Forlesen are from the US and play doom. This is their debut album.
There are only two lengthy tracks on this album, but with a total duration of 36 minutes, that matters not. The band members in Forlesen have a lot of experience with atypical music, as they play in a variety of bands such as Lotus Thief, Kayo Dot, Botanist, Maudlin of the Well, Nero Order, Palace of Worms, and Vesper Moth. Continue reading →
I enjoyed 2018’s The White Witch, which was a hugely impressive entrance into the doom metal scene. We now have the band’s first full length album, and across 37 minutes the band prove that their first EP was no fluke. Frayle have got a real talent for their charismatic and atmospheric form of doom. Continue reading →
This is the debut album from Dutch blackened post-punk/metal Ainsoph.
Ainsoph’s material is constructed from a sort of atypical blackened base that takes in elements of post-metal, post-rock, post-punk, avant-garde, progressive rock, doom, blackgaze, and jazz. It’s an eclectic mix on paper, but in execution Continue reading →
This is the fourth album from Frigoris, an atmospheric post-black metal band from Germany.
Frigoris’ post-black metal is atmospheric and immersive, and as you journey across this 65-minute album, you’ll also discover aspects of doom, progressive metal, and post-rock that are incorporated into the music’s textured tapestry. Continue reading →
This is the second album from German progressive metallers Thoughts Factory.
Six years after the enjoyable Lost, Thoughts factory are back with a new album, a new singer, and 54 minutes of professional, accomplished metal. More than that, it’s a damn good listen too. Continue reading →
This is the second album from UK post-black metallers Kassad.
Following on from 2017’s Turn Faces Away, Kassad now provide us with London Orbital, a dystopian concept album that’s modern and crushing in its bleak portrayal of near-future existence. Continue reading →