Scarve "The Undercurrent" (2007)

 
Embarking on their third yet final chapter, a darkly chromatic landscape of desolate unease awaits. Refined by elevated production fidelity, extreme outfit Scarve squander an opportunity to dazzle. Their twisted inhuman musicality fumbles as moments of magic birthed through dizzying frenzies and alien guitar leads get bogged down by mediocrities found between. Imperceptible Armageddon and The Plundered manage to hold ground with swells of metallic dissonance frothing under shimmers of illusive melody and disruptive groove. In these magnetic strides, curiosity charms.

Its many aggressive stints lack that flair, slipping into lengthy mechanical grinds, exploring an unconventional meandering riff style. A technical nature lures it towards impressive techniques that yield little without melodic inflections from vocals or leads. Thus the music sways in its own estranged landscape, unable to evolve its songs into truly memorable cuts. Given the shorter record life, it does feel as if the band lacked ideas. Somewhat of a whimper to end on, given how much potential they showed. Sadly, songwriting falls short. After a fair few spins, its left me with little to remark on. 

Rating: 5/10

Periphery "A Pale White Dot" (2026)

 
Now eight records deep into their career, A Pale White Dot marks a djentleman's competency within expectancy, a harder to love record in the shadow of familiarity that ran before it. Periphery have firmly established their dexterous identity, leaving little here to shock and awe. That doesn't mean one can't enjoy this latest chapter of low end technical brutality but its sticking power feels diminished in the wake of anthems like Marigold, Remain Indoors or the sludgy barbarian assault of Reptile.

For reasons well known, Spencer's silvery soaring singing, I've always considered Periphery to be a band on trajectory to more accessible leanings. Heaven On High catches limelight with catchy hooks and melodic lines, despite a brief blasphemously brutal breakdown. My ears seem most expectant when their lighter side gets expressed. Despite this, A Pale White Dot shook me with its roaring intensity. A reminder of their commitment to heaviness, written on their lowest tuning yet!

That limelight doesn't stick, leaving the exploration of djent laden aggressive antics as a key takeaway. Most its delights emerge from the stunning production, inching more aesthetic charm from such abrasive noise. Subhuman highlights this, as Will Ramos of Lorna Shore lends his devastating voice on a barrage of dense brutality. Proceeded by the electronic Blackwall interlude, this shift highlights a range much of the record swings from. Often rigid in execution, with little of the middle ground explored.

That speaks to the first half of the record. Three or so tracks in the backend explore this terrain. Switching to dense power chord strumming, Spencer explores the intense cleans, that space between strained screams and smoother singing. The yield is minimal, entertaining but unable to get its claws in. A Pale White Dot is a fine record lacking an evolutionary step to distinguish it from all they have done before.

Rating: 7/10

Tartaros "The Grand Psychotic Castle" (1997)

This musical traveller is always keen to unearth hidden gems. Debut extended play The Grand Psychotic Castle is almost such a blasphemous treasure. Hailing from its musical homeland, Norway, Tartaros delivers the Symphonic Black Metal I adore. Released in 97 its at the prime infancy of this symphonic offshoot, I was shocked by a lack of Spotify or YouTube plays. It seems they never got swept up into the usual crop of classic bands people talk about. This truly feels like a forgotten artifact of sorts.

Its closest neighbour is clearly Arcturus, specifically Aspera Hiems Symfonia. Sharing similar temperament for harshness balanced with astral symphonic wonder, The Grand Psychotic Castle revels in ghoulish dusk. The horror synths muster an Adams Family cheese, yet only in aesthetic, churning suggestive Halloween tropes into devilish melodies. Alongside fiendish voices both guttural howls and throaty screams, they are the main elements striking up a terror educing chemistry of theatric fright.

The vision is striking, a macabre spectacle led by its keyboard melodies. The guitars drums and bass follow lead, fleshing out the ebbs and flows through extremity and relief. Its various arrangements fit the genre's characteristics. Often swinging from blast beats to half tempo grooves. It's four songs never stray far from the path initially laid out, offering quite basic song structures. One could say it's not adventurous, but the musicianship and way these instruments come together is well executed.

My final remark is that of production, It actually took me quite some time to get into this record. Somethings off about the tone of each instrument. They seem distant from one another at first. An amateurish lack of cohesion that took many repetitions to overcome. It no longer spoils the listening experience but certainly made it harder to enjoy. Well worth a listen for fans of the genre. This one is cut of the classic era.

Rating: 6/10

Kaosis "Mate. Feed. Kill. Repeat." (2024)

 
Yesterday I laid the groundwork for discussing this record by talking about Slitknot s debut demo album Mate Feed Kill Repeat.. Recorded by original vocalist Anders Colsefni and Aussie band Kaosis, I'll make the assumption that it was a test run for getting back into this material. In recent weeks, Anders has been playing the whole (original) record live in Australia, coinciding with the record's thirtieth anniversary. There is however a twist, this version of MFKR was released without Ander's blessing.

Despite that, it's been a fun listening experience, however, the record does take some creative liberties. It starts off as a faithful recreation of the original material, updating aesthetics with modern production and clearer tone. Either an embellishment or for audible clarity, the more discrete elements of sampling, synth and noises that play under the traditional instruments can be heard. The bomb sirens of Slipknot feel apt, yet synths chime in on its melodies. I didn't get a sense that was originally buried.

Gently continues on similar footing, the acoustic guitar tones sound particularly gorgeous. As we get into Do Nothing/Bitchslap, the songs ambition really comes to life. The chemistry of its Funk Metal groove blooms in this aesthetic romp where we hear samples, baselines and synths gel. Only One and Tattered & Torn are pretty hard hitting, direct ragers which mostly maintain that stern brutality. These little Synth embellishments really start to add up at this point. These numbers definitely didn't have those elements buried in the mix somewhere. It softens the harsh vibes a touch.

On Confessions, the creative liberties heighten. Now the keys are really fleshing out the spaces between they can occupy, adding a different flavor to the track. Musically, it's clever, apt, well executed. But in terms of being faithful to the original material, it's veering off course. Additional melodies and chords feel unnecessary despite fitting in. Some Feel doesn't receive this level of attention, yet it's just enough to steer the track away from that darker identity. Killers Are Quiet claws it back. The dark ambient samples within play far more audible. A real delight but with no hidden Dogfish Rising.

All in all, this re-recording is such a fun indulgence. Hearing the additional, rather colorful, musicality is fun throughout. At times it illuminates the eclectic side of an experimental embryonic Slipknot, giving you a sense of what might have been. In other moments, it derails. These musicians get caught up in their own additions. This unsanctioned version doesn't feel as close to the original intention. It was still a blast! I'm glad this exists, It helps illuminate how brilliant the original demo album was.

Rating: 7/10

Slipknot "Mate. Feed. Kill. Repeat." (1996)

  
Once their debut album, now retroactively labeled a demo album. Slipknot's original incarnation was a curious machination of Death Metal and the emerging Nu Metal groove. If their masked avatars weren't wild enough, the band periodically burst into bizarre tangents of Funk Metal and Disco. Echo's of the early 90s Alternative linger but MFKR is mostly a dark mysterious beast born of loose experimentation.

With original bandmates Shawn Crahan, Joey Jordison, Paul Gray and Craig Jones all present, its an interesting observation that so much of the identity defining guitar work is present. Josh Brainard and Donnie Steele deserve much credit for laying down those darkly brutal riffs. A lot of their material ends up spread over Slipknot's next three albums, often reshaped, the self titled number sped up for the classic Sic.

Yet to find Corey Taylor, the band have a fine frontman in Anders Colsefni, who introduces those little Rap Metal verses, alongside barrages of brutal guttural vocals and raw throaty screams. His cheesy opening lyrics vent frustrations around the game Ultima Online But beyond this silly oddity, the themes get dark and serious swiftly. Gently, heard later on Iowa, has its meditative catharsis, swaying between calm and unease on the march to its grandiose riff that marks a peak as the song closes.

Do Nothing Bitchslap Is the first song to really test the limits. Dropping into a sly Lounge Jazz Funk groove, the song plays a game of pivoting between Death Metal and this easier temperament which gradually shifts into a disco groove. So too does its heavier end sway into manic guitar discordance and feverish grinding intensities. It plays like a bad acid trip walking among the halls of a carnival house of horrors.

Only One and Tattered & Torn are much like on the self titled record. Both fully written, here they just have a rawer edge which Anders does justice too. Confessions has to be my favorite song. Me and a friend used to listen to its, joking about these masked villains would wear their masks, dressed up in with fancy suits, dancing like it's MJ's smooth criminal video. The song beautifully transitions from woeful expressions to a dancey emotive number with spirited singing and a very 80s guitar solo.

The affair ends with Killers Are Quiet and the hidden track Dogfish Rising. Nineteen minutes of brutal downtrodden Metal that ventures into bizarre realms of experimental Industrial Noise. Atmosphere is the key word. This song really showcases Slipknot's unique yet deranged spirit. It's that side of the band we hear in its rawest form, yet to become the mainstream Metal juggernaut that would dominate this alternate culture.

For me, MFKR was a peculiar entity. A band I adored had sequestered a mysterious history. Back then, it was difficult to learn about and get your hands on. Now it's very accessible. But that mystique I experienced really let me connect with this album's strange character and appreciate its experimental approach. What Slipknot would become to be is genius in its own right, but so too is this alternative universe record where the band could of headed on a different trajectory. A cult like, underground act.

Rating: 8/10

Scarve "Luminiferous" (2002)

 
Stepping back from the exciting discovery of Irradiant, we unsurprisingly encounter perceived familiarities of the musical journey. Decreased production fidelity, unrefined identity, a vague rawness. These initially hold back the music but it only takes a few spins. With Luminiferous we have another intriguing exploration of the early djent influenced European metal scene. Labeled Technical Death Metal, yet experimental, progressive and showing similarities to the "Future Fusion Metal" label yet to emerge.

A far cry from where the extended guitar range sound has landed today, Scarve explored low end discordance, rhythmic treachery and sporadic shifts of blasting drums with a agitated stride. Exchanging guttural roars and raw heathen singing, a dualistic vocal dynamic emerges. Together they traverse an ever unsettled metallic construct beneath, taking a burley limelight, brooding within the ceaseless chaos.

Toying with trading tensions and dances of dissonance is a tricky game. Somehow, these bumpy rides converge onto peculiar gratifications. The ever violent percussion channels their artistic extremity through its Grindcore akin patterns, shuffling them consistently. Its the guitar leads that provides relief from this unending frenzy. Usually in intriguing arrangements, a melodic resolution ties up these unusual soundscapes.

On the other hand, the rhythm guitars stand out too, deploying dated polyrhythmic power chord chugging reminiscent of old school Meshuggah. On Luminiferious' ever animated journey, the ceaseless nature of its energetic lashings make it hard to determine where one is among the wretched, mangled metallic landscape. That is at least the vibe often similar to Mnemic yet not exploring the bombast they offer.

The record evades a sense of peaks or valleys, just a continual unravel of curiosity one moment to the next. Somehow, despite my many spins, its riffs and motifs haven't embedded a solid identity, one it clearly has. Futile resilient and The Day After stand out for their acoustic leaning soundscapes. As do brash moments of punk influences when the band venture into simpler drum drives and power chord strumming. Between the obvious influences, a tangled web of ideas that entertains. All in all, a great listen!

Rating: 6/10

Emyn Muil "Afar Angathfark" (2020)

 
Emyn Muil's own epic Middle-Earth trilogy ends on a high note, coming full circle in a feat of utter mastery. The stars align as spirited composition and aesthetic vision converge across a mighty sixty eight minutes of galvanized Summing inspired magic. Making no strides to escape their shadow, the record revels in that Tolkien vision, perhaps giving melody a more luminous presence for most of these lengthy tracks.

With measured pace, carried along by the grandiose thunder of tom drums, these songs brood a steady intensity. Straddling orcish howls and snarling tremolo guitar, the clouds of darkness frequently part for good and glory to victor. Firm strings set a tone for triumphant horns to pierce the sky, as a whole cast of instruments dampen the rains with their uplift. Bells, Harps, Flutes paint warm color over grim Black Metal.

Infrequent but adored upon each arrival, a warm effeminate voice invokes a subtle natural crescendo. Her arrival often plays conclusively, at the end of a song or as resolution to the melodic emergence from darkness. Its a keen highlight alongside the adorning string sections which lay foundational chords for the fantasy to unravel.

Afar Angathfark is a stunning listen but does wear itself out with a couple of weaker tracks towards the end. It may suffer a lack of transitions and bold pivots, lacking events and theatrics beyond its musical foundations. Songs tend to stay fervent in stride, same pace, same shifts between the sides of its casts, often leading to fade outs. Despite that, its rich dramatic atmosphere reigns supreme. A peak achievement.

Rating: 8/10

PeelingFlesh "The G Code" (2024)

 
Has it been a minute since I precariously enjoyed some good old disgusting slam? Or do the fresh faced PeelingFlesh have an ace up their sleeve? This newly formed outfit from Oklahoma City are pulling impressive numbers, gathering attention via a sound I thought was well past its prime. Its album cover may hint upon its uniqueness, paying ohmage to Pen & Pixel's Cash Money album aesthetic. B.G. is a classic example.

The G Code's main musical driver is Brutal Slam Death Metal in its rawest. Invigorated by modern production clarity, all the genres hallmarks remain intake. Assaulting with utterly foul pig squeals and vocal absurdities, they punch like another percussive force. Alongside battering drums, armed with a clanging snare, the gristly guitars slam rhythmic low end riffs which routinely run rapid chops into slamming breakdowns.

Mean pinch harmonics, shattering blast beats and devastating gutturals aside, the bands unique flair emanates from a routine inclusion of street culture. Samples from movies, news reports and the like arrive between low key raps and the occasional use of horror aesthetic synths, the latter being something I would loved to hear more of. Skin Blunt showcases this well, these forces converge on this brief interlude track.

With this unique veneer of Gangster Rap embellishment, I'm keenly receptive to this mashup that keeps itself firmly in the Slam camp. That aspect of the music is some of the best executed I've heard in some time. Usually when Slam comes on, its fun for a moment but PeelingFlesh have managed to sustain my interest for more than the usual dosage of extremity would allow. The G Code certainly has its moments!

Rating: 6/10

Gate Master "Relics" (2025)

 
The acute mystic tone struck on In Pursuit Of Forbidden Knowledge seems absent elsewhere in Gate Master's discography. Perhaps the lengthy escaped through cloudy ambiguous fog drenched synths on the closer My Journey To The Stars shares some spirit. However, its dreamy tone and airy hum feels closer to Brian Eno than our cryptic Dungeon Synth. Its also devoid of any progression, just a droning loop glistening in its own reflection, chewing up fifteen minutes of time aimlessly.

This project feels like more of a dumping ground for experimentation. The opening Relics blatantly derivative of Emperor's masterpiece In The Nightside Eclipse. Utilizing the chemistry of its pioneering symphonic extremity, even lifting a riff directly. This imitation however, lacks charm. Following it, a dreary dark ambient piece lacks depth.

Its two other cuts feel like crude experiments with dirty harrowing noise and Black Metal's harsh ugly aesthetics. They seek an abrasive disgust yet perhaps miss the point from this listeners perspective. That darkness needs to be driven by something truly musical, otherwise it remains a bleak noisy mess of discomfort and chaos.

Rating: 2/10

Emyn Muil "Elenion Ancalima" (2017)

Successor to the remarkably delightful Túrin Turambar Dagnir Glaurunga, Italian one man band Emyn Muil pivots their musical approach, searching for an epic adventure that doesn't grip me with the same intrigue. Structured by an intro and outro track, the meat of its thematic concept sits within three lengthy songs that limits the scope and variety explored last outing. With fervent stride, a sense of saga pervades, a struggle between forces climaxing. Uplifting theme of heroism illuminate melodies, tone and temperament resting in highlands stride, as tremolo guitars elongate its main motifs.

The Lay Of Numenore's drama and sense of scale plays vast but drifts from focus into mood and feel as repetition constrains this protracted number from blossoming. Ar-Pharazon offers a touch more as chunky guitar riffs break up the recycling themes. Far Umbar relieves itself of tensions built as the synth interlude doesn't find different grounds to land the song on. In general, the steady atmosphere of these songs simply linger, gradual shifts to subtle for action and theatrics that aid creating memorability.

The opener hits a fantastic note with a powerfully sung melody of adventure awaiting. Its closing track is the records highlight. Again, a voiced melody champions its merits as we slip into an Ethereal realm of sleepy synths and dreamy tunes blessed by misty singing through the distant airy fog, reminded me of Enya's music in ways. Elenion Ancalima is a fine, ambitious effort, unfortunately it didn't quite click with this listener.

Rating: 6/10

Akercocke "Choronzon" (2003)

Here is a record I would have enjoyed immensely in decades past. Devilishly artistic, its flourishes of darkly esoteric wonder, today plays countermand to a tired breed of blunt Death Metal akin to Dying Fetus. Tight, dry, anechoic drums batter against dense worming distortion riffs. Over top, the narrow guttural belching pig squeals lack that absurd sense of fun they once bestowed in this listeners enthusiastic youth.

Choronzon is a deeply cryptic record, continuously seeking devious creativity. Defying convention, its architecture continuously meanders through a seemingly unending arsenal of riffs and eccentric musical ideas. This theme remains grim and abrasive throughout, almost confrontational in its extremity. Yet frequently does the record find moments of nebulous worldly sound and shadowy acoustics to venture through.

In these expansive strides, melody and tone tilts to the Doom and Gothic Metal sounds of that era. Despite similarities, Akercocke put their fiendish demonic spin on anything familiar. With unpredictable structure, their songs traverse this hellish landscape with sudden pivots and excursions who's excitement rarely fades. Its simply jam packed with bizarre satanic oddities and sinister guitar bending riifs.

These days, I'm instantaneously partial to its lighter touches where raw aggression subsides. The constant scowling and traumatic blast beats taking a measure longer to come around to. Although burned out on this brutal sound, I'd have to admit the record houses some of the genres better riffs, especially when breaking the conventional mold and looking for a vicious, snarkier peruse into that dimension of extremity.

Lurching between its obvious metallic constructs are the keys, either Symphonic or Electronic in texture, they play a fantastic yet easily overlooked role in characterizing its best departures from extremes. I would have loved to hear more of this strand. As the record grows on, its form tends to condense more into that brutal form. However, it closes on Goddess Flesh, a short composition showing off the talents of keyboardist The Rizz. Intriguing record, as already stated, I found it at the wrong point in time.

Rating: 7/10

Emyn Muil "Túrin Turambar Dagnir Glaurunga" (2013)

For fans of the Austrian visionaries Summoning, here plays a love letter to their cast of Tolkien led Black Metal. With passion and talent in stride, originality is not of question. Embracing the blueprint of metallic extremity, keyboard symphonics and synthesized percussion, Italian musician Emyn Muil dispatches us upon an epic voyage across Middle Earth. With triumphant roars from shrill guitar leads and mighty horn sections, we frequent triumphant emergences from the guttural howls and bleak tremolo guitars that bark through nostalgic low fidelity origins. This genial balance is striking, as songs command the horrors of this fantasy realm, yet offset it in stride when gleaming Fantasy melodies arise, trumping the burdensome mood with majestic narrative. 

The record rarely falls a spell to its sullen side. Darkly twisted distortion guitars lurch in narrow spaces, wretched screams flail above. A heroic element always accompanies. Colorful keys singing noble war songs, the marching drums of battle hang the struggles of good and evil in balance. Delightful passages frequently develop out of different origins. My personal favorites include the warmly embraced drum machines with deep reverberated floor toms. The music can seamlessly weave between them and traditional drum patterns for the genre. As an album, it thoroughly entertains.

Its ten songs naturally ebb and flow with varying intensities and many melodic themes enchanting along the path, yielding much joy. As its stride concludes, Path Of The Doomed and Death Of Glaurung are gems providing much gratification as finality approaches. They soar to new heights in gallant stride. I'm left invigorated by the revival of a sound I loved decades back. The fantasy realms of Middle Earth are brough to life again in this flavor I adore. Excited for the next chapter, this is just the first of three!

Rating: 8/10

Gate Master "In Pursuit Of Forbidden Knowledge" (2024)

Gate Master makes an impressive introduction attuned to my tastes! In Pursuit Of Forbidden Knowledge plays as a mysterious exploration of esoteric fringes. Pulling at either ends of the spectrum, spurts of ferocious low fidelity Black Metal chime off against lonesome Dungeon Synth wanderings. Accompanied by worldly renaissance voicings strikingly akin to Brendan Perry of Dead Can Dance. Such a treat!

So to does guest vocalist Anabelle Iratni conjure such immersive suggestions. Her record opener performance of wretched witchy howls and spectral screams over haunted gong strikes creates a bold opening statement. Proceeded by the title track, we are plunged into a raw descent of gritty distortion, some Sabbath-esq evil melody lurches over its sluggish Doom guitar riffs that erupt into a frenzy of 80s extremity.

These shades of darkness do return again. The Parallax fuses some classic heathen Bathory vibes into its stride. However the rest of these blasphemous offerings drift into a meditative strain, where its mystical instruments skirt the occult, landing within an arcane, curious limbo. A niche that gets me every time, especially when so masterfully executed as done here. In Pursuit Of Forbidden Knowledge may be rough around the edges, a blemished gem but what lies beneath its rugged exterior, entrances and encapsulates one with excellent song writing and a distinct vison of darkness.

Rating: 7/10

Scarve "Irradiant" (2004)

Browsing the depths of the metal scene, with the blink of an eye this album cover threw me back to my youthful years. Perhaps it once adorned my Nuclear Blast Records magazine? I was exposed to so much great music through that free mail-in mag. Scarve also happen to fit right into the European scene of that era. Perhaps best labeled as the "Future Fusion Metal" genre that never quite took hold, they sound like a soft fusion of early Mnemic and Meshuggah with touches of classic Darkane in their melodic musicality. All these bands I adore, Its no surprise I had little trouble taking a liking to Irradiant, the second album a brief existence that ended a few years later.

Pulling from the power and menace of Metal in its extreme forms, French musicians Scarve stretch apart those frays, extrapolating melody and dissonance through shifts in momentum. Thus its songs explore the ridges of aggression, flirting with rhythmic experimentation and quite often retreating into calmer spells to introduce metallic acoustic guitar melodies or unusual lurches of "the riff". In some instances they go hard, like the Death Metal inspired pummel and pound of a vicious Molten Scars. On the following Fireproven, we unseemingly drift into an Industrial atmospheric break to showcase some lead guitar flair before flashes of color erupt in a magnetic closing riff.

These complexities and technical nature delight but have a simplistic appeal on the surface. The best songs deal with the collapse of aggression they march from the relentless into curious expanses of atmosphere. Asphyxiate plays a highlight, starting off with a meaty Meshuggah chug riff and eventually featuring a solo from the legend Fredrik Thordendal himself. Irradiant is an all round excellent showcase of boundary pushing songwriting, at least for the time. A delightful discovery slipping into my nostalgic sweet spot. Highly recommended for fans of the early "Djent" frontier.

Rating: 7/10

Moonlight Sorcery "Horned Lord Of The Thorned Castle" (2023)

 

I only have praise to bestow upon this glorious union of two distinct sounds I adore. Moonlight Sorcery, a fresh faced act from Finland, bring together the melodic guitar virtuoso spirit of Maiden inspired 00's Melodic Death Metal with late 90s Scandinavian Symphonic Black Metal. Led by the nasty throated howling scowls of Ruttomieli, their rather colorful musically dexterous veneer gets "eviled" up alongside a ceaseless percussive battering from the restless Tommi Tuhkala's ruthless grooves.

If these two elements were toned down, Horned Lord Of The Thorned Castle would be quite the melodic adventure. Possibly gaining a large slice of accessibility for those not comfortable with such intensities. Its everpresent lead guitar spritz dazzles every song with a tuneful voice, a metallic melody of unending expression. Its use of certain scales and motifs gives the record an overall theme. Feeling like reoccurring phrases and ostinatos. A huge compliment to the consistent vibe that entertains front to back.

Fortunately for those attuned, Its extremity does not overpower the melodic might. Thus we embark on a perfect storm for ferocious dark magic to cast its spells. With chest held high, the spirit of adventure never wains yet sways in tandem with a glorious, sword raised, charge of war field battle music. The duels of dance never ends as lead guitar raptures soar between engulfing roars of instrumental intensity.

The endless virtuoso, seemingly orchestrated by multi-instrumentalist Loitsumestari Taikakallo, is a masterclass in songwriting and expression. His performances both on lead guitar and keys remind me fondly of Children Of Bodom's best hooks. Despite such a strong link, this bands character is unique. I can barely find a blemish in sight.

Every listen feels like a blessing. Closer track Into The Silvery Shadows Of Night masterfully wraps up the record with its lowered tempo and epic, conclusive melody. Its followed by one more, Suden Tie, which feels like sudden a jolt back into the mix, dispelling that classy end that felt just perfect. An odd choice for the records flow.

The vocals might go a bit hard for some, they certainly strike me as more of a tolerance than indulgence. It just becomes a part of the tapestry as one becomes accustom to Moonlight Sorcery's aesthetic. Horned Lord Of The Thorned Castle is such a cracking debut. One of the most enjoyable Metal records in recent memory. It doesn't break any new ground, simply a brilliant execution of excellence.

Rating: 9/10

Stormkeep "Tales Of Othertime" (2021)

 

In our age of nostalgic recreation, here comes another classy modern Metal band turning an ear to a Nordic past. Comprised of experienced musicians from the Colorado scene, Stormkeep ventures boldly into the late 90s Symphonic Black Metal sound. With a snarling groans akin to an early Shagrath, Otheyn Vermithrax arms the outfit with an added charm I personally adore. Behind his beastly wretched howls play anthemic marches of triumph and conquest. This is victorious battle music, fresh from fantasy realms, channeling its majesty into extremes maligned by magnificent melody.

The Seer opens and sets the tone, acoustic guitars and folksy synths cast its Fantasy setting, erupting into scaling tremolo riffs soaked in dank synth. Melodic and upbeat in nature, its darkness feels rapturous, full of adventure, as if partnered on a plundering adventure. Its calls back to Medieval times with its Heathen visions, a forgot rural time ruled by myth and magic. The track goes on to toy with groove riffs, thunderous blast beats and symphonic breaks, deploying all the classic hallmarks of the genre.

Structured between four lengthy epics and two non-metallic interludes, the album wastes no momentum in exploring its ambitious song writing. It avoids repetition as A Journey Through Storms and Eternal Majesty Manifest lean towards a Folk Metal motif, exploring Pagan tones fitting of another European scene that emerged at the same time. Its forty plus minutes reign supreme, a superb execution of ideas heard before but delivering them with a grace befitting of the clear vision they had putting this fine record together. An easy recommendation for fans of these genres.

Rating: 7/10

Old Sorcery "The Outsider" (2026)

 

It turns out that the twenty minute epic Magick Truimph was not a lone anomaly but the lead single and opening track of this fervent march into the mystic chills of synth laden Black Metal. An attentive individual may notice the link in title and cover art framing with last years The Escapist. That album ended with a brief flush of distortion guitar, suggesting another link into The Outsider, a meaty seventy plus minute plunge into sways between aggressive metallic mania and occult esoteric offerings.

Barrowgrim Asylum plunders one extreme, a cold chromatic track toying frightening hellish cries from the void with cheesy horror key tones. Innigkeit and The Pain Threshold serve the other end of this diabolical spectrum, soothing yet mystic synth interludes, evoking curious atmospheres of arcane and sequestered secrets.

The records best resides where these two ends meet. The Interior Gates Of The True Soul offers up delight when its Berlin School lead melody infuses the dark ravenous blasting with an emotional through line. Suddenly the music illuminates as some sort of 80s Synthpop vibe makes its resonance with a bi-polar opposite known.

Where Sorrow Reigns is my absolute favorite, a throwback to late 90s Symphonic Black Metal. Its seemingly dense foray of darkness opens up a third of the way in. Jovial piano keys call out from a carnival of chaos. Its following grooves infuse symphonic wonder and stoke the flames of greats, like Dimmu Borgir, Emperor and Arcturus that came before. A simple wonder for this fan of that particular niche.

In essence, The Outsider is an entertaining exploration of tried and true extreme sounds, armed with peculiarities and inspiration to bring moments of genuine freshness. They are however, somewhat sparse. With competency and passion, this record plays with an excitement hard to come across these days. Its interesting to see artists shift direction but this is a somewhat retroactive pivot to enjoy an old craft.

Rating: 7/10

Old Sorcery "Magick Triumph" (2026)

 

Unlike Old Sorcery's other pair of lone twenty minute forays into mystical synth-led atmospheres, Magick Triumph is not an ambient piece but an epic, thunderous adventure. Opening with the endless drips of glum soaked rain, sodden strings punctuate this earthly, stone-cold setting. A plucked instruments ticks on by, marking a lone adventurer's dreary march forth, treking through dusky forests. Brooding with burden, it steadily groans into a ghostly church bell of foreboding. After a brief, dreamy lull, that menace returns to roost as gristly distortion guitars bleed under a discernible, deathly, cryptic voice. With a touch of predictability, the music unravels in a clash, rumbling drums pounding that typical signature Black Metal motif.

From here, curious synths evoke an esoteric mood, narrating the feel of this droning, low-fidelity grimness. Howling voices wretch from the void, scowling with a beastly intensity and the song shifts its blasting drum patterns to shuffle through its various arrangements of spooky void surfing mania. Although it seeks out a climax, the predictable Black Metal chops keep it within expectations. Despite this tameness, hearing Old Sorcery explore a strong neighbouring influence of Dungeon Synth is a welcome delight. Better than I've heard some other bedroom composers try it, yet far from miraculous. Its a familiar theme really well executed!

Rating: 6/10

Blut Aus Nord "Ethereal Horizons" (2025)

 

French outfit Blut Aus Nord have done it again! Sixteen album's deep and still stirring curiosity within Black Metal, a scene which rarely sparkles these days. Ethereal Horizons edges off from the Psychedelic entanglements heard on Hallucinogen. The dense atmospheric design and spiritual melodies abridge an Ethereal realm, obviously suggested in its title. Propelled by frenzied blast beats, the reverb drenched guitar leads shimmer over a haze of dark synths as screams call out from the echoes of this limbic space. This energy between realms, occasionally signals its inspirations as some songs slip into Pagan vibes, a highlands tang, the likes of contemporaries Saor.

All songs lean on its aesthetic construct, tightly woven together, playing as a whole record, setting a distinct mood with each spin. On this journey, plunges into madness and ascensions to melodic glory take place with plenty of luscious interludes to break up the natural intensity. Clean vocals drift in and out of focus like lost souls drifting through the ether. On occasion a stomp of metallic rhythm might rear its beastly head to. Ethereal Horizons has a fair helping of treasures to offer but is mostly subdued by the stretches between its stars. What Burns Now Listens is my favorite track. I also appreciated closer track The End Becomes Grace. It creates a perfect sense of finality, signalling the venture is over as its instruments collapse into an airy descent.

Rating: 6/10

Author & Punisher "Nocturnal Birding" (2025)

 

Contender for album of the year, Nocturnal Birding leaves me with a sense of guilt. As a renewed appreciation of brilliance settles in, I ask, how is it I don't return to their records? Once again, an uncompromising pursuit of crushing expression transfixes. A unique, dystopian breed of imposing brutality. A harsh design melding bleak aesthetics and rhythmic led musicality. Every aspect of this witchcraft serves its purpose, to burrow into the darkest recesses of ones mind and expose the suffering.

Achieved through dense industrial slabs of distortion guitar and bleeding synth, the battering drums perpetually bang and crash with such momentous force, a sluggish beast of enormity crushing all in its path. Most its pacing tends to be mid-tempo, feeling slower, with spurts of collapsing pulse like on the devastating end to Titmice.

Textural pleasures emerge as crashing walls of sound bend with malice, intermittent with quirky, unhinged melodies lurching in the spaces between. Overtop, siren synths cry out in pain, danger imminent. Through it all, ferocious screams and brooding shouts of anger shimmer in what little space this claustrophobic wall of sound offers.

Nocturnal Birding is a gripping experience, bleak visions exhaling demons brought to life in its unrelenting intensity. Author & Punisher continues on a predictable path yet finding the fruits of creative labor as the resulting songs bewitch once again. At thirty five minutes its a perfectly lean slice of mania served on a hot plate. Just stunning!

Rating: 8/10