Hungary Summons Ukrainian Ambassador over Election Interference Suspicions

https://web.brid.gy/r/https://europeanconservative.com/articles/news/budapest-summons-ukrainian-ambassador-over-election-interference-suspicions/

https://www.storyangles.com/post/conjuration

Conjuration means “Swearing an oath or making a solemn appeal.” In the paranormal, it’s about making a connection with the supernatural world.

#paranormal #supernatural #StoryAngles #conjuration #summoning #spirits #occult

Remember the Finnish melodic death and power metal fusion of the late ’90s and early ’00s? Bands like Children of Bodom,1 Kalmah, and Norther were all the rage for a short while. You even had stuff like Ensiferum for a folkier interpretation, or Catamenia2 for the blackened side of things. The truth is that it never really left.3 Suotana is one of the bands keeping this sound alive and well, and they have more history than one might think. They spawned in the mid-2000s but took until 2014 to start putting out material. Now, over a decade later, they’re on their fourth full-length, and Ounas II continues right where predecessor Ounas I left off two years ago. Judging them back-to-back, it seems the collective is only growing in strength.

Ounas II is chock full of great songwriting. Melodic death metal, power metal, and even bits of black metal collide in this crazy Finnish kitchen, with Children of Bodom remaining the clear number one influence. Founding members Ville Rautio and Pasi Portaankorva utilize the dual guitar attack in classic ’80s ways (“Winter Visions,” “Twilight Stream”), while Stratovarius sensibilities color their frantic touches of melodic power—both always positives in my book. The harsh vocals of Tuomo Marttinen are frosty and vicious, similar to their swamp brethren in Kalmah.4 Tommi Neitola’s keyboards are the cherry on top, adding a Bodomesque symphonic bombast layer that occasionally approaches Wintersun levels without going overboard (“The Crowned King of Ancient Forest,” “1473 Ounas”).

Ounas II by Suotana

Dealing with two-part concepts is always a challenging task, but Suotana came prepared. It feels like they’ve improved on all of Ounas I’s already strong qualities: the production has more breadth, the album’s layers delve deeper, and there’s more energy and variety in its songs (“Foreverland,” “Twilight Stream”). However, the most impressive thing about Ounas II is that it’s even denser than its sibling. The album clocks in at 39 minutes compared to the first part’s 41,5 which has the huge advantage of avoiding a bloated ‘B-sides’ feel so common with other double album concepts.6 And despite its tight runtime, the songwriting has plenty of room to flourish, as exemplified by “1473 Ounas.” Furthermore, to complement the Summoning cover that crowned the first part, Ounas II unleashes a cover of Children of Bodom’s “Hatebreeder” as its encore. Whether you imagine it as a proper track or a bonus, it’s a great way to end the record with a bang while honoring your influences.7

Suotana has had a long journey to get to this point, and it’s been more than worth it. Their songwriting is only getting faster and better, which further reinforces its catchy extremities. In many ways, Suotana feels like the melodeath-forward twin to Moonlight Sorcery’s excellent brand of power/black metal. Both bands dress to impress with big riffs, melodic violence, and keyboard bombast in all the right ways. Though the back-to-back experience is great, Ounas II is a package that works wonders on its lonesome too, and I think that’s another mark of success for the band. I’m excited to see what these self-aware wizards pictured above are going to summon from that lake next, Ounas or not.

Tracks to Check Out: “Winter Visions,” “Twilight Stream,” “The Crowned King of Ancient Forest,” and a special shout out to the excellent cover of “Hatebreeder.”

A quotation from Christopher Marlowe

[Enter a Devil]

Christopher "Kit" Marlowe (1564-1593) English dramatist and poet
The Tragicall History of the Life and Death of Doctor Faustus, Act 1, sc. 3 (sc. 3), l. 231ff (1594; 1604 “A” text)

More info about (and translations of) this quote: wist.info/marlowe-christopher/…

#quote #quotes #quotation #qotd #christophermarlowe #kitmarlowe #devils #incantation #spell #summoning #magic

Änterbila – Avart Review

By Grin Reaper

Billed as blackened folk metal and boasting a sound that will remind listeners of the aughts-era Darkthrone, Änterbila1 returns with sophomore album Avart. Three years removed from their self-titled debut, the foursome from Gävleborg County, Sweden, retains the core sonic principles of Änterbila and dunks them into the muck, invoking a darker, grimier aura. Where the plight of peasantry informed Änterbila’s sensibilities, Avart looks to national folklore for inspiration. Rather than interpreting that folklore through the eyes of those who passed the stories on, though, Avart revisits lore from the perspective of the other side, the witch to Grimms’ Hansel und Gretel, imparting a sinister edge to the music. Is Änterbila’s latest platter sharp enough to brandish, or does it need more time with the honing rod?

The marriage of black and folk metal can take different forms, with folk infusions coming from instrumentation, melodies, and/or folk and pagan themes. Änterbila offers all of them, but presented disparately as stark components rather than fused together as an interconnected whole. Bookend instrumentals “Låt till Far” and “Eklnundapolskan” feature strings, a bagpipe, and choral harmonies between them, not unlike Saor or Summoning. These tracks conjure rustic firesides with an air of excitement as strange tales are told around them. Avart’s other six tracks are categorically different, hovering between pagan-leaning, late-eighties Bathory (“Kniven”) and the punky pluck of early Vreid (“Jordfäst”). I even catch a whiff of Bizarrekult (“Årsgång”) in the midst. None of the flavors are bad on their own, but without more cohesion, they’re a bit confusing on the same plate.

Avart is a lively affair, with snappy licks, punky riffs, and burbling kick rolls that whisk listeners through half an hour of sprightly black metal. Bandleader and founder Jerff wields axe and vocal duties, with Raamt abetting in six-string antics. The guitars trem pick their way through Avart, embracing an unadorned style that takes a few simple melodies, interchanges them every now and then, and rides through four or five minutes. There’s nothing inherently wrong with this stripped-down approach, but without more distinctive hooks or emotive vocals, the songs bleed together. Drop me in the middle of any of the songs, and I’ll have a tough time naming which one it is unless Jerff repeats the title several times (“Kniven,” “Jordfäst”). Another issue Änterbila grapples with throughout Avart is repetition. Even with such a compact runtime, there’s not always enough substance to justify track lengths. “Jordfäst” could explore its ideas in two-thirds the time, for example, but instead pushes them past optimal duration. As it currently stands, there’s enough material for a solid EP, but relentless refrains without variations make shallow wells, and drawing from them too often becomes tedious.

Änterbila’s strengths lie in creating a dangerously charming atmosphere and not overstaying their welcome. Avart’s old school production underscores its low-fi mood, perfect for settings of yore where things lurking within shadows go bump in the night. Even though the mix isn’t polished, it ably captures Svaltunga’s punchy bass and drummer Monstrum’s quadrupedal onslaught. There flows an energy in the music that crackles with roguish vigor, and it’s here that Änterbila excels. It’s a shame lyrics weren’t included as part of the press kit since dark folklore provides such fertile ground for music. Understanding what the (presumed) native Swedish translates to could have heightened my appreciation for what secrets Avart holds. Still, the runtime is trim and helps deflect some of the monotony of simpler song structures, keeping the overall package easily digestible.

Änterbila possesses all the ingredients for a rollocking good time, but fumbles with the recipe. The folk metal tag is a bit misleading, and given that the folk elements are so well-executed in the intro and outro, it’s disappointing that Änterbila didn’t incorporate them throughout the entire album. Doing so could have thwarted the uniformity across the remaining songs, adding dynamism and a through-line that brings everything together with reinforced congruity. Every time I spin Avart, I hope to find something I’d missed previously, because I want to like it more than I do. Avart seethes with potential, and while I don’t regret any of the time I spent with the album, I don’t expect to return to it, either. Hopefully, the next iteration delivers on the promise Änterbila has established here.

Rating: Disappointing
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Nordvis Produktion
Websites: Bandcamp | Facebook
Releases Worldwide: November 14th, 2025

#20 #2025 #anterbila #avart #bathory #bizarrekult #blackFolkMetal #blackMetal #darkthrone #folkMetal #metal #nordvisProduktion #nov25 #review #reviews #saor #summoning #swedish #vreid

Hilltop Summoning - [Cloudy Commission]

Finally! Some fuckin' spooky ghosts in this joint! Minions of the round bat, subject too their evil bidding~

#cloudy #bat #ghosts #summoning

#NowPlaying 🎶

Not so long ago, on 16 October 1995, Minas Morgul was released by Summoning

bandcamp link:
https://summoning.bandcamp.com/album/minas-morgul

album.link:
https://album.link/t/68007475

#Music #Metal #AtmosphericBlackMetal #Summoning

On 16 October 1995, Austrian's Summoning released what many fans and the band themselves refer to as their true debut album, Minas Morgul.

Deviating significantly from the second wave orthodoxy, branching into what would soon be called atmospheric black metal.

"It was the most massive turning point and formed the sound as you know it today.
We lost a lot of old BM fans, but a whole new generation followed."

03. The Passing of the Grey Company

#Summoning #BlackMetal #DungeonSynth