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Nedogled - Spiritwood
"a haunting blend of shadowy synthscapes and sludgy riffs"
#bandcampcodes #instrumental #darksynth #doomwave #spacemetal #music
Darius WhiteplumeYou don’t age when you live out of time.
A thousand years in the blink of an eye.
https://music.apple.com/us/album/the-warp-riders/1775746985?i=1775747533
The NwothmReview: Mausoleum Gate “Space, Rituals and Magick’
Release date: Out Now
Label: Cruz Del Sur Music
8 minutesThe Nwothm
Finnish heavy metal cult Mausoleum Gate return with their heavily anticipated third studio album. “Space, Rituals and Magick” is available now via Cruz Del Sur Music on vinyl, CD, and digital formats.
Formed in 2008, Mausoleum Gate have carved a reputation for their mystical and atmospheric approach to heavy metal, drawing inspiration from obscure gems of the 1980s and beyond. Their latest work continues this tradition, offering a journey into other realms and ancient times with a distinctive sound that remains recognisably their own.
Guitarist Count L.F remarks:
Well the notorious third album shall we say? Or so the legend that I have heard goes. This time with Mausoleum Gate. The album took remarkable time to make for various reasons. Sometimes the song not intended to album was growing a serious epic and so on. Well as we called it -The Church of Isaac 666 (a phrase in Finnish called “Iisakin kirkko” which means a building that is never finished) but here we are! As usual the album differs from previous albums. This seems to be the case with us. Anyway still sounding Mausoleum Gate. This is the point. Our line-up has changed quite a lot since the last album and that of course changes the sound of the band but you can recognise the band. And the melodies and harmonies are still there. This time the compositions are maybe more of a band effort than ever before which gives a new nuances. New members: Jarno Saarinen, Jari Kourunen and Jarno Koskell have brought a great addition to Mausoleum Gate – as well as playing wise and composing wise. The new line-up has been tested live a few times but now its time to reveal the claws in album size! Last but definitely not the least our long time artist Timo Raita who did awesome job this time – again!
Review
Vision Divine is the first track of the album and essentially my introduction to the band. Noticeably straight I get this very organic vibe especially with the drums which do not feel over processed and focus on the acoustic qualities. There are repeating synths phrases and effects that make you feel your travelling through space. I am loving the jump in pacing and the melodic work delivered by the guitars. It just injects this sense of energy which catches your attention instantly. And throughout everything flies forward on top of some great (and sometimes unusually interesting) synth beds).The solo work slots in perfectly adding some flair to the song. And the vocal work helps to gel everything together ultimately creating this very organic, raw and nostalgic sound which has got me tuned in.
Lucifer Shrine shines strong with powerful and bright synth chords to open up the track. Unlike “Vision Divine” the tempo takes a step into the mid tempo range but packs a lot of punch. Notably I am liking the flowing feel of the melodies by both the guitars and synth notes in the background. And due to the mix being being very unrefined or polished you can here nuances, the roughness and grit of the guitar tones. And it is a pleasant listen. The vocals just like the track before are like butter on top of toast. Smooth and just go really well with the music. When the song breaks down to some riffing the synths even jump in for a bit of play. A refreshing break to a lot of the heavy metal and hard rock I have been listening too. Then it starts to get hella’ funky! The bass begins vibing the synths go off on one and the guitars are doing their thing. It comes all back together for one big bout driving towards the end. The vocals here are lower in key and add some nice weight to the song
Sacred Be Thy Throne come in at just around seven minutes so lets see if the length works. The band this time around have dialled things back to a mid/slower tempo pace. The band are all running together giving us some wonderful ideas before transition into a softer section where it is acoustic guitars, rolling snare patterns and calming vocal lines.Even little touches of synth in the background. A great way to bring balance to a song. Then a ripping riff cuts in helping to bring everything else back driving things forward. Things play out for a bit keeping the flow before dropping back down to our acoustic style section. However this time things pick up with some bold and heroic synths lighting up the mix in the background. Soon enough some majestic guitar harmonies shine light on the music and even the synths have a go. And as the sng progresses everything is gradually building in height and tone. The vocals that have played between calm and collected hit moments of energy and strength – especially when stacked.The passion just really holds this track up and high and does so until the very end. I am really digging this song and how the musical structure for not one minute feels boring. The acoustics and calm vocals bring Sacred Be Thy Throne to a close rounded everything off. What a brilliant song!
https://www.youtube.com/watch?v=8OoZ9nH5z24
4. Shine The Night has a very unusual intro. Just imagine you are floating through the darkness of space and matter flies past you. The sounds of synth notes cry from the silent dead void like alien calls. The pulsing bass notes drift in with a 16th note hi-hat beat and glossy guitar riffs. Little tweets of synths cry out all presenting a very spacey vibe. The verses are strong and muscular with driving rhythms and ballsy vocals. There is a couple of times where the verse and main glossy riffs repeat. But later on there are some developments where the things feel heightened and the synths beep noises like a spaceship computer. The whole track really does feel like a trip through space and time. And I really think that the atmosphere and synths are what what create this whole feeling.
5. Space, Rituals And Magick gets down to business with some heavy metal riffing and more spacey vibes with trickling synth melodies and bubbling sound effects in the background. The song has pace and does not mess around getting locked into the riffs all while the bass and drums provide a solid backbone. The vocals have been spot on throughout the whole album just making everything feel together and wholesome. There are some unusual vocal moments which do not feel human but more like a robot which are ace. lines brimming with character and charm. Layered beneath, the synth beds add width and depth, amplifying the atmosphere. The space‑like vibe shines especially bright here, evoking the sensation of flying through an asteroid field. The outro ties everything together seamlessly, rounding off the track as another excellent addition to the release.
We reach the end of this epic journey with the Witches Circle. Now this track comes in at just over eight minutes making it the longest track on the record. And unlike the rest of the album a large part of this track is stripped back. The intro is very merry and glistens bright but that acts as a brief flash before what follows next. Acoustic guitars and warm vocal lines gracefully come in as well as very light tip taps on hand drums. These just help to keep the flow moving forward. The title of Witches Circles is sung at intervals while synth piano notes gradually weave in to the song. And over time ]the music builds, the bass getting a little more interesting, the drums dropping in to a slow and mellow 4/4 beat. Semi acoustic guitar riffing comes in and the synth notes play out in the background. Everything feels so chilled yet retro and nostalgic yet I have travelled back in time. Little guitar melodies sing out delightfully with almost whispering vocal lines joining for a stint. But as we approach the last two minutes the dazzling vibes of the intro section returns and even some ideas like you would hear at American football game flash by. The song closes with a few repeats of the title ending a great and adventurous album!
Conclusion
Overall, this album delivers a cohesive and engaging journey that blends raw, organic instrumentation with rich, space-inspired atmosphere. Each track stands out in its own way, whether through energetic riffs, mid-tempo grooves, or expansive, emotional builds, but they are all tied together by expressive vocals, unpolished warmth, and imaginative synth work. The band moves effortlessly between heavy metal power and cosmic ambience, keeping the album dynamic and never dull. By the time the final track closes, it is clear this release is both adventurous and confidently crafted, offering a refreshing and memorable experience from start to finish.
TheNwothm Score: 10/10
Links
Bandcamp: https://mausoleumgatemetal.bandcamp.com/album/space-rituals-and-magick
Facebook: https://www.facebook.com/MausoleumGate
Instagram: https://www.instagram.com/mausoleumgate/
Label: https://cruzdelsurmusic.bandcamp.com/
https://www.youtube.com/watch?v=TBDbBoZAJL4
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#cruzDelSur #cruzDelSurMusic #heavyMetal #mausoleumGate #newAlbum #newWaveOfTraditionalHeavyMetal #nwothm #ritualsAndMagick #space #spaceMetal #spaceRock #thenwothm #thenwothmCom
JonnyX and the Groadies#Groadtober 9th!
We don't have to _claim_, but we can _hope_.
We wrote a song about it.
https://groadudes.bandcamp.com/track/the-loneliness-of-the-long-distance-exocomet
#SpaceMetal #SciFiMetal
https://mastodon.social/@arstechnica/115344625638886400
The Loneliness of the Long Distance Exocomet, by JonnyX and the Groadies
from the album Liquid Crystal Despair
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Matte Black - Recent Chinese UFO News
"Matte Black's take on this face-melting Thundrvillian banger!"
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Nedogled - Spiritwood
"a haunting blend of shadowy synthscapes and sludgy riffs"
#bandcampcodes #instrumental #darksynth #doomwave #spacemetal #music
Angry Metal GuyBuried Realm – The Dormant Darkness Review
By Owlswald
Colorado’s Buried Realm, the technical melodic death metal project of multi-instrumentalist and vocalist Josh Dummer, has built a steady following since 2017’s The Ichor Carcinoma. This is largely because— alongside his role as the primary writer and producer of Buried Realm’s music— Dummer is one hell of a guitarist. Additionally, he enlists a prominent cast of guest musicians for each album, adding another layer of proficiency to his progressive soundscape.1 While Dummer’s talent and networking ability are compelling, 2020’s Embodiment of the Divine received a mixed reception from AMG’s own Twelve. Since then, Dummer has made notable upgrades through the addition of drummer Heikki Saari (Fintroll, ex-Norther) and the outsourcing of post-production duties, resulting in a heavier and more polished sound on Buried Realm’s 2022 self-titled third album. With these refined elements and the promise of further evolution, I was eager to delve into The Dormant Darkness to see what I would find lurking in the shadows.
What I found was a great album. Building upon the foundation of Buried Realm, The Dormant Darkness finds Dummer taking the next step in his power-tinged melodeath assault. The opening barrage of “Bloodline Artifice,” with its relentless blasts, tremolo onslaught, and visceral screams, channels the power of tech-death giants like Allegaeon. At the same time, the album’s overall melodicism is indicative of The Living Infinite-era Soilwork. Guest appearances include the likes of Per Nilsson (Scar Symmetry) and Christopher Amott (ex-Arch Enemy), who fortify tracks like “Human Code” and “Futuristic Hollow Nation” with sweeps, dives, and wails galore. Saari’s intricate rhythms and colorful accents amplify Buried Realm’s dazzling riff craft. Additionally, Dummer’s Laiho-esque rasps intertwine with Bjorn “Speed” Strid’s (Soilwork) roars and Christian Älvestam’s (ex-Scar Symmetry) soaring choruses to add sophistication and depth. With a well-rounded mix that delivers plenty of punch and low-end heft, The Dormant Darkness features a concentrated and layered sound that is rich, heavy, technical, and a ton of fun.
For those who crave virtuosity, Buried Realm will not disappoint. Guitar wizardry is delivered in droves, with memorable solos, melodic leads, and powerful shredding across the record’s eight tracks. Nilsson’s dynamic fretwork at the heart of “Human Code,” Amott’s dive-bomb acrobatics within “Futuristic Hollow Nation,” and Daniel Freyberg’s (ex-Children of Bodom) blazing solo on “A Futile Endeavor” stand out as particularly jaw-dropping moments.2 Dummer and Saari’s merciless grooves— shredding and hammering with precision— strengthen the album’s star-studded guest list, constructing Buried Realm’s tech-heavy compositions. Contrasting Buried Realm’s unyielding virtuosity are Älvestam’s uplifting serenades on songs like “Jaws of the Abyss” and “Futuristic Hollow Nation” which present striking melodies and refreshing hooks that draw me back again and again. Ultimately, while the constellation of guest musicians warrant attention, The Dormant Darkness is filled with highlights that will appeal to a wide audience.
With its intensity and compositional depth, The Dormant Darkness could have easily become overwhelming. Indeed, the songwriting periodically suffers from overly dense passages and abrupt transitions. The disjointed vocal exchange between Dummer and Strid before the chorus in “Human Code,” for example, is jarring, as is the song’s mid-section where a whirlwind of blasts and leads stutters and starts erratically. That said, while occasional missteps somewhat detract from the album’s pacing and flow, they are minor quibbles in a record rife with strong songwriting. Furthermore, Francesco Ferrini’s (Fleshgod Apocalypse) poignant orchestral arrangements on tracks like “Ophidian Dreams” and “Where the Armless Phantoms Glide, Pt. II” provide atmospheric grandeur and emotional depth, mitigating aural fatigue and upholding sonic balance.
Overall, The Dormant Darkness is a blast. The album is the culmination of Buried Realm’s evolution and proves that Dummer’s persistence and dedication have paid off handsomely. It’s full of highlights and genuinely impressive moments, blending technical prowess with memorable melodic hooks, exceptional guest contributions, and compositional maturity. Despite the occasional minor slipup, the album’s technical and charming melodeath personality seizes my attention from the start and maintains its spectral grasp until the record’s final notes fade into the ether. With The Dormant Darkness, Buried Realm has established itself as a formidable force— one that melodeath fans won’t want to miss.
Rating: Great!
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Self-Released
Websites: buriedrealm.bandcamp.com | facebook.com/buriedrealm
Releases Worldwide: April 4th, 2025
#2025 #40 #Allegaeon #AmericanMetal #Apr25 #ArchEnemy #BuriedRealm #ChildrenOfBodom #DeathMetal #FleshgodApocalypse #MelodicDeathMetal #PowerMetal #ProgressiveDeath #ProgressiveMetal #Review #Reviews #ScarSymmetry #SelfReleased #Soilwork #SpaceMetal #SymphonicMetal #TechnicalDeathMetal #TheDormantDarkness
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Nedogled - Spiritwood
"a haunting blend of shadowy synthscapes and sludgy riffs"
#bandcampcodes #instrumental #darksynth #doomwave #spacemetal #music
Cryptosis – Celestial Death Review
By Iceberg
When it comes to evolving past its lean, mean beginnings, thrash has had a rough go of it. Modern iterations shoot for a return-to-roots approach, which feels doomed to fall short in the shadow of the genre’s titans or augment the style with increasingly odd bedfellows (I’m looking at you Demoniac). Dutch trio Cryptosis fell firmly in the latter camp with their 2021 debut, Bionic Swarm, and they’ve continued to march away from their Teutonic roots with follow-up Celestial Death. Bionic Swarm passed 4.0ldeneye’s questionably positioned bar for admittance to “Great” status, and being the scholar and gentleman that he is, he was gracious enough to allow little ol’ me to sink my teeth into Cryptosis’ sophomore effort. Sporting a spiffy new Kantor cover and promising a more “cinematic path” and “darker atmosphere,” I’m hoping Celestial Death will give me another reason to believe that thrash is still alive and well.
Thrash was a basis for Bionic Swarm, but here it’s used more as a color on Cryptosis’ palette. The boundary-pushing sounds of Vektor are still present here, but they’re joined by Gothenburg melodeath (“Ascending”) and expansive post-metal instrumentals (“The Silent Call,” “Coda-Wander Into The Light”). Even as they widen their stylistic pool, Cryptosis retain a high level of musicianship and execution. Marco Prij’s drumming is still blisteringly fast, and added creativity in the cymbal-work (“Static Horizon,” “Ascending”) and decidedly non-thrash blasting (“The Silent Call,” “Cryptosphere”) makes it a great listen for the rhythmically inclined. Frank te Riet’s synths are much more present this go-around, and paired with his mellotron work, they achieve a void-wrapped atmosphere worthy of the album’s title. Frontman Laurens Houvert reminds us this album is still rooted in furious thrash, though, and his gruff barks paired with maniacally dancing riffs make Celestial Death an entertaining and, at times, challenging record.
Thrash is known for burning hot and dying fast, but that’s not the case with Celestial Death. Although only 42 minutes, a perfectly adequate runtime, there’s lots of heady material packed into these 11 tracks. Bookended and bisected by instrumentals, there’s an erudite symmetry to Celestial Death’s structure. The front half features 4 experimental non-thrash compositions, while the back half’s 4 are more concerned with kicking ass and taking names. Though I applaud Cryptosis for their willingness to color outside the lines, not everything sticks its landing. Sweeping, half-time sections showcase te Riet’s droning synths but lose precious potential energy (“The Silent Call,” “Motionless Balance”). Tracks in this half are well performed, but the songwriting feels less focused, holding onto riffs and instrumental sections a bit too long (“Static Horizon”). With the exception of proper opener “Faceless Matter” which is a successful composite of Cryptosis’ past and future, the album’s front thoughtfully meanders when it should be gripping throats.
A trio of songs in the album’s B-side reminds us of why Cryptosis deserves to be in the conversation for compelling, modern thrash. Out of the transitory warblings of “Motionless Balance” comes an absolute ripper of a track in “Reign Of Infinite.” Houvert’s opening riff sets fire to his fretboard, and the double-kick battering is a welcome backing for the most headbangable moment on the album. The instrumental in the album’s bridge, including a beautiful rising lead melody in the guitars, gives just enough time away from the sturm und drang to clear the air before plunging earthward again. “In Between Realities” pairs the album’s sole sing-along chorus with choppy rhythms and extended tremolos, and closer “Cryptosphere” makes the case for Symphony X-style thrash. My attention snapped back into place in this section of Celestial Death, ending the album on a high note and earning the place of zoom-out closer “Coda-Wander Into The Light.”
Celestial Death doesn’t give up its astral secrets easily and will rebuff the casual listener. What at first feels like a wall of riffs and washy synths eventually finds definition and reveals a burgeoning voice in extreme metal. Even the instrumentals, which are so often shoehorned into “progressive” pieces, earn their keep after repeated listens. While I don’t share the enthusiasm gene of our dear Holden, I think Cryptosis have a solid addition to their discography here and are on the verge of synthesizing their own take on modern thrash. At times viciously thrash, twistingly prog, or tantalizingly atmospheric, Celestial Death has a little something for everybody and has successfully avoided, at least in this writer’s opinion, the modern thrash trap.
Rating: 3.0/5.0
DR: STREAM | Format Reviewed: STREAM
Label: Century Media
Websites: Bandcamp | Facebook
Releases Worldwide: March 7th, 2025
#2025 #30 #CelestialDeath #CenturyMedia #Cryptosis #DeathMetal #Demoniac #DutchMetal #Mar25 #ProgressiveMetal #Review #Reviews #SpaceMetal #SymphonyX #ThrashMetal #Vektor
Leo
Kismet, by UFOMAMMUT
from the album Hidden