Canadian trio Völur is ready to release the sophomore full length “Ancestors” which features strong doom roots as well as enchanting folk elements immersed in a darkened spiritual miasma. Bassist/vocalist Lucas Gadke of Blood Ceremony, violinist/vocalist Laura C. Bates of Fresh Snow and drummer James Payment of Do Make Say Think are certainly experienced musicians who have a clear conceptual vision and a genuine desire to carefully craft unique magnetic harmonies.

“Breaker Of Silence” is telling a story that focuses on darkly cinematic atmospheres as ethereal solace embrace vivid melodic textures. The organic slow and pensive instrumentation is adorned by otherworldly chants while simply irresistible and utterly mesmerizing violin melodies deliver grandiose beauty through darker rhythmic layers.

“Breaker Of Skulls” challenges the graceful darkness with intense growls that channel primordial and heavier blackened themes while bone chilling violin phrases earn again the deserved spotlight delivering majestic melodies as well as profound arcane vibes.

On “Breaker Of Oath” stunning dramatic classical violin evoke a transcendent scenario but this track also offers a particularly ominous side well supported by powerful bass dynamics. The melodic contemplative aspects of this song embodied by exceptionally captivating violin solos deserve to be listened thoroughly in order to fully and consciously embrace the depth of Völur’s enthralling music journey.

“Ancestors” is not your average metal album as Völur has created a magical work of music that sinuously dwells in the darkest artsy realms and draws cathartic strength from lavish hypnotizing melodies.

 

Guitarist/vocalist/composer/producer Ryan Duke is ready to proudly release the self titled debut album of his passionate melodic progressive metal project Fortis Amor.

Right from the start Fortis Amor showcases meticulous attention for details, a big sound and compelling songwriting variety.

“Particles” begins with elegantly melancholic acoustic guitars but soon gains intense depth with multichromatic complex guitar melodies and eclectic tempo variations in proper prog fashion.

“Holding On To Nothing” has a brief graceful acoustic intro but proceeds to combine heavier guitar riffing and luminous proggy guitar driven harmonies and solo, a duality expressed also in the contrasting vocal styles.

“Renewal” features a rather heavy sonic assault with super crunchy modern guitar riffing but the flamboyant versatility and creative force of the guitar solos will inevitably steal the spotlight and demand full attention.

“Bring This Petition To The Castle” favors prog influenced style and melodic themes as glossy guitars craft an overload of inspired harmonies while acoustic moments channel dreamlike emotional vibes.

“Outpouring” focuses on a catchy ensemble of crispy polished guitar melodies and radio friendly chorus, nevertheless the lead guitar work continues to concoct interesting and variegated passages.

Considering the amazingly multifaceted influences and intricate instrumentation is quite remarkable that, aside from few guest solos, Fortis Amor is a one man progressive project. Even if at times the modern metal approach seems too trendy and doesn’t necessarily match the fluidity of the overall musicianship this debut album will certainly impress the listeners.

Emerging Italian horror punk quartet Raging Dead has released the first full length album entitled “When The Night Falls” which revolves around rebellious grooves with some horror show style elements that remind of the legendary Italian band Death SS.

“Streets Of Rage” stays true to the title as tight enraged guitar driven rhythms packs a series of aggressive riffs amplified by scratchy furious vocals with an overall cinematic 90s horror movie theme that will continue to be quite dominant throughout the album.

The title track showcases another killer round of simple yet high impact guitar riffs and heavy bass lines but there is also a good dose of creepy melodies culminating into a pleasantly catchy chorus.

“Army Of The Restless” increases the atmospheric dark mood with slower paced rhythms, classic melodic guitar solo and scattered vintage rock accents.

“Nightstalker” features fun nightmarish grooves that channel multiple influences including glam rock while a smooth metallic guitar solo bears the melodic signature style of classic heavy metal.

“Crimson Garden” puts aside the immediate fury of wild punk dynamics to focus on a well structured crescendo of accessible darkly melodic themes and less frenetic rhythmic sections.

“When The Night Falls” doesn’t necessarily offer otherworldly music innovations nevertheless it is an absolutely and genuinely entertaining album full of super catchy rocking grooves that will make you stomp until dawn.

After few line-up changes Ides Of Gemini is ready for a reinvigorated comeback to the music scene with the new full length “Women”, a collection of songs dedicated to mythological or historical women.

“Mother Kiev” features gothic nuances and mystifying atmospheres that enhance the darkened guitar riffing and the alluring vocals.

“Raft Of Medusa” delivers emotive acoustic guitar passages swiftly followed by doomy heavier riffs and catchy rhythmic sections that bear a mysterious aura.

“Swan Diver” relies on a rather memorable guitar/bass combo with heavier attitude and loads of vintage vibes as Sera Timms’s vocals guide the listeners through hazy soundscapes.

On “She Has A Secret” guest vocalist Emma Ruth Rundle delivers a rather haunting performance that adds further dark depth to the retro gothic/doom themes.

Featuring Tara Connelly of Clay Rendering “Queen Of New Orleans” feels like a hypnotic chant in the midst of an inescapable heavily darkened atmosphere amplified by recurring goth oriented guitar melodies.

Ides Of Gemini is definitely capable of creating vintage enigmatic music and while “Women” feels like a strong cohesive album with darkly enchanted accents unfortunately it often lacks charisma due to monotone vocals and repetitive music themes.

Following a very successful crowdfunding campaign, American rock band He Is Legend retreated to a remote cabin in isolation to find renewed energy and inspiration to craft the fifth full length album “Few”.

“Air Raid” would have sounded stronger without pushing the radio friendly effect, nevertheless He Is Legend skillfully balance groovy trends and heavier old school vibes with structured breakdowns and captivating melodic guitar solo.

“Sand” draws its heavier strength from 90s influences but also features clean modern sonic dynamics that always contribute to build a catchy chorus.

“Silent Gold” feels more mature and spontaneous in terms of songwriting. While rocker style vocals deliver catchy choruses the guitar work provides the right dosage of melancholic melodies as well as healthy heavier riffing.

“Jordan” has a sludgy darker soul with excellent fierce and harsh vocal delivery well supported by a series of particularly crunchy guitar riffs.

“Gold Dust” features a classic rock structure with well executed crispy clean guitar melodies and relaxed vibes but also plenty of guitar driven catchy energetic grooves.

“The Vampyre” stands out for the darkened mood and the guitar work offers more diversity with compelling melodies and powerful riffs.

“The Garden” greatly amplifies the previous darkened mood with the addition of occasional atmospheric accents and more creative solos as guitar riffs drastically slow down in proper vintage doom fashion.

“Few” mostly feels naturally cohesive and well structured, while aiming for a big modern sound and a big crowd He Is Legend seems to deliver some strong, yet not extraordinarily impressive, stylish ideas that follow a clear music pathway.

German black metal band Farsot returns with the third full length “Fail·lure”, a work of music that showcases avant-garde attitude and is conceptually inspired by the critically acclaimed Peter Greenaway film “Drowning by Numbers”.

“Vitriolic” immediately channels gloomy atmospheric beauty with the elegant addition of deeply melancholic and cathartic guitar melodies, yet there is space for fast paced powerful blackened rhythmic sections surrounded by an impenetrable sinister mist.

“Undercurrents” features cold traditional black metal blasts with well executed guitar riffs that hold a sense of ancient fury while a deeper darkness is enhanced by stylish dismal guitar melodies that surprisingly gain psychedelic vibes.

A particularly dense mysterious aura and ominous ritualistic chants dominate “The Antagonist”, a track that features several tempo and theme variations to offer blackened primordial wrath as well as stylish melodic phrases.

“A Hundred to Nothing” is a rather pleasant instrumental song that steps away from the traditional black metal roots as it relies mainly on post-metal sophisticated guitar melodies and enigmatic dreamy atmospheres.

“Fail·lure” philosophically addresses artsy dilemmas in the midst of intensely darkened atmospheres fueled by ominous black metal roots and Farsot often deviates from the expected music style in order to explore a wider dark music realm.

French dark band Les Discrets is well known in the shoegaze scene, also because founder Fursy Teyssier has worked with Alcest and Amesoeurs, and the brand new album “Prédateurs” offers accessible gentle melodies adorned by subtle darkened atmospheres and electronic accents.

“Virée Nocturne” delivers introspective depth with particularly darkened mesmerizing atmospheric layers and minimalist sentimental guitar melodies.

“Les Amis De Minuit” follows similar themes as elegant atmospheres dominate the song’s structure while vibrant melodic guitars channel comforting upbeat hopefulness.

“Fleur Des Murailles” features soft emotive vocals and rich ambiance textures with trip-hop elements that build hazy surreal harmonies.

“Le Reproche” has plenty of enchanting guitar melodies but also a more confident darker metallic approach with the right dose of fragile distortion and exquisite bohemienne poetic atmospheres.

“Les Jours D’Or” continues to channel refined poetic vibes drenched in a dark melancholic realm where graceful guitar melodies and whispered vocals evoke a monochromatic nostalgia.

Immersed in a perennial dreamlike state “Prédateurs” might not be the most memorable release but successfully combines few beloved elements of post-rock/shoegaze with an elegant taste for experimentation and cinematic soundscapes.

 

Hard to categorize, Valborg self describe their music style as German metal monster and the newest full length album “Endstrand” is packed with raw energetic grooves and apocalyptic themes.

“Blut Am Eisen” offers a loud powerful ensemble of high impact guitar riffing with groovy industrial elements and harsh vocals.

“Orbitalwaffe” feels more introspective and dark with gothic infused slower simple guitar phrases but features also more aggressive riffing dynamics with gritty industrial sections.

“Beerdigungsmachine” is raw and metallic with a dense rhythmic assault amplified by heavy galloping guitar riffs and balanced by slower doom melodic segments.

“Bunkerluft” is filled with dreamy melancholic guitar melodies and holds a charismatic darkened soul amplified by ominous vocals that channel the immense obscure sound of classic Celtic Frost.

“Geisterwürde” features gothic/doom atmospheric themes with pensive and moody arpeggios that gradually evolve into heavier fierce guitar driven grooves.

With an overload of darkened nuances “Plasmabrand” might be the most interesting track on this album. Sophisticated doom influenced guitar melodies and steady heavier riffs evoke distorted desolate atmospheres and enhance dystopian vibes.

“Endstrand” mainly revolves around crunchy aggressive guitar driven rhythms that call for savage stomping but Valborg also manages to deliver nightmarish soundscapes with occasional gothic and doom accents.

Icelandic band Dynfari is known to skillfully create post-metal/post-rock atmospheric music and the latest release “The Four Doors Of The Mind” is based on a rather intriguing concept that explores fantasy writer Patrick Rothfuss’ theory on the mind’s abilities to cope with pain combined with over 100 year old lamentations on human existence by early 20th century Icelandic existentialist poet Jóhann Sigurjónsson.

“1^st Door: Sleep” starts with apparent melodic calm that recurs throughout the song with dominant shoegaze atmospheric elements but also introduces the listeners to a darker realm made of intense almost savage black metal guitar riffs and powerful growls.

The highly introspective nature of “Sorgarefni Segi Eg Bér” is well expressed in the intricate and often dramatic guitar work that elegantly shifts from sorrowful gothic style phrases to a more blackened metal core.

“Sorg” stands out for its captivating melancholy infused combo of acoustic guitar and flute melodies characterized by cold Nordic nuances.

“4^th Door: Death” is a monumental track that showcases the main elements of Dynfari’s unique music style. Lavish and gloomy atmospheres enhance the emotional sonic palette as kaleidoscopic guitar melodies deliver exceptional melancholic depth. Darkened feelings might dominate the music themes but eventually the rhythmic section gains balanced brighter energetic dynamics.

Due to its contemplative complexity “The Four Doors Of The Mind” might never reach a wide audience nevertheless Dynfari are absolutely on the right path to become one of the most interesting bands in the underground metal scene.

After the covers album “Skeletons” triggered mixed feelings back in 2015, the inimitable Danzig returns with the long awaited new album of original songs “Black Laden Crown”. While the album often manages to celebrate Danzig’s blackest signature style the recurring uneven flawed production is totally unexpected.

The title track features slow burning guitar riffs infused with pitch black catchiness, a darkly melodic guitar solo and a steady gothic/doom crescendo that favors Danzig’s soulful blackened vocal performance.

“Devil On Hwy 9” is full of gritty and occasionally rather wild guitar work that ensures a consistent raw groove matched by Glenn’s harsh vocals.

“Last Ride” has an intensely darkened bluesy attitude enhanced by retro atmospheric vibes and Tommy Victor provides highly enjoyable melodic moody guitar solos.

“But A Nightmare” successfully channels an overload of darkened vibes with slow & heavy guitar riffs that build utterly catchy grooves while Glenn sounds in excellent shape with haunting vocals.

On “Pull The Sun” Glenn delivers a soothing gothic style performance channeling also Elvis Presley over slower nightmarish melodies while Tommy’s fervent guitar solos gain the spotlight.

It cannot be denied that “Black Laden Crown” carries the exquisite absolute darkness that became a crucial element of Danzig’s music style nevertheless we will never know what went wrong in the studio as the evident production and mix issues unfortunately tend to plague the entire album ultimately spoiling the listening experience.