Can't say for sure if they've got a drummer there or a blacksmith, but I dig it.

https://sentientruin.bandcamp.com/album/unholy-barbaric-hymns

#BlackMetal #DeathMetal #OccultMetal #WarMetal

#NowPlaying #TheMetalDogIsNowPlaying
#KingDiamond
The Spider's Lullabye
Room 17

🎸 Live Stream:
https://nowplaying.themetaldog.net/

YouTube Search:
https://youtube.com/results?search_query=King%20Diamond+The%20Spider%27s%20Lullabye+Room%2017

LastFM:
https://www.last.fm/music/King+Diamond/_/Room+17

Lyrics:
https://genius.com/King-diamond-room-17-lyrics

Listen on major platforms:
https://song.link/s/0q0490lcIICqD7lSrLSh3Z

#KingDiamond #MichaelDenNelson #AndyLaRocque #MikeWead #JimKennedy #HeavyMetal #Metal90s #OccultMetal

#NowPlaying the recent album "Sorrows" by the band #Cwfen from the #UK

#DoomMetal #Doomgaze #GothicRock #OccultMetal #AlbumsOf2025 #FemaleVocals

Personal Rating: 8 / 10

Recommended Tracks: "Whispers", "Reliks", "Bodies", "Wolfsbane", "Penance", "Embers", "Rite"

https://cwfen.bandcamp.com/album/sorrows

Witchcraft – Idag Review

By Mystikus Hugebeard

Once, Witchcraft were a prominent figure in the analog rock/metal scene, mentioned alongside acts like Orchid, Uncle Acid and the Deadbeats, and The Sword. They treated us to some right bangers like 2005’s Firewood and 2012’s Legend, and I was eagerly anticipating whatever might come after 2016’s Nucleus. What eventually followed was the acoustic and intensely somber Black Metal, which struck me as less of a Witchcraft album and more as a hyper-personal form of artistic expression by multi-instrumentalist frontman Magnus Pelander, something meant for him and him alone. It’s an honest and compelling artistic work, but it can be difficult to recall amidst the context of Witchcraft’s proggy occult doom/rock discography. Now, with two fresh band members, Witchcraft have reincorporated the lo-fi buzz n’ fuzz of their analog roots in 2025’s Idag.

When I first snagged Idag, I was struck by Witchcraft’s label change from Nuclear Blast to Heavy Psych Sounds, but it becomes immediately apparent as to why upon first listen. Idag is notably fuzzier than Witchcraft’s previous work, leaning heavily into the stoner-doom sound. In some cases, this manifests as Pentagram-adjacent chugging doom in the beefy riffs of “Burning Cross” or the slowly building grooves of “Idag.” The Coven-meets-Sergeant Thunderhoof nature of proto-Witchcraft is still present in the faster grooves of “Drömmar Av Is” and “Drömmen Om Död Och Förruttnelse,” though they haven’t escaped a healthy coat of fuzz. Some moody Black Metal acoustics return as well, given a refreshing shot of vigor without sacrificing atmosphere like in “Christmas.” Idag is all around well-produced and well-performed; it’s easy to buy into Idag, whether you’re a newcomer or returning fan.

Then again, it’s never been hard to buy into Witchcraft, because Witchcraft have long since established a pattern of writing rock solid music, and that’s exactly what Idag is: rock solid. The best songs in Idag will often find a strong core groove and then let it carry the bulk of the weight. “Drömmar Av Is” is a punctual tune that lands on a critically funky groove right out of the gates and hammers it home with minimal distraction. This song contrasts well with the more varied tunes like the eight-minute opener, “Idag,” which follows a similar philosophy of sticking to strong core ideas, all of which are given appropriate time to germinate with a delightful tempo increase in the latter half to keep the song from stagnating. Idag’s riffs might not always be the most audacious or inventive riffs ever made, but they’re effective and catchy. Then again, Idag is undeniably elevated by Pelander’s killer pipes. He’s the sort of singer you could recognize in anything, and his rich voice adds a lot of character to the music. Unintentional or not, I enjoy the detail of his voice sounding oh-so-slightly off-key with some of the guitars in “Om Du Vill.” It’s a nice touch of authenticity and reintroduces some of the vulnerability from Black Metal.

That authenticity also strikes at the chord of what makes Idag work for me; to my ears, from a songwriting standpoint, Idag is the sort of thing one might hear blasting from a garage, whereupon you’d find a couple of lads bangin’ on their instruments in ways that Just Sound Neat. That unrefined quality, that coarseness, is something I cherish, and Idag scratches that itch. The lead guitars across Idag howl with warbling feedback, and I love the unrestrained summer fun of the drum and guitar fills in “Irreligious Flamboyant Flame.” It is a bit of a double-edged sword, though. I appreciate the grime, but I also recognize that Idag lacks the consistency and focus to truly hook me like Legend did. It’s not like Witchcraft are suddenly a “jam band” on Idag, but it’s giving the moniker some funny looks. There are just enough frustrating oddball choices to be noticeable. As a comparatively longer song and practical closer, “Spirit” lacks the escalation that made “Idag” work, and the chorus in “Irreligious Flamboyant Flame” is a bit limp. Furthermore, both “Gläntan (Längtan)” and the actual closer “Om Du Vill (Slight Return)” feel out of place and borderline pointless.

I was lukewarm on my first spin of Idag, but it has grown on me. It might not be the most essential Witchcraft record, but it is nevertheless worth the time of any Witchcraft fan or purveyor of fuzzy stoner jams. But no matter how I felt about Idag, it wouldn’t have been a more potent feeling than my relief that Witchcraft is still making music. I will always look forward to their next release.

Rating: 3.0 / 5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Heavy Psych Sounds
Websites: facebook | bandcamp
Releases Worldwide: May 23rd, 2025

#2025 #30 #BlackMetal #Coven #Firewood #HeavyPsychSoundsRecords #Idag #Legend #May25 #OccultMetal #OccultRock #Orchid #Review #Reviews #SergeantThunderhoof #StonerMetal #StonerRock #TheSword #UncleAcidAndTheDeadbeats #Witchcraft

Savage Master – Dark & Dangerous Review

By Kenstrosity

I had the pleasure of catching Savage Master live during January’s Heavy Mountain Music Festival. Eight straight hours of killer music, with no duds across the entire bill, played a key role in rekindling my lust for live music after the hurricane tried—and failed—to wash away my spirit. For their part, the Kentucky occult/heavy metal quintet were one of the best acts of the night, brimming with classic crowd-rousing energy and sparkling stage chemistry. However, their reputation for varied reception by our Ape ov Steel on this blog precedes them. Can they recover some devilish grace with upcoming fifth record, Dark & Dangerous?

Citing such reference points as Cirith Ungol, Bitch, and even Saxon, not much about Savage Master’s BDSM-based, Satan-seducing approach to heavy metal changed since With Whips and Chains and Myths, Magic & Steel. Guitar and vocal forward, Dark & Dangerous doubles down on catchy riffs, shreddy solos, infectious verses, and sticky choruses delivered with the same occult swagger I love about acts like Saturday Night Satan and Avatarium‘s bouncier material. Challenging the status quo of heavy metal at large isn’t on Savage Master’s agenda, but rollicking tracks like “The Edge of Evil” suck you into a hellish party vibe that doesn’t want to let you go until it has your body and soul for itself for all eternity. In other words, Dark & Dangerous is oodles of fun, and it gives the impression that Savage Master has as much, if not more, fun than you.

Despite Stacey Savage’s sultry, powerhouse delivery, it is Julian Fried’s and Larry Myer’s dueling axe antics that lock the devil’s seal on Dark & Dangerous. Much to my great joy, their shimmery leads and emphatic solos on record match the sensually charged aura they exuded on stage. Standout tracks in the middle of these tight 38 minutes, “The Edge of Evil,” “Devil’s Child,” and later highlight “When the Twilight Meets the Dawn” showcase their enthusiastic fretwork best. In these, bright and ebullient melodies twist their forked tongues against the scalding flesh of heated solos and trotting riffs such that my attention never wavers from such carnal debauchery. Yet, Savage’s venomous wails and full-bodied belts still ring out with clarity, solidifying her role as the troupe’s merciless dominatrix (“The Edge of Evil,” “Never Ending Fire,” “I Never Wanna Fall in Love”). Adam Neal’s bass guitar offers fun bounce to that low-end counterpoint that juggles rhythmic duties with drummer John W. Littlejohn’s youthful gallops on the kit, maintaining ample momentum to keep Dark & Dangerous from losing any steam (“Never Ending Fire,” “When the Twilight Meets the Dawn”).

While it is evident that Savage Master clearly have a ton of fun writing and playing this well-worn variety of heavy metal, as many individual cuts on Dark & Dangerous fade out of memory as those which brand the gray matter for all time. Where bar-crawling rockers “Devil Rock” and “I Never Wanna Fall in Love” maximize the sweet and sticky hooks of 80s hair and glam, solidifying their eternal presence in my mind, other cuts like “Warrior’s Call,” “Black Rider,” and “Screams from the Cellar” fail to make any impression at all. These tracks follow a similar formula as stronger options like “The Edge of Evil,” but distinguishing characteristics or cleverly packaged writing come at a steep premium, squandering any chance of being remembered. Overblown ballad closer “Cold Hearted Death” attempts a slower and more somber number, but it, too, falls flat outside of its powerhouse chorus and satisfying final-third solo.

Perhaps most damning of all, at the core, Dark & Dangerous is an extremely simple, by-the-numbers affair. As fun as this record can be in the moment, it’s hard to argue that it competes well against standout contemporaries like Tower or Saturday Night Satan in this competitive field. Several cuts off Dark & Dangerous are a shoo-in for any quality heavy metal playlist, but as an album, it’s but another point in the pentagram. Still, Savage Master’s fifth is worth a spin or two for a good time. And if you ever get the chance to see them live, don’t miss!

Rating: Mixed
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Shadow Kingdom Records
Websites: savagemasterofficial.bandcamp.com | facebook.com/savagemasterofficial
Releases Worldwide: March 28th, 2025

#25 #2025 #AmericanMetal #Avatarium #Bitch #CirithUngol #DarkDangerous #HeavyMetal #Mar25 #OccultMetal #Review #Reviews #SaturdayNightSatan #SavageMaster #Saxon #ShadowKingdomRecords #Tower

Dewfall – Landhaskur Review

By Kenstrosity

Italian black metal quintet Dewfall aren’t what they used to be. According to Metallum, their early work fell under the traditional heavy metal umbrella, placed most closely alongside Iron Maiden. To listen to them from 2018’s Hermeticus onward, you’d be hard put to find that heritage beneath a thick fog of icy tremolos, vicious rasps, and machine-gun double-bass blasting. And yet, that sophomore release is what put them on the map, and on Naturmacht’s well-regarded roster of quality bands. It also attracted my attention, sneaking its way into various playlists and rotations over the last six years. And now, their third installment Landkhaskur looms just over the horizon. What fresh hell will this bring?

Those who slept on Hermeticus missed out on an engaging if a tad bloated, black metal experience. While their core sound and style at that time rarely connected to Iron Maiden, Hermeticus’ epic feel and dramatic flair in their songwriting and melodic tendencies retains a certain kinship with those heavy metal legends of olde. Landhaskur is much the same in that regard. Brooding, ominous, and richly composed, Landhaskur pushes the Death-tinged melodic black metal formula presented on Hermeticus (just check out the incredible “Moondagger”) further into the icy void. More specifically, Landhaskur is a colder, more ritualistic affair, leaning strongly into Paara‘s occult character and blending it with Aklash‘s mystical idiosyncrasies. Dewfall stop short of wholly transforming themselves again, but this gentle evolution simmers just beneath their story-driven, riff-and-lead focused black metal surface.

Dewfall’s strongest moments have always been those where unorthodox instrumentation and musical adventurism take the spotlight, and that remains true here. “Hrings” shines with a brooding, beautiful cello introduction, falling into a dark jig laden with smooth baritone choirs, storming gang shouts on top of tumbling drums, and layered acoustic accouterments making vital contributions to the frosty tremolos and rasping screams that raze the ground beneath my feet. “Lackeskur” sees the triumphant return of the mouth harp into Dewfall’s instrumental repertoire. An addition which almost single-handedly elevates this standout track to album highlight status, that mouth harp works wonderfully inside the song’s jaunty bounce, energizing listeners for the epic, charred journey that is nine-minute closer “Laur.”1 “Maska” introduces a crucial burst of high-octane adrenaline courtesy of an addicting percussive attack, then switches it up with a sexy mid-tempo swing that entirely changes the character of the song. And yet, Dewfall’s execution across the board makes that unusual transition—among many others on this record—feel like the most natural trajectory. Therein lies the magic of Dewfall’s method.

Magical though many of Landhaskur’s moments undoubtedly are, I often look back to Hermeticus with a fondness that I can’t seem to find this time around. Both records share similar characteristics: both are remarkably back-loaded, both feature dynamic and consistently engaging songwriting twists and instrumental embellishments, and both showcase the band’s knack for buttery-smooth, but novel transitions. However, Landhaskur lacks a showstopper, whereas Hermeticus offered the aforementioned “Moondagger.” Experiencing Dewfall records as theatrical pieces—dependent on dynamic musical topography to carry me across different stages of their stories and, hopefully, offer some sort of catharsis along the way—I feel that Landhaskur is missing its climax. Standout chapters like “Maska” and “Lackeskur” come so close to providing that high, but ultimately fail to deliver the knockout blow. In the end, this represents Landhaskur’s only critical blunder, but it comes at the cost of greatness.

Nonetheless, Landhaskur is a fine record worthy of installment in any black metal fan’s rotation. It tells its story well, and repeated spins reveal new and intriguing details listeners are likely to miss the first or second time around. Aside from a few missed opportunities to punch above its weight class and deliver a world-class number at the record’s peak, there’s very little here that saps my enjoyment. It’s safe to say, then, that I’m content with Landhaskur, and I look forward to seeing what Dewfall do next.

Rating: Good
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Naturmacht Productions
Websites: dewfallofficial.bandcamp.com | facebook.com/pages/dewfall/152487144778710
Releases Worldwide: November 29th, 2024

#2024 #30 #Aklash #BlackMetal #Death #Dewfall #epicBlackMetal #EpicMetal #IronMaiden #ItalianMetal #Landhaskur #MelodicBlackMetal #NaturmachtProductions #Nov24 #OccultMetal #Paara #Review #Reviews