Jarun – Rok Spokojnego Słońca (Review)

Jarun - Rok Spokojnego SłońcaThis is the fourth album from Jarun, a Polish progressive black metal band.

Both 2015’s Pod Niebem Utkanym z Popiołu and 2017’s Sporysz were very enjoyable blackened progressive/folk hybrids, and their newest album continues Jarun’s unbroken run of high quality releases. Continue reading “Jarun – Rok Spokojnego Słońca (Review)”

Akhenaten – The Emerald Tablets of Thoth (Review)

Akhenaten - The Emerald Tablets of ThothAkhenaten are a death metal band from the US and this is their fourth album.

Akhenaten play a hybrid style of black and death metal that’s been spiced up with Middle Eastern folk influences. The music brings to mind a cross between aspects of bands such as Nile, Melechesh, Arallu, Orphaned Land, Rudra, Septic Flesh, and the like. In other words, bands that use their extreme metal for more than simple brutality. Continue reading “Akhenaten – The Emerald Tablets of Thoth (Review)”

Årabrot – Norwegian Gothic (Review)

Årabrot - Norwegian GothicÅrabrot are a Norwegian rock band and this is their ninth album.

Norwegian Gothic is a complex, multifaceted listen. Årabrot specialise in a dark, avant-garde form of music that may take a diverse array of influences into itself, (noise rock, experimental, pop, punk, soul, metal, folk, industrial, etc.), but ultimately Continue reading “Årabrot – Norwegian Gothic (Review)”

Sur Austru – Obârșie (Review)

Sur Austru - ObârșieSur Austru are an atmospheric black/folk metal band from Romania and this is their second album.

2019’s Meteahna Timpurilor was a very enjoyable collection of songs, so I knew I wanted to listen to Obârșie as soon as I could. The band feature ex-members of Negură Bunget, and a current member of Kultika. Continue reading “Sur Austru – Obârșie (Review)”

Bhleg – Ödhin (Review)

Bhleg - ÖdhinBhleg are a Swedish black metal band and this is their third album.

Having enjoyed 2014’s Draumr Ást and 2018’s Solarmegin, I knew that I had to check out Ödhin when it appeared. If you’re unfamiliar with the band, Bhleg’s music is a form of black metal that’s full of atmosphere and folk influences. Continue reading “Bhleg – Ödhin (Review)”

Emma Ruth Rundle & Thou – The Helm of Sorrow (Review)

Emma Ruth Rundle & Thou - The Helm of SorrowThis is a collaboration between post-rock/folk solo artist Emma Ruth Rundle and doom/sludge metallers Thou, both from the US.

This is the second collaboration between these two artists, although sadly I managed to miss out on the full album that the two released together last year. On the strength of The Helm of Sorrow, this is a real shame, as something special appears to have been created here. Continue reading “Emma Ruth Rundle & Thou – The Helm of Sorrow (Review)”

Paul Sadler – Soon to Be Absorbed (Review)

Paul Sadler - Soon to Be AbsorbedThis is the debut solo album from UK progressive rock artist Paul Sadler.

Paul Sadler is apparently the vocalist/guitarist of UK progressive metallers Spires; unfortunately I’m unfamiliar with this band, so I can’t comment on how similar Paul’s material is to his main outfit. What I can comment on, however, Continue reading “Paul Sadler – Soon to Be Absorbed (Review)”

Saarkoth – Cult of Nature (Review)

Saarkoth - Cult of NatureThis 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)”

Gjoad – Samanōn (Review)

Gjoad - SamanōnGjoad are an Austrian post-rock band and this is their debut album.

This is nature-inspired music that’s highly evocative and atmospheric. Shades of post-rock, ambient, doom, and folk inform the bulk of the material here. There’s a clear black metal influence too, although this is mostly apparent Continue reading “Gjoad – Samanōn (Review)”