced in 2022 with the EP Waves~Stars, and have now returned fully with the colossal This Landscape Is Alive. Continue reading “Vin de Mia Trix – This Landscape Is Alive (Review)”
