Ok when did this happen and I'm so happy that ot works so fucking well as it does!

Not to piss on JJ performances, but a change in vocals where absolutely a fresh breath of air 🖤

#HarakiriForTheSky

#Spotify go drunk you arent home..

saying that #Metallica and #HarakirifortheSky are similar bands.. one is world class #Music the other is #Metallica ...

Reviewing albums explicitly labelled post-metal always seems to bring out my inner pedant. I know all genre labels are kind of meaningless, but post-metal specifically seems to simply be slapped onto anything with fewer riffs than your average atmo-black record, but a lot more cleans. Nonetheless, you know what it sounds like, in essence. If that essence had form, it could be Unverkalt on their third LP Héréditaire. Born in Greece and now split between Greece and Germany, Unverkalt’s self-styled avant-garde approach to post-metal takes its “heaviest and most heartfelt” form on this album, which also marks their signing with Season of Mist. Unknown to me beforehand, promotional references to Cut of Luna and Sylvaine in particular caught my eye, along with the art. I’m glad I picked it up because Unverkalt have something that approaches brilliance at many times. But in embodying the vague yet recognisable subgenre—and sounding good whilst doing it—Héréditaire fails to go further than the safety of the minimum required.

Ignore the artist touchstones in the promo; Unverkalt has little meaningful in common with them: a female lead vocalist is about where that starts and ends. If anything, the aura reflects more Harakiri for the Sky, Heretoir, or maybe Frayle. Lead vocalist Dimitra Kalavrezou sings with a distinctive, somewhat sweet intonation, and screams with articulate fierceness—impressive considering this is her first record providing harsh vocals. Her voice is joined by that of guitarist Eli Mavrychev and—in a late-album highlight—Sakis Tolis (“I, The Deceit”), often layered and intermingled to lend a chorus-of-many-voices air that can be quite powerful. This sense of solidarity and humanity ties into Héréditaire’s overt emotionality—easily its greatest asset—which revolves around mournful yet uplifting themes that rise from softly resonant notes into the (regrettably blurry) weeping of tremolo and chunky riffs. It’s through the continued swell and fade of each composition that we get to see the greats that Unverkalt is capable of.

Héréditaire by Unverkalt

Even as songs tend to repeat the same pattern, most manage to draw the listener in. Synths (“Oath ov Prometheus”), vaguely MENA-style saxophone (“Ænæ Lithi”), and sprinklings of piano (“Penumbrian Lament”), and humming strings (“Maladie de l’Esprit”)1 float in and out, and I only wish they were used more. Harnessing the drama of surging, urgent riffs (“Die Auslöschung,” “Oath ov Prometheus”) and heartfelt group screams and singing (“Death is Forever,” “A Lullaby for the Descent”), the iterated compositions win you over by sheer force. These plainly beautiful melodies and ardent vocal performances are inextricable, each lending the other a level of strength and gravity neither could claim in isolation. Some songs stand head and shoulders above others in this regard: “Die Auslöschung,” “Death is Forever,” “Maladie de l’Esprit,” and in particular, “I, the Deceit,” where Sakis Tolis brings not only his voice but a distinctly Scandinavian melodeath2 vibe to a song where he and Dimitria also duet in their shared native tongue. That song and many others are also examples of Unverkalt’s strange, quasi-pop-rock leanings that they incorporate through the use of bobbing, understated clean refrains that slingshot back into something heavier or more atmospheric (“Oath ov Prometheus,” “A Lullaby for the Descent,” “Introjects”). This weirdness sharpens Unverkalt’s style and works surprisingly well.

Héréditaire thus brims with feeling, strong melodies, and potential. Undeniably stirring at its best (“Die Auslöschung,” “I, the Deceit,” “Maladie de l’Esprit”), and with little idiosyncrasies of style giving it distinction, as a whole it feels oddly unrealised. One culprit is the shockingly compressed mix, which robs the guitars of their body and drums of their bite. Given the vocal range on display and the elements of instrumental experimentation (horns, piano, etc), this would sound far better with a roomier production. But it’s primarily the overly repetitive structure of the compositions that causes issues. Though the passion of the singing or screaming, and the force of a good melody cause you to briefly forget, every song follows essentially the same trajectory—or rather, the same sequence of things repeats across the album, sometimes spanning between songs. Whispers or quiet singing, a steady beat and post-rock atmosphere, black-adjacent speed and screaming, and a lapse into a swaying tempo. With nine tracks adding up to around 50 minutes, you start to notice.

I don’t want to rag on Héréditarire too much; it’s a good album. The fervency and melancholia of the vocal performances—from Dimitria especially—and melodies show the passion behind the project, and there’s a thread of individuality that could pull them out of obscurity. But for as expressive, intriguing, and compelling as their music often is, Unverkalt’s reluctance—or inability—to step outside of a template holds them down when they could be soaring.

Rating: Good
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Season of Mist
Websites: Bandcamp | Facebook
Releases Worldwide: February 27th, 2026

Way back in 2014, when Madam X and I were still just mutual admirers online, she decided to travel from her home country of South Africa to the US to catch the world-famous 70000 Tons of Metal cruise. This had the added benefit of allowing us to finally meet in person since she was flying into New York, where I worked as a regional warlord at the time. We ended up meeting, totally hitting it off, and yada-yada-yada, we got married and lived happily ever after. It took us way too long to catch a 70000 Tons voyage as a couple, but this year we finally did it! After hearing so much about the 70000 Tons experience from Madam X, other AMG staffers, and various random miscreants, I thought I had a pretty good handle on what to expect. I didn’t. This event is one seriously wild ride, unlike anything else I’ve ever encountered. It’s a strange alternate universe where time is the enemy, yet also seems to lose all meaning. You spend every waking moment running from set to set to catch acts you want to see, and in the little spaces in between, you eat, chug brewskis, and study the scheduling app to plot and plan where to run next. You quickly lose track of the days as you adapt to this new lifestyle, and before long, you start to prefer this kind of existence. It’s a 4-day musical treasure hunt with adventure (and alcohol) available around every corner, and you share all the madcap escapades with thousands of like-minded metal maniacs who all seem equally thrilled to be questing. What could be cooler than that? So what was it like to step aboard as representatives for Angry Metal Guy Industries? This is our story.1

Disembarkment: From Snowbound to Southbound

Mere days before we were scheduled to fly down to Florida, the massive bomb cyclone winter storm dubbed “Fern” clobbered most of the eastern seaboard and dropped 15 inches of snow on our Long Island hometown. This scrambled all the central, southern, and eastern US airports something fierce, and with news of thousands of canceled flights in the days leading up to the cruise, we stressed mightily that we might not make it to Miami to catch the ship. The 70000 Tons group on Facebook was littered with tragic tales of folks getting their flights cancelled multiple times, with some opting to skip the airports entirely and try to make it by car from faraway locales.2 As the Metal Gods willed it, we got to the airport, made it to a not-very-sunny Florida on time without any hassles. We reported to the Port of Miami the next day, and the adventure began!

Day One: The Aclimationing

After going through the boarding process and nominally attending our safety briefing, beers were enjoyed as Madam X and I toured our new home. Freedom of the Seas is a typical cruise ship, but it was immediately apparent that this would not be a typical cruise. Aside from the ocean of black shirts and battle vests, all the music played over the ship’s sound systems was metal. This was a surprisingly satisfying touch, as I always wondered what it would be like to have my preferred genre played in places like supermarkets, dentist offices, and malls. This shit should be normalized outside of a niche metal cruise event. Hell, even when you turned on your cabin’s TV, there was a channel playing videos of the bands on board 24/7, and when you went to the shopping or cruise map channels, the background music was 120% pure metal. Nir-fucking-vana, folks!

As everyone boarded, got settled in, and the initial drinks were drunk, the first bands went off at 5:30. As any good primate would do in such circumstances, I chose Vio-Lence since they’re a beloved band from my youth that I never got to see live during their heyday. Prior to the band taking the stage, a stocky, bald gentleman berated a group of people (myself included) for not wearing ear protection. This was laughed off with good nature, and then I realized the man looking out for our aural health was none other than David White, the vocalist of Heathen. It was cool to see the Heathen dudes there showing support for their fellow San Francisco thrashers, and it was a nice way to kick off the festivities. Vio-Lence came out shortly thereafter and proceeded to destroy everyone with loud, vicious renditions of the material off their timeless debut, Eternal Nightmare. They sounded much heavier than expected, and Sean Killian was a man possessed on stage as he delivered the hyperactive and voluminous vocal lines like it was still 1990. They covered almost all of their debut and tossed in “World in a World” and the Dead Kennedys’ classic “California Über Alles” for extra spice, and I left well impressed by how youthful and powerful they sounded.

From there we ducked in to catch Harakiri for the Sky, and though neither Madam X nor I were very familiar with them, they impressed with their atmospheric post-black sound. They reminded me of Agalloch enough to want to visit their catalog, and Madam X was very much enthralled. From there, it was straight to the big theater to see Soen, and I admit to never being much of a fan. They were polished and professional, but their style of radio-friendly hard rock didn’t really fit with the 70000 Tons vibe, and I was bored pretty quickly, though watching Martin Lopez (ex-Opeth) pound away on his kit was entertaining. Things improved greatly when we went on to catch Cemetery Skyline, the Scandinavian Goth rock supergroup. Though the material on their Nordic Gothic debut isn’t all that much harder than what Soen do, the energy generated by Mikael Stanne and Markus Vanhala (Insomnium, Omnium Gatherum) was off the charts. The band seemed to be having as much or more fun than the very receptive crowd, and Stanne in particular seemed to be thrilled to be there. The set was electric, and the energy from the crowd was palpable.

Next up was Kamelot, and though I’m a huge fan of their early albums, I haven’t loved the post-Silverthrone output much. The band did their best to put on a lively performance, and Tommy Karevik sounded fine, but the setlist, taken mostly from the last 3 albums, was somewhat uninspiring, and we left after 5-6 songs. After taking time to get food and brewskis, we headed back to the theater to see Anthrax. A beloved band from my youth, it had been a long time since I last saw them live, but they acted and sounded much the same, opening with the timeless “A.I.R.” and leaning heavily on their Spreading the Disease and Among the Living classics. At one point, Joey started singing Judas Priest’s “The Ripper” before launching into “Caught in a Mosh,” and Scott Ian dubbed the 70000 Cruise as “the world’s coolest prison.” These olde thrash dawgs can still bring it, and the packed crowd ate it up (I especially loved them busting out “Be all. End All” from their State of Euphoria platter).

Last up for our first night was a 12:30 am set by the weird and mysterious Kanonenfieber. Support for the band was apparent, with numerous folks onboard rocking plastic versions of the Pickelhaube (the WWI era pointy helmet worn by Prussian and German soldiers), and they’ve received a ton of love and overratings from the AMG staff these past few years. Somehow, though, I never completely bought into what band creator Noise was doing. Until I saw it all done live, that is. With a stage covered in sandbags and barbed wire, the masked trench warriors supporting Noise came out in matching WWI period soldiers’ clothing to play a somber, ominous intro before Noise himself burst out dressed in full Kaiser gear as things erupted into full boar black death insanity. While their style can at times come across as heavier, faster Rammstein, there was no denying how much punch they packed live, and Noise is a very animated, maniacal frontman. He had the crowd eating from his hand despite an entire set in German. Sure, the multiple costume changes were a bit over-the-top, but they fit the narrative of the horrors of war. Thus pummeled and pulverized, it was time to call it a day.

Day Two: Any Port in the Storm

Due to the huge storm that was sweeping up the east coast, the Captain decided that the ship would head straight to Nassau on Friday rather than Saturday, so rather than bands taking the stage by 10 am, they would hold off til 5:30, and we would be free to leave the ship in the morning and wander around the island. After a few hours sightseeing, we were ready for more molten metal and eager to see Orden Organ kick things off on the newly constructed pool deck stage. Frontman Seeb was injured before the cruise and unable to make the trip, so the band recruited Marc Lopes (Ross the Boss, ex-Metal Church) to fill in. As the ship headed back out ot sea, the band ripped through the big hits of Ogan’s catalog, opening with the massive “F.E.V.E.R.” Dan sounded powerful and convincing, though between songs, he made it clear he was still learning the songs, so not to judge him too harshly. Minus a few missed vocal lines here and there, he did a fine job, got the crowd involved, and seemed really thrilled to be there. As they tore through hits like “The Things We Believe in,” “The Order of Fear,” and “Heart of the Android,” a cold rain began to fall, and by the end of their set, it was getting pretty heavy on the deck.

We retreated to the safety of the sports bar for liquid courage before having to go back out in the rain 45 minutes later to see the mighty Amorphis. The pool deck stage was an open-air rain debacle as they came out, and even before Tomi could start roaring, he was drenched and waterlogged. Tomi always looks like a pirate, so it worked for him, and the band sounded as great as ever live, though I felt bad for Santeri Kallio having to constantly wipe off his keyboards as the rain crashed down. The set was tight despite the weather, and they hit all the high points, from gems like “Death of a King” and “The Smoke” to going way back to Tales from the Thousand Lakes to uncork “Black Winter Day.” Nothing can stop these all-weather Finns!

From the deluge, we retreated to see Wolf in the Deck 5 lounge, which is essentially a smallish room without any kind of raised stage. Wolf were game about it and delivered a rowdy set of their NWoBHM-meets power metal, but unless you stood directly in front of them, you couldn’t see jack shit. It was still a good show, aurally at least. We left a bit early to get back to the monsoon deck to see Beast in Black, but their set was moved to 4:15 am due to how awful the weather had become outside. This allowed for a quick detour to catch Ereb Altor at the rink stage, and they were exactly how I imagined they would be: brooding, heavy, and not fucking around at all as they clobbered the crowd with their Viking black metal. As I was swept away to the good olde days of blood eagles and rule by sword, I found myself wondering why the band didn’t also schedule a few sets for Isole, as the same guys are in both bands. Great show, lost opportunity.

From there we beered up and then caught death metallers Skeletal Remains back in the lounge, and they were appropriately heavy and caveman as fook. Perhaps the caveman shit went too far as they blasted way past their allotted time, and soon thereafter, rumors started spreading that a certain band member was getting hammered and way too touchy-feely with the female cruisers. This ultimately led to him being confined to his cabin and the band getting banned from future 70000 Tons events. After Skeltal Remains decamped, we stayed put in the lounge as up next was none other than the one, the only…Jag Fucking Panzer!! A huge staple of my teen years, these Colorado classic US power metal masters dropped the iconic Ample Destruction back in 1985, and I’ve loved them ever since, but never got to see them live. Because we were hanging around as the band set up, legendary vocalist Harry “the Tyrant” Conklin came over to chat and offered us “Tyrant coins,” which are basically a commemorative Jag Panzer challenge coin. We took them happily, and I tried not to be too fanboyish. I also got to speak with founding guitarist Mark Briody, and he was as nice a guy as there is. When Panzer took the stage, they proceeded to rip the crowd a new one with a string of timeless cuts from Ample Destruction and select gems from their later releases. I was floored by how powerful Tyrant’s voice was live, and this was my highlight of the trip thus far. I was very glad we were dead center front row for this one!

After that unbeatable show, we went back up to the pool deck for Kanonenfieber’s second set at 12;30 am, hoping the rain had finally died down. The fates smiled upon Noise, and the skies held off, allowing them to tear through another set of war-horror-themed Germanic madness with Noise commanding the crowd like a battle-hardened general. Though some of the same songs from the first set were done again, it still seemed like a different event entirely, and aside from the odd clash of the masked, uniformed mauraders and the happy, colorful pool deck decorations, it was an immersive open sea air experience.

Day Three: Arctic Winds

Day three was the first where the bands hit the stages early, with some starting at 10:00 am. We dragged ourselves out of bed, got caffenated and made it to the pool deck to see Hiraes take the stage. I hadn’t hear of this Germanic melodeath act until their frontwoman Britta Görtz appeared in the recent Kreator video for “Tränenpalast.” They had an energetic set, and Britta has a shockingly demonic voice for such a charmingly upbeat, tiny woman. Then it was off to catch Wolf in the vastly superior rink stage, and they once again brought the old school metal thunder and showed the crowd how to pull off guitar-driven 80s metal with a touch of Euro-power.

80s Bay Area techno-thrashers Heathen were up next, and they delivered their typically solid, burly set, with frontman David White doing his hyperactive best to stir the theater crowd to violence. Speaking of Vio-Lence, I spotted a few of them in the crowd returning the favor of support. I especially loved when Heathen busted out “Goblin’s Blade” from their 1987 debut, and that song has aged like fine wine. “Hypnotized” was also as great live as ever, and that song should be considered one of the great thrash epics of all time. As we left the theater, Madam X informed me that the vocalist for Heathen was built much like Noise from Kanonenfieber and might be him. And so began several days of speculation as to who the Kanonenfieber guys were and where they might be on the ship.

After food and a merch shopping break, we caught the immortal NWoBHM legends Satan at the rink deck. Long have I wanted to witness them live, and when I finally got my wish, they were even better than I hoped. The ageless Brian Ross sounded like a 25-year-old, hitting all manner of high register wails and screams, often going beyond what was required by the songs. The band was insanely frenetic in a live setting, with guitarists Russ Tippins and Steve Ramsey putting on a shred clinic, sounding like classic Iron Maiden at double speed. They put on a helluva powerful, no-BS metal show, and Ross is a character as a frontman.3

Off to the pool deck we went, thereafter to catch some of Firewind’s set. I wanted to see Gus G wank his way to the moon in person, and I was not disappointed. I was surprised to see Herbie Langhams wasn’t performing vocals, and instead, former frontman Henning Basse (ex-Brainstorm, ex-Metallium) was there on stage. Together they plowed through mighty tunes like “Ode to Leonidas” and “I Am the Anger,” with Gus showing why he’s considered one of metal’s top axe masters. The weirdo semi-death, kinda-Goth Tribulation were next. Unfortunately, they were derailed by technical issues and lost some equipment in transit, and opened their set 20 minutes late. Even when they finally got going, they were still plagued by sound issues. They did their best, but they didn’t get to present themselves properly, and things were a bit lackluster overall.

Next was the one and only time Madam X and I had to part company, as she was dying to see Beast in Black and I needed to see Jag Panzer’s second set and both went off at the same time. This Panzer set was a “drop the needle” on their classic album Ample Destruction, and I couldn’t miss seeing them run through it from start to finish. This time Jag Panzer got the rink stage, which is far better than the lounge, and once again they brought the crowd to their knees with masterful renditions of cuts like “Licensed to Kill,” “Warfare,” and “Harder Than Steel.” Tyrant again demonstrated the sheer power and force of his ageless pipes, and the band made sure to leave everything on the stage. I even ended up with an official Jag Panzer wristband in the process. Sometimes it’s good to meet your heroes. Madam X was equally blown away by the Beast in Black set, making me wish I had caught that show, too.

From there, I raced to the pool deck to catch Paradise Lost. The long-running lords of Peaceville doom put on a solid if somewhat low-key set, drawing from their vast catalog and collection of styles. It wasn’t the most animated set of the cruise, but the songs sounded great, and Nick Holmes was in good form. I appreciated that they didn’t shy away from their Depeche Lost era either.

After that, Anthrax took the pool deck stage, and lo and behold, bassist Frank Bello was missing in action. In his place was a guy who looked a whole lot like Joey Vera of Armored Saint, Fates Warning, etc. Turns out it was Joey filling in, as Frank had to leave the ship to get to LA to accept his Grammy for best Live Rock performance for Yungblud’s rendition of Black Sabbath’s “Changes” at the Back to the Beginning concert. I have no idea how Frank got off the ship or how they mailed Joey in, but he fit right in, and Anthrax did another classic set, even hitting “Deathrider” from the debut and “In the End” from Worship Music. Queens, NY, represent!

Day Four: Survive and Endure

As the rigors of nonstop metalling slowly began to set in, we arose on day four, opted to eat a quick breakfast, then jumped in a hot tub on the pool deck while they were fresh, clean, and not full of plus-sized, mega-hairy metalheads. Because of our early arrival, we only shared a tub with a very nice Dutch couple, and as we listened to Xandria playing their morning set about 100 feet away, we discussed the Dutch metal scene, the Roadburn festival, and how The Gathering is superior to most other similar acts. Xandria aren’t my cup of tea, and I couldn’t see them from my tub, but they sounded decent enough for a symphonic power metal band.

After tub time, we caught Tyr on the pool deck as they brought Faroian thunder to the high seas. Their burly sound translated well to the setting, and it was all beefy tales of heroism and swordplay, with “By the Sword in My Hand” and “Blood of Heroes” hitting extra hard. It was extra cool to see Jag Panzer’s Mark Briody right up front in the crowd, throwing horns and celebrating the next generation of metal.

Later on, we caught the second set of Satan, and again they burned the stage down around them, then we wandered into the last 15 minutes of Darkane’s set on the pool deck. After that, Madam X convinced me to try Groza’s set, which was a shockingly harrowing blast of misanthropic black metal performed by dudes in hoods who were from Germany. They impressed and furthered the ongoing Kanonenfieber conspiracy mill considerably.

One of the highlights of the event for me was seeing ultimate underdog 80s thrash act Hirax take the stage on the pool deck as the weather turned windy and cold again. Hirax released 2 obscure albums in the mid 80s that I dearly loved because they were so different from everything else out there. Katon Depena was a truly unique vocalist, singing in a strange up and down pattern over short thrashy songs that verged on grindcore. It was both odd and endearing, and my high school friends and I constantly imitated his wonky singing. They were too cult to ever tour near us, so I always wondered what they would be like live. When Hirax stormed the stage, they were everything I expected and then some. Katon was a complete maniac, running all over, climbing the amps, jumping into the crowd, taking a big fur coat from a fan, and rocking it on stage, all as he ripped through a succession of lightning-fast classics. It was one of the craziest sets of the cruise, and the crowd was eating it up. Hail Hirax.

As the ship steered toward the setting sun, Finnish melodoom gods Insomnium took the pool deck stage to deliver a classically melancholic but heavy set as the weather got colder and colder. They were tight, polished, and amusingly enough, complained about how cold it was on the deck. As they started to play “Down With the Sun,” the sun was slowly disappearing below the watery horizon, and with the cold air blowing, it felt like a weirdly Finnish moment on what was billed as a Caribbean cruise.

In the ultimate whiplash kind of switch up, we raced from the Insomnium set to witness Rhapody of Fire launch their nerd-raging dragon power all over the theater stage. As they catapulted into cheddar manufacturing mode, the crowd brandished waves of inflatable swords and hammers like a full-fledged LARP was about to break out. In the middle of the raging orcstorm, vocalist Giacomo Voli went completely bonkers, wailing, screaming, stirring the crowd up, and even stage diving and crowdriding. Somehow, he kept singing as he was held aloft by the rowdy crowd and pummeled with inflatable melee weapons.4 Though I’m not a fan of the band, I couldn’t deny the entertainment factor and the insane charisma of Voli.

The festivities wound down with a 12:30 am Dark Tranquillity set on the pool deck, and as always, Stanne and company were the consummate professionals, doling out the classic melodeath goods as only they can. Stanne sounded superb and in his glory, and the band put on an appropriately massive cap to a great cruise. After their set, Andy, the man behind the whole event, took the stage to thank all who attended and braved the often-bad weather to enjoy the massive metal spectacle. It was a bittersweet moment, as the 4 days flew by in a crazy blur and now were coming to an end.

Final Thoughts:

70000 Tons of Metal is an extremely well-organized and run event, and it was attended by a large assortment of metal fans who came to have a good time and make memories. I saw no fights, no really bad behavior (aside from certain band-related allegations), and was shocked that I saw so few people hammered into an alcoholic stupor. If you haven’t considered making the trip, you should. It can be pricey, but it’s an amazing time and unlike anything else you’ll ever experience. I went expecting it to be something you do once, but now I want to make it a yearly tradition. I highly recommend it, even if you only like half of the scheduled line-up. Thank you to the ever-amazing Madam X for organizing the trip for us and for being the best possible partner to share the insanity with. You complete me.

Funniest Moment:

-When Madam X and I were waiting for an elevator, one opened up, and standing right in front was Brian Ross of Satan. Madam X was star-struck and loudly exclaimed, “SATAN!” Mr. Ross smiled and waved.

-Everyone complaining there was no Kanonenfieber meet and greet.

Bands We Missed:

Vader and Saturnus were cursed with late-night slots we just couldn’t get to. We feel great shame.

Biggest Gripe:

The weird and draconian merch rules made even a simple viewing of the band’s wares a huge hassle.

Biggest Surprise:

I wasn’t even close to being the oldest person there!

Things I’ll Miss the Most: Those stupid little pizzas served at Sorrento’s. They aren’t much different from store-bought frozen pizza, but the stuff becomes addictive after eating it for a few days, like those dumplings in Old Boy.

Post Ship Depression Syndrome:

It’s a real thing. You feel out of sorts and miss the weird pacing and running between sets all day and night.

Seeing an album described as “blackened death metal” almost always gets my juices flowing. The problem with that tag, however, is that it can mean anything from weird avant-garde blackened dissodeath (yuck) to Christcrushing necronuclear Blasphemy-worshipping goat metal (fukk yeah!!). But Bloodred are neither of those things. This German band is technically a duo but is really more like the solo project of vocalist, guitarist, and bassist Ron Merz, who’s been enlisting the talents of drummer Joris Nijenhuis (ex-Atrocity, ex-Leaves’ Eyes) since the band’s first releases back in the mid-2010s. I admittedly hadn’t heard of these guys when I saw their name crop up in our promo bin, but I decided to give their back catalog a whirl when I saw Amon Amarth was tagged as a similar artist on Encyclopedia Metallum. It turns out that comparison isn’t entirely off the mark, as the group’s three prior albums generally do sound like a band capitalizing on Amon Amarth’s more epic moments while increasing the black metal influence and stripping away a lot of the melody.

With fourth album Colours of Pain, Ron has again kept himself within the blackened death sphere, this time by producing what’s essentially a modern black metal album that still contains enough variety and heavier flourishes to keep it from being trapped solely within that genre’s confines. Roughly half the songs here are similar to the opener, “Ashes,” which faintly recalls Satyricon in how it bobs forward on rocking rhythms that support Ron’s wretched, raspy growls and headnod-worthy riffs. The song is a decent tune with guitar-work that’s clear and assertive, if somewhat unremarkable. Of the other songs in this style, “Mindvirus” and the closer, “Resist,” are the best of the bunch, with snappy mid-tempo drumming and catchy, “riding to war” riffs that are sure to earn them a spot on my future jogging playlists. In much of the record’s second half, things drift more into post-black metal territory, with tracks like “Death Machine” using slightly slower passages, flashes of melody, and high-register guitars to conjure the melodrama of stuff like Woods of Desolation.

On paper, Colours of Pain seems to be a pretty diverse set of songs. Yet, somehow, it still comes across as oddly homogenous. In part, this issue may be caused by Joris’s drumming: While I enjoy the man’s beats, I wouldn’t call his performance particularly dynamic, with much of the album cruising pleasantly along at a similar tempo. As a result, many of the songs end up having a similar overall feel, even when the underlying riffing is quite different. The blame is not solely his, however. While Ron employs some decent riffs here, he never delivers anything that truly grabs you by the balls, resulting in an album that requires a decent amount of undivided attention to reveal its charms. The production has a clear and balanced sound that reminds me of Art of Propaganda signees like Harakiri for the Sky, which works for Bloodred’s style but exacerbates the album’s homogeneity a bit by coming across just a touch too loud and clean for me.

Despite these shortcomings, Colours of Pain remains an enjoyable release overall, and its highlights become increasingly apparent with repeated listens. The title track, for instance, shifts between a nice shuffling, mid-tempo riff and more traditional black metal hammering, resulting in a cool song that sounds something like a socially-conscious version of Belphegor. “Heretics” is another good cut, featuring an odd sidewinding riff and a particularly combative tremolo line. The backing operatic vocals in “Winds of Oblivion” and the climax of “Ashes” are also a nice touch, with the former track also serving as one of the album’s only true “slow” songs (making it a perfect lead-up to the boisterous closer, “Resist”).

Colours of Pain is the type of album that you can put on for any extreme metal fan, and while they may not love it, they almost certainly won’t hate it. Although initial impressions suggest an album that’s too inoffensive for its own good, repeat listens reveal a record with enough quality ideas and variety to keep it from being just extreme metal elevator music. What’s more, a perusal of Bloodred’s website shows that Ron seems quite passionate about the music he makes and the politically tinged lyrics that color these songs. In all, if you’re looking for a modern extreme metal album that goes down easy, you could do far worse.



Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Massacre Records
Websites: bloodred.bandcamp.com | bloodredband.com | facebook.com/bloodredofficial
Releases Worldwide: February 13th, 2026

#bandcampFriday 🤩

#harakiriforthesky #riotcity #hallas #nanowar_of_steel

#bandcamp

#NowPlaying:

MØL: DREAMCRUSH

https://album.link/t/490065965

#Blackgaze #BlackMetal #PostBlackMetal

FFO #Deahheaven #HarakiriForTheSky #WhiteWard

Hurtling into the new year with his heart on his sleeve (and bones on his shirt), Ellende’s one-man maestro L.G. bids to set a high bar for 2026. Zerfall, the band’s first new material since 2022,1 continues where Ellenbogengesellschaft left off, further polishing the allure of classically infused black metal. Conjuring comparisons to compatriots Harakiri for the Sky and Weltenbrandt,2 Austria’s Ellende lives somewhere between post and depressive black metal, unapologetically tackling poignant themes with passionate performances and crisp clarity. Translating to ‘decay,’ Zerfall examines the agony of a life fractured by loss and the painstaking endeavor to reclaim inner peace afterwards. Does Ellende’s latest prevail in capturing the haunting sting of tragedy and the catharsis of acceptance, or does it Zerfall short?

The aural evolution from Ellenbogengesellschaft to Zerfall flows like a frosty stream, with stirring strings and restrained piano evoking a sophisticated grace alongside Ellende’s more traditional blackened wrath. In many ways, the mettle that pushed Ellenbogengesellschaft to new heights shines even brighter here, packing more texture and ideas into Zerfall’s composition. In particular, the dedication to vocal variety begets a more nuanced performance and adds enticing wrinkles to an already dense soundscape. Choirs, whispers, and rasps swirl together in an eddy of sonic splendor, and as I revisit past Ellende albums, this dimension more than any other stands as a testament to how L.G. continues to find ways to refine and enrich his project’s musical identity.

Zerfall by Ellende

Performances across Zerfall dazzle, with the overarching imperative to buoy emotional impact before all else. While there’s little here to sate those who obsess over technical wizardry, I’ve rarely been so in tune with the spirit of music without understanding any of the words.3 Ellende’s central narrative on Zerfall follows a rollercoaster of emotional states, ranging from intense passion (“Wahrheit Teil I,” Wahrheit Teil II”) to sullen contemplation (“Übertritt”) and adventurous perspective-seeking (“Reise”). The music bolsters these themes, as resonant bass plucks support moments of introspection while anger and pain manifest in blackened wails (“Ode ans Licht”). Ellende’s fusion of feeling into melody sparkles with vitality, where even the two bonus tracks preserve (if not outright enhance) Zerfall’s tender luster. Throughout, dreamily sustained chords entwine with buzzing tremolos, drenching the album with atmosphere, while soulful guitar leads emerge with megadoses of seasoning to ensure proceedings are never bland (“Wahrheit Teil I,” “Zerfall”). Instrumentally, Zerfall presents a lush experience that rewards multiple listens to unravel and appreciate its complex flavors.

Besides Ellende’s lyrical and musical cohesion, Zerfall offers an organic production and boasts a track list that wards off weak songs as well as standout moments. The bright production and mix allow the intricate web of instrumentation to breathe, from the sharp percussive click of a pick on acoustic guitar to the slight warble of a bow’s stroke across a violin. No track is dispensable, either—opener “Nur” is closest, yet it effectively establishes Zerfall’s mood at the outset. What’s most telling as I examine my time with Zerfall is the consistency with which I’ve listened to it, both actively and passively. Every track has the same number of plays, and when I reflect on why, it’s clear that while no track should be skipped, no individual moment galvanizes me to spin it again outside of its surrounding context. For an album so steeped in impassioned expressionism, Zerfall never quite attains the zenith of drama needed to fully achieve a euphoric climax of mounting tension and emotion, and this missing ingredient holds it back from greatness.

In his review of Ellenbogengesellschaft, Doomy observed that each release hones Ellende’s songwriting. Zerfall is no exception, taking what worked on prior albums to cultivate a more mature iteration. What began as L.G.’s outlet for introverted misanthropy has developed into a layered project that wields pathos like a knife, cutting to your emotional core with a deft flick of the wrist. Musically, I remember 2025 getting off to a slow start, and Ellende excites me for what 2026 has in store. Even if the coming year doesn’t live up to expectations, Zerfall establishes a surefire safety net of quality and feels.

Rating: Very Good!!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: AOP Records
Websites: Bandcamp | Facebook
Releases Worldwide: January 2nd, 2026

Heavy Metal Radiohead cover you say?

I’ll check under the shelf… oh here’s one for ‘Street Spirit’.

Will that do?

https://youtu.be/nl1LDdcgBjY

#Radiohead #HarakiriForTheSky

Muchas gracias, Matthias de Harakiri for the Sky. Un verdadero placer conocerte y conversar contigo. ¡Gran energía y gran mente detrás de la música! 🤘🔥

Thank you so much, Matthias from Harakiri for the Sky. It was truly a pleasure meeting you and having such a powerful conversation. Amazing energy, amazing artist! 🤘🔥

#HarakiriForTheSky #Matthias #MetalCommunity
https://www.instagram.com/reel/DRbQQL2Df2X/?igsh=MTJodGR0bzAxMTMyMw==