Rain has started to leak into the ducts as Spring gets wetter and wetter. While I’m away, vacationing in a nice, dry, cloudy place, my minions are drenched and miserable. As it should be! But I’m still keeping tabs on their progress. Just because I’m having a great time somewhere else doesn’t mean these louts don’t have a quota to meet!

And meet their quota they shall, if only barely… BEHOLD!

ClarkKent’s Sci-Fi Soundbites

Epigram // Obsolescent [March 6th, 2026 – Self Released]

Combining the melodic black metal of Thulcandra and Dissection with the symphonics of Fleshgod Apocalypse and SepticFlesh, Epigram dropped a tasty little morsel with their debut, Obsolescent. The trio from Los Angeles puts on a spirited performance that borders on thrash. Tim Cauley’s display on the kit is a dominant force as he furiously blast beats his way from one song to the next. He turns “Wrath of Betrayed” into a piece of blackened thrash and proves tireless across Obsolescent’s 27-minute runtime. The lively vocal performance of Luis Echevarria adds further to Epigram’s charm. His low growls may seem underpowered, but his delivery is energetic and fun. He’s also the source of the symphonic instrumentation, via synths, though this aspect is secondary. Sure, there’s some choral chants (“Myrmidon,” “The Usurper’s Throne”), strings (“Hour of Gods”), and other vaguely symphonic sounds, but Epigram is most focused on the blackened melodic stuff. Shadi Absi throws together some great riffs, particularly on “Empires,” a work of pure black ‘n roll. The showstopper is “Hour of Gods,” with some sweet riffs and terrific energy. This song alone makes Obsolescent a worthy spin. Rounding out the musicians is Sanjay Kumar (Inferi, Wormhole), who plays solos on “Wrath of Betrayed” and “No Sin.” This is a promising debut for an eager new band.

Kal-El // Astral Voyager Vol. 2 [March 20th, 2026 – Blues Funeral Recordings]

Sporting the greatest band name of all time, Kal-El have been blasting listeners with stoner doom since 2012. Astral Voyager Vol. 2 is the follow-up to last year’s Vol. 1, and these pyschedelians’s seventh album overall. It’s been seven years since Witches of Mars was unfairly pummeled by a Kryptonian frog, and now I’d like to do the band justice by rescuing them from our filter. On this astral voyage, you get the pleasure of listening to six songs and 42 minutes of laid-back stoner tunes with plenty of fuzzy riffs—perfect for cruising around the cosmos. Their riff-centric approach puts them in the Black Sabbath camp, and the riffs on the likes of “Juno” and “The Prophecy,” which has a “Children of the Grave” vibe, are tons of fun. Further cementing the Sabbath comp is the vocal performance of Ståle Rodvelt, who carries a resemblance to Ozzy in his delivery. Longer cuts take more exploratory routes, akin to Sleep, yet still feature plenty to get your head bobbin’. “Asteroid” opens up with some sweet riffs that sustain its near eight-minute frame, while “The Nine” will still have you singing along in the final of its ten minutes. 1 So if you are in the mood for something chill that won’t put you to sleep, something that has the riffs without the risk of elevating your blood pressure, you should spend some time with Kal-El.

Thus Spoke’s Tectonic Treat

Bong-Ra // Esoterik [March 20th, 2026 – Debemur Morti Productions]

Not having received promo, it was only upon visiting DM’s Bandcamp page while writing up Aversio Humanitatis that I realised Bong-Ra had released another album. Asked whether Esoterik would be leaning more into enigmatic doom or spiky industrial electronica, the shapeshifting Bong-Ra said “yes”. The music is built on layers of dense, gritty atmosphere undulating with bass, breakbeats, and distorted riffs. Vocals are maintained from Black Noise—half-spoken snarls blurred by noise, shifting between blunt tunefulness (“Serpentine Helix”) and gargling venom (“Machine Halo”)—but at least half of the space is devoted to the purely instrumental psychosis. The saxophone is back, adding bizarre elegance and chilling eeriness in equal measure. Sometimes, Esoterik seems to be pitting its sultry and acerbic natures against one another; that chamber jazz side can take one by surprise (“Pleasures of the Flesh,” “Duality of One”), sandwiched as it is between a more punishing industrialism, but Bong-Ra just about gets away with it. This could be down to Esoterik’s efficiency in establishing (new) grooves—rhythmic and stylistic. Opener “Harmony Cloak” dispels misgivings on its skittering electronic oddity with a chorus that strikes a stylish balance between melody and dissonance; “Machine Halo” later follows in its stride. It’s an album that earns its moniker, right down to the particular spelling, and is worth the dark diversion it requires.

Grin Reaper’s Kooky Curios

Surturian // II – Hessian Spears [March 13th, 2026 – Crawling Chaos]

A German thrash band named after the legendary fire giant and guardian of Muspelheim? And on their debut LP, they launch an unrelenting, venomous assault filled with sticky riffs and bopping bass grooves in under forty-five minutes? Sign me up! Surturian plays thrash that smacks of early Testament and Metallica fused with the epic melodies of latter-day Kreator—hell, vocalist Tim Krogull reeks of Mille’s rancorous vocals, even though his name hews closer to a Voivodian disposition. In addition to thrash influences, Surturian calls upon Maiden’s signature gallops (“Cimmerians Wrath”) and anthemic melodies (“⁠Night Stalker,” “Do What Thou Wilt”), inculcating a lofty grandeur throughout II – Hessian Spears. Further fanning Surturian’s flames, the outfit navigates a varied landscape that imbues each track with its own character while never straying too far from their core sound. Hard-hitting offensives (“Blood Witchery”), slinky licks (“Night Stalker”), and oddball songwriting (“Beneath a Dying Sky”2) unite into an album I’ve regularly returned to since discovering it. If you’re feeling unSurtain, take it from me—it’s always a good time for some Hessian aggression!

Barn // Crucibles [March 24th, 2026 – Self Released]

Thanks to a certain dude/guy in the comments section, Crucibles didn’t slip past me undetected. Despite their dubious band name, Barn dropped a humdinger slab of tech death back in March that oozes with references to Unquestionable Presence (Atheist), Focus (Cynic), and, to a lesser extent, Decrepit Birth.3 There are even moments that echo more subdued moments from recent Sallow Moth releases (“The Serpent’s Perpetual Shed”). Staccato bursts of guitar, pinch harmonics, and buttery, fretless bass glissandos epitomize what Barn offers, and they spread it thick and chunky all over Crucibles’ sixty-five-minute runtime. Rustic name notwithstanding, Barn’s latest sounds like a sci-fi adventure, supported by track names like “Black Hole Lens” and “Cymatics.” The fretless bass especially helps with the futuristic aesthetic, frictionlessly gliding through gusts of abrupt, otherworldly guitars that buffet tracks from all angles. Barn rarely offers reprieve during their unconventional onslaught, but tracks like “Forbidden Fruits,” “Cymatics,” and “The Defeater” achieve such heights that I don’t find myself needing one. In short, these Boise boys warp listeners to a different dimension on Crucibles, and though it runs a tad long, I haven’t been deterred yet from lighting up this Barnburner.

Dionysiaque // La Tourbe des Rêves [March 27th, 2026 – I, Voidhanger Records]

Dionysiaque dispenses a bizarre derivative of doom on La Tourbe des Rêves that’s sure to be equal parts captivating and divisive. Reaching into the bag of tricks defined by Cathedral, Black Sabbath, and Candlemass, Dionysiaque’s sophomore album lumbers and chugs with classic rock-inspired leads and firecracker songcraft that I find utterly enthralling. Songs like “Aaron,” “Hate Fruit,” and “The Two Headed Boy” spotlight Dionysiaque’s plaintive guitar wails, contributed by L.B. and Bruno Penserini, along with their savvy balance of somber atmospheres and rousing melodies. Buoying the guitar tandem, bassist Lethal lays down frolicking, fabulous thunder via absorbing countermelodies while drummer T.H. looses potent fills and rolls throughout. Soaring atop the instrumentation are N.C.’s unorthodox vocals, which will almost certainly be the sole determining factor in listeners’ ability to engage with La Tourbe des Rêves. His delivery recalls that of Mayhem’s Attila Csihar at his most operatically deranged, never lacking conviction yet occasionally overpowering and ostentatious. Still, I appreciate and enjoy the commitment to the unhinged performance, and although dialing it back a little would make Dionysiaque’s latest more accessible, I’ve come to love La Tourbe des Rêves without apology. So don’t be afraid to let a little love into your heart—go get debauched with Dionysiaque’s aphrodisiac.

Creeping Ivy’s Pandemonic Pleasure

Mammon’s Throne // My Body to the Worms [March 13th, 2026 – Hammerheart Records]

In advising his fellow fallen angels—recently expelled from Heaven—to turn Hell into a competing kingdom, Mammon projects that All Demons will ‘work ease out of pain / Through labor and endurance.’4 Satan doesn’t heed this advice, but the third LP from Mammon’s Throne arguably does. On My Body to the Worms, this Australian five-piece inflicts pleasurable pain upon metaldom via five filthy slabs of sludgy death-doom (plus two instrumental reprieves). Mammon’s Throne conjure Hooded Menace, Temple of Void, and (old) Worm in their proclivity for plodding tempos, swampy riffs, and gravely howls (“Elixir”). The album is also a labor of love for classic (death-) doom à la Paradise Lost and My Dying Bride, mixing gothy croons, ascendant melodicism, and haunting piano into the band’s sinister stew (“Every Day More Sickened,” “At the Threshold of Eternity”). Though the listener does need some endurance, as three of the five non-instrumentals hover in the 8–9 minute range, the record flows fluidly across an easy 42 minutes. If you ever wondered what metal in league with Mammon might sound like, give My Body to the Worms a spin.

We get a lot of bold claims in the promo pit. It’s understandable; writing advertisements for music sounds like a thankless task, and no one is going to submit an album telling us that it’s a smidgen above mediocrity.1 No, everything death has to be the most moldy, blackened, the most evil, stoner the most groovy, and power the most disposable and ignored album we’ve ever heard in our life. Imagine my eyebrows raising, then, to discover a new offering from Swedish mainstays Sarcasm, who simply described themselves as being more than just Swedeath. Few genres in metal have such imposed and strict limitations, from guitar tones to riff stylings, and one second sampling Feral or Lik and their ilk make the expected sound clear from the get-go. Consequently, such a bold claim of genre transcendence stands out in the face of a sea of self-aggrandizement, and all I could think was the most un-sarcastic “Sold.”

In order to be “more” than Swedeath, you still need the foundation to build on, and Sarcasm drapes their meat and lifeblood on the bones of great fossils of olde. Lifeforce Omnibound kicks off with a balls-out assault sounding composed by Vomitory but with a grasp of leads that seek to Dismember listeners far and wide. The path of the album is one that unfurls its more progressive tendencies the deeper you go, starting like a high-grade tribute to their 90s selves but getting more curious as it unfolds. “Altering the Perception” is a key example; starting off like a cut off of At the Gate’s At War With Reality, and featuring vibrant leads and a Gothenburg flavored stomp in its perpetual revolving assault. Suddenly, bursts of color reminiscent of Dark Tranquility emphasize transitional passages, and an overreliance on the stereotypical snare-and-bass drumbeat plaguing much of Swedeath is mercifully absent, instead featuring sudden aggressive riffing styles more reminiscent of New York-style brawl.

The whole of Lifeforce Omnibound is riddled with such flourishes, working hard to buck genre expectations. “The Reward of Adversity” offers listeners a relaxing Wombbath with a full piano and violin break, which slots excellently between the 6/8 violence, while “Plunged Into a Paradox” channels the more progressive melodic tremolos from Analepsy’s Quiescence.2 Speaking of tremolos, much of the album comes with a distinctly blackened edge, especially with Jesper Ojala’s Watain-influenced drumming style, and vocalist Heval Bozarslan features a much higher range and sneering shriek compared to the genre’s usual guttural fare. “Wayward Fragments of Infinite Divisibility” flirts briefly with slam tendencies before collapsing into an absolute BOP of a china-and-high-hat centric dissonant riff modern Pestilence would be proud to sign their name to, only to rush into well executed melo-death shred prowess. Sarcasm have offered up an album which is loyal to its genre roots, but under no circumstances allows itself to sit still and be confined to its labels.

All of these names and influences sound like this album could be an unfocused disaster, but nothing could be further from the truth. Compositional excellence allows Sarcasm to slide between moods like they were headbanging between the raindrops, and few elements detract from the overall experience. True, Lifeforce Omnibound does have more than a few spoken word sections, which halt the momentum as all spoken word sections in albums do. Regretfully, it also sounds like Sarcasm ran out of different ideas near the end, coasting to the finish line with a concluding track which is the most traditional sounding song on the album, albeit a quality one. Still, there’s always room for MOAR Swedeath in life, and for an ending to be merely anticlimactic is hardly the worst sin an album can commit.

To my delighted surprise, Sarcasm did it. Lifeforce Omnibound is nominally Swedeath, and yet the sheer glut of sounds I hear pouring through my headphones shows a band not content to spin their wheels and live on the laurels of vintage sounds of yore. An excellent approach to disparaging elements and a seamless fusion of neighboring ones, Sarcasm have created an album that transcends the sum of its parts to be something truly enjoyable. If you’re one of those who have turned away from Swedeath due to a lack of growth in the sound, hop on this immediately. Yes, really.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Hammerheart Records
Website: Album Bandcamp
Releases Worldwide: May 29th, 2026

MAMMON'S THRONE - My Body To The Worms [FULL ALBUM] 2026

https://peertube.gravitywell.xyz/w/6G31BSEXRT4ZSuJWG82WW9

This stunning debut comes to us via members from across the globe—from England to Spain to Czechia to Brazil. Despite somewhat limited experience between them, the sextet plays like they’ve been jamming together for decades. They bring an eclectic range of styles from their previous and current bands, from black metal to scatological heavy metal to melodic doom to gothic metal, in order to craft a gentle yet brutal piece of gothic doom metal. I would like to give a warm welcome to Opia and their powerful debut album, I Welcome Thee, Eternal Sleep.

Opia deftly balances the gentle with the crushingly heavy, resulting in a record of beautiful melancholy that would make My Dying Bride and Swallow the Sun proud. They achieve this with a dichotomy of soft arpeggios and heavy riffs, of tender cleans and harsh growls. This dichotomy amplifies the melancholic power of the music, and there’s an undeniable satisfaction when a song suddenly grows loud and brutal following a softer stretch. We hear this on tracks like “Days Gone By,” which opens with some nifty fretwork before exploding into heavier riffs. Opia flexes their true muscle on masterpieces like “Man Proposes, God Disposes” and “Silence,” where Tereza Rohelova’s cleans croon a melancholic melody before delving into such despairing heaviness that it’ll have you aching from the hurt. The similarly astonishing “The Eye” flips the melodic element on its head with a chorus where Rohelova’s growls deliver the beauty over top a soaring keyboard part.

I Welcome Thee, Eternal Sleep by Opia

As great as the compositions are, the heartfelt performances by all musicians elevate the material. As frontwoman, Rohelova sets the tone with an electrifying performance on the level of My Dying Bride’s Aaron Stainthorpe. Her cleans take on a haunting quality that adds a touch of the gothic, and while her growls don’t reach the muscular tone of Stainthorpe, they are nonetheless effective in setting a tone of brutality. The dual guitar work from Phoenix Griffiths and Dan Tregenna also dazzle. Their fretwork is so effective and creative, whether it’s the mellower arpeggios or crushing riffs, that there’s never a dull moment or a lull. Marcelo Teixeira, behind the kit, is also solid. He swaps between gentle drum and cymbal taps to pummeling blast beats on a dime. He really goes all out on a climatic moment on the finale, “On Death’s Door Part II,” that’ll leave you breathless. Important to setting up the gothic tone is keyboardist Jorge Afonso Rodriguez, who adds melodic depth as well as atmosphere. There’s a depth to the songwriting that opens up rewarding new avenues every time I give the record another spin.

Having been released in late April, I missed out on the opportunity to review I Welcome Thee, Eternal Sleep by just a few weeks. But when I first heard it, I knew it was special enough to save for a TYMHM. A debut this powerful should not be missed, and having spent this extra time with it late in the year, I believe I made a mistake by not including it in my end of year list. This is a promising start for a group who, I hope, continues to craft songs together for a long time to come.

Songs to Check Out: ”Man Proposes, God Disposes,” “The Fade,” “The Eye,” “Silence

Old School Swedish Death Metal!!!

IMPURITY- 'The Eternal Sleep' by @impurityofficial & @hammerheartrecords666

#linsedunemanninen
#impurity
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https://www.instagram.com/p/DP62lxLDBUE/?igsh=MTZqNTc3OTBwdWludQ==

VINTERSORG - 'Vattenkrafternas Spel' by @vintersorgofficial & @hammerheartrecords666 _ #Review _ @twilight_magazin

https://www.twilight-magazin.de/reviews/musik-review/vintersorg-vattenkrafternas-spell

#linsedunemanninen
#twilightmagazin
#vintersorg
#hammerheartrecords
#blackmetal
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https://www.instagram.com/p/DPHA-GnjIZx/?igsh=b2M5OXpjdWtlZjBi

Vintersorg – Vattenkrafternas spel Review

By Dr. A.N. Grier

Many moons ago, I stumbled upon the 2001 Borknagar release, Empiricism, having never heard the band before. While that opened the floodgates that ultimately resulted in my absolute admiration of that band, it was also the album that introduced me to lead vocalist Vintersorg. While many would argue that Borknagar has better albums and better lead vocal contributions from artists like Garm and I.C.S. Vortex. Regardless of preferences and the flavor you seek, Vintersorg’s voice stung me and forced me to explore the man’s solo career. Similar in approach to Borknagar, Vintersorg injects far more of the Viking folkiness than Borky. While both are ultimately progressive, Vintersorg is not afraid to tinker with some strange influences and bizarre keyboard atmospheres. At one point, a song grooves without much deviation, and the next, you haven’t a fucking clue what’s going on. Like any band, not all of it works, but Vintersorg is a solid outfit that, if you’re into the style, never lets you down.

This year brings Vintersorg’s eleventh release since debuting in 1998. Which is fucking wild, making them one of the most prolific of the style. Yet, this is the longest we’ve waited for a new release in the band’s entire existence. After releasing the sequel to their debut record in 2017, things have been quiet on the Vintersorg front. But now they are back with Vattenkrafternas spel sets out to take that same infusion of the Vintersorg of old with the Vintersorg of new that we heard from Till fjälls del II. Which I can’t complain about, considering I love it when the band knocks out some of those nasty black metal licks. Not that they have abandoned those influences in the last decade or so, but it’s a touch more prevalent on Vattenkrafternas spel. But, how far will they go, and how well will it work?

“Efter dis kommer dimma” gets the album going right away, delivering that classic Vintersorg sound I love. Ripping through a simple black metal riff, encased in Vintersorg’s traditional oooo’s and aaaah’s, it charges ahead waiting for the harsh vocals to body slam it. They do for a bit before the gorgeous, clean vocals take over. Toss in some circusy key work and the introduction of some female vocals in the powerful chorus, and we have a fitting opener to this new record. “Malströmsbrus” is another highlight, utilizing a similar pace and vocal performance but with far more of the band’s signature folkiness. Particularly when it comes to Vintersorg’s unique vocal diversity that I can only describe as Viking “yodeling”. Like the opener, “Malströmsbrus” features a memorable chorus that alternates between harsh and clean vocals, but it takes a dark turn in the back half. While the drums and guitars fight to keep the sinister passage alive to the end, they finally succumb to the beauty of the chorus to conclude the track.

While the keys have a presence in these two tracks, they dominate “Ur älv och å” and the closer, “Ödsliga salar.” Orchestral keys introduce the track before the drums and guitars join in the fun. After folking things up, the band transitions into a tasty riff with big fucking vocals that continue to rise until the chorus soars. But like “Malströmsbrus,” dark clouds form as the song drags the listener through fever dreams before soaring to the clouds and “yodeling” the hell out of your soul. But the closer takes it all to its limits. The orchestral parts are almost too big at times, creating an odd, overpowering effect on the rest of the instrumentation. But it still works, unlike the song’s predecessor, “Skyrök,” which goes on far too long, with orchestration that is almost comical at times. Yet, this song still tosses in everything but the kitchen sink, overlaying clean vocals with harsh and guttural barks, supporting Viking chants, and, for better or worse, a guitar/keyboard solo duel.

Like “Skyrök,” “Från djupet dunstar tiden” is another that tries too hard. Instead of a bunch of keys and orchestration that becomes overwhelming, it’s the interpretation of the sleek piano piece by the drums and guitars that makes things weird. Toss in some circusy keys and Vintersorg’s odd vocal approach, and the song’s back half loses my interest. But these issues don’t cripple the album, and the overall flow is pleasing. And, unlike some of the complaints on this site about more recent Vintersorg records, you will not see a DR4 for Vattenkrafternas spel. While Hammerheart Records refuses to send a promo with a higher bit rate, at least the DR7 helps a bit. Specifically, when it comes to the rumbling bass in the closer. In the end, Vattenkrafternas spel is another solid outing from the band, and I’m glad to see them back after eight long years.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 192 kb/s mp3
Label: Hammerheart Records
Websites: vintersorg.bandcamp.com1 | facebook.com/vintersorganic
Releases Worldwide: September 26th, 2025

#2025 #35 #BlackMetal #Borknagar #FolkMetal #HammerheartRecords #ProgressiveMetal #Review #Reviews #Sep25 #SwedishMetal #VikingMetal #Vintersorg

Jord – Emellan Träden Review

By Killjoy

Jord began life in pretty much the exact way one would expect of an atmospheric black metal act. Founder Jörgen “Jurg” Ström would take daily walks through the forests of Sweden during fall 2020, during which he decided to start a nature-oriented musical endeavor. He quickly released two albums, Sol and Måne, on his own before recruiting guitarist Sebastian “Hravn” Svedlund and drummer Stefan Jansson, both of whom he had briefly performed with in Rimfrost and its splinter group Omnicidal. They worked together to create Tundra in 2023, and now look to extend their productive streak with Emellan Träden, Jord’s fourth full-length record in five years.

Jord is a sharp change of pace from the rowdy Rimfrost and Omnicidal, but by no means an unwelcome one. The earlier material that Jurg composed while living a nomadic van lifestyle is a faintly blackened post-rock, suggesting that he mainly listened to Alcest’s Kodama while driving. Emellan Träden retains a similar, albeit more refined, sound. Jord splashes in the same honey-sweet mountain lake as Einvigi or Vorna, the melodies steeped generously in the emotive splendor of Eneferens. The new band members appear to have brought more urgency and heft to Jord. Riffs are more plentiful and Hravn takes every opportunity to erupt in a lively guitar solo. Jansson’s drum beats are more forceful, pairing well with a bass tone that’s crunchy like crisp autumn leaves on the ground.

At first, Emellan Träden may seem more homogeneous than it actually is. Closer attention reveals ample variety, but more in the placement of the building blocks rather than the blocks themselves. For instance, the piano is central to Jord’s sound. Its simple yet wistful melodies underpin several songs (“Stay,” “King of the Night,” “Prinsessan Och Hästen”) in a manner like unto Kauan or Weltenbrandt. Jurg’s vocals are mainly a gravelly growl with a good amount of bite, but in “Stay” he adopts a sharper, rhythmic tone somewhat analogous to Vincent Jones (Æther Realm). His voice serves as an effective contrast with the female singing1 in “Hon Kallar,” which, when paired with a violi,n casts a hearty folk glow. Emellan Träden could have benefitted from a few more moments like this.

Emellan Träden strikes a decent balance between tranquility and heaviness. Jord seems most comfortable with a mid-paced tempo, where the emotional songwriting can shine brightest. The slight over-reliance on this trait might fall a bit flat for some listeners, but when Jord gets it right, the results are efficacious. “Vid Muren” starts off slow as an acoustic guitar intermingles with the electric, then gradually ramps up in velocity and intensity, culminating with a brisk guitar solo that could have sounded out of place without prior setup. Hravn’s soloing is one of the highlights of Emellan Träden, and “Den Brandgula Salen” in particular has the fingerprints of Rimfrost’s Expedition: Darkness all over it. The overall flow of Emellan Träden isn’t perfect, and at times a little jerky, but it’s nonetheless a treat to listen to as a whole.

While Jord’s origins may be stereotypical, its output quality is considerably above average. Emellan Träden is perhaps not the most original post-black record, but it’s among the better-executed ones I’ve heard in the style. Refreshingly, the melancholy and somberness are more of a tool than an end goal. The piano is a simple yet pleasant touch that goes a long way toward helping the music feel inviting. Emellan Träden is very good, but it feels like it’s missing that last little oomph of vitality to become great. Even so, it’s my idea of a perfect album to kick off this fall season.

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 192 kbps mp3
Label: Hammerheart Records
Websites: jord-northernsilence.bandcamp.com | facebook.com/jordsounds
Releases Worldwide: September 5th, 2025

#2025 #35 #Alcest #AtmosphericBlackMetal #Einvigi #EmellanTräden #Eneferens #HammerheartRecords #Jord #Kauan #Omnicidal #PostRock #PostBlackMetal #PostMetal #Review #Reviews #Rimfrost #Sep25 #SwedishMetal #Vorna #Weltenbrandt

VINTERSORG – Vattenkrafternas Spel
https://eternal-terror.com/?p=72316

RELEASE YEAR: 2025BAND URL: https://www.facebook.com/vintersorganic/

The first time I came across Vintersorg main man Andreas Hedlund’s fabulous singing was when I saw Borknagar perform live in Aalborg, Denmark, on the back of their splendidly melodic Quintessence album in what seems like another lifetime. But that was then, this is now, and the first new material by Vintersorg since 2017’s […]

#atmosphericBlackMetal #blackMetal #BORKNAGAR #folkMetal #folkMusic #folkRock #HammerheartRecords #otyg #progRock #vintersorg