Polish duo Misanthur begins a cathartic journey into the deepest corners of consciousness on the debut full-length “Ephemeris”.
On “Enter the Void” you can easily perceive strong post-metal influences through the hazy atmosphere, the jazzy incursions and the monochromatic guitar tonalities while the frantic rhythmic crescendo will reveal an obscure blackened essence.
“On The Heights Of Despair” fully embraces a tormented blackened vision as the primal force of the ravenous growls and the unstoppable tremolo generate hostile rhythmic patterns while the slower passages evoke an overwhelming melancholia.
The ominous vibes of “Black Clouds & No Silver Linings” naturally lead to an unrestrained rhythmic rampage yet the tempo will slow down to emphasize the dramatic depth of the melodic guitar progressions.
Surrounded by a bleak atmosphere the title track focuses on minimalist somber melodies flourishing through a slow murky rhythmic haze and expressing crestfallen emotions.
“The Serpent Crawls” still delivers aggressive blackened blasts but guitars can channel arcane doom elements with an overdose of dense riffs and mournful melodic phrases enhanced by theatrical vocals.
Undoubtedly there is a lot going on throughout “Ephemeris” as Misanthur showcases a darkened enigmatic vision and a multifaceted songwriting approach that ultimately leads to shapeshifting soundscapes.

We all know the immense talent of Aðalbjörn Tryggvason as frontman of critically acclaimed Icelandic band Sólstafir but this time with his new project Bastarður he freely channels his crust punk and death metal influences on the debut release “Satan’s Loss of Son”.
As an album opener “Viral Tumor” ensures an impactful beginning following a fast & savage rhythmic rampage that highlights the raw energy of the guitar riffs and the edgy soloing.
On “Neonlight Blitzkrieg” an ominous atmosphere introduces a series of blistering grooves fueled by the extra speed of the drums and enriched by Tryggvason’s venomous screams and wildly entertaining solos.
The title track doesn’t waste any time as the relentless riffage diligently builds massive grooves while the guitar tonalities become darker during the brooding breakdown evoking an emotional turmoil.
While the overwhelming rage is still palpable through the untamed rhythmic march of “The Whispering Beast” the excellent guitar work can generate diverse dynamics shifting from thick riffs to enigmatic quasi melodic leads.
“Rise Up” features hazy atmospheric moments and guitars showcase a sombre sound that leads to a darkly passionate solo but while the rhythmic section clearly sounds less aggressive you still get a fair dosage of groovy passages.
Bastarður begins an incendiary musical journey as after three years in the making “Satan’s Loss of Son” comes to life with a full blown primordial force bound to grab your attention.

French black metal veterans Seth make a triumphant comeback with the new devastating album “La Morsure Du Christ” written in French Alexandrine lyrics and filled with esoteric vibes.
The inflamed title track instantly unleashes a malignant blackened assault with the perfect dosage of frantic tremolo picking and thunderous drumming embellished by baroque organ tapestries.
Surrounded by a gloomy aura “Sacrifice de Sang” features slower dismal guitar melodies and atmospheric textures accompanied by theatrical vocals but will often embrace a faster pace enhancing the gelid black metal elements.
A malevolent essence thrives within the ravenous rhythmic patterns of “Ex-Cathédrale” yet the guitar work can also craft otherworldly melodic phrases in the midst of a mysterious atmosphere emphasizing a dramatic flair.
The final opus “Le Triomphe de Lucifer” symbolizes the end of the Christian reign through a fiery sonic onslaught fueled by punishing drum blasts and relentless riffage while the calmer moments focus on eerie organ harmonies, darkened melodic progressions and solemn atmospheric arrangements.
French pioneers Seth emerge from a blazing inferno channeling a powerful mysticism and an ominous creative force to successfully create decadent blackened soundscapes throughout “La Morsure Du Christ”.

Secretive death metal collective Altarage returns with the new cryptic full length “Succumb” which instantly drags you through a nightmarish world of dissonance and chaos.
Listening to “Magno Evento” you are ready to enter the void as the ravenous drum blasts dictate a breakneck speed enhanced by the claustrophobic riffage that will eventually slow down a bit to focus on obscure guitar leads.
The sinister guitar riffs on “Foregone” introduce a monolithic rhythmic ensemble that hits you in the face following a malevolent fast tempo accompanied by desperate screams while the slower passages trigger harrowing feelings.
Throughout “Watcher Witness” the grave guitar sound can generate a perennial sense of impending doom that will ultimately evolve into a monumental rhythmic rampage fueled by the utterly savage drumming.
“Lavath” continues to revolve around dissonant rhythmic dynamics favoring gruesome death metal elements that can only lead to pure chaos & despair even during the painfully slow moments.
The asphyxiating rhythmic core of “Forja” relies on the tormented guitar riffs and the belligerent drumming shifting from insanely fast patterns to slower discordant passages that certainly convey an endless anguish.
The grand finale is embodied by the lengthy track “Devorador De Mundos” which constantly evokes sinister vibes through the monochromatic atmospheric nuances and the repetitive apocalyptic rhythmic pattern.
You simply cannot escape the dark & vicious sonic maze of “Succumb” as Altarage bravely continue to dwell within an enigmatic sonic realm inevitably pushing boundaries and channeling the ominous force of extreme metal.

Norwegian leaders of the black ‘n roll movement Vreid continue to explore diverse musical territories on the ambitious new concept album “Wild North West” which invites you on an unforgettable journey deep into the mountains.
On the title track an eerie atmosphere introduces a super groovy rhythmic ensemble that will ultimately acquire even faster & heavier dynamics amplifying the band’s fiery blackened roots while a sense of melancholy lingers through the melodic accents of the guitar work.
Throughout “Wolves At Sea” the focus shifts to sombre atmospheric arrangements and darkened melodic guitar phrases yet the inflamed rhythmic patterns can easily channel the ominous essence of Norwegian black metal enhanced by the vicious growls and the monumental drumming.
The mood becomes profoundly sorrowful on “The Morning Red” highlighting the dominant role of the haunting guitar progressions and the soulful clean vocal delivery naturally generating a spellbinding melodic ensemble.
The thick bass lines of “Shadows Of Aurora” lead to a compelling rhythmic crescendo that will gradually embrace a thrilling black ‘n roll momentum fueled by soaring guitar riffs and savage drum blasts marching through a ghastly atmosphere.
The sinister tones of the organ intro on “Shadowland” foreshadow a gloomy grandeur and darkness prevails inevitably as the band skillfully combines hostile rhythmic segments and captivating melodic passages while the finale features a refined melancholia infused piano piece.
The spirit of Sognametal continues to live throughout “Wild North West” yet Vreid never fail to showcase a renewed creative force blending fiery blackened dynamics and alluring melodic moments.

Founding member and composer/guitarist of Dodecahedron Michel Nienhuis embarks on a dystopian journey with the new band Autarkh which instantly manifests a radical sonic identity on the debut release “Form In Motion”.
“Turbulence” stays true to the title as the twisted rhythmic patterns and the abrasive riffage can create an asphyxiating sonic realm that at times embraces a futuristic approach with the addition of multilayered synths.
“Cyclic Terror” focuses on convoluted dissonant dynamics and heavily distorted tones that definitely emphasize the industrial inspiration while the hazy atmospheric textures become entwined with the aggressive blasts.
“Introspectrum” immediately unleashes a chaotic rhythm generating massive industrial grooves fueled by the cryptic electronic beats and the angered vocals within a moody atmospheric ensemble.
The distorted reality of “Lost To Sight” leads to obscure tonalities and visceral rhythmic segments accompanied by tormented growls & screams surrounded by unusual robotic sounds.
“Alignment” continues to combine harsh metal elements, diverse electronic layers and even subtle atmospheric nuances that ultimately create tumultuous soundscapes and uneasy feelings certainly amplified by the ravenous screams.
With Autarkh Michel Nienhuis follows an eclectic sonic evolution and certainly aims to push boundaries throughout “Form In Motion” channeling the fury of extreme metal and the enigmatic vibes of industrial.

After seven years of absence Greek melodic death metal band Nightfall returns triumphantly with the new darkened offering “At Night We Prey” blending opulent melodies and ravenous grooves.
“Killing Moon” opens the album with an overdose of memorable guitar riffs characterized by gelid melodic accents while the belligerent rhythmic section is ready to unleash savage faster grooves fully showcasing a harsh musical direction.
“Witches” instantly channels obscure vibes as the aggressive drumming and the primal force of the guitar work effortlessly create a nightmarish sonic realm further amplified by the vicious growls.
“Giants Of Anger” still dwells within a pitchblack realm fueled by an intense groovy momentum yet the rhythm slows down as guitars tend to focus on mournful melodic phrases accompanied by the theatrical vocals.
On “Meteor Gods” the melodic aspects become dominant as the slower contemplative passages emphasize the gothic aesthetics of the guitar melodies and the enticing solo in contrast with the scattered heavier dynamics.
A mysterious gothic aura surrounds the title track as dramatic spoken words and dreamy melodic phrases introduce a fiery rhythmic ensemble amplified by the robust riffage and the arcane chanting.
The nocturnal vibes of “Wolves In Thy Head” come to life through the menacing rhythmic patterns and the furious growls that inevitably convey a primordial strength which often becomes entwined with the gothic tinged melodic grandeur.
Without any hesitation Nightfall follow a darkly alluring sonic pathway which today on “At Night We Prey” leads to the monumental combo of extreme metal influences and compelling melodic tapestries.

Belgian quartet Emptiness embraces a surreal sonic pathway and an experimental approach on the new full length “Vide” recorded in confined spaces like a cabin in the woods and an apartment. 

A claustrophobic sense lingers throughout “Un corps à l’abandon” yet the whispered vocals and the guitar melodies can feel quite comforting channeling an alluring dreamy essence. 

On “Vide, incomplet” the electro beats add catchy and even danceable vibes to the haunting melodic passages and the monochromatic atmosphere. 

“Ce beau visage qui brûle” revolves around the mellow tonalities of the harmonious guitars that seem to emerge from a distant world surrounded by glitchy electro accents and ethereal synths. 

On “Détruis‐moi à l’amour” the blend of moody melodic guitars and the slightly dissonant tones float gently through the blurry atmospheric tapestries.  

“L’erreur” feels like a fading memory as the minimalist melodic guitar work is spiced up by unexpected dissonance and electronic twists evoking bittersweet feelings.  

On “L’ailleurs” the hazy guitar phrases, the understated distorted sound and the soft atmosphere evoke wistful feelings yet you can easily perceive a darkened aura surrounding the instrumental ensemble. 

It would be difficult to categorize the music style of “Vide” as Emptiness embark on a contemplative journey to explore the essence of perception through shapeshifting atmospheric & melodic waves.

Created by mastermind Mike Hill, Tombs return with the new obscure offering “Under Sullen Skies” which dwells within a twisted blackened realm expressing a psychological turmoil. 

“Bone Furnace” immediately showcases visceral black metal roots with grave tonalites, tortured growls and pummeling drums yet the inner experimental nature comes to life through the atmospheric/electronic arrangements.  

“Void Constellation” shifts to a mournful doom approach as the monolithic riffage and the slower tempo become dominant while the refined melodic passages focus on depressing tonalities and contemplative vibes. 

The robust rhythmic section on “Barren” channels a raw blackened energy amplified by the anguished vocals while the slower moments lead to pensive atmospheric tapestries embellished by a generous dosage of enthralling melancholic guitar melodies. 

The painfully slow rhythm of “Secrets of the Black Sun” enhances the doom & gloom flair as the minimalist guitar melodies and the dramatic vocals seem to float within a dense atmospheric realm and will ultimately embrace a darkened heavier crescendo. 

“Lex Talionis” revolves around the ruthless & groovy rhythmic rampage fueled by super fast drumming and hellish riffage while the lead guitar work evokes strong ominous vibes delivering arcane melodic patterns.  

“Angel of Darkness” is drenched in darkness as a surreal atmosphere embellished by delicate vocals introduces monumental rhythmic patterns that can march relentlessly through the haunting keyboards arrangements. 

“Plague Years” begins with minimalist acoustic phrases swiftly followed by a menacing sonic assault with unrestrained guitar riffs and unstoppable blackened blasts while the understated atmospheric tapestries and the doom oriented segments convey immense grief. 

As Tombs continue to combine diverse influences and styles, the blackened fury and the post-apocalyptic motif of “Under Sullen Skies” can spontaneously unravel aggressive dynamics within a bleak sonic realm. 

Icelandic atmospheric black metal band Auðn portrays the sheer beauty of wintry desolate landscapes blending harsh tonalities and dreamy melodies on the latest offering “Vökudraumsins fangi”. 

In the beginning “Einn um alla tíð” offers bittersweet acoustic arpeggios that introduce a fiery blackened momentum leading to savage guitar riffs, monumental drumming and desperate growls that channel an inner torment yet an eloquent melodic flair comes to life through the elegant melodic passages. 

The darkened atmosphere of “Birtan hugann brennir” feels quite comforting during sleepless winter nights as the majestic guitar work steals the spotlight fully embracing an overwhelming melancholia that leads to a refined melodic ensemble.  

The elaborate dynamics of “Verður von að bráð” can unleash a ferocious blackened force constantly fueled by the memorable riffage and the faster drum blasts yet the atmospheric nuances and the melodic guitars continue to emphasize an alluring emotional depth. 

On “Næðir um” we enter a gelid melodic realm where the slower nostalgic guitar phrases seem to glow floating through the mystifying atmosphere but the inflamed rhythmic section can often channel a ruthless blackened momentum.  

“Ljóstýra” feels like a beautiful daydream as the mellow melodic guitars express an eternal sense of longing that in factl lingers throughout the song even if the heavier frostbitten rhythmic segments spontaneously acquire obscure tonalities. 

Showcasing an intricate composition the title track closes the album focusing on sweeping evocative melodic progressions that once again highlight the exquisite guitar leads that effortlessly express somber feelings keeping in mind the stark beauty of the volcanic soil in Iceland. 

Listening to “Vökudraumsins fangi” we feel stuck in a perennial state of delusion as Auðn confidently follow a fascinating artistic evolution to craft immensely melancholic soundscapes and cold blackened grooves.