Formed in 2020 by Rune ‘Blasphemer’ Eriksen, renowned for his work with Norwegian black metal legends Mayhem and Vltimas, RUÏM begins an ominous spiritual journey with the debut release “Black Royal Spiritism – I – O Sino da Igreja”.
Like an ancestral witchcraft “Blood.Sacrifice.Enthronement” opens the portal to a sinister dimension as guitars skillfully shift from ghastly melodic passages to full blown angered rhythmic patterns that ultimately lead to an unearthly atmospheric momentum.
On “The Triumph (Of Night & Fire)” recurring mysterious guitar phrases slowly build a malevolent rhythmic march constantly fueled by unrestrained riffage and monolithic drumming.
The ritualistic flair of “Black Royal Spiritism” becomes evident through the theatrical growls and the hypnotizing melodic guitar work flourishing within an enigmatic atmosphere while the gruesome rhythmic dynamics are rooted in primal Norwegian black metal.
“Fall Of Seraphs” inevitably conjures total darkness unleashing an overdose of hellish rhythmic blasts yet guitars once again have the ability to emphasize the dramatic depth with cryptic melodies.
Throughout “O Sino da Igreja” guitars seem to emerge from the darkest depths demanding a furious speed to deliver insanely brutal riffs easily enhanced by the menacing growls and only the bewitching atmospheric accents give you time to breathe.
“Black Royal Spiritism – I – O Sino da Igreja” explores Blasphemer’s personal beliefs regarding the greater spirits of the left-hand path therefore you can expect a pitchblack sonic realm where blackened grooves run wild in the midst of an eerie atmospheric ensemble.

Norwegian avant-garde purveyors Dødheimsgard continue to impress the audience with a complex songwriting style that today generates the philosophical themes and the shapeshifting soundscapes of the sixth full length “Black Medium Current”.
Within an ethereal atmosphere “Et Smelter” conveys an overwhelming melancholia through the soft arpeggios and whispered vocals yet the rhythmic section will acquire a furious speed to build a proper black metal rampage and the finale surprises you with a captivating guitar solo surrounded by futuristic electro layers.
“Interstellar Nexus” takes you on a trip to outer space shifting from raw guitar driven grooves to variegated electronic textures that become seamlessly entwined with enigmatic melodic motifs accompanied by a theatrical vocal performance.
“It Does Not Follow” focuses on warm melodic guitars showcasing a modern glowing sound enriched by an intricate blend of catchy synths and haunting atmospheric tapestries but the inner blackened soul will inevitably lead to caustic rhythmic patterns.
The elaborate structure of “Halow” features comforting gelid melodies and a solemn vocal delivery flowing through cryptic dense atmospheric waves and constantly enhancing a dramatic depth.
Within the mystical realm of “Abyss Perihelion Transit” eerie chants and monochromatic atmospheric arrangements introduce a mournful rhythmic ensemble fueled by bleak guitar tones while synths provide loads of unexpected quasi bizarre twists.
As Dødheimsgard embrace a remarkable sonic evolution “Black Medium Current” definitely still channels the ominous force of black metal but is bound to challenge the listeners with an eclectic approach distant from any standard categorization.

Under the moniker Mork Norwegian mastermind Thomas Eriksen fearlessly explores the darkest depths of black metal to create the mysterious soundscapes of the sixth studio album “Dypet”.
“Indre Demoner” opens the portal to a pitchblack world where crestfallen guitar melodies gradually evolve into hellish rhythmic dynamics channeling a classic black metal fury.
Throughout “Svik” guitars maintain a hostile approach with unstoppable riffs easily enhanced by the vicious growls and the resulting massive rhythmic patterns sound absolutely groovy.
“Et Kall Fra Dypet” instantly unleashes relentless tremolo picking and pummeling drums but there are also many interesting rhythmic variations that eventually lead to a slower tormented atmospheric momentum.
Featuring malignant guest vocals by HJELVIK the misanthropic realm of “Hoye Murer” relies on desolate melodic motifs flourishing through the coldest atmospheric ensemble yet guitars often acquire heavier tones to build a blackened rhythmic core.
The poetic “Bortgang” constantly conveys a familiar Nordic gloom and mythical themes emphasizing the frostbitten melodic guitar work that naturally shifts to hypnotizing mid paced grooves.
Mork’s ominous sonic journey began in 2004 and now with the release of “Dypet” Thomas celebrates his strong black metal roots while looking forward to shape a diverse songwriting style.

Norway’s finest and legendary duo Darkthrone doesn’t really need a formal introduction and the new enigmatic studio album “Astral Fortress” is the legit product of an ongoing sonic evolution blending variegated heavy metal influences.
“Caravan Of Broken Ghosts” begins with crestfallen acoustic phrases and guitars gradually acquire lugubrious doom tonalities enhanced by tormented vocals still following a slower tempo with occasional raw rhythmic blasts.
The strength of “Stalagmite Necklace” certainly relies on the primal approach of the memorable guitar work and the extremely gloomy tonalities enriched by fragile atmospheric arrangements conveying wintry vibes.
At the center of the album lies the lengthy cryptic opus “The Sea Beneath the Seas of the Sea” which combines moody atmospheric textures and gritty riffage generating doom laden rhythmic patterns and some faster blackened blasts.
Everything is inevitably dark within the mysterious atmosphere of “Eon 2” but the fiery guitar riffs can easily evoke a glorious heavy metal essence to build solid groovy dynamics.
With the release of “Astral Fortress” Darkthrone just seems unstoppable and continues to solidify their legacy as Nocturno Culto and Fenriz embark on another obscure journey channeling old school black metal and classic doom.

Featuring Greg Wilkinson and Chris Reifert of legendary Autopsy, the new death/doom metal outfit Static Abyss promises sheer fury and overwhelming darkness with the release of the debut full length “Labyrinth Of Veins”.
“Feasting On Eyes” instantly unleashes a solid series of ferocious rhythmic blasts diligently fueled by the raw energy of the guitar work and the spiteful screams while the slower passages emphasize the ominous presence of doom elements.
“Nothing Left To Rot” can sound rather savage with extra fast drumming and visceral riffage but the grave doom guitar progressions inevitably evoke a sense of endless hopelessness.
The title track revolves around oppressive rhythmic patterns as the tempo slows down to enhance the monolithic weight of the doom approach through the bleak guitar tonalities and the consequent obscure quasi melodic phrases.
“Jawone Ritual” immediately acquires speed and anger through the relentless rhythmic section offering the expected dosage of vicious guitar riffs ultimately enriched by lugubrious twisted harmonies.
“Tectonic Graveyard” puts the spotlight on a cryptic doom metal style as the painfully slower guitar work renders everything darker and dreadful but there is still space for some raging groovy dynamics.
“Clawing To The Top Of The Dead” closes the album channeling the wrath of extreme metal through the hostile growls and the vitriolic riffage that will eventually evolve into a series of harrowing guitar leads.
Static Abyss proudly begins a gloomy sonic endeavor conveying brutality and desolation throughout “Labyrinth Of Veins” that will certainly satisfy fans of the glorious death & doom metal genres.

Norwegian black metal iconic duo Darkthrone returns with the 18th studio album aptly entitled “Eternal Hails……” choosing a doomed pathway that inevitably leads to a gelid sonic realm.
“His Master’s Voice” becomes a gloomy affair as soon as the lead guitar begins to focus on doom tinged melodies while the main rhythmic section delivers a gritty rampage filled with monolithic drum blasts and dirty riffs.
The slower ominous tempo on “Hate Cloak” conjures a sense of impending doom and puts the spotlight on the massive riffage and the mournful guitar leads yet there are some charismatic grooves bearing a vintage rock inspiration.
“Wake of the Awakened” follows a faster rambunctious rhythm fueled by the fierce drumming while a subtle blackened aura surrounds Nocturno Culto’s raucous growls and the galloping heavy guitar riffs.
Throughout “Lost Arcane City of Uppakra” the cold guitar riffs build plenty of wicked grooves but everything will dramatically slow down as a spaced out brooding atmospheric palette generates a mystical feel.
While Darkthrone are best known for their old school black metal anthems “Eternal Hails……” aims to symbolize an epic journey showcasing a true passion for classic doom metal, lugubrious tonalities and extra heavy riffs.

We were certainly concerned when Swedish masters of melancholy Katatonia announced a sudden hiatus therefore the new album “City Burial” is undoubtedly a highly anticipated release and the stunning result of a constant sonic evolution destined to immediately spellbind all the faithful acolytes. 

“Heart Set To Divide” focuses on an overwhelming melancholia so Jonas Renkse’s heartfelt vocals rightfully steal the spotlight flourishing through the fragile atmospheric tapestries while guitars meticulously concoct rich melodic progressions that generate catchy rhythmic crescendos and fancy phrases. 

On “Behind The Blood” you can perceive bleak feelings but guitars swiftly build a super groovy energetic momentum emphasizing a memorable rocker style with galloping chunky riffs and explosive leads that gradually evolve into a brilliant shredding galore. 

“Vanishers” feels distant from the band’s heavy doom roots as the synths become very dominant to highlight the introspective depth and the cold melodic guitars surrounding a fascinating ethereal duet featuring guest vocalist Anni Bernhard. 

The gloomy splendor of “City Glaciers” relies on slow burning guitar melodies and gelid tonalities that embrace the poignant vocal delivery but will eventually shift to a harmonious yet absolutely groovy ensemble during the chorus. 

“Flicker” offers an elaborate blend of sinuous atmospheric waves and dreamy melodic guitars that naturally enhance the contemplative essence yet the fiery rhythmic section often dictates heavier monumental grooves. 

“Untrodden” continues to maintain a delicious brooding melodic approach with shimmering atmospheric layers and soothing guitar harmonies while the extensive soaring guitar solo brings an overdose of groovy rock magnitude that will captivate the listeners. 

Everything you love about Katatonia’s music is right here on “City Burials” which is a simply addictive opus as the band’s outpouring charisma is evident within the intricate gloomy soundscapes which constantly express authentic emotions. 

Norwegian legends Darkthrone return with the brand new album “Old Star” which this time unleashes a savage series of guitar driven grooves with prominent 80’s thrash & death/doom metal influences within a distinct dark sonic realm.  

“I Muffle Your Inner Choir” relies on consistent no frills heavy rhythmic patterns and the unmistakable ominous growls of Nocturno Culto creating a fiery sonic assault that doesn’t really need breakneck speed to make an impact and actually sounds more accessible than expected.

“The Hardship Of The Scots” focuses on an overdose of gritty guitar riffs leading to bold black n’ roll grooves that throughout the song will evolve into dramatically slower doom laden segments that certainly amplify the obscure undertones.

With a deeply darkened mood the title track again puts the spotlight on the extremely cold somber guitar work delivering the perfect dosage of dismal tonalities accompanied by venomous raspy vocals as the fiery black metal roots and the slower doom elements naturally embrace.  

“The Key Is Inside The Wall” definitely channels a sense of impending doom that recurs through the frenetic drumming and the relentless guitar riffs fueled by familiar menacing blackened elements while the slick guitar leads have the ability to create memorable gloomy melodic moments.

While you can always perceive a strong blackened force behind the songwriting approach of “Old Star” the iconic duo Fenriz & Nocturno Culto clearly aims to expand the music vision of Darkthrone that on this album generates constant groovy vibes with the addition of old school dynamics that inevitably make you feel nostalgic.

 https://www.youtube.com/watch?v=i6h4b-Jm8iU

Featuring members from Paradise Lost, Katatonia, Opeth and Craft, Sweden’s shadiest death cult Bloodbath is the supergroup that every death metal acolyte dreams of and the long anticipated new album “The Arrow Of Satan Is Drawn”, the second with Old Nick on vocals, promises total sonic annihilation.

“Fleischmann” is simply vicious revolving around the sheer brutality of incessant rhythmic blasts featuring the expected relentless guitar riffing galore and plummeting drums within a claustrophobic mood where the brief darkened guitar melodies represent the only feeble sense of hope.

Straight to the point “Wayward Samaritan” offers loads of fast anthemic death metal grooves with the right dosage of chunky bass lines and ravenous riffage that will eventually slow down just to allow the guitar leads to stand out and Old Nick doesn’t disappoint delivering plenty of hellish growls.

Since the beginning the putrid sonic realm of “Levitator” features merciless monolithic guitar work naturally channeling absolute horror and other terrifying feelings fully amplified by gruesome growls and sinister atmospheric arrangements.

The old school approach of “Deader” is immediately evident as guitars diligently follow a savage rampage, often with breakneck speed, with belligerent riffs leading to a series of purely aggressive rhythmic assaults invigorated by blistering soloing.

Monstrous guitar driven grooves lead the way on “Only The Dead Survive” fueled by a familiar primordial energy that generates ominous blackened rhythmic variations through the expected classic approach with wicked riffing and thunderous drumming.

Despite the title “Chainsaw Lullaby” is definitely not a lullaby but rather sounds like a horror gore/slasher soundtrack as evil screams and infectious guitar riffs confidently build blood splattered grooves that don’t really need excessive speed but definitely benefit from the underlying solemn atmospheric darkness.

If you are in the mood for uncompromising old school death metal you will be delighted by “The Arrow Of Satan Is Drawn” but it should be noted that this time Bloodbath’s music feels a bit more adventurous adding a dramatic momentum to the truly nightmarish soundscape.

 https://www.youtube.com/watch?v=fgsTsfvyLFo