The Ruins Of Beverast’s “Tempelschlaf” is a suffocating, ritualistic descent into blackened doom’s darkest corners, where Alexander von Meilenwald weaves furious blasting, psychedelic synthscapes, and crushing riffs into a hypnotic, otherworldly journey.
Bloedmaan delivers are haunting, often brilliant exploration of vampiric black metal that sometimes repeats too much same-ish ideas, but ultimately delivers enough solid ideas to be appealing for fans to the genre.
“Lazarus” thrives on bleak atmosphere and rigid commitment to lo-fi black metal aesthetics, but its refusal to evolve leaves much of the album trapped in repetition rather than ritual. The intent is admirable and occasionally gripping, but the lack of dynamic progression ultimately turns immersion into fatigue.
Outlaw blend melody and malevolenc on “Opus Mortis” to invoke the spirit of old swedish black metal. The record leans on tradition without being stifled by it and offers high quality black metal.
“Consume Us” is a haunting, immersive descent into ritualistic black metal that occasionally prioritizes mood over momentum, but does so with enough conviction and craftsmanship to leave a lasting mark. This is black metal as it should be: raw, ritualistic, and relentlessly consuming.
Malakhim’s “And In Our Hearts the Devil Sings” is a polished, ambitious black metal album that balances melody and aggression with skill. Yet, for all its technical prowess, it struggles to escape the shadow of its influences, leaving listeners with a record that’s impressive but not quite unforgettable.
“Lykke” is an album that doesn’t just fill a room, instead it lingers in the air long after the music stops. This latest release is a masterful exercise in atmospheric black metal, where every synth, every distant vocal, and every trembling guitar line feels wrapped …
“Dødsdømmt” is a strong, often compelling slice of Norwegian black metal that honors the genre’s roots while teasing at something more. It’s not a reinvention, but it’s a potent reminder of why the old ways still matter. Ulvehyrde may not have written their magnum opus yet, but they’re clearly on the path.
“Lonely People With Power” is a 42-minute fever dream where black metal’s shrieks entwine with shoegaze’s shimmering haze. It’s ambitious and atmospheric and a step back to Deafheaven’s earlier work. Relentless in its assault on the listener, the band manges to infuse many atmopsheric parts …
Solbrud’s “IIII” moves like weather over stone: slow, patient, and implacable. It doesn’t seek attention so much as endurance, trading immediacy for immersion. When it works, its vast grey landscapes feel alive and immense; when it falters, you’re left staring into the fog, waiting for something to shift.