Typhonian are a German death metal band and this is their second album.
The Gate of the Veiled Beyond contains 50 minutes of old-school death metal, but of a non-standard variety. It’s rooted firmly in 90s waters, but has also been expanded with blackened, atmospheric, and progressive influences; Typhonian may look backwards for inspiration, but they also look to the future with what they do with it. Continue reading “Typhonian – The Gate of the Veiled Beyond (Review)”
This is the fifth album from Finnish black metallers Aethyrick.
I always have time for Aethyrick’s brand of black metal, so it’s great to have some new material from them in the form of the 43-minute Death Is Absent. If you’re unfamiliar with the band, then as well as this new album it’s also worth checking out 2018’s Praxis, 2020’s Gnosis, 2021’s Apotheosis, and 2022’s Pilgrimage. Aethyrick may have only been around since 2016, but they’re quite prolific. Continue reading “Aethyrick – Death Is Absent (Review)”
This is the second album from Modern Rites, a Swiss/US black metal band.
Endless is the follow up to 2021’s Monuments and contains 41 minuets of new music from Modern Rites, (who are made up of members of Aara and Kuyashii). It’s a wonderfully realised expression of aggressively bleak blackened darkness. Continue reading “Modern Rites – Endless (Review)”
Wintersun are an extreme metal band from Finland and this is their fourth album.
Essentially a solo act backed up by some talented musicians, Wintersun’s latest record has been eagerly awaited for some time by many people in the metal world. It’s been seven long years since 2017’s The Forest Seasons, so let’s dig in and see what we have here on Time II. Continue reading “Wintersun – Time II (Review)”
This is the debut album from Canadian black metallers Conifère.
L’Impôt du Sang offers up 31 minutes of old-school black metal. Conifère’s music takes the tried-and-tested classic formula and runs with it, producing a corker of an album that sounds far more vibrant and engaging than many that play the style. Continue reading “Conifère – L’Impôt du Sang (Review)”
Alburnum are a black metal band from the Netherlands and this is their second album.
The Withered Roots of Reality is a 35-minute black metal album that combines elements of the atmospheric, folk, pagan, and melodic styles. Alburnum tie their influences together well, making for an easily enjoyable album with much to recommend it. Continue reading “Alburnum – The Withered Roots of Reality (Review)”
This is the seventh album from French black metallers Seth.
La France des Maudits offers up 46 minutes of expressive black metal. Seth are one of those bands that have been around for some time now and despite being aware of them since their very early days I’ve never actually heard them before. This new album seemed like the perfect time to rectify this. Continue reading “Seth – La France des Maudits (Review)”
This is the fourth album from US black metallers Vimur.
I like Vimur a great deal. 2022’s Transcendental Violence stood out as a quality black metal record, so it’s great to have the band back and delivering the goods. Boasting 41 minutes of new material, The Timeless Everpresent finds Vimur on fine form. The Timeless Everpresent may be as cold as absolute zero, but it’s still a scorcher. Continue reading “Vimur – The Timeless Everpresent (Review)”
This is the third album from French one-man black metal band Inherits the Void.
Hot on the heels of last year’s The Impending Fall of the Stars, the artist behind Inherits the Void has returned with 44 minutes of new material with Scars of Yesteryears. Are you concerned about the lack of time between releases? Don’t be, as Scars of Yesteryears is a cracking album. Continue reading “Inherits the Void – Scars of Yesteryears (Review)”
This is the third album from Swedish black metal solo act Kvaen.
The name Kvaen hit the black metal underground hard with 2020’s The Funeral Pyre, and then followed this up in 2022 with The Great Below, which showed that the quality of the debut was no fluke. Another two years have passed, and now we have The Formless Fires. Do the 39 minutes of new music here still demonstrate a continuation of these quality levels? Continue reading “Kvaen – The Formless Fires (Review)”
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