Featuring a member of The Ritual Aura, and session members from Inferi and Virvum, Ash in Realms of Stone Icons contains 60 minutes of progressive black/death metal. Continue reading “Tómarúm – Ash in Realms of Stone Icons (Review)”
2015’s Self was so long ago that I wasn’t sure we’d ever hear anything from Terzij de Horde again. They’re back though, with 30 minutes of new material – spread over three tracks – that are as fiery and as destructive as the album’s striking cover. Continue reading “Terzij de Horde – In One of These, I Am Your Enemy (Review)”
Here’s one I’ve been looking forward to, that’s for sure. Falls of Rauros’ last three albums, (2014’s Believe in No Coming Shore, 2017’s Vigilance Perennial, and 2019’s Patterns in Mythology), all showcased a band on a continual upward trajectory, with each album improving on what its predecessor offered. So, to say that Key to a Vanishing Future carried great expectations would be an understatement. Continue reading “Falls of Rauros – Key to a Vanishing Future (Review)”
Featuring current and ex-members of bands such as Dawn of Ouroboros, Botanist, and White Ward, Dreams of Fragmentation contains 40 minutes of music spread out over four tracks. Continue reading “Cailleach Calling – Dreams of Fragmentation (Review)”
Izthmi play an atmospheric form of modern progressive black metal. Continue reading “Izthmi – Leaving This World, Leaving It All Behind (Review)”
A Pale December play bleak atmospheric/melodic black metal, riven with despair and devoid of hope. Mixing old and new influences with ease, Death Panacea is quite the impressive piece of art. Continue reading “A Pale December – Death Panacea (Review)”
Wiegedood are a Belgian black metal band and this is their fourth album.
Featuring current and ex-members of Living Gate, Amenra, and Oathbreaker, There’s Always Blood at the End of the Road features 44 minutes of new material. I really, really liked 2017’s De Doden Hebben Het Goed II, so I was looking forward to this new one, (apparently there was also an album after this from 2018, which I somehow managed to miss out on). As we’ll see below though, the Wiegedood of 2022 is a different beast to the one I knew. Since I last heard them Wiegedood’s sound has changed, and they have now become more extreme and more idiosyncratic. Continue reading “Wiegedood – There’s Always Blood at the End of the Road (Review)”
Antimony’s black metal is a combination of the progressive, atmospheric, and melodic styles. These are mixed together to produce lengthy songs that describe a journey into existential dread. The promo blurb states that it’s reminiscent of Moonsorrow, Mgła, and Drudkh, and this should give an appropriate starting reference for the style you’ll find on Ending. Continue reading “Antimony – Ending (Review)”
Following on from 2017’s Finisterre, Noktvrn is an album that finds Der Weg Einer Freiheit at the height of their powers. Containing 48 minutes of progressive and atmospheric post-black metal, Der Weg Einer Freiheit sound darkly vibrant and full of expressive might. Continue reading “Der Weg Einer Freiheit – Noktvrn (Review)”
Wonderbox Metal gets sent a lot of new music, (which is great), but there’s no way that everything can get covered unfortunately, (which is not so great). This new column hopes to redress this balance, if only slightly, by taking a look at a handful of releases that a record label has recently sent out that might have otherwise slipped through the cracks.
I, Voidhanger Records consistently puts out high quality, frequently non-standard music. One of their releases is always an interesting proposition to explore. Below you’ll find four of the label’s more recent ones; make sure you give each of them the time it deserves… Continue reading “Label Roundup: I, Voidhanger Records – Creature, Mystras, Ars Magna Umbrae, & Vertebra Atlantis (Reviews)”