Труп Колдуна "Eternal Prisoner" (2025)

 

Despite the shoddy stark presentation and tacky musical quirks reeking of "low effort", my time with Eternal Prisoner has taught me that Труп Колдуна does indeed posses a curious charm that empowers an otherwise "cheap" sounding musical project. This machination of Dungeon Synth and off-kilter vibes leans on the unusual, an exploration of mystic atmospheres from alternative realities adjacent to whats previously been established as "the norm" within this Low Fidelity environment.

 The occasional splattering of Black Metal highlights this shifted vision. The menace of snarling screams on Black Throne, Cursed Circle cue this difference, housing the genres extreme riffing ideals on dusty Synths instead of frothing distortion guitars. On a similar oddity, Eternal Prisoner, the underlying fundamentals constructs a misdirect as its main moods mostly borrows an 80s Post-Punk tone. Its this subversion that consistently suggests subtle Vapourwave and Witch House influences from the keys.

 Each song plays as its own little isolated craft, a brief two to three minute venture, mostly oriented around one or two musical ideas born from antithetic experimentation. As a whole, variety keeps it interesting, paced well by intervals where percussion and vocals erupt. Only Gloomy Sanctum stuck with me, something about its strange warbling synth and the soft Egyptian suggestions had me lingering on its vibe.

 Rating: 5/10

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

Труп Колдуна "Melodies For Ghosts" (2025)

 

Competing with a slew of low effort bedroom producers, this stark cover art aesthetic suggested such presumptions, the phoned in part at least. I have no doubts about its home-brew production, this is "one man" synthesizer composition through and through. What struck me with awe, was a delightful enchantment emanating from these simplistic compositions. With musical charm before textural dressing, Melodies For Ghosts for ghosts achieves its esoteric suggestions, one with a whimsical stride.

Each track is a meditation on an idea, a premise laid out its in titling. These curious arrangements of dreamy synths play approachable yet mystic. Classic Dungeon Synth motifs, leaning towards a nostalgic fantasy realm. The Kazakhstan composer carves themselves a harmless niche of colorful magic into an otherwise darkly realm. I could hear no suggestions of Middle-Eastern cultural, or even musical influences. Had I not done my research, I would not of guessed this came from outside the western world.

Highlights include the opening Ghost Theme, a dense mystic of broody instruments, evoking the realms of beyond. Sanctuary Of Supernatural Cats perks ones ears with a classic 80s drum machine percussion boldly woven in. Phantom Tempest toys with bass and groove, taking us on a nightly stroll through this otherworldly plane. Melodies For Ghosts is a brief sub twenty minute record but a thoroughly enjoyable one!

Rating: 5/10

Old Sorcery "The Escapist" (2025)

 

One of the greatest artists to emerge from the bloated Dungeon Synth scene, Old Sorcery blazes a trail of excellence, transforming decrepit dusty nostalgia and esoteric ethereal fantasy beyond the bare bones bedroom composer of contemporaries alike. From the impressive Berlin School tinged origins of Realms Of Magickal Sorrow to a visionary Dragon Citadel Elegies, Old Sorcery has been a delight to venture with.

Highly anticipated yet a curiously slow burn, The Escapist arrives as another exploration of familiar realms whilst not trying to repeat oneself. Its a quality I admire, each new record feels like a transformative step to new territory, without shedding ones admittedly amorphous identity. Old Sorcery has a distinction learned through repetitious indulgence rather than overt aesthetics or musical particulars.

This "slow burn" comes fueled by its atmospheric beginnings. Dethrone Reason, Crown My Heart opens, setting lofty goals. A grand yet sluggish snare kick groove ushers in epic, alongside salient guitar leads and quirky esoteric synths. Proceeding, the next few tracks delve into various sculptures of immersive aura. Ambience reigns supreme, as sound design and aesthetic craft mesmerize with ambiguous intent.

Gem Hoarder Goblin shifts gears. Its toying melodies conjure mischief and mystique, befitting of its title. From Dungeon Synth to Orchestra, its second act switches up the instrumental pallet for a scenic painting of animated events. A dazzling set of classical instruments transmit the intentions of this cave dwelling beast. One can almost see a stage inhabited with actors performing a play. Its a wonderfully vivid moment.

At The Wayfarer's Lantern shows off an impressive step into nostalgic rural Folk, eventually melding its pastoral antiques with otherworldly synths, orchestrating enchanted magics into the past. Starlit Belfry Tower comes with a touch of dreaminess through its bells and lullaby nature. Again the progressive touch never settles for repetition as the song broods through a quirky synth phase so distinctly Old Sorcery.

The we close with Immortal Passion. A gentle build to distant yet mighty adorning synths casts a spell. Like a timeless sunset, the last inches of light reach before an enteral night. The composition is wonderful, venturing us into dusk, building through familiar motifs. Then the sudden pivot, we are lunged into a soft Black Metal conjuring of dual tremolo guitar distortion tension that never finds the shift it suggests is coming.

Instead we fade out to a few audible moans and groans, suggestive of a characters perspective. Its a strange ending, not quite gratifying yet immense in its build up. It suggests a missing piece where Dragon Citadel Elegies hit every beat perfectly. Another brilliant record however, I will enjoy this for many moons to come.

Rating: 8/10

Thornhill "Heroine" (2022)

 

Thornhill are an undoubtedly curious band. Inescapable of Deftones' shadow, yet vibrantly engrossing as familiar ideas find themselves funneled through youthful enthusiasm. Heroine struggles conversation without the hallmark Djent grooves and quiet loud dynamics of our aforementioned coming into focus at every turn. Not to mention the vulnerable vocal range emulating Chino Moreno and Radiohead to a lesser extent. Where one could hear some experimental originality filtering through on Bodies, this record is overtly married to its influences.

Despite this, Heroine's songwriting is utterly fantastic. Often propelled by exhilarating Djent guitar groove, the bands music consistently carries a high intensity. Navigating through emotive strains and pivoting into hard romps of obnoxious heaviness, their songs consistently toy with a range of dynamics. Their best flashes of originality emerge on Valentine and Something Terrible Came With The Rain, two interludes dabbling in ideas moved along by clunky drum machine patterns.

Subtle, or subdued but often drowned out, niche touches of sound design, electronics, pianos or strings lurch in this "wall of sound" production aesthetic. Closer inspection of its components reveal these elements, often a powerful part of the overall makeup. Perhaps this is one of Thornhill's biggest strengths, a keen touch to elevate the pervading sense of dystopian atmosphere each song comes attached with.

Its best tracks arrive early on, The Hellfire Club, Arkangel and Casanove hit hard. Its drearier numbers drag out the back end as its established tone continues to endure itself. Overall, an impressive record well suited for fans of modern Djent and Deftones.

Rating: 6/10

Enya "Amarantine" (2005)

 Potentially saturating my own Enya experience, Amarantine has struck me as a step backwards for such an esteemed, visionary artist. Held afloat by an ever persisting enchanted chemistry between her sublime voice and magical synths, a familiar cast of motifs emerge as creativity dwindles. From yearning folksy numbers to nocturne piano pieces and elegy hymns, the experience narrows in scope as fresh ideas elude.

 

Amarantine lacks an ambition, resulting in toned down approach less spectacular, sparingly subdued into commonality. Resting on ones laurels, Enya paints a beautiful soundscape, inescapable of familiarity's to her back catalog. On occasional, its gentler touch and moments of minimalism highlight her incredible singing, Water Shows The Hidden Heart, yet these quieter stints feel like lost space for inspired inventiveness.

 

 Its not without its merits. Amarantine certainly achieves to indulge one in Enya's Ethereal realm across its forty five minutes but more as a background piece. The title track itself plays a bespoke lyrical craft, touching deeply upon loving themes through the metaphor of its flower. A memorable song for that reason alone, as its instrumental make up seems bare bones in nature. That may just be the point, to strip things back, prove the magic works, however all that fantastical embellishment definitely elevates.

 

Rating: 5/10 

Slaughter To Prevail "Grizzly" (2025)

 

Despite the impressive talents of vocalist Alex Terrible, I've suffered the misfortune of writing off these masked menaces as another "race to the bottom" Post-Deathcore band. Their recent collaboration with BABYMETAL lured me in, Song 3 that appears again here, a fiery grind of brutality armed by slams of low end guitar and spurioys manic fretboard noises. On that track and throughout Grizzly, strong echo's of Slipknot characteristics, a total turn on when executed with class, as Slaughter To Prevail do.

Russian Grizzly In America drops in partially lifted lyrics from the iconic opener Sic. That motif and other inspirations occasionally rear an overt head. My linguistically challenged mind initially mistook Rodina for a cover of Rammstein's Mutter. So to does Behelit's massive slams of guitar melded with strings have an uncanny ring to it.

With a knack for decent song writing, this all works in their favor. A shared generation of influential bands rippling echo's through Slaughter's DNA, most notably aesthetics and rhythms Slipknot's Iowa album. Howling pinch harmonics, stomping grooves and a battering percussion to make the late Joey Jordison proud. Woven in between their own ideas, it bridges the gap into this "over the top" Post-Deathcore territory.

Thus Grizzly plays a romp, a wild blast of fun chaotic aggression with the sensibilities of a now classic era of 00s Metal reigning in the extreme impulses. The balance is ripe, ideas fresh. Plenty of headbanging goodness. At a meaty fifty minutes, it rarely tires to entertain. I'm left struggling to figure out my favorites from the bunch, a great sign of a record asking to be played front to back at each turn. A cracking introduction.

Rating: 7/10

IGORRR "Amen" (2025)

 

A clear contender for album of the year, French mastermind IGORRR returns with Amen, an unflinching committal to a bastardized union of Glitch, Breakbeat, Extreme and Death Metal, Opera and Baroque. An eclectic assemble, unsurprising to those indoctrinated yet intoxicating in its aesthetic excellence. Armed with familiar weapons, its devastating impact arrives through octane clarity reveling in the minute minutia of manic details and an overall sense of adoring care for its instrumentals. A corrupted orchestra of modern metallica, timeless traditionals and devilish electronic madness.

Amen ebbs and flows sublimely, delving into its diverse origins, shifting gears at any lull, unceasing with excitement. Stints of Death Metal roar between heavy, dramatic operas, pivoting into evocative Spanish guitars and menacing breakbeats with a natural authenticity. So to do its bizarre constructs jostle absurd obnoxious groove with graceful, transient esoteric ponderings. Its cultural tapestry has a distinct deserty sun soaked Middle-Eastern flavour. Its overtly pronounced on the piano demolishing Blastbeat Falafel. A joyful collaboration with the legendary Mr. Bungle among others.

One particular delight on this twisted journey is ADHD. A manic work of devotion to intricate sound design. It evokes groove whilst simultaneously subverting it, a rhythmic moving target, also a wild ride of audiophilic exhilaration as we are indulged in its glitched sampling. At the opposite end of the spectrum, Silence leans into Romantic era symphony, piano and opera, eventually melding its ends with surges of world bending, gravity defying percussion. My rather condensed words could elaborate further on this record but then we would be running through the genius' of each song one by one. Just go and experience this scintillating sin for yourself.

Rating: 9/10

Seotaiji "Seotaiji VI" (2000)

 

Having scraped the barrel of Nu Metal treasures from my youth, this recent surge of revivalist bands like Tetrarch, Ocean Grove and Narrow Head has brought about nostalgia tinged fun. Nothing will ever capture the tone and texture of that millennial moment quite like the original artists. Thus its a blessing to find such an authentic and fresh take of those times. Hailing from the other side of the globe, Korea, this platinum selling record remained a complete unknown if not for one peculiarity. Tank and a couple other tacks gave me the tremors, a sudden transformation to my teenage self. A dormant part of my mind activated again, I wondered where had I heard this before?

When Napster first emerged there was a trend to rename obscure artists with similarities as "rare tracks" or "b sides". Over the years, I'd eventually learn who the original bands were. Tank, probably renamed as Korn, was one of those. Although it feels uncanny now, this is a reflection of our ever connected, ever available world of culture, shrinking rapidly, as algorithms figure us out, resurfacing these lost gems.

Reveling in the Nu Metal spirit, producer and songwriter Seo Taiji captures the essence of a predominantly American scene with little suggestion to cultural or geographic distance. Only his Korean words create a distinction. Even on that front, his throaty screams and bursts of Rap and rhyme snuggly fit the manic texture and angered cadence of the scene. With an arsenal of bouncy riffs and well written songs, he delivers an all killer, no filler record clocking in at a "to the point" thirty minutes.

Where this record excels is with its textures. So often do these songs revel in the atypical aesthetics of Nu Metal. Estranged sampling, sporadic vinyl scratches, effects laden guitars and quirky vocal effects. With a touch of Alternative Metal it all shapes up to an exciting yet fresh familiarity. Even its shameless plundering of early Korn-alike riffs play with charm. Seotaiji VI is a work of love and inspiration for the times.

Rating: 7/10

Esoterica "Ether Metal" (2025)

 

Its title may just suggest a new genre of metal but no such concept awaits. Conjuring a compliment to its balance gentle melodies, metallic punchiness and emotional tenderness, Ether certainly suits the resulting chemistry. Frontman Tobias Keast remains king, his vulnerable voice and dramatic range serves as a focal point, breathing life in any instance from casual, to shouting or sailing on smooth soaring inflections. Like always, he is the illumination that gives Esoterica their distinct identity.

Working on an Alternative Rock / Metal temperament, a slew of soft Djent grooves and downplayed stomps whirl in the backdrop between power chords. Alongside its main leads, grandiose strides of symphony, united choral group shouts, flashes of nightly electronics, airy synths and other sound design elements forge succinct visions. Moody, slightly downtrodden, in search of reprieve, its tone appeal to the hurt within.

Its not until the halfway point with Heathen that a dystopian, disinformation and antiauthoritarian themes emerge, giving this stretch some lyrical unification. A play on words, Track Dysutopia seems to miss the definition of dystopia as the opposite of utopia. A minor blemish leading to the excellent closers Paper Skull, a Mental Health stint referring to a mind of holes, and the dramatic, swelling, upheaval of Burn.

Despite its clear excellence of execution, Ether Metal didn't exactly suck me in. Always a fair, enjoyable listen without weak points but unlike there prior effort, nothing grabbed me hard, got stuck in the mind or lured me back in. Its a curious takeaway from a clearly inspired and passionate record but sometimes the whims and inconsistencies of the human experience leave us in such strange places.

Rating: 6/10

Enya "Enya" (1986)

 

To experience it at the time, would have been something else. To now venture back to her origin after reveling in such masterful inspirations as Shepherd Moons and A Day Without Rain illuminates the soft amateurish blemishes with a most endearing charm. All the familiar and distinct songwriting approaches arrive matured and unique. Its the albums production and synthetic instrumentation that are yet indulge in sound design.

The aesthetic of these early Roland, Yamaha and Kurzweil keyboard synths play with a punch and immediacy, as so many early synths do, yet to nurture the crafts of soft attacks and roomy reverbs. It gives many moments in the record a feeling of bedroom composer, in the best of ways. Despite that, Enya's brilliance to sway between singer and instrument with her saintly voice often fills in that need for a gentler touch.

In terms of pacing, the music flows through a myriad of ideas, often lacking direction but given its indulgent nature, all destinations seem fantastical, other worldly, spiritual, humanist or even heavenly. With dashes of playfulness and colorful experimentation along the way, it rarely runs short of steam, just a couple of two minute songs feel unfinished. A wonderful variety that also lays foundations for many future Enya tacks.

Highlights include the dazzling arpeggio sequences of Aldebaran, the moving folk leads of The Sun In The Stream played on uilleann pipes. Its opening track, The Celts, another delight and a Hip Hop surprise with the darkly hummed Boadicea, which acts as the main sample for Fugees with their classic Ready Or Not. Fantastic debut!

Rating: 7/10

Oscillotron "Sniezna" (2025)

Seeking revival through experimentation, Oscillotron lands on a firm identity with succinct ties to its space horror ambience origins. Leaning on subtle wobbles of unsettled pitch shifting, disjointed pianos and old school synths evoke an eerie, uncomfortable setting. Accompanying them, ghoulish foggy synths in the backdrop conjure looming terror and sense of dread. The record toys with variations on this aesthetic arrangement, a feverish, unending, dreamy phantasmagoria. The resulting inspirations mainly birth three to four minute scenic stagnations on its initial idea.

The arrival of Natt always perks my ears, a proven promise of gradual evolution leaves a distinct impression. At thirteen minutes, it bucks the trend, leading us down nightmarish corridors of fright. The march of its synthetic pulse pulling us through macabre grown and howls, forever brooding in its cataclysm drum loop of distorted dissonance. Its an absurdly effective drone, a mediative trance of abysmal origins.

Lacking a fair amount of percussive force, Sniezna can feel understated with its ever transient presence. Familiarizing oneself with its craft, a brilliantly composed vision will emerge. An artistic, devoid of cheese, a soundtrack to the zombie apocalypse. Decimated wastelands of gravely atrocities, laid barren by its grim inhabitants, no longer fit for human survival. Somehow conjuring Halloween horrors with a serious foreboding tone. On recognition of this thoughts, I see how fitting the cover art is.

Rating: 7/10

Enya "The Memory Of Trees" (1995)

This could be my now established familiarity with Enya's remarkable music but The Memory Of Trees has a touch of "by the numbers" to it. The overall flow reveal a familiar structure, uniformity and similarities in songwriting find footing in cadence to that of other records. Anywhere Is has that playful tropical jollity to it, a charming track none the less. Pax Deorum takes an early dive into the dark side, conjuring echoes of Mordor war drums in the deep to guide its foreboding menace. A brief resolution of angelic respite emerges before plunging back into the fantastical devilish demeanor.

From there, the album drifts through its calmer sentiments. Endearing voice and string harmonies, emotive piano compositions and touches of childish joy on tracks like Tea-House Moon. That familiar mix of English, Gaelic and wordless singing guides the way. Ending with On My Way Home, that and the hymn-like Hope Has A Place strikes with an uncanny sense of Deja-vu. Surely I've heard these exact ones before?

Its a strange sentiment to emerge from an otherwise thoroughly enjoyable record. A stagnant moment from a musician in peak stride. Not something to complain about. The Memory Of Trees is a luscious listening experience, a craft of pure inspiration but seemingly the same inspiration, leaving me with a lack of fresh vocabulary to expel despite being enthralled once again, another wonderful chapter.

Rating: 8/10

Drudkh "Shadow Play" (2025)

 

As one of the finer Black Metal acts from decades gone by, Ukrainian outfit Drudkh's part natural, part mystic has always held my curiosity. Shadow Play marks a welcome return unmarred by the death of drummer Amorth, victim of the ongoing war. Somehow, life goes on and the band from the oblast continue with their earthly craft.

Released earlier this year, I held onto the record, knowing it would have its opportunity to strike a nerve. That moment has come hiking in the Austrian Alps. Stunning mountain ranges, blanketed in towering trees, mother natures beauty, entangled in the harsh reality of survival. Its all I see in this mighty conjuring of earthly Black Metal.

Opening with Scattering The Ashes, what I'd assumed was the sound of rustling leaves, arrives adorned by a lone morose synth note and depressive guitar chords. It sets a glum tone to be upturned as April drops us into a perpetual momentum driven by its galloping double pedal drum grooves. Tremolo guitars shred slow descending melodies alongside a brooding lonely synth to unite its esoteric, earthly tone.

Shrill screams cry out and haunting howls drop in at routine intervals, all the hallmarks of a now customary formula too familiar. Its in the back half of the record, Fallen Blossom, The Eve, The Thirst, that atypicality becomes exceptional. The balance of esoteric darkness, natures verdant muse and contemplative moods fines its stride.

Some combination of its elements bestowed one with an awe complimentary to my reverent surroundings. Perhaps it was the latter that let me connect with the music. Either way, I felt the ethereal earthly rumble of this primal music as its battering aesthetic droned away, letting the subtleties of its shifts take form on its lengthy songs. The union has created some wonderous memories of breath taking views, only to be relived though the music at a later date. Something felt but this time seen.

Rating: 7/10

Lorna Shore "I Feel The Everblack Festering In Me" (2025)

 
Current darlings of Extreme Metal, with a swiftly growing popularity, Lorna Shore seem poised to take off. This second incarnation with iconic vocalist Will Ramos serves as a monument to their craft. Laying in wait, over an hour of scorched earth fury blazoned by gleaming symphonic melodies. Trading blows between pelting drums and ever tuneful guitar leads, epic themes of rapturous adventure and embattled mythos collide in a theatric spectacle. Strangely reminiscent of Fantasy themes and Power Metal's melodic focus, Lorna Shore deliver on an engrossing darker Orchestral vision of extremity, the likes of which Dimmu Borgir once lit the path forward.

As a mood, this is an enthralling listen. The music swings and swells between varying intensities, ever led by this triumphant unison of symphony and lead guitar wail, a glorious expression that often feels like a singing voice given Ramos' roll as a gutteral screamer. Its a beautiful construct, gallant and uplifting, capable of traversing all terrain. Oddly, as the record endures, its nature starts feel repetitive, as if a single melody keeps re-emerging. This strips identity from its songs. Defining points and motifs become blurred by this reoccurring tone, which overpowers other ideas.

 In a similar counterproductive vein, over the top Post-Deathcore breakdowns conjure a similar lack of identity. Spurious eruptions of groove less, shuffling monotone guitar barrage and gravity blast beats make potent housing for impressive feats of utterly foul, deathly gutteral howls. Ramos has made a name for himself with this new level of ridiculous texture wrenched from his throat. Sadly, there aesthetic might lacks a bite as the breakdowns mostly amount to differing configurations of the same ideas.

I Feel The Everblack Festering In Me passes one by as a wildly captivating listen, yet lacks the hallmarks of good song writing to nail an identity in ones mind. The aesthetic lavish of its extremities and symphonic offering are a delight but it only extends so far. War Machine is a lone track that feels distinguishable purely because it pulls back from the aforementioned lead guitars. In its absence, some rhythmic assault and toned down symphony gives it much needed distinction in the runtime. No doubt many will love this but for me a vital component among their chemistry is still missing.

Rating: 7/10