Firtan – Marter (Review)

Firtan - MarterFirtan are a German black metal band and this is their third album.

Marter offers a 58-minute feast of expressive atmospheric black metal. Richly anointed with post-rock detail and progressive depth, this is an album of impeccable taste and commanding presence. Continue reading “Firtan – Marter (Review)”

Ashenspire – Hostile Architecture (Review)

Ashenspire - Hostile ArchitectureAshenspire are a post-black metal band from the UK and this is their second album.

Holy crap. This is not your standard album, not at all. It’s striking, individual, shockingly emotive, and relentlessly harsh in atmosphere and tone. To set the scene somewhat – Ashenspire play a form of post-black metal with strong avant-garde, experimental, and progressive tendencies. Featuring current and ex-members of Barshasketh and Falloch, Hostile Architecture is a 44-minute journey into the contemporary urban heart of darkness. Continue reading “Ashenspire – Hostile Architecture (Review)”

Bekor Qilish – Throes of Death from the Dreamed Nihilism (Review)

Bekor Qilish - Throes of Death from the Dreamed NihilismThis is the debut album from Bekor Qilish, an extreme metal solo act from Italy.

Across 28 minutes the artist behind this band delivers his vision for extreme metal – a complex and layered avant-garde assault on the senses. Blending the technical and progressive strains of black and death metal into an experimental extreme metal framework, Throes of Death from the Dreamed Nihilism is a jarring and unfriendly piece of work, that nonetheless rewards connoisseurs of esoteric underground extremity. Continue reading “Bekor Qilish – Throes of Death from the Dreamed Nihilism (Review)”

Tómarúm – Ash in Realms of Stone Icons (Review)

Tómarúm - Ash in Realms of Stone IconsThis is the debut album from US black metal band Tómarúm.

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)”

Falls of Rauros – Key to a Vanishing Future (Review)

Falls of Rauros - Key to a Vanishing FutureFalls of Rauros are a black metal band from the US and this is their sixth album.

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)”

Cailleach Calling – Dreams of Fragmentation (Review)

Cailleach Calling - Dreams of FragmentationThis is the debut album from Cailleach Calling, a black metal band from the US.

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 – Leaving This World, Leaving It All Behind (Review)

Izthmi - Leaving This World, Leaving It All BehindThis is the second album from Izthmi, a black metal band from the US.

Izthmi play an atmospheric form of modern progressive black metal. Continue reading “Izthmi – Leaving This World, Leaving It All Behind (Review)”

Wiegedood – There’s Always Blood at the End of the Road (Review)

Wiegedood - There's Always Blood at the End of the RoadWiegedood 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)”