Amos Roddy "Minecraft: Chase The Skies (Original Game Soundtrack)" (2025)

 

Admittedly, I've waited until the drop name had been unveiled to write my thoughts. With that extended exposure, its become clear that Amos Roddy expands on the delightful work of Aaron Cherof, one of my favorite contributions. Dreamy wistful melodies, straddling the serine, conjure introspective moods. Illusive instruments, lurching on the heels of echo and reverberation, blossom into flourishing strides of soothing melody. Reflective of life's passing beauties, these moments swell and pass by, just like many moments that make a memory. Its evocative, nostalgic, a slow brew who's boil creeps up on you. Ghostly pianos, yearning strings, stealthy sunlight synths and brooding atmospheric pads, melding through exquisite composure.

 That's the magic of its five opening pieces. For the Nether, we get another bop! Tears bangs with its quirky melodies of impish fright! Pitch shifted Ghast sounds wedge haunting, spooky arrangements between the crunchy strident groove of its meaty kick drum and snappy snare sway. The concept makes itself known swiftly, repeating again after a mid track melody suggests the presence of a player on adventure. Its a fun and obvious hit, yet perhaps the simplest of offerings on display here.

Rating: 6/10 

Labyrinthus Stellarum "Rift In Reality" (2025)

 

Champions of last years musical discoveries, Labyrinthus Stellarum's exotic take on Atmospheric Black Metal runs its course, returning with little new to offer. Still firmly rooted in its symphonic extremities and songwriting ideals, this fresh crop of void hunting cosmic ventures hurtle by in a hypnotic whirl of colorful astral melodies, furious blast beats and groaning howls to be heard across the vast expanse.

Only title track Rift In Reality breaks the mold. Novel twisted oral distortions on spoken passages arise early on. Seeming cosmic interference, it compliments their drafty clean vocals. The songs conclusion erupts, breaking convention as crashing slabs of distortion guitar break up the gliding gallop of pace these tracks usually embark upon.

Other than that, they stick to their stellar blueprint, delivering face melting bangers like Cosmic Plague and Ravenous Planet along the way. Nirlakh ends the record on a positive. It plays as if guitars and drums were stripped out to be replaced with menacing bass synths. A curiosity driven instrumental interlude of sorts.

All in all, Rift In Reality is a firm record but one that doesn't offer anything new to this fan familiar with their Lovecraftian inspired cosmic horror architecture. Fortunately, my appetite for esoteric other-worldly terror is strong. Having failed to reach new heights, I think the band would be wise to seek an evolution in their sound on the next outing.

Rating: 6/10

In The Woods... "Otra" (2025)

 

As the years stretch on, I find the frequent return of familiar acts to be hit and miss process. Fortunately for a reunited In The Woods..., passing a decade back together, my apatite for their nocturnal naturalist Pagan Metal is well intact. Although little in the way of surprise lays in wait, their seasoned competency in building strident atmospheres reigns supreme. Songs whisk by on the heels of a gallant rhythmic drive, galloping through the motions, steeped in textures, distortion synth and voice, these songs revel in the glory of the moment, adorned by melody that rarely subsides.

 The lightened heathen drawls of new front man Bernt Fjellestad simply delight in this renewed melodic focus. Between him and a sailing lead guitar, the fruits of rural melody gush with only brief pivots to howling screams and rattling blast beats nestled in between passageways. The Crimson Crown stands out as a fierce number, leaning into that heavier metallic side. It swings to opposition with a touch of intention, as some of the lightest instrumentation emerges, guitars withdrawing entirely. Beautiful acoustics crop up in the mix too as its seven songs explore a range of temperaments.

 Without dawdling into their "progressive" nature, each song masterfully entertains without deviations and tangents, never loosing sight of the overall theme. Thus its songs ebb and flow ever holding one in the present. With strong lyrics, easy flows and the occasional catchy wording, some songs slip into charming sing along moments too. Overall, a really well written record that's a delight to indulge with, never a lull or rushed moment, Otra is a graceful record with a tranquil spell fitting of this summery weather, despite some shackles from its nightly Black Metal influences.

Rating: 7/10

Oscillotron "Cenotaph" (2025)

 

 With lowly expectation, I tentatively picked up this fresh three track from a once adorned Oscillotron. Still rocked by the horrors of an eight year weight, the cursed fuzz of unsavory one hour noise-piece Oblivion still echos in my ears. Cenotaph is another distillation of sound, honing in on tension, dread and menace through the aesthetic powers of masterfully crafted shadowy synth. Some of its tones echo the great astral charms of its predecessors but stripped of melody and percussive groove to shape its form, these synths linger and brood in passing paranoid episodes.

Dystopian in nature, dark nightly settings take hold as its textures conjure a sense of observed dangers in brutalist architectural landscapes. One can imagine futuristic visions of societies obscured by technological integrations run amuck. Lifeless arpeggios spin a sense of cold menace, a watchful automated eye, inhuman authority.

The title track plays a game of starting soft, subtle uplifting choral voices transform in to tense apparitions. Menta revels in its distorted rumbling, a sense of severance pervades as loneliness triumphs. Filter rocks Tangerine Dream inspired sequences, adding a touch of mystique and intrigue to the dreariness. Three classy executions, brief but vivid and engrossing. Could easily elevate visuals as music in cinema.

Rating: 5/10

C418 "Wanderstop FM" (2025)

With fresh flavorful fruits flowing like a faucet, the lengthy quiet since Excursions seems like no absence at all. Creativity has been bottled up and unleashed, as another two hours gets bestowed upon unsuspecting listeners. Complimentary to the traditional, acoustic instrumentation of Wanderstop, a scenic, humble tone setting video game soundtrack, the other side of the coin drops. Caught adrift in nostalgic charm and ambiguous notions, Daniel's melodies arise again with his signature collision of EDM and Ambient. Familiarity runs amuck, as synthesizer tones, bass textures, production techniques and percussive arrangements brood with the fondness of his Minecraft hits and many memorable solo album songs.

 

It is only now, as I fumble over the track listing, I realize the eye grabbing quadrant album art represents four "channels", presumably the games radio stations. These temperament shifts were felt in listening sessions, as its initial run of quirky, upbeat "signature style" songs described above, suddenly pivot to cool mellow ambiences, temporal stints ruminating on the soothing calmness emanating from its core textures. 

 The third channel, "Sugar Cube" takes quite a stylistic leap. Melding its innocent melodies with a rural, farm life flavor. Competent but far shy of remarkable, these themes end up yielding to Daniel's EDM synthesizer instincts, progressing with House inspired beats. We drift further again with the last chapter, which lacks a particular theme or identity, seeming more like the leftovers from ideas explored before.

 

 Wanderstop FM is such a treat for fans. The core soundtrack gave us an particular avenue to enjoy but with these radio stations, we can revel in the broader spectrum of an artist who's set of sounds is always a pleasure.

 

Rating: 7/10

C418 "Wanderstop" (2025)

 

Clocking in with a verbose 195 minutes of fresh instrumentation, C418's latest video game soundtrack is understood mostly through its soothing vibes and cosy moods. A safe feeling in which to curl up inside, as its soft fuzzy warmth, painted by classical instrumentation, works claming wonders. Adorning strings, chiming bells, felt pianos, a magical xylophone and lean cello bass, blush harmoniously in delightful ambient reverbs and crafted echoes. All these sounds arrive luscious and clean, with occasional touches of subtle electronic synths woven within its pristine chemistry.

Its a mastery heard before on both Beta and One, now restrained by its core focus on traditional instruments. One will also hear intermittent echo's of the classic Minecraft Alpha soundtrack in its meandering piano motifs. I'm perhaps now re-realizing how much similarity to the likes of The Plateaux Of Mirror this iconic sound of C418's has.

Wanderstop sets itself apart from familiarity through reoccurring themes and melodies that shift with the record. The deeper in you get, those recurrences subside for fresh ones. A few darkly passages emerge mostly between in usual crooning and quirky expressions. All are likely shaped by the timing of their appearances in the game.

Its nice to see Daniel has been busy with no shortage of inspirations. Assuming this has kept him busy for some time, I hope we will hear a new full length original soon. Its been seven years since the last! This however is a separate project, one that stands on its own two feet well and hopefully serves the vision for this game as well.

Rating: 7/10

Old Tower "The Trench Pilgrims" (2025)

Commissioned for the "Grimdark Compendium", Old Tower lends their craft to a presumably fitting tone for table top game Trench Crusade. Its setting in 1914 explains the quirky archaic musical sample that aids this five tracks opening Introduction. The sample disappears into a gloomy fog of atmospheric synth and chilling horns echoing a haunting wreckage left by battles carnage. From here, we descend into darkly meditations, spiritual yet steeped in an eerie inclination. Chorals led by loose and worldly percussive instrumentals chain us to its rhythmic trance. The subtle entrance of Berlin School synths paint a suggestion of something cosmic lurching beyond.

A similar spirit guides the lengthy, hovering Anchorite Shrine. Its soft Piano notes, buried in a smokey haze, conjure an alluring crime novel danger akin to Noir Jazz. I heard touches of this motif earlier in the records opening. This mysterious lean is particularly befitting of Old Tower's cool temperament. The closing track Revelations twists that tone to sinister as a calculating drum pattern softly beats its menace. The tension rises but far from conflict, the song suddenly drops its grip, reminding one of the captivating power music, that is often relegated to the background, can have.

Rating: 7/10

Saor "Amidst The Ruins" (2025)

With foundations of extreme and cultural aesthetic resolute and intact, Saor embarks on this latest venture through the shackles of familiarity. Thus initial listens spun a lukewarm drone of routine blast beats exchanging duties with its symphonic layer. Comprised of strings, Violin, Cello and effeminate voicings, this heathen tapestry enriches Saor's music with the spirit of Scottish highlands and its cultural heritage.

The metallic counterpart, comprised of pummeling drums and angular distortion guitars, stands somewhat in contrast as expectant extremities offers little to the embellish narratives and server as obvious amplifications of intensity, swelling energy but rarely feeling warranted in contrast to the rich underlaying musical themes.

Thus we have a record in peculiar imbalance. At a frequent pace, the collapses of roaring aggression give way to stunning arrangements of beloved highland melody. Beautiful in flow and holding grace with mother nature, a reoccurring sense of longing persists in these spirited melodies. They are the highlight in which to endure.

Sadly the majority of these earthly musical motifs rest in tandem between the two, layering in this gorgeous vision with familiar aesthetics that offer little new. Tired of bellowing screams and blazing blast beats, I found myself chiming with the serine acoustic guitar tones and cultured instruments, an aspect stunning on its lonesome.

The records most passionate passages emanate on their acoustic reverberations, often to be enveloped by that roaring beast. My tolerance of its metallic components rested on the whims of personal appetite. Sometimes energizing, at others a drain. Saor has matured strongly on a cultural  front to deeper meaning but foundations strip this expression of greatness in my opinion. However, its still a very enjoyable record.

Rating: 6/10

Gelure "Inner Sanctum" (2025)

 

The purist pleasures of these peaceful yet esoteric atmospheres has affirmed Gelure's elevated stature. My initial fondness for The Candlelight Tomes and Into The Chesfern Wood has matured with much exposure. Those arcane magics have delivered time and time again. Returning refined after a few years break, the character depicted pitches partly Medieval, churchly, with a dash of Tolkien Fantasy grandiosity. Cultural stringed instruments yielding folksy melodies ground its era. Saintly chorals, vibing on soft cloudy synths, bewitch one in a captivating calmness. Swaying between these masterful constructs, we venture upon scenic swells, conjuring natural beauty, fantasy landscapes and occasionally battles through the crashing of gong cymbals, deep laggard drums and triumphant horns. At its opposing end, sleepy subdued melodies, smothered in reverberations, upend darkly mystic moods, both soothing and curious.

The words Dungeon Synth barely crossed my mind before writing out these inspired thoughts. Gelure has ascended its shackles, arriving upon a grand stature, crafting beautifully mediative music adrift from a genre awash with low effort imitations. Inner Sanctum indeed evokes introspective refuge. A haven of sorts through its spellbinding ambience. Best of all, its eleven minute finale surrenders to metallic convention. Modern percussion houses its historic instruments in the rapture of blast beats and fiery groove to venture upon Atmospheric Black Metal's alter. The initial mellowed tremolo guitars hide its extremity well, masking what is to come. At the eight minute mark a truly epic power chord riff gratifies to no end. With monumental sway, its repitions toy with dazzling tunes and tempo deceleration, in a stroke of genius.

Rating: 8/10

Den Sorte Død "Hemmeligheden Bag Den Sorte Slanges Konstellation" (2025)

 

Named after the black death plague that riddled the middle ages, Den Sorte Død unsurprisingly burrow into a solemn funeral gloom with this morose offering. It strikes me as a series of epitaphs, strung together across six lengthy numbers with a latent sense of reoccurring theme. Musical tones linger with grace on the sorrows of man faced with perilous suffering, a reflection of darkness felt through glum melody and decedent tempo, as opposed to a stylistic plunge into aesthetic depravity.

Thus a curious soothing magic emerges, as yawning church organs brood and deep bass murmurs in its lethargy. A calming sense of ease overcomes when in the background. At the foreground of ones attention, the weighty burden of mortal death is ever present. Woven together with subtle intent, Berlin School synths whirl and pine in soft majesty.Touches of ghoulish horror show tropes shine through on occasion too.

No individual track stands out. As the record cycles through its various instrumental compositions, one gets a sense of recycling chemistries, as if revisiting a sombre motif explored earlier. This all plays into its construct, a morbid dwelling on mournful woes. That's at least as I experienced it. A translation of "Hemmeligheden Bag Den Sorte Slanges Konstellation" speaks to something astral and cosmic, which I did not get the mildest sense of, however its synths could be conductive to such a suggestion.

Rating: 6/10

Burzum "Filosofem" (1996)

 

With a stroke of genius, Hvis Lyset Tar Oss broke ground on what Black Metal could be. Its popular predecessor Filosofem, further explores this atmospheric angle. Shifting tone and temperament in slight degrees, Varg returns with the usual sentiments of mother natures harsh realities, lonesome, esoteric and fantastical. Consciously lowering fidelity somewhat, loose distant drums, simmering fuzzy guitars and half spoken distortions of English lyrics embark on lengthy marches. Another flavor of his crude yet deeply effective atmospheres.

Exploring potent chemistries Dunkelheit and Erbicket pace through mid tempo storms of gnarly fuzz, illuminated by soft synth tones. The latter's eclipsing keyboard melody simply unforgettable. They breed an usual tension accepting inner peace and mortal death. Between them, Jesus' Tod runs rampant into the darkness, cycling mean, sinister riffs through hurtling blast beats. Completely unrelenting, only its catchy melody offers relief to its ceaseless nature.

In my opinion the record should have concluded with Rundgang, a twenty five minute minimalist piece evoking transient spiritual sentiments. Often erroneously compared to Tomhet, its soothing tone and curiously introspective mood plays like a headspace alteration, more so than a song. It won me over decades ago, a perfect companion for lonely night walks through forest and fields lit by moonlight. It holds a mesmerizing magic I only hope others can encounter too.

Either side of this track lay the two halves of Gebrechlichkeit, a destitute experience built on sullen guitar riffs and sluggish, melancholic synth melodies. Lacking drums and its second instance simply pulling the groaning vocals of despair, it seems as if an unfinished track has been used to pad out the records duration, leaving its later half primed for skipping over. This is where it loses merit. This could have been another classic, given how undeniable its opening trilogy of song are.

Rating: 9/10

Burzum "Et Hvitt Lys Over Skogen" (1998)

Paired with yet another demo of Lost Wisdom, Et Hvitt Lys Over Skogen reaches us via bootleg release. Its a nine minute epic pulled from Hvis Lyset Tar Oss. Why it was removed? A total mystery. This is a mighty fine song, heard through a muddied recording. One can imagine its aesthetic matching that fine record. Musically, Its construct has a foot in each camp. Some riffs conjure the metallic temperaments of his earlier works. The other revels in harsh naturalistic atmospheric. The pivots between these halves flow wonderfully. Approaching its midpoint, power chord arrangements coalesce with a triumphant chest thumping march. After, blast beats erupt and shadowy riffs call with nefarious inclinations. Another enchanting song but on this analytical reflection, I see how Varg may have felt the song repeats ideas explored before, only partially realizing the visionary direction of that record.

Rating: 4/10

Burzum "Hvis Lyset Tar Oss" (1994)

 

Enter a naturalist sublime, as inspiration finds it form, the stars align. Opening with a spirited union of mystic synthtone and sizzling guitar distortion, we embark through three minutes of atmospheric bliss, isolated with the cruel beauty of mother nature. Estranged and peculiar as ever, this is Burzum's peak, perfecting aesthetic, craft and vision. Its opener, Det Som Engang Var, sharing name with his previous album, then roars into life. A barrage of tumbling tom fills ushers in an iconic, anthemic riff. Triumphant and resolute, it plays like a battle cry from a Bathory classic. The song swings between these juxtaposing temperaments, laying in simplistic lead guitar overtones at the midpoint to slip us along the songs lengthy final passage, which further revels in its arcane guitar distortion and korg/cassio synth chemistry.

Title track Hvis Lyset Tar Oss leans into darkness. Blast beats and grizzly guitar grinding turns attention to the broody harmonizing bassy synth lurching below the songs unrelenting march. After a couple of minutes the pace thickens, a hard snare strike leading charge as fuzzy guitar chord arrangements breed emotional relief among its harsh offerings. Venturing deeper, the grind shifts again, pierced by Varg's despairing howls. Returning to its opening stature, an unsettled conclusion emerges as flickers of lead guitar overtone offer little more than reinforcing its darkly premise.

My absolute favorite track, Inn I Slottet Fra Droemmen, offers up the brutality of frozen landscapes. Resolute in its repetitive, obnoxious grind, a chilling thrash of harsh riffs bombards. The wobbling high baseline furthering its gratifying peculiarity. Grinding through dissonance, it eventually releases this tension for moments of worldly reflection as those stunning synths re-emerge alongside string plucking riffs that revel in the messy guitar distortion. Teasing the release of its steady build up, the climax is godly. When drums crash in, its conclusive riff roars triumphant and eternal. Its peak, yet somehow, Varg yields more, lining up gratifying riffs, the return of harmonizing synths and a glorious guitar lead for an unforgettable spiritual experience.

At its conclusion, we a treated again to visionary offerings. Although easily associated with the retroactive Dungeon Synth label, Tomhet transcends. Seemingly a simple arrangement based on minimalism, the chemistry of its tones, octave shifting whistle and subtle percussive thud birth something remarkable. Meditative, introspective, lonesome... insert all your adjectives here! So much is conjured from so little, highlighting our deep humanist connection to music. The midpoint pivots entirely to a new construct, refining its calming powers and evoking even more curiosity. After some minutes, a gentle drum pattern emerges alongside this soulful flute melody that somehow makes sense of all this spiritual peculiarity. Such a remarkable record.

Rating: 10/10

State Azure "Stellar Descent" (2023)

 

 

This will be my last record for the year, a documentation of discovery. One for the "space music" playlist, State Azure caught my ear with a level of care worthy of attention. At a mammoth one hour forty five minutes, Stellar Descent plays as a astral mood setter. Carefully crafted compositions straddle between shimmering synths yawning in cosmic wonder and a digital counterpart of bustling, whirling synthetic instruments, skirting tuneful melody and conjuring echos of 70s electronica.

No compositions stood apart as distinct or memorable. With everything from its subtle mechanical percussive sways to melting galactic aesthetics serving its atmosphere, these songs drift by in a haze of temporal relaxation. Although structured with transitions and pivots, they flow by calm and understated. These instrumentals never lean into a hook or catchy tune but forge deep tones suited for the star gazing imagination. Excellent background music for focusing on a task of mental demand.

 

My time with Stellar Descent didn't unearth new ground or reach the emotional highs of a Dreamstate Logic. It was a familiar feeling, executed with class and care, finding the meditative balance I enjoy. Subtle by design and intent, I think this is a fair fit for anyone looking to add more to this type of niche listening experience.

Rating: 6/10

Blood Incantation "Absolute Elsewhere" (2024)

 

 

A record to turn heads, or ears, Absolute Elsewhere dazzles with esoteric evocations whilst conjuring unexpected tangents aeons apart from its Technical Death Metal foundation. Fortunes favor this enduring tangential nature, its forays into 70s Electonics and classic Progressive Rock yield a lasting spiritual satisfaction.

Often stiffly parted from its Extreme Metal counterpart, the sways of intensity sound like shuffling tracks between two entirely different bands. From pounding drives of aggression, grisly outlandish riffs, incessant blast beats and elongated howling guttural growls, we drop into lengthy persuasions of melodic musical indulgence.

Familiarity runs strong. It hits me on first listen as the lead guitar leaps into a slick crooning solo... Pink Floyd. This architecture is all to obvious but superbly executed. The following track follows in similar footing, the whirl of psychedelic pulsating synths reminiscent of Tangerine Dream... who actually collaborated for the song.

Later on echos of King Crimson play into its lighter side through acoustic guitars and soft organ drones. With Metal, the spurious chaos of Morbid Angel lay in its extremes. Flickers of Egyptian cultural tones pioneered by Nile and oddly Saor as its final track toys with heathen melody and an epic Black Metal touch to its percussive drive.

 

Absolute Elsewhere is a riveting listening, striding for new ground and showing its inspirations front and center. For me, its metallic side was mostly a familiar snore, only brightened by a few maddening riffs. I'm firmly captivated by its Prog Rock tangents, still enjoying them. Greatness was insight but the musical meld plays a stiff mix.

Rating: 7/10

Old Tower "Portrait Of A Medieval Presence " (2024)

On form, like its impressive predecessor Draconic Synthesis, Old Tower continues in a chilling stride, painting eight unnamed portraits of meditative Dark Ambience. Set in Medieval times, these soundscapes yolk an esoteric mythos from embellished nostalgia of ancient, eerie times. These lonely atmospheres linger on delicate aesthetics, chiming ambiguity with soft instrumentation and scenic sound design. Whispering voices in the distance, unsettled fire crackling, ritualistic chants of worship and mysterious murmurs all lurch within these shadowy slices of lost time.

Mostly subdued and one dimensional upon inspection, the mastery emerges when attention is split. A powerful current of persuasion shapes ones mood as the rhythm of each picture settles in. Portrait V is the most animation, a rattle of perverse church bells call out over the cold countryside. Each eruption of bells is jarring. Portrait I opens the record with a beautifully chilling organ climaxing the short songs conclusion with drama. These moments of instrument augmentation are often a key delight.

Portrait VIII was my favorite. The arrival of percussion pivots the song into a mystical stride, its shimmering synths conjuring the sense of a cryptic presence. It rides these feeling well, as do many songs, establishing an aching ambience with nightly terror and occult suggestion lurking safely at a distance. Another impressive effort, perhaps constrained a little by these notions of Portraits. They feel perfectly suited as soundtrack moments for a horror film or evil themed video game.

 Rating: 6/10

Aurora "What Happened To The Heart?" (2024)

 

 What Happened To The Heart will likely be my album of the year. I've sat on this one for months, hitting a curious writers block when wanting to put my emotions to words. Initially the record seemed transient, subdued yet as familiarity crept in, a magic emerged from its dreamy charm. A sleepy aura persists throughout, songs teeter on cloudy ambiences, percussion softened as Aurora dances with her voice like an angel emerging from a soothing fog. So often does this enchanting music lure you into its passive persuasion, pivoting temperament to lunge into passionate swells of harmony.

This talented cast of song-writers and producers pay quite the compliment to her strengths. Songs flash suggestions of Disco, Synthpop and Electronica, all bellowing out there aesthetics through the atmospheric power of understated rumblings. These more obvious influences linger in the shadows of airy reverberations and soundscape design. These compositions blur boundaries, whipping one up in a feverous dreamy momentum led by Aurora, who often arrives in tandem with herself. Layering up her fantastic vocal ranges, an enchanting sway unravels that is utterly contagious.

The mid record stretch often feels spiritual, tribalistic, as surges of steady deep bass percussion drives wordly tones and burred melodies with suggestions of broadened cultural horizons. The opening and closing phases hold the animated tracks that pivot into House, Dance, Techno and Indie Pop with broad creative strides. There stylistic emergence from the ether, alongside such a spectacular voice, gives the whole record a magic I've felt with other artists but barely in this unique avenue. With Aurora's voice on full croon, I feel swallowed up by her immaculate performance. This record is a gem you don't want to pass up, undoubtedly her most inspired music to date.

Rating: 9.5/10

 

Andrew Odd "Visions Of Red" (2017)

Wishing to "scratch the itch" from an artist who's discography is unfortunately light, I've rummaged around the mostly one track singles for Visions Of Red, comprised of three soothing space themed songs. Arcadia is a beautiful "pale blue dot" inspired piece. Leaning into the cosmic perspective, yearning string scale the epic expanse of space in a trance like state. A deep yet soft rumble of bass murmurs below, between them heavenly choral voices subtly emerge to peak the musics blissful tone.

Elysium turns a little esoteric, its fleeting voices steeped in mystery as layers of airy choral synths gradually climb an underlying tension. Piano notes smothered in a dreary reverb eventually arrive to resolve this ambiguous enigma. Tharsis leans Psybient. Embracing upfront melody, pronounced synths exchange, brooding towards a sense of eruption. I always anticipate a harder pivot but when the percussion arrives, its toned down, a distant snare kick groove, with narrow aesthetics.

 

 Visions Of Red delivers on this artists ability to cut past the mediocrity this astral music can often slip into, creating three intriguing songs to fire up the imagination. Fingers crossed for more Andrew Odd in the future, their craft is one with distinction.

Rating: 5/10

Labyrinthus Stellarum "Tales Of The Void" (2023)

  

Progenitor to Vortex Of The Worlds, this inaugural effort suffers the knowledge of its own infancy. In light of a stellar brilliance yet to come, this album rides high and mighty through the cosmos, somehow with the wind sucked from its sails. Lurching in the shadow of its successor, the precise mechanical rattle of stiff drum machines and shrill elongated howls paint an amateurish impression. Retroactive listening perceives blemishes to be ironed out, giving Tales Of The Void the impression of a demo.

Spending time within its galactic realm reveals a magnetic, indulging charm. Cruising song structures and epic astral melodies pull us adrift through the void without a care for reality. Leaning heavily on its exotic synth, striking me now as a xylophone drowning in reverberations, a leaner aesthetic makeup adorns these colorful songs. The crux of its magic emanates from these bright, steadily paced keyboard tunes, with the underlying rhythmic section driving intensities steady, grindy notation shifts.

With barely a peak or valley in sight, consistent mood stands a key strength. If any weakness is present, stints where synths step aside for other instruments often play dull. An impressive entry given its a narrower set of ideas playing out. The band establish their identity firmly at the offset. I can't help but feel I should of started here. As expressed, knowledge of the genius to follow tainted my view. Fortunately I've enjoyed this and have hopes the continue to evolve as musicians with a vision.

Rating: 7/10

Labyrinthus Stellarum "Vortex Of The Worlds" (2024)

  

Thematically esoteric with astral overtones, this stunning album art strips away any doubts to its lovecraftian cosmic horror influences. Shrill tremolo guitar leads, howling blast beats and elongated screams shrouded in reverb undoubtedly carry all the hallmarks of Atmospheric Black Metal. Tales Of The Void sounds unshakably familiar in design, yet excels with fresh excitement as a Post-Metal delivery of grand, scaling, epic melodies and an exotic symphonic component align for a very memorable listen.

Decent song writing underpins the experience, stellar melodies and a prevailing tunefulness solidifies its catchy ear worming nature. A cacophony of pummeling drums and void descending screams act as sways of intensity and tempo, the ebb and flow, stuttering between tense scenic breaks and descending cosmic eruptions. Together, among dense guitar noise, they guide the musics key component, synths.

Woven deep into the mix, their aesthetic offerings range from unusual and specular, to common and atypical for darkly space themed music. Sparks fly when delving into a mix of bell, woodwind and metallic toned virtual instruments. Foreign for this genre, an unusual fit mostly used to drive home immense cosmic melodies. The aforementioned atypical synths play the subtle role of reinforcing its atmospheric underpinnings.

Another well-earned merit goes to the heathen clean vocals that rise up underneath those howling dirty screams. Its another avenue for one to gorge upon these dazzling melodies they concoct. Initially a ghastly beast of extreme Black Metal, this prevailing tuneful charm becomes the key take-away, a keen triumph for a band in this lane.

 Its only blemish? What seems like programmed drums occasionally amplifies an repetitive drone in its rapid strikes, possibly intentional but definitely sounding stiff in patches. Tales Of The Void is a Stellar record, possibly my favorite Metal record this year? Well worth a spin for fans of extreme music with a crafty focus on melody.

Rating: 8/10