The undisputed queen of Scandinavian gothic metal Liv Kristine continues to follow a personal creative path that naturally leads to the sixth solo album “River Of Diamonds”, another compelling addition to her extensive discography.
“Our immortal Day” instantly evokes a familiar gothic metal inspiration with darkened guitar melodies and understated atmospheric arrangements perfectly unfolding around an enthralling vocal duet with Østen Bergøy of Tristania.
“Gravity” shifts the focus to ethereal atmospheric tapestries and deeply melancholic melodic motifs generating captivating crescendos further enriched by Liv’s delicate vocal delivery.
The title track offers a catchy melodic structure with elegant keyboards layers and slightly gothic guitar accents but certainly stands out for another fascinating duet this time with the one and only Fernando Ribeiro of Moonspell.
“Love Me High” features glowing guitar melodies and bittersweet romantic vibes while Liv’s sister Carmen Elise Espenæs adds beautiful vocal harmonies.
Within the melodic core of “Serenity” guitars have a chance to amplify the gothic influences ultimately leading to a widely accessible chorus while Liv impeccably delivers powerful vocals.
You can perceive a darker mood throughout “If I am Dreaming” as Liv’s versatile vocals evoke an emotional whirlwind through a rich multilayered atmospheric ensemble.
Written in collaboration with Tommy Olsson, former member of Theatre of Tragedy, “River Of Diamonds” showcases a soothing melodic composition that fully revolves around Liv’s sublime vocal performance and constantly emphasizes her striking abilities.
It’s hard to believe that we had to wait over eight years but finally Swedish deathglam masters Deathstars make a glorious comeback unleashing pure energy and undiluted darkness throughout the new full-length “Everything Destroys You”.
“This Is” revolves around bombastic rhythmic patterns featuring a winning combo of gritty guitar riffs, industrial style electro layers and rich atmospheric textures ultimately leading to a super catchy chorus.
“Anti All” is surrounded by a cold atmospheric ensemble that highlights recurring somber tones and contemplative harmonies but the rhythmic section gradually picks up speed & strength to build some abrasive grooves.
The title track tends to follow a slower tempo skillfully blending gloomy multilayered synths and memorable rhythmic dynamics around Whiplasher Bernadotte’s baritone vocal delivery which also amplifies a sinister mood.
“Between Volumes and Voids” packs a punch with an overdose of relentless crunchy guitar riffs and the chorus is absolutely addictive embellished by delicate female backing vocals and refined atmospheric tapestries.
“The Infrahuman Masterpiece” begins with deeply melancholic melodies and often puts the spotlight on the fascinating atmospheric waves nevertheless guitars are always ready to craft plenty of robust grooves.
On “Angel of Fortune and Crime” the industrial flair becomes evident through the wicked heavier guitar work amplified by nightmarish vocals and enriched by an appealing mix of dramatic atmospheric arrangements and futuristic electronic accents.
In the end you won’t be able to resist the stomping rhythmic galore and the seductive gothic vibes of “Everything Destroys You” and even if it took a while Deathstars proudly manifest a wild creative force.
Italian blackened doom metallers Shores Of Null confidently continue to follow a darkened musical pathway bound to express immense melancholy and rage throughout the new full length “The Loss Of Beauty”.
“Destination Woe” instantly delivers a generous dosage of heavy doom oriented dynamics fueled by the relentless riffage and the cavernous growls while the lead guitar work has a chance to craft some crestfallen harmonies.
“The Last Flower” shines for the melancholia infused guitar phrases flourishing through a darkly alluring rhythmic ensemble emphasized by the fervent clean vocal performance yet you can expect faster borderline furious rhythmic blasts.
The dramatic track “Darkness Won’t Take Me” might sound less aggressive spreading a sense of perennial gloom through the beautiful sweeping guitar melodies and the heartfelt vocals.
“Nothing Left To Burn” often favors a slower tempo as guitars deliberately tend to focus on forlorn melodic motifs until the monolithic rhythmic section channels the ominous force of doom metal.
“A Nature In Disguise” begins with a significantly darker atmosphere yet the passionate clean vocals maintain an eloquent melodic flow around the unrestrained rhythmic structure that will ultimately acquire even more sinister tones.
“Fading As One” definitely symbolizes the band’s sonic identity skillfully blending woeful guitar melodies and inflamed rhythmic patterns featuring bold drumming and fierce riffs.
Shores Of Null aptly choose a decadently romantic title as “The Loss Of Beauty” captivates the listeners with emotive melodic themes that inevitably become entwined with the harsh elements of classic doom/gothic metal.
Stoner doom metal trailblazers Acid King make a glorious comeback with the monumental trip-inducing soundscapes of the first release in eight years entitled “Beyond Vision”.
An enigmatic atmospheric intro naturally leads to the colossal rhythmic patterns of “One Light Second Away” fueled by extra gritty guitar riffs and enriched by slow burning melodic phrases.
“Mind’s Eye” continues to follow a hallucinatory pathway as recurring vibrant melodic accents and hypnotizing vocals flourish within a solid doom oriented rhythmic ensemble.
On “Electro Magnetic” the detailed synths layers acquire darker dystopian tones that constantly make you space out while the heavy weight of guitars inevitably generates memorable power dirges channeling a timeless doom force.
The title track fully manifests the band’s trippy musical formula driven by a cosmic energy to create a compelling blend of hazy melodies and monolithic rhythmic dynamics emphasizing the skillful guitar work.
“Beyond Vision” symbolizes the journey of life as Acid King begin a new era confidently building a lysergic sonic realm filled with mighty stoner doom grooves and spacey atmospheric textures.
Thrash metal legends Overkill have been around for four decades and the release of the twentieth studio album “Scorched” clearly demonstrates that they are still unstoppable staying true to their legacy while expanding their sonic vision.
The title track stands out for the flamboyant guitars leading the way to a merciless rhythmic assault fueled by the monolithic drumming and obviously Bobby Blitz amplifies the savage old school thrash metal spirit with his signature screams.
Throughout “Goin’ Home” the charismatic guitar leads can maintain sorrowful melodic vibes nevertheless the abrasive riffage and the extra speed inevitably generate colossal thrash grooves.
The towering rhythmic section on “The Surgeon” unleashes sheer fury as the fast chunky guitar riffs demand constant headbanging and the solo adds some pleasant fancy licks.
Surrounded by a darkened aura “Twist Of The Wick” certainly highlights the musical prowess through the impeccable variegated guitar work shifting from scorching riffs to elegant slightly melodic leads enriched by solemn choirs
On “Wicked Place” the relentless guitars continue to build insanely energetic grooves and wicked leads around Bobby’s ravenous vocal performance ultimately leading to a sinister atmospheric grand finale.
“Fever” still packs plenty of classic thrash grooves to ensure a full blown moshpit yet the slower passages add a dramatic depth with contemplative atmospheric arrangements and nostalgic guitar phrases.
As the title aptly suggests on “Scorched” Overkill are literally ready to set everything on fire proudly delivering all the expected massive thrash grooves with the addition of tasteful melodic accents.
After seven years Blood Ceremony are finally ready to deliver the highly anticipated fifth album “The Old Ways Remain” channeling the timeless force of doom and the trippy essence of psych -rock to fully shape a unique sonic vision.
“The Hellfire Club” opens the album with darkened atmospheric nuances and an overdose of addictive grooves fueled by the retro rock style of the gritty guitar riffs and enriched by enchanting flute melodies.
You will repeat the title “Ipsissimus” over and over in your head as the chorus and the chunky guitar riffs sound insanely catchy and even uplifting while the winning combo of flute and organ adds a fascinating melodic flow.
“Powers Of The Darkness” aptly amplifies a darkened aura around the groovy rhythmic section and the vintage vibes of the charismatic guitar solo while Alia’s voice spellbinds the listeners with a memorable chorus.
“The Bonfires at Belloc Coombe” takes you to an ancient realm as the fiddle and the flute craft soulful folkish melodies yet the fiery guitar work constantly channels the enigmatic essence of occult rock ultimately leading to faster quasi frantic rhythmic patterns.
“Widdershins” is another irresistible track featuring a solid round of sizzling guitar riffs and monumental drum blasts consequently the vocals manifest a true rocker attitude yet you can easily perceive some forlorn doom influences.
Showcasing a detailed composition “Song Of The Morrow” marks a grandiose closure as guitars and organ acquire deeply melancholic tonalities to meticulously create enthralling melodic tapestries leading to cryptic contemplative moments.
With the release of “The Old Ways Remain” Blood Ceremony confidently follow an expansive musical pathway perfectly blending magnetic occult rock elements, magical folk harmonies and inflamed guitar driven grooves.
Australian extreme progressive metal band Ne Obliviscaris has always garnered attention for the trademark blend of classical beauty and masterful intricate composition that now leads to the monumental fourth full-length “Exul”.
Throughout “Equus” you will find harsh rhythmic patterns enhanced by brutal growls and unexpected tempo variations showcasing a strong prog metal approach and musical prowess while the classical splendor of the haunting violin movements can express an emotional whirlwind.
“Misericorde I – As the Flesh Falls” demands your attention with a shapeshifting rhythmic core as the band meticulously combines fierce guitar riffs and enthralling violin harmonies once again highlighting the duality of Charles’ soothing clean vocals and Xenoyr’s ravenous growls.
On “Misericorde II – Anatomy of Quiescence” the flawless violin takes the center stage delivering a gorgeous wistful melodic flow enriched by the luminous guitar solo yet the colossal rhythmic section is ready to impress with faster aggressive dynamics.
Throughout “Suspyre” the captivating melodic essence of the impeccable violin is always bound to emerge even if the fury of the rhythmic ensemble and the eclectic prog guitar style here hold a dominant role generating intense grooves.
Evidently “Exul” manifests and a high degree of diversity maintaining a rather dark mood as Ne Obliviscaris challenge the audience skillfully combining multifaceted melodic tapestries and an insane proggy rhythmic structure.
Australian black metal duo Austere makes a majestic comeback with the release of “Corrosion Of Hearts”, the first record in 14 years destined to spread desolation and immense gloom.
“Sullen” certainly embodies the band’s own depressive black metal formula and showcases delightful shimmering blackgaze influences featuring stunning melancholia infused guitar melodies that ultimately lead to intense rhythmic crescendos.
“A Ravenous Oblivion” continues to follow a somber sonic pathway highlighting the mournful melodic tapestries and the moody atmospheric textures while the rhythmic section creates monolithic and often frantic blackened patterns clearly amplified by desperate screams.
The understated atmospheric nuances of “Pale” evoke a sense of wistfulness that constantly lingers through the forlorn guitar phrases accompanied by softer vocals therefore the rhythm tends to slow down to emphasize the contemplative mood and the dreamy blackgaze essence.
The reformed duo Austere appears in excellent shape as throughout “Corrosion Of Hearts” they successfully blend an emotional approach and captivating melodies while maintaining an evident Norse black metal inspiration.
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.