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DARKTHRONE's TED 'NOCTURNO CULTO' SKJELLUM Says His New Band AVRAK Will Release Debut Album This Fall

https://blabbermouth.net/news/darkthrones-ted-nocturno-culto-skjellum-says-his-new-band-avrak-will-release-debut-album-this-fall

#DARKTHRONE #TED #SaysHisNewBand #WillReleaseDebutAlbumThisFall #album #newrelease #interview #Blabbermouth #metal #music

Previously, I have banged on about my relationship with black metal being a slightly strange one, and rarely do I nab a black metal release from the promo sump. And though my interest in modern black metal is hit or miss, the timing seems ripe for the picking. Following some personal hardship and soul searching my listening habits have gravitated heavily towards the blackened arts, specifically binge listening of legendary acts such as Darkthrone, Emperor, Dimmu Borgir, and Bathory. Embracing the past has led to this present-day slab of blackened extremity from the contrastingly sunny shores of Brisbane, Australia. Unheralded act Graveir return with their third LP, The Festering Triad, hellbent on transporting the listener through a bleak, ugly vortex of demented groove, bleak atmosphere, and unsettling stabs of dissonance. However, let us explore whether Graveir possess the songwriting chops to match their grimly effective ingredients.

Armed with a foreboding presence and feral streak, Graveir pull no punches, nor are they interested in adorning their abrasive and dread-soaked sound with any bells or whistles. The Festering Triad goes for the throat and refuses to relent across an appropriately lean and efficient thirty-seven-minute blast. Anguished croaks and ominous, measured tempos open proceedings on the ominously moody trudge of “Lords of Misrule.” While not catchy in a traditional sense, the arrangement has enough subtle and intriguing components to maintain interest, as the atmosphere effectively oozes bleak, depressive vibes.

Featuring a rugged backbone of pummeling percussion and dense, stormy riffage, the depressive stomp of “A Futile Exhortation” eventually turns its menacing plod into crackling bursts of speed, a climactic variation that pays off. Bolstered by its disso edge, crunching intensity, and grimly oppressive atmosphere, The Festering Triad simmers with tension, occasionally broken up with groovier, riffy beatdowns, such as the horns-up riffage on the title track. Later in proceedings, “By the Will of the Goat” injects a raw and nasty second wave bluster, adding welcome variety, hammering intensity, and punky edge. Despite the album’s relative brevity, the songwriting occasionally struggles to distinguish from song to song, and a sense of familiarity and monotony seeps through Graveir’s ragged exterior. Genuinely infectious and gripping moments are sparsely strewn across the album. And too often, the upfront drums overpower everything else, and the riffs don’t provide the noteworthy punch frequently enough.

Band performances are generally on point, though the production and mixing choices detract from the experience. The drums are busy and occasionally explosive when breaking free from the more stock and repetitive blasting; however, the mixing forcefully jams them distractingly up front, also blunting the edge of the guitars. Meanwhile, the overly loud, brick-walled mastering does the album no favors. It’s a damn shame these production and songwriting elements unseat some of The Festering Triad’s more appealing and aggressive attributes, resulting in an unsettling though mixed final product. Even the album’s efficient length feels overly long by the conclusion due to an unfortunate combination of ear fatigue and songwriting that bleeds through and fails to leave a lasting impression.

Overall, Graveir’s third LP is an effectively intense, gritty black metal platter, which fires more successfully when the tempos shift, and Graveir break the shackles and insert greater structural variation into their volatile attack. This shit no doubt would rip live, and mileage is likely to vary. Unfortunately, the songwriting cannot quite match Graveir’s seething delivery to keep the listener consistently engaged to warrant a wholehearted endorsement. While failing to land the knockout blow, Graveir possess the fundamental skills to unleash a more substantial, higher quality album, so I’m intrigued how they develop next time round.

Rating: 2.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Apocalyptic Witchcraft
Websites: Bandcamp | Facebook
Releases Worldwide: May 29th, 2026

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#BraveWords
REVIEW: DARKTHRONE’s Pre-Historic Metal – “Don’t Break The Oath!”

https://bravewords.com/album-reviews/review-darkthrones-pre-historic-metal-dont-break-the-oath/

#REVIEW #DARKTHRONE #Pre #HistoricMetal #heavymetal #album #BraveWords #metal #music

While most people would argue that “black metal” was founded by bands like Venom, Bathory, and Mercyful Fate, the scene didn’t really become what it is without the creation of Norwegian black metal. Which, in turn, people will argue was founded by Mayhem, Burzum, Darkthrone, Immortal, and the like. But people forget acts like Ulver, Urgehal, Satyricon, and Gorgoroth (and others) that helped form the genre. If you know Grier, you know how much Urgehal and Gorgoroth mean to his youthful, black metal development. They are also home to two of his favorite black metal raspers of all time: Trond Bråthen (Trondr Nefas) and Kristian Eivind Espedal (Gaahl), respectively. Before Gaahl made his mark on Gorgoroth classics like Twilight of the Idols – In Conspiracy with Satan and Ad Majorem Sathanas Gloriam, he already had his own band: Trelldom.

Trelldom doesn’t get enough love. But Angry Metal Guy knew what was up when he went back in time to explore easily one of the genre’s greatest hits: Til et annet…. This record is a fucking masterpiece that shows a side of Gaahl you might not know. Those who have followed him throughout his various exploits know full well that Gaahl is a weird guy with some of the creepiest fucking vocals on the planet. But Trelldom’s trilogy of albums from 1992 to 2007 was untouchable. Fast forward to 2024, and the band returns with …By the Shadows…, an even weirder concoction of songs than ever before. Taking a darker direction with a new lineup of legends, …By the Shadows… represented an impressive comeback for the band, rebranded into something more diverse and heartfelt than before. Right on the coattails of that album comes this year’s …By the Word…. And it’s everything you’d expect from a follow-up.

Returning with the mighty Stian Kårstad (ex-Djerv, ex-Gaahls Wyrd, ex-God Seed) and kit powerhouse Kenneth Kapstad (Thorns, Goat the Head, ex-God Seed, and a billion other bands), Gaahl rounds out his lineup with practitioners of the bass, saxophone, clarinet, organ, Dobro guitar, bass harmonica, mandolin, Shankar guitar, and even the fucking Optigan to deliver one of the most unique records of his life. “When This Was Young” opens the record with proggy bass and drums, matching perfectly with Gaahl’s soothing cleans. When the chuggery kicks in, Kapstad’s drums let loose, showing off his impressive skills and giving the song (A) Senile Animal-era Melvins vibes. As it progresses, the effects intensify, melding themselves into the guitars and creating unnecessary madness throughout.

But the opener might be the “chillest” song on the record. By “I Speak Forgotten Voices,” you’ll know that …By the Word… is far more unhinged than its predecessor. The overlapping effects, unsettling vocals, and relentless, pounding drums remove any peace …By the Shadows… might have had. But it’s the mindfucking back-to-back closers, “The Word – Choose to Vanish” and “In There Outside,” that show just how far Trelldom has pushed their sound. Chock-full of all those different instruments mentioned before, “The Word – Choose to Vanish” doesn’t so much add layers as mold everything into the most grotesque monster I’ve heard in a long time. And when you think you’ve heard everything you could from Trelldom, “In There Outside” proves to be one of the more diverse on the album. Throwing you off immediately, the whining woodwinds are replaced with yet another alteration of Gaahl’s vox as the song builds on itself over and over again, resulting in more orchestral qualities than any other track.

…By the Word… is batshit crazy and cerebrally damaging. Where …By the Shadows… at least had moments of relief, this new record does not. Beyond the weird combination of guitars, saxophone, and clarinet screaming at you from all directions, it’s the bass and drums that cause the most damage. Mixed far too the front, the drums, in particular, are ear-shattering. That sounds negative, but it does a hell of a job keeping you off balance. Specifically, when it comes to the devastating “Folding the Mind.” It’s almost as if the band decided it was time to let Kapstad off the leash. …By the Word… is an interesting album that pushes beyond anything the band has done before. It can never be Til et annet… but that’s OK because they aren’t going for it. This new era is worth exploring and …By the Word… is a new benchmark.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Prophecy Productions
Websites: trelldom.bandcamp.com | trelldom.no | facebook.com/trelldom1992
Releases Worldwide: May 29th, 2026

Oh, new Darkthrone.

That's probably a tomorrow thing.

#Darkthrone #Metal

Yup, it’s late, and I don’t even feel bad about it. Because, once again, no promo, no stream, no nothing from the lovable assholes that are Nocturno Culto and Fenriz. Who would even write a review at this point? You don’t care. I don’t care. And Darkthrone certainly don’t care. Well… because I sorta care. Just a little.1 Mostly I care because I wanted to see if the band could bounce back after their dreadful 2024 release, It Beckons Deez Nutz…………. Though the band has been chasing “pre-historic” metal since their significant shit at Hate Them and Sardonic Wrath, one can only assume Pre-Historic Metal is meant as a definitive homage to the ways of the olde.2 Which means, half of the staff (and most of you) have already moved on to your hip, new-wave shit—sucking back a Truly and trying to hold your vape like you’re fucking Humphrey Bogart from The Maltese Falcon.3 I guess I’m the only one with balls around here.

Anyway, this new, ear-splitting opus from Darkthrone does indeed explore even more of the classics, ranging from Maiden gallops to Mercyful Fate guitar play and hair metal groovery—the good stuff. The stuff before Zack Morris and gang ruined fashion, music, and my life.4 With that, even come shifts that are new to the band. Like, having rocking, accessible grooves that you could put on the radio. Just kidding. Idiots. But you’ll be surprised by some of the arrangements and the slickness of the songwriting. The other thing Pre-Historic Metal has over many of the band’s previous releases is… RIFFS. Lots and lots of fucking RIFFS. Do they all work? No. Do they tend to blend? Yes. Do they still kick ass? Also, yes.

To open the album, “They Found One of My Graves” borrows some inspiration from Kill ‘Em All-era Metallica, delivering some hooking licks that transition only when the urge for Motörhead-meets-Mercyful Fate-isms takes hold. The result is the funnest song on the record, and perhaps one of the grooviest of the band’s career. “Siberian Thaw” is another with that big, fun energy. After the instruments gently fade in, the song alternates between mid-paced chuggery and waist-deep murkery. The best part comes around the middle, when everything falls away and is replaced by eerie effects and a stellar bass lead. I’m not sure I’ve heard such prominent bass work on a Darkthrone album before, but they should do it more often.

Following “Siberian Thaw,” “Deeply Rooted” takes many of its predecessor’s doomy, damning qualities and pushes harder against Pre-Historic Metal’s outer walls. Adding some melody to the mid-paced groveling, the song creates an ascending character that only climbs higher as it progresses. Like the previous track, “Deeply Rooted” has a definitive moment of stoppage before more Metallica vibes kick in and the band goes flying. Continuing with this ridiculous continuity that has existed since Soulside Journey and only recently carried on, the album closes with the fourth part of “Eon.” Unlike the rest of the album, “Eon 4” is far more Darkthrone in approach. It contains classic tremolos and a black metal edge. When Fenriz’s absurd vocals arrive, they somehow feel far more fitting on this song than on others. But, as with the rest of the album, the moment you think you’ve settled in, everything around you changes. This time, the 1980s hit you like a fucking brick as the band hammers out one of the most headbangable licks on the record. Toss in a horse chase of galloping energy, and you have a winner in “Eon 4.”

While the instrumental, “So I Marched to the Sunken Empire,” is mostly unnecessary, it does point to a time when it seemed like every metal album had at least one. And even though the title track sounds like tired, overdone Darkthrone, with its ugly chord bends and even uglier Fenriz vocals,5 it still contains a killer lick on the back-end that’ll have you growing out your hair.6 Pre-Historic Metal is exactly as described. It’s a journey back in time, delivered through the eyes of two metal titans that have been doing this shit for forty fucking years.7 And the result is one of the most straightforward the band has produced. Keeping the weirdness to a minimum and letting the riffs shine throughout. With a respectable master that lets all things surface at the right time, Pre-Historic Metal is one of the best Darkthrone records of this era.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: ALAC
Label: Peaveville Records | Bandcamp
Websites: facebook.com/darkthroneofficial
Releases Worldwide: May 8th, 2026

Heute hin- und hergerissen zwischen #Darkthrone mit "Pre-Historic Metal", was einem schon wieder wunderbare Old-School-Vibes beschert:

https://music.apple.com/de/album/pre-historic-metal/1881564845

#metal #blackmetal

uuuuund......