Public opinion on Moscow’s once one-man black metal project Malist varies quite a lot more than I realized. While several at AMG HQ regarded Ovfrost’s flagship project with a fair amount of praise, others feel most of his material is by-the-numbers melodic black metal. This variation of reception applies album to album as well, which makes pinning down a crowd favorite from Malist’s discography an interesting discussion. I happen to feel Malist are remarkably consistent—albeit somewhat generic—churning out solid slabs of melodic black metal that straddle dour moods and bouncy tunes with poise. Now boasting a full lineup, fleshing Malist out to six fully minted musicians, sixth opus Eternal Echo of the Fall achieves the same feat once more.

Malist remain as reliable as ever. Perhaps a touch bouncier than they’ve been in a minute, recalling the bopping quality of past hits like “Timeless Torch,” Eternal Echo of the Fall opens up with high-energy romps that contrast nicely with their familiar thematic pall. Ovfrost still handles most of the writing here, so long-time followers of the band won’t be caught off guard by Eternal Echo. However, a new vitality blooms in these eight new tracks. As a result of the current band lineup’s various contributions, a sense of immediacy and a burst of vibrancy enlivens everything from songwriting to performance compared to Eternal Echo’s more melancholy predecessors.

Listeners won’t need to wait long to appreciate this refreshing shot of adrenaline. Opening duo “Eternal Echo” and “Through a Distorted Gaze” launch with a blaze hot enough to melt my skin, marking two of Malist’s most successful tracks to date. “Through a Distorted Gaze” especially impresses, boasting a thrashing speed that would feel alien were it not for those trademark emotive leads and weeping melodies that weave in and out of writhing riffs. Slower and more atmospheric items restore that ominous sense of dread and reclusion that listeners expect from Malist at the center of the record, but even longer-form tracks in this space (“Snows of Remembrance”) offer more intensity, chunkier riffs, more accessible melodies, and hooks than usual. These qualities allow latecomers like “To Walk the Path of the Dead” to shine, deftly balancing crushing heft, exuberant pacing, and soaring melodies.

An impressive outing for a band six albums in, Eternal Echo of the Fall’s major fault is that it doesn’t do anything unpredictable or novel, and isn’t so excellent as it is to overcome that shortcoming. Malist competes in a competitive, saturated field, which only makes their task an even greater challenge. Valiant efforts in its high-octane outbursts (“Through a Distorted Gaze,” “Her Dark Backwater,” “Above the Mists of the World”) as well as its more introspective spells (“Snows of Remembrance,” “The Hird”) push hard to propel Eternal Echo to the front of the pack in the context of the band’s own discography. Against their peers, however, Malist haven’t found that intangible quality or that undeniable execution which would make them stand out. Its flat and plastic production doesn’t help matters much. Wholly lacking in low-end body and short on fullness across the midrange, Eternal Echo of the Fall sounds professionally polished but tinny and flimsy, not unlike cheap chrome. It’s not a deal-breaker, and at least all instruments can be heard. Nonetheless, improvements to the frequencies that lost ground in the engineering suite would ensure a sound that gives proper weight to these songs.

As it stands, Eternal Echo of the Fall is more than a competent, but by-the-numbers melodic black metal record. It is, however, not quite memorable or striking enough—nor does it offer a certain level of excitement or originality—to distinguish itself with distinction amongst the horde. Hints of that distinction in its best cuts give me hope that Eternal Echo heralds a new era for Malist, in no small part due to the fresh talent newly inducted into the project. With this in mind, I offer a qualified recommendation to try Eternal Echo. Should you be an existing fan, or a newcomer curious to add another entry into your rotation, you might not be blown away, but you’ll certainly not be disappointed. In a genre as overpopulated with talented musicians and songwriters as this, it’s hard to ask for more than that!

Rating: Good!
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Flowing Downward
Websites: Bandcamp | Facebook
Releases Worldwide: June 12th, 2026

Primal Cult - Philoctetes [2026, Greece, Melodic Black Metal, Hellenic Black Metal]

https://youtu.be/Cl6otsFBWgw

On song.link: https://song.link/de/i/6770621096

… from the album *Dark Passage* by Primal Cult: https://rateyourmusic.com/release/album/primal-cult/dark-passage/

#MelodicBlackMetal #HellenicBlackMetal

STORMKEEP - The Black Dragons of Iswylm (OFFICIAL VIDEO) [2026, CO, Symphonic Black Metal, Melodic Black Metal]

https://youtu.be/y4Pntm7CLGg

On song.link: https://song.link/de/i/1894088823

… from the album *The Nocturnes of Iswylm* by Stormkeep: https://rateyourmusic.com/release/album/stormkeep/the-nocturnes-of-iswylm/

#SymphonicBlackMetal #MelodicBlackMetal

''We heard a saying a few weeks ago by the Gazan reporter that really effected us. She talked about how you can’t hear anything before the bombs fall, you only see the lights in the sky, and if you hear the sound, you know you’re safe for that time.''

Forces of disbelief flourish
When power use its torch
Trust burnt since long
Only ashes remains

There’s no sound
Only silence
As light comes first
Lights - Silence
Lights - Despair

If you’re reached by the sound
It’s not your time
Lights - Silence
Lights - Ruins

Forces of disbelief flourish
When power use its torch
Burning the oppressed
Only dust remains

In this time of human distortion
History tells a story to the deaf
As the eyes choose to believe what is near

The darkness is not what scares
It’s the lights
A letter in the sky
How can the world be so numb
To human dispar

Black Birch - Lights

https://blackbirch.bandcamp.com/track/lights

#PostBlackMetal #MelodicBlackMetal

❗ Mélodies, riffs épiques et guerriers pour du Black Metal Mélodique "à l'ancienne" avec "Determined to Death and Beyond" signé 𝗔𝗿𝗰𝗵𝗮𝗶𝗰 𝗢𝗮𝘁𝗵 ...

https://www.coreandco.fr/chroniques/archaic-oath-determined-to-death-and-beyond-10842.html

#review #chronique #blackmetal #melodicblackmetal #belgium

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.