Ein neues #Darkthrone Album ist für Mai avisiert aber sorry, ist mir trotz des Titels ("Pre-Historic Metal") zu modern. Alte Darkthrone rule 🤘

Darkthrone - Transilvanian Hunger (20th Anniversary Edition - Full Album)
https://www.youtube.com/watch?v=jTsxtKP7j9A

#blackmetal #music #trve #transsilvanianHunger #classic #album #oldschool #metal

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DARKTHRONE Stays Grim On 'Pre-Historic Metal', New Album Due Out In May

https://metalinjection.net/new-music/darkthrone-stays-grim-on-pre-historic-metal-new-album-due-out-in-may

#DARKTHRONE #StaysGrimOn #Pre #album #newalbum #MetalInjection #metal #music

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Today In Metal History 🤘 March 4th, 2026 🤘 JASON NEWSTED, DARKTHRONE, YES, SLAYER, THIN LIZZY, HELLOWEEN, ACCEPT, DARKTHRONE

https://bravewords.com/today-in-metal/today-in-metal-history-%f0%9f%a4%98-march-4th-2026-%f0%9f%a4%98-jason-newsted-darkthrone-yes-slayer-thin-lizzy-helloween-accept-darkthrone/

#JASONNEWSTED #DARKTHRONE #TodayInMetalHistory #March #EP #anniversary #BraveWords #metal #music

I’ll take “Global Notables” for $600, please, Ken—The clue: Country famous for its waffles, chocolate, beer, and castles. The answer—What is Belgium?! Correct! Belgium is also home to some pretty decent black metal bands—Lugubrum, Enthroned, and Wiegedood, to name a few. Here to add another branch to that blackened Belgian family tree is Erbeet Azhak, the side project of one pretty busy Corvus von Burtle—C.V.B.(Cult of Erinyes, Wolvennest, LVTHN, Aerdryk). Erbeet Azhak’s debut album, Only the Vile Will Remain, helmed by his Cult of Erinyes bandmate and all-around metal maestro Déhà at Blackout Studio, promises to stand “as a manifesto in which hatred and chaos coexist under the dominion of a faceless yet resolute entity.” Let’s plant the dark seed of Erbeet Azhak’s Only the Vile Will Remain together and see what slithering roots sprout from within.

Erbeet Azhak’s black metal is desolate and chaotic, but doesn’t stray far from trails travelled by C.V.B.’s other projects. Still, it finds him further flexing his vocal muscles, which are a mix of everyman blackened rasps alongside tonal shouts and growls that sound a lot like F.O.A.D.-era Nocturno Culto. Even as Erbeet Azhak brings C.V.B.’s own guitar and bass talents to bear, guest musicians S. Iblis’s (Possession) lead guitar, Onbra Oscoura’s (Abyssal Vacuum) bass, and Laye’s (Putrid Offal) drumming flesh out a sound palette that explores several black metal styles. Sargeist lurks in the riffs of galloping melodicism present on “The Wings of Liberation,” just as Blut Aus Nord fans can belly up to a bar stocked with blasting beats and decaying dissonance (“Lecherous Angels,” “Death to the Self”).1 Further examination finds traces of Aosoth in the near blackened war metal of “Only the Vile Will Remain,” while devotees of doomier plods ala late-era Darkthrone should find comfort in the folds of “Erbeet Azhak.” Despite what seems such a mixed bag, Only the Vile Will Remain encases its twists and turns in a production that provides sonic consistency.

Raw but nuanced, Erbeet Azhak packs as many interesting details into Only the Vile Will Remain as Luciana Nedelea did her excellent cover art. I particularly enjoyed the engaging guitar leads that creep amongst the riffs and blast beats of “The Weakness of Our Cycle” as much as I did the intriguing riff patterns and spacy, atmospheric interlude that hijacks “The Inner Circle” around the 2:45 mark, segueing into a really nice melodic guitar solo. Iblis’s performance warrants particular note, as he peppers the whole of Only the Vile Will Remain with lots of satisfying, melodically intricate solo work not present on most black metal of this ilk (“The Wings of Liberation,” “Death to Self”). C.V.B.’s performance on the mic also deserves a nod. While he’s never contributed in this way on any of the other projects he’s involved with, save Aerdryk, his vocals fit what Erbeet Azhak does well and add a layer of gravelly, gothic tension and menace. The vocal cherry on top, however, belongs to Zd from LVTHN, whose inhuman screeches absolutely haunt the back-end passages of “Lecherous Angels.”

While Only the Vile Will Remain isn’t a sprawling, over-bloated behemoth by any means, it could benefit from a little nip and tuck. Erbeet Azkhak traverses the many planes of its black metal existence with relative ease and is most compelling when song lengths provide enough room for all the transitions to develop. Evident even on the albums second shortest song, “The Wings of Liberation,” which transitions from a galloping mid-pace to a blast-furnace passage before moving on toward a guitar solo flowing with melodicism and then back again, all within the span of 4:06. Ironically, this leaves the 3:46’s of the title track stuck in my craw as the album’s most boring; its straight-forward, blast-beat-overloaded war-metal approach sticking out sorely amidst the much more atmospheric fare on display. Cutting this and the mostly superfluous intro would have left Only the Vile Will Remain a more lethal beast.

Erbeet Azhak hasn’t revolutionized the landscape of black metal, neither in Belgium nor in the broader, raw-as-misanthropic scene in which Only the Vile Will Remain operates. Those intrigued by the name drops above should find something of value here. I know I got more than I was expecting. For now, I’d say there’s a fresh sprout on the Belgian black metal family tree with Erbeet Azhak’s name on it; whether that grows into a sturdy branch or not, only time will tell.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Amor Fati Productions
Websites: Bandcamp
Releases Worldwide: March 7th, 20262

#Norway winning the #olympics just shows listening to #blackmetal can make you really good at winter sports. 😍

#MilanCortina2026 #Norges

#satyricon #1349 #ulver #dimmuborgir #taake #khold #burzum #darkthrone #helheim

I love black metal, but it certainly has a reputation for taking itself too seriously. Now and then, though, a few bands remember that this is the genre that gave us pseudonyms, corpse paint, and grown adults pretending to be forest demons. Acts like Old Nick and Ordo Vampyr Orientus have been a welcome slap in the face, embracing black metal’s inherent goofiness and piling on the camp without collapsing into total self-parody. Which brings us to Night of the Vampire, the latest addition to this batch of kitschy kvlters. This is the handiwork of one “Astral Shadow,” whose 2022 EP hinted at something genuinely fun—a danceable, blackened darkwave hybrid that didn’t sound like it hated the listener for existing. Now our Gothic overlord returns with a full-length debut, modestly titled The Enchanting Winds of the Dreamweaving Masquerade. The question is simple: can this gloriously silly idea survive album-length scrutiny, or is it doomed to be background noise for a vampire-themed goth night attended by six people and a fog machine on its last legs?

Night of the Vampire’s take on blackened darkwave is oodles of fun. Across Enchanting Winds, songs are led by gaudy synth lines atop simple distorted guitars, classic 80s drum patterns, and finished with a blackened rasp. This is an effective formula that’s as fun as it is addictive, evoking the playful jubilance of vintage synth-led sounds and sharpening it with black metal’s frostbitten cudgel. The result is campy and over-the-top, but Astral Shadow has plenty of tricks up their satin sleeve to make this formula more delectable. Whether it’s adding tasteful lead guitar and campy clean vocals (“Children of the Immortal Blood”) 1, going full Simple Minds with a driving synth pop rocker (“Sacrificed to the Night”) or deploying some ignorant mid-tempo chugs underneath the ocean of synth (“Casting Shadows in an Ocean of Time”), there’s no shortage of clever adornments to spice up the core blackened darkwave sound. Night of the Vampire might sound more like Depeche Mode than Darkthrone, but that’s fine when this pernicious platter is this delectable.

The Enchanting Winds of the Dreamweaving Masquerade by NIGHT OF THE VAMPIRE

Enchanting Winds provides meaningful variety in its execution, keeping this rave from getting too stale. Night of the Vampire goes full Blade nightclub with “The Cosmic Darkness Calls me,” a delightful goth rager which ditches the guitars for a throbbing synth bassline and icy, programmed drums. The faster tempo of “Mother Moon of the Astral Dawn” is a nice, energetic break from the dancefloor, utilizing effective drum pullbacks to keep its forward momentum, and “Misty Illusions” is a solid dungeon synth closer that eases you out of the whole vampiric experience. With relatively short song-lengths and a curt 30-minute runtime, this is also a record that doesn’t overstay its welcome, allowing for repeated spins without running the risk of blood withdrawal. Enchanting Winds is an enjoyable, blackened journey from start to finish. I only wish it set its sights a little higher.

The main thing preventing Night of the Vampire from reaching sanguine ecstasy is the relative lack of ambition in Enchanting Wind’s songwriting. Astral Shadow’s approach is simple: latch onto a catchy synth melody and then ride it for the song’s entire duration, with minor variation for choruses. This works exceedingly well on shorter pieces or in conjunction with more inventive additions, but falls a bit short when it’s the only tactic on display. As a result, songs built almost entirely around a single synth line, like “The Prince of Many Faces and the Lady of the Night” or “Beyond the Howls of the Celestial Wolves,” end up feeling one-note, with little development or variation. Once you notice this pattern across the record, the impact of individual tracks diminishes. That’s especially frustrating given that “Children of Immortal Blood,” with its contrasting choruses, proves Astral Shadow is capable of writing dynamic, multi-part songs with distinct elements. As it stands, the straightforward songcraft doesn’t prevent these tracks from being exciting in the right context, but it does keep Enchanting Winds from evolving beyond its initial premise.

The Enchanting Winds of the Dreamweaving Masquerade is a charming debut from Night of the Vampire. The essential idea of “black metal meets 80s synths” is effective, entertaining and often moves beyond the simple proposition, even if the straightforward songcraft detracts from my enjoyment at times. I’ll gladly place Night of the Vampire alongside their unserious contemporaries in my “kvlt cheese-maxing” playlist and look forward to whatever Astral Shadow produces next.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Profound Lore Records
Website: nightofthevampire.bandcamp.com | Instagram
Releases Worldwide: February 6th, 2026

lo-fi black metal beats to wist and prewarm to

https://youtube.com/watch?v=mXK5ktYzoQU — Transilvanian Hunger 🦇 #metal #blackmetalhead #blackmetal #theblacklegion #darkthrone (0:06)

As a musician, sometimes you just want to blow off some steam with a fun, low-stakes side project, free from the genre trappings or expectations of your main gig. Karloff is a band born of such an impulse, serving as the vehicle for Graveyard Ghoul’s Tom “Tyrantör” Horrified to deliver some vintage metal/punk. The band’s last full-length, 2021’s The Appearing, was an enjoyable but unimpressive throwback to the halcyon days of punky heavy metal with a blackened twist. Now Mr. Horrified and his team storm back from the grave with another fist-swinging slab of tight, nostalgia-soaked riffage, built to crack open some beers and rattle your damn crypt to rubble. Can Karloff rise above their debut, hit harder, and unleash a truly skull-splitting dose of heavy metal warcraft?

From the moment you press “play,” it’s clear that Revered by Death is bursting with punk energy and metal spirit. Opener “A Pessimistic Soaring” wastes no time before hitting you square in the face with a simple, but effective power chord riff panned to one channel before the full rhythm section bursts in. We get a tasty, phased-out guitar lead before landing on a fun, punky verse riff, complete with blackened rasps about “a world consumed by darkness.” This sets the stage nicely for what Karloff is all about: no-nonsense, kitschy retro metal/punk with plenty of energy. Their bread-and-butter is like if a less-gaudy Midnight crashed into the punked-out thrash of early Nasty Savage and sprinkled it in a blackened layer of late-era Darkthrone. When it all comes together, the result can be oodles of fun. Karloff isn’t reinventing the wheel, but they’re definitely spilling some beer on it and decorating it with fake cobwebs and candles.

Revered by Death by Karloff

A lot of Revered by Death’s charm comes from the no-nonsense attitude on display from Karloff’s members. At their best, the riffs have the sort of quality of alcohol-fueled basement jams, with Tom Horrified providing some flavorful leads to spice things up and laying down punky power chords that find a sweet spot between uncomplicated and straight-up ignorant (“Crown Cult Fate,” “Die Wiederkehr der Dunkeleit”). H.T Steinbrecher’s drum performance is effective and workmanlike, rarely veering into blastbeat territory and keeping things classy with variations on rock beats, aided by the occasional d-beat (“Prince of Parasites”). Karloff maintains their core metal/punk sound across much of the album, but a few effective variations help to keep things fresh. “When the Flames Devour You All” is a mid-tempo, blackened banger, with swirling black metal arpeggios meeting sludgy power chords, and “Elisabetha’s Revenge” continues this thread, amping up the cinematics and dynamics to make for a memorable closer. Throughout it all, there’s a distinct sense of personality that helps maintain a sonic cohesion.

My only real complaint with Revered by Death is that some tracks aren’t quite as tightly executed as others. Karloff largely hit the mark, and none of the songs are complete stinkers, but some of the B-sides fail to get the blood pumping as effectively. At 4-minutes, “Regicide” is a tad longer than average and lingers on its main riff for its entirety, lacking a lead or meaningful variation to keep things interesting. “On Weathered Altar” is a surprising turn towards instrumental horror ambience and lands smack in the middle as an interlude that runs for about twice as long as it should. These aren’t total deal breakers, but on a short album, they feel longer than they otherwise would and distract somewhat from an otherwise solid package.

With Revered by Death, Karloff has delivered a lively batch of blackened metal/punk rippers. Nothing here will boggle your mind, but the band’s distinctive attitude and kitschy execution are plenty entertaining. The next time I want to feel like I’m in a metal party scene from an 80s horror movie, I’ll crush a beer can on my forehead, pull out my ripped jeans, gel my mullet, and throw on some of the best tracks from this latest Karloff.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Dying Victims Productions
Website: facebook.com/karloffpunk
Releases Worldwide: January 23rd, 2026

We often wax eloquent on the distinctive factors between good and great. In a writing sphere where we are strictly commanded to avoid “artistic bullshit” in our analysis in favor of more clinical, scientific examination, pinning down elements that distinguish the enjoyable from the memorable and the well-made from the impactful can make for a fun thought experiment or a maddening exercise in futility and thesaurus perusing. A few months ago, this very topic was brought up in the halls, and while staffers hemmed and hawed over nebulous ideas of quality, the ever-wise Dolphin Whisperer chimed in with a straight-to-the-point insight which stuck with me: “For me, the difference between good and great is whether I’d buy this for ten dollars.” Hailing from Croatia, one-man black metal project Petrale have arrived with some creepily straightforward artwork and an equally straightforward album title; will this be relegated to your ever-flowing streams, or have you reaching for your wallets?

Though classified as “raw black metal”, Goat at Sunset sidesteps stereotypes in presentation. Produced entirely on analogue open reel tape, this album contains the warmest, richest sound I’ve heard in some time. Rather than raw by way of underproduction like Fell Omen or draped in overly reverbed fog ala Black Cilice, each instrument has a charmingly clear enunciation while being mixed roughly around the edges with an organic, welcoming tone. Full, thick major(!) chord progressions (“Dorsal Horn”) give way to looping doses of Ulcerate-isms, which manage to be much more straightforward in execution while carving their own atmosphere of distant menace. The drums carry a dollop of modern Darkthrone in their presence, with the double bass successfully muddying the riffs just a touch, emphasizing the rawness in the nature of the production without relying on deliberate self-sabotage of aesthetic.

Goat At Sunset by Petrale

In that sound lies a standout assembly of riff which does a masterful job of evoking the artwork accompanying it. Far from being a nonstop collection of hazy blast beats and trem pickings, Goat at Sunset uses a healthy sense of dynamic composition and tempo changes to carry the listener through the entire body of work. Frequently throughout the album, breaks are used which evoke something spiritually akin to smokehouse lounge vibes (“The Postulating Conduit (Sunset)”, “Hunter”) while sometimes sandwiching more energetic riffs into doomy plods (“The Wedge That Was Supposed to Prevent Sin”). As the art shows the ominous goat head, far away but clearly defined and present, the reliance on dissonant foundations with sudden flourishes of clarity channels a soundtrack that doesn’t seek to quite open the gates of hell as much as let the listener observe such a thing from a long way off.

The net result renders Goat at Sunset as a genre offering that manages to hit a sweet spot of fusion between accessibility and roughness, and with atmosphere and musicianship. Special attention must be paid to the bass, carrying an absolutely delicious tone which permeates throughout the release, and is given multiple opportunities to shine and echo leads rather than down strumming through chord progressions. Even the concluding cover song (a cover of an artist called Sven Väth) channels a heavy dollop of upbeat major progressions into something that seems like an organic conclusion to the release rather than a merely tacked-on bonus track. It’s true that near the end, the album loses some of its steam and places more emphasis on slower theatrics rather than raw riffage, particularly if you disregard the cover and let the album end on its proper, more “official” note. Nevertheless, Petrale have crafted an album replete with memorable moments, unusual time signatures (the 7/4 break in “Dorsal Horn” being a real standout) and a fully realized atmosphere and mood.

Raw black metal stands alongside genres like stoner doom as being difficult to execute in a way worthy of a coveted 4.0. Petrale have come as close as I’ve heard in years by inverting, rather than rejecting, genre stereotypes. A production which is warm instead of abrasive on the ears, chords which carry harmony as much as dissonance, emphasis on dynamics as much as blast beats are all cobbled together to create an album which carves a clear personality for itself within the genre trappings. Rich enough in sound to welcome genre casuals while bleak enough to entice genre aficionados, Goat at Sunset has been a dark delight. Now, if you’ll excuse me, I have to go find my wallet and buy one of the 100 CD-R copies available. Hopefully, for ten dollars.

Rating: 3.5/5.0
DR: n/a | Format Reviewed: Stream
Label: Self-Released
Website: Album Bandcamp
Releases Worldwide: February 1st, 2026