Like those programmers who insist on rebuilding every line of code in Python, New York’s black metal woodland-walkers Astral Alchemy envision a universe unraveled down to its last atom. That process is captured in their debut record, Weaving Chilling Magical Dreamworlds. With five tracks and just shy of forty minutes of music, that’s a lot of ground to cover in little time. From the duo of guitarist/bassist/vocalist He Who Walks under the Bloodmoon and drummer/guitarist He Who Wields Twin Scepters of Malice, Astral Alchemy invites you to “Let the power of the stars guide you and the atmospheric universe coalesce the accounts of dreamworlds becoming reality.” But black metal bands are always talking big on how mystical and esoteric they are. Does Astral Alchemy have the magic, or is the only thing cold about Weaving Chilling Magical Dreamworlds how it leaves me in the end?

Astral Alchemy aren’t reinventing the wheel, but they sure get it spinning on Weaving Chilling Magical Dreamworlds. Evoking the grandeur of Emperor and the riffing belligerence of Dissection, Astral Alchemy wields second-wave sorcery through darkly atmospheric soundscapes. Particularly in early cuts like “Tria Prima Offering to the Great Serpent” and “Bathing in the Sap of the Moonflower,” Dreamworlds plays it straight in entwining blast beat-downs with synthesized choirs and symphonics, shifting between creeping, distorted arpeggios and furious tremolos. Where Astral Alchemy stand out is in execution: Dreamworlds is a living, angry beast. Astral Alchemy’s guitar tone is thick, burly, and good for turning their dense, high-octane riffs into weapons of cosmic warfare. Drumming on Dreamworlds is scathing and thunderous, but just as menacing in its slower moments like the Mayhemic crawls of “Tria Prima…” or the crushing back half of “Stars of Ruin.” Topped off with intricately layered synths and husky, ravenous rasps, Weaving Chilling Magical Dreamworlds becomes a particularly engrossing listen.

Like earthly alchemy, Astral Alchemy take simple ingredients and transmute them in subliminal ways while Weaving Chilling Magical Dreamworlds. With midpoint “Stars of Ruin,” Dreamworlds takes an unexpected turn: it slams. Halfway through, Astral Alchemy turned my head with its melodic, borderline metalcore chug riff before stopping and breaking my neck with a groovy, ignorant death riff and ear-splitting Breeeeeeee. It’s nuts. Forwarding Astral Alchemy’s march towards weirdness, “Collapse of the Cosmos” bookends its tremolo madness with Hexrotting electronic glitches and atmospherics1 while the epic, SotY-contending “Eyes through the Speculum” punches bright, downright uplifting progressions into Dreamworld’s frigid mold and somehow makes it work. Songs on Dreamworlds just don’t sit still; “Eyes…” bounces between airy acoustics to thick post-metal riffing to ethereal synths while comparatively normal tracks like “Bathing in the Sap of the Moonflower” still find ways to inject variation in rhythm and dissonance in melody. Simply, Weaving Chilling Magical Dreamworlds sees Astral Alchemy operate within the established tropes of black metal without being beholden to them.

Authenticity isn’t something black metal is known for, but that’s exactly the impression I get from Astral Alchemy. Weaving Chilling Magical Dreamworld’s lyricism is rooted in genuine alchemical philosophy (“Tria Prima Offering to the Great Serpent”), espousing the significance of transformation through destruction and synthesis. Everything about Astral Alchemy’s approach to songwriting—from the seamless melding of passages to the constant iterations on motifs to the dynamism of tone and energy—stands in accordance with these values. Astral Alchemy aren’t concerned with sounding “kvlt;” Dreamworlds’ mix and production sounds too crisp for that, despite its modest DR score. Instead, Astral Alchemy is very much guided by the pursuit of an esoteric soundscape of boundless creative and destructive energy. Weaving Chilling Magical Dreamworlds isn’t perfect in this regard—the first two tracks lose some steam by the end and “Collapse of the Cosmos” is somewhat standard-issue outside of its electronics—but you also don’t get much better than it either.

Weaving Chilling Magical Dreamworlds isn’t a great title—it doesn’t want to roll off the tongue at all—but it is apt. Abrasive, melodic, twisted, and just plain big, this first showing from Astral Alchemy honestly has me wondering if this duo is industry veterans in disguise. The confidence with which they carry themselves on Dreamworlds would be impressive for fresh musicians; it translates to impressive music in my headphones regardless. When much of black metal feels like a race to the bottom of the barrel, Astral Alchemy’s fresh take on the blackened arts is truly exciting. Weave on, Astral Alchemy!

Rating: Great!
DR: 6| Format Reviewed: 320 kbps MP3
Label: Naturmacht Productions
Websites: astralalchemybm.bandcamp.com | facebook.com/AstralAlchemyMusic
Releases Worldwide: June 25th, 2026

For those who abhor the second-wave of black metal and its worship,1 Mork’s Monolitt may not be your cup of iced tea. Frosty tremolos, glacial chugs, and biting rasps lurk within, offering a welcome blast of northern darkness as I stare down the barrel of another sweltering Atlanta summer. Established in 2004, Thomas Eriksen’s Mork has been dispensing rime and punishment since debut Isebakke dropped in 2013. Now thirteen years on, Mork unveils eighth slab Monolitt, which radiates icy, blackened ire. As is customary, Eriksen supplies the lion’s share of sounds, though Asgeir Mickelson (ex-Borknagar, ex-Ihsahn) plies the drums while Øyvind Kaslegard (Svart Lotus) contributes additional vocals. Monolitt translates to ‘Monolith’ in English, and though it provides wonderful imagery and is immediately evocative, the name also sells a promise. Can Mork’s Monolitt deliver by embodying a towering manifestation of second-wave mayhem, or will it get buried beneath the permafrost?

Mork’s discography evolves with each release while maintaining a consistency of high-caliber craftsmanship that listeners can rely upon. Early Mork material embraced rawer production featuring buzz-sawing guitars and lo-fi fuzz, and though it blankets those albums in textureless uniformity, interesting ideas and riffs gleam through the static. Over time, Eriksen has refined his approach, finding ways to subtly experiment within the confines of second-wave black metal. In this way, Mork reminds me of Mayhem and Thron, continuously pushing the boundaries of their soundscape to expand their grasp of the genre. To me, 2024’s Syv acts as Mork’s most exploratory album to date, demonstrated by their foray into broader instrumentation as well as the beautiful acoustic and clean-sung finale, “Omme.” Monolitt, on the other hand, recenters the band squarely in second-wave territory, albeit with a smattering of Syv’s less conventional elements.

Given the solid foundation Mork establishes within black metal’s most identifiable form, Monolitt proves to be a bit of a misnomer considering the wealth of diverse ideas within it. Leadoff track “Under Vekten av Verden” kicks off festivities in ferocious fashion, where Mickelson hammers the kit with clockwork rigidity, and Eriksen dispatches wicked licks and riffs that sound like they were pulled from the heart of winter itself. “Ødelagt” begins with the same fury, but by its end decelerates to a funereal crawl. Follow-up “Torden” rejuvenates the pacing with a simple yet exhilarating guitar lead and gusts of peppy drum patterns that never fail to get my head bobbing. Monolitt doesn’t hoard the goodies on the front end, though, as “Inn i en Annen Sfære” and “Jutul” overflow with well-crafted moments applied using a delicate touch, underpinning Mork’s growth as astute songwriters. “Inn i en Annen Sfære” sparkles like ice-capped snow, where crystalline guitars glide through bright, sustained synths as the pacing inevitably propels the song into proper blackened tremolos and Eriksen’s gruff rasp. Similarly, “Utryddelse” employs tempo and mood shifts throughout its runtime that develop riveting dynamics and remind me of Kampfar and newer Mayhem, while “Jutul” uses a dash of clean singing in addition to recalling early Gorgorth’s implementation of faint, understated melody.

The whole of Monolitt is as impressive as the sum of its parts, and on it Mork endeavors to distill their essence even further. The mixing (Børge Finstad) and mastering (Jack Control and Maor Appelbaum) highlight the music wonderfully, giving each instrument ample space and retaining an edge to the tones such that Monolitt never sounds polished or slick. I only wish that the album’s middle was as consistent as its bookends. The tracks I’ve mentioned stand out as grade-A black metal, and though the other songs are good to very good, they don’t quite live up to the heights established at the pinnacle of Monolitt.

Through eight albums, Mork utterly convinces that their creative well runs deep. Monolitt stands tall, a monument to second-wave songwriting that demonstrates further exploration of the style doesn’t have to be stale. While Syv edges Monolitt out as my favorite Mork release, it’s damn close, and more than anything else, I’m left incredibly impressed with the band’s maturation and steadfast output. It’s rare for a band putting out so much material in so short a time to maintain this level of quality, but you better believe this one’s a genuine, bona fide, electrified, nine-track Monolitt. Now say it again, and hop on board!

Rating: Very Good!
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Peaceville Records
Websites: Website | Bandcamp | Facebook
Releases Worldwide: June 19th, 2026

Today's mood:

https://open.qobuz.com/album/f0z1ilkp98nca

#mayhem #metal

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.

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

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

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

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

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

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

I am now a HUSBAND.

But I am mainly want to show off the clothing we both sewed ourselves. My WIFE sewed her corset and skirt (she’s only really started this hobby a year ago!). It’s a two-piece so that she can wear them casually in the future (with minor length alterations).

I sewed my waistcoat and tie (same materials). But I also made the buttons, I'm quite proud of the design there, although it needs polishing (first time making buttons).

#Sewing #Maker #MayHem

#TheMetalDogArticleList
#BraveWords
Today In Metal History 🤘 May 24th, 2026 🤘 MAYHEM, AC/DC, BLUE ÖYSTER CULT, BAD COMPANY, VAN HALEN, DESTRUCTION, FREHLEY’S COMET

https://bravewords.com/today-in-metal/today-in-metal-history-%f0%9f%a4%98-may-24th-2026-%f0%9f%a4%98-mayhem-ac-dc-blue-oyster-cult-bad-company-van-halen-destruction-frehleys-comet/

#MAYHEM #AC #TodayInMetalHistory #May #anniversary #BraveWords #metal #music

nasa dude 14 june 2012
#mayhem
#mayhemkbh
#kobenhavn
#copenhagen

https://carlchristiantofte.blogspot.com/

https://mayhemkbh.dk/

#7650photography #7650art #photography #fotografie