Oslo-based doom/psych trio Superlynx manifests a gloomy sonic vision through the hypnotizing soundscapes of the third full length “Electric Temple”.
On the opening track “Rising Flame” the slow burning guitar melodies generate an immersive mood while the heavy weight of the doom textures ensures an obscure groovy momentum and Pia Isaksen’s captivating voice gently guides you through a murky sonic realm.
The alluring darkened guitar tonalities on the title track continue to emphasize enigmatic doom influences and a powerful spiritual essence naturally leads to spellbinding progressions reaching the acme with an intense and significantly faster rhythmic rampage.
“Moonbather” takes you to a nocturnal world where the darkly soothing melodies accompanied by the ethereal vocal delivery might make you space out yet the solo will channel a glorious psychedelic rock energy enriched by the ritualistic chanting.
“Returning Light” feels like a lovely fading dream as the slow monochromatic rhythmic ensemble surrounds the mystifying melodic guitar phrases emphasized by fuzzy tones and cryptic doom vibes.
“Laws of Nature” evokes pure melancholia as the guitar work delivers warm harmonies flowing gracefully through a dreamy atmosphere and occasionally embracing a mystical flair also amplified by the delicate vocals while the finale features a cathartic melodic crescendo.
“May” constantly focuses on harrowing nuances as guitars shift from minimalist melodies to passionate soloing consequently darkness is destined to prevail through the dramatically slow rhythm enhancing a gothic americana inspiration.
The moonlight shines throughout “Electric Temple” as Superlynx put a spell on you carefully blending hazy atmospheric arrangements and bewitching melodies.
Infamous Norwegian black metal band Taake returns with the new interesting release “Henholdsvis” which is the third and last installment of a series of split-10”s this time featuring labelmates and Viking Black Metal pioneers Helheim.
Drenched in gelid darkness “Brotne Bein og Mannefall” inevitably showcases Taake’s dreadful blackened style as the malignant guitar riffs immediately create an asphyxiating sonic realm while the slightly slower progressions and the desperate growls evoke an overdose of tormented feelings.
On “Ein Baat i Foss” Taake fully embraces an insanely groovy black ‘n’ roll pathway within a wintry atmosphere where unrestrained rhythmic patterns are constantly fueled by the primal force and the obscure tonalities of the guitar work.
Helheim contributes with a cover of Taake song “Orkan” from the album “Noregs Vaapen” which showcases a different direction with mournful clean vocals surrounded by mysterious yet also comforting vibes that highlight the darkened melodic guitar progressions.
Helheim’s second track is a cover of Emperor’s “Heksesabbat / Witches Sabbath”, originally released on the tribute album “A Tribute to Emperor – In Honour of Icon E”, and here the band fully channels a primordial blackened essence as the gritty guitar riffs and the diabolical screams thrive within an arcane atmospheric ensemble.
Despite being a short album “Henholdsvis” manages to properly celebrate black metal and darkness as Taake and Helheim certainly crafted a unique collaboration.
British instrumental band Five The Hierophant manifests an enigmatic sonic vision and a sophisticated songwriting approach on the sophomore full length “Through Aureate Void”.
As we enter the void “Leaf in the Current” conveys a mystical grandeur with blurry atmospheric textures unfolding around the magnetic melodies of the jazzy saxophone accompanied by gritty guitar riffs and psychedelic accents.
“Fire from Frozen Cloud” begins with spellbinding saxophone melodies moving sinuously through a dreamy atmospheric maze that will soon evolve into an eclectic sonic realm with the addition of heavier rhythmic segments and darkened tonalities.
The drone atmosphere of “Berceuse” could induce a trance like state while the saxophone naturally creates a soothing melodic splendor and the shimmering arrangements evoke an apparent sense of tranquility.
On “The Hierophant (II)” the tribal percussions channel an arcane essence while the saxophone delivers twisted jazz infused phrases and contrasting softer melodies in the midst of an increasingly colder and darker atmosphere.
As Five The Hierophant confidently embrace an experimental sonic pathway “Through Aureate Void” offers an intriguing blend of cryptic dark metal and jazzy harmonies that can easily make you space out.
Norwegian black metallers Endezzma unleash epic grandeur and raw energy on the third release “The Archer, Fjord And The Thunder”.
The wintry mood of “The Name Of The Night Is A Strong Tower” emphasizes the grave tonalities of the unstoppable guitar riffs and the mournful melodic progressions while the solemn chants channel an arcane essence.
On the title track the intricate lead guitar work conjures an alluring darkness while the monumental rhythmic patterns can often become utterly aggressive fueled by a primordial blackened energy.
Throughout “Garden Ov Heathen” the guitar progressions successfully convey grim emotions enhanced by the tormented screams emerging from an obscure abyss while the charismatic solo channels traditional heavy metal vibes.
A storm is approaching as “Wild Gloriour Death” creates a dramatic mood with dismal melodic hints while the unrestrained rhythmic blasts still rely on an inflamed blackened pathway enriched by a ritualistic flair.
On “Arrows Of Equilibrium” a shroud of melancholia lingers through the melodic guitar phrases as the cathartic nature of the lead guitar work at times demands a slower tempo while the rhythmic section focuses on a harsh blackened momentum.
“The Archer, Fjord And The Thunder” takes you on a perilous journey through a gelid sonic realm as Endezzma proudly evoke the primal force of classic black metal to craft a darkened work of music.
Back in 2018 Norwegian band Acârash impressed the underground scene with the debut album “In Chaos Becrowned” which focused on charismatic blackened dynamics and enticing occult nuances that now continue to flourish triumphantly on the sophomore release “Descend To Purity”.
The title track immediately drags you into a hellish sonic realm that might leave you shattered as the ominous yet absolutely catchy guitar work accompanied by tormented growls successfully channel the darkest vibes and an inflamed black metal essence.
Within the impenetrable darkness of “Desecrate. Liberate.” the raging guitar riffs supported by fierce drumming and bold bass lines ensure plenty of malevolent groovy patterns enhancing a wild black ‘n roll spirit destined to spellbind the audience.
On “Goat, Skull, Ritual Fire” the monolithic guitar riffs emphasize lugubrious doom influences and hypnotizing esoteric nuances that lead to darkly alluring rhythmic crescendos enriched by the classic approach of the charismatic heavy rock solo.
“Below Ceremonial’ definitely holds a ritualistic mood fueled by the diabolical & theatrical growls and the cold guitar tonalities that create memorable arcane crescendos with thrilling riffage and obscure melodic phrases.
“Three Knives” is surrounded by a mysterious doomed aura that constantly amplifies the darkened spiritual essence and influences the guitar work which acquires slower mournful tonalities but at times will evolve into colossal blackened rhythmic bursts.
Acârash proudly manifest their visionary blackened doom with an inspiring primal force that throughout “Descend To Purity” never fails to generate soaring grooves and darkly introspective soundscapes.
From the wintry landscapes of Iceland emerging black metal band Nyrst arise to spread mystical darkness with the debut album “Orsök”.
“Æðri Verur” builds suspense with eerie arpeggios and mysterious atmospheric waves that evolve into an increasingly ominous rhythmic rampage bearing the mark of classic black metal and leading to utterly bleak soundscapes emphasized by the theatrical vocal delivery.
The title track revolves around the intense grim feelings expressed by the relentless cold guitar riffs and the diabolical growls constantly creating a sinister sonic realm while calmer rhythmic variations generate melancholia infused melodic progressions.
“Hvísl Hinna Holdlausu” continues to conjure an impenetrable darkness that highlights the tormented blackened approach and the gelid guitar tonalities shifting from an apparent melodic tranquillity to a malevolent riffage that evokes arcane vibes surrounded by a dense borderline claustrophobic atmosphere.
On “Turnar í fjarska” the menacing guitar riffs and the consequent frantic rhythmic patterns are fueled by a primordial blackened force while the gloomy blend of mournful melodic phrases and haunting atmospheric accents conveys the icy beauty of a stark wintry landscape.
It becomes quickly clear that Nyrst already have shaped an obscure sonic identity following an esoteric pathway with the perfect dosage of blackened nuances and listening to “Orsök” you will inevitably feel compelled to embrace the overwhelming darkness.
Norwegian doom/sludge metal band Dwaal invites you to embrace your inner darkness within the inescapable gloom of the debut full length “Gospel Of The Vile”.
“Ascent” is surrounded by an eerie atmosphere that dictates painfully slow and mournful rhythmic dynamics offering murky guitar melodies with dreamy post-metal nuances accompanied by distant spacey vocals.
The ominous tonalities of “Like Rats” increase a dystopian mood and the doom metal inspiration becomes stronger with the insane weight of the guitar riffs and the tormented growls while the scattered melodic phrases feel like a hymn to melancholia.
The title track can sound utterly diabolical with vicious growls and a perennial sense of anguish lingering through the bleak atmospheric textures and the heavy woeful rhythmic patterns but guitars also create some comforting melodic moments.
“Obsidian Heart Burns” continues to concoct darkened themes with slow burning bass lines that foreshadow an impending doom which is bound to become stronger within the monolithic rhythmic maze while the dense atmospheric arrangements channel enigmatic vibes.
It’s hard to believe that “Gospel Of The Vile” is a debut album because Dwaal already showcase tremendous songwriting skills and a striking sonic vision that seem to emerge from the darkest depths of the soul.
For over twenty years T.O.M.B. have been spreading darkness with an enigmatic approach and continue to follow a blasphemous music pathway today with the sixth full length “Thin The Veil” which also features collaborations with Hellhammer of Mayhem, Maurice “Mories” de Jong of Gnaw Their Tongues, Andy Winter of Winds, Craig Smilowski formerly of Immolation, and Duncan McLaren of Venom Wolf.
“No Return” has an esoteric essence naturally embedded in the murky atmospheric layers and the asphyxiating blackened rhythmic assault is constantly fueled by manic speed and ominous guitar tonalities.
The blurry mournful sounds of “Pestilence” seem to emerge from a forgotten dark abyss as guitars offer insidious riffs & leads blending black metal and noise elements through a desolate atmospheric maze.
The title track relies on faster hostile rhythmic patterns channeling primal black metal roots and the occult vibes increase dramatically when the slower tempo highlights the presence of mysterious atmospheric waves.
“Decapitation Of The Gods” combines the apocalyptic vibes of industrial with the relentless brutality of black metal as guitars unleash aggressive riffage and gelid tonalities within a chaotic sonic realm.
“Lunar Reckoning” could not sound darker and the necromantic growls certainly match such mood within the mystifying rhythmic ensemble enhanced by the solemn drumming and the monochromatic guitar tones.
On “Hellmouth” the vocals sound like an arcane incantation that also reminds you that you’re stuck in a hellish world surrounded by murky atmospheric layers and oppressive rhythmic blasts characterized by dissonant noise elements.
On “Thin The Veil” T.O.M.B. keep everything as obscure as possible mixing harsh black metal elements and cryptic atmospheres that certainly belong to the darkest corners of the underground metal scene.
Romanian avant-garde devotee Costin Chioreanu and unearthly Greek singer Sofia Sarri have joined forces to create a new visionary project on the debut album “Afterlife Romance”.
“The Gardenian Night Shift” has the ability to take you far away with a charming kaleidoscopic atmospheric approach that blends relaxing harmonies and enigmatic arrangements always enriched by the bewitching vocal delivery.
At the center of “Sulphur Promenade” there are intriguing jazz incursions that lead to a versatile instrumental ensemble mixing soothing phrases and haunting atmospheres while Sofia’s vocals showcase a compelling emotional energy as well as a theatrical flair during the quasi chaotic finale.
“A Blooming Moonflower” feels like a daydream with mellow comforting melodies and ethereal vocals flourishing through blurry atmospheres yet there are also some intense rhythmic crescendos that emphasize the presence of bittersweet feelings and darker nuances.
“Thanatoguards” focuses on a cathartic cinematic approach with loads of darkly romantic atmospheric layers and the impeccable clarity of vocals that can express a multitude of emotions while later the instrumental progressions will acquire borderline dissonant tonalities adding dramatic depth.
“The Glow Made Us Go” features understated tranquil atmospheric tapestries feeling like a sophisticated soundtrack but also some interesting guitar tonalities and unexpected rhythmic variations that symbolize the eclectic direction of the whole album.
Disregarding completely any music trend or categorization Costin Chioreanu and Sofia Sarri aim to experiment with diverse tonalities and styles, as a result the dreamy & moody soundscapes on “Afterlife Romance” ensure a unique listening experience.
Italian black metal warlocks Darkend have crafted a new arcane ritual symbolized by the latest dark offering “Spiritual Resonance” which will inevitably spread pure esoteric energy.
Since the very beginning “The Three Ghouls Buried At Golgotha” is characterized by a darkened spiritual aura as haunting atmospheric arrangements introduce a series of sinister rhythmic crescendos filled with relentless guitar riffs & drumming accompanied by a satisfying mixture of theatrical vocals and venomous growls.
The mystical pathway of “Scorpio Astraea High Coronation” comes to life with compelling darkened melodic guitars following a slower seductive rhythm that still showcases a strong black metal inspiration matched by the hellish torment expressed by the foreboding vocals.
Featuring a fascinating performance by guest vocalist Lindy-Fay Hella of Wardruna “With Everburning Sulphur Unconsumed” definitely has an elaborate approach that relies on multilayered melodic & atmospheric textures evoking a captivating gothic splendor in addition to the main heavier blackened rhythmic ensemble.
On “The Seven Spectres Haunting Gethsemane” galloping rhythmic blasts and cascading guitar riffs evoke all kinds of bleak feelings enhanced by the understated atmospheric layers leading to a gloomy peaceful moment featuring fragile classical piano melodies and distant ominous chants.
Darkend proudly invite you to join the ancient ceremonies of “Spiritual Resonance” which stands out for the darkly charismatic essence fully embodied by decadent symphonic tapestries and fiery blackened dynamics.