Hailing from Suffolk Ghosts Of Atlantis presents to the world the monumental debut full length “3.6. 2.4” conceptually inspired by the mythology of ancient Greece and the lost city of Atlantis.
“The Third Pillar” marks a triumphant beginning as the multilayered symphonic tapestries and the majestic choirs evoke a solemn atmosphere surrounding a quite aggressive blackened rhythmic rampage certainly amplified by the vicious growls.
The atmospheric grandeur of “Halls Of Lemurai” introduces a dazzling mix of inflamed heavier rhythmic patterns and fascinating symphonic arrangements while the slower passages highlight the sophisticated melodic guitar phrases and the passionate clean vocals.
“The Curse Of Man” stands out for the exquisite combo of subtle atmospheric layers and somber melodies accompanied by the theatrical vocal delivery yet the savage guitar driven grooves will often channel a merciless blackened force.
The menacing rhythmic blasts on “Gardens Of Athena” still manifest extreme metal elements but the focus shifts on sumptuous orchestrations and poignant melodic crescendos featuring polished guitar tonalities that will lead to a darkly contemplative breakdown enriched by dramatic clean vocals.
“The Lost Compass” embodies an epic momentum as the elegant atmospheric textures and the classical piano create intricate soundscapes ultimately leading to catchy melodic passages accompanied by soothing vocal harmonies in contrast with the faster vicious rhythmic dynamics.
Ghosts Of Atlantis proudly begin an exciting sonic endeavor as on “3.6. 2.4” they have successfully created an alluring blend of symphonic grandeur, blackened grooves and brooding aesthetics destined to raise interest in the current metal scene.

Kvaen is the new solo project by Swedish musician Jakob Björnfot and the debut album “The Funeral Pyre” is characterized by a malevolent black metal approach and an overload of gelid tonalities. 

“Revenge By Fire” is a fierce album opener and certainly showcases massive blackened dynamics fueled by relentless riffage and blistering drums while towards the finale a bleak atmospheric ensemble adds a dramatic feel. 

The tempo slows down significantly on the title track to focus on crestfallen guitar melodies that will return often channeling grim emotions in contrast with the groovy momentum built by soaring guitar riffs and enriched by the charismatic soloing. 

“The Wolves Throne” aptly begins with wolves howling and a profound Nordic melancholy that generates compelling guitar melodies that will evolve into an extensive dazzling solo while the rhythmic section skillfully maintains solid blackened grooves. 

On “We Serve The Masters Plan” the mood becomes increasingly obscure due to the ominous guitar tonalities and the classic black metal essence is further amplified by diabolical growls while the monochromatic melodic phrases enhance the pensive vibes. 

There is an immense nostalgia lingering through “Hymn To Kvenland” as guitars follow a calmer pace and craft brooding melodies rather than vicious riffage and the resulting contemplative mood takes you far away probably in the middle of a remote forest.  

Even if “The Funeral Pyre” is the first studio effort crafted by Kvaen the chosen sonic vision already sounds strong and the prominent Nordic flair invites you to embark on a journey through desolate wintry soundscapes.