I believe I Voidhanger may have done Fryktelig Støy dirty by releasing Incandescent the same day as new Neptunian Maximalism. Fortunately, this burner doesn’t occupy the same sound space as a 98 minute exercise in ritualistic ambient doom jazz. Those looking for cacophony over trance inducing atmosphere should gravitate toward this epic black doom journey which sounds as if it is actually two long form songs split into chapters at moments in the recording where transitions most make sense. I’m thinking a lot of Rose Kemp’s Golden Shroud and Unholy Majesty by Incandescent’s end. Probably owing to the narrative quality of the song writing and themes at play and the album’s closer with its witchy UK doom folk trappings that conjure Kemp and Undersmile. Em Støy proves once again she can do it all - from instrumentation, to writing in different styles, combining them seamlessly, articulating her lyrics in various methods be it with the ferocity displayed with Oligarch or in more melodic and haunting means.
Latest from Grave Circles. Unfortunately, founding guitarist has recently died in combat defending Ukraine days after World Within the World was released. Sturdy black metal drawing from the Norwegian and Polish pools as well as homegrown mainstays the likes of Hate Forest and Blood of Kingu. This dwells in the twilight space between dissonance and ice-cold melody. A few spots on this album introduce brass instrumentation that could make one think of Drudkh, but, ultimately brings to mind Celtic Frost. This is operating in a different, more blackened field than the deathlier Tome II and given what has transpired in the years from 2019 until now it’s not a surprise this has more solemn, mournful passages throughout.
April, 2025 heralds the return of Martre and it’s ramshackle, noisy, off center black metal glory. The way this wavers from falling off the rails to tight focus is bar none flat out mad genius. At first one can think, what is this racket? Is this even serious? Oh, as a heart attack. The buzzy guitar tone employed here could bring to mind the Teitanblood related spectral black metal project Emanation. The compositions waver utilize shifts and merges of styles from atmospheric noise, raw black metal, trance inducing drones, blinding grindcore.
Another black metal act melding dissonance and melodic sensibilities for nefarious means, Germany’s Akantophis have emerged after a five year silence with a vengeance. Guitar work on display is exceptional as is the bass playing with its clanking tone and rumble. Riffing is somewhere between the rampaging Slaughtersun and diversity of Code nouveau gloaming or fellow German unit Todtgelichter - angst. Song writing is firmly entrenched in a narrative. free flowing form and this proves the backline to be up to the task of navigating the peaks, valleys and subtleties in between. This album deserves far more attention than I can muster on a substack post and hopefully, the right people can push the new Akantophis effort to more listeners.
Dialing back the aggro a bit now we come to an endless wave of waves from one of Portugal’s Cult of NeurIsis practitioners, crosta. Pieces here recall Neurosis at peak Pink Floyd worship. If A Sun that Never Sets or Pink Floyd: Live at Pompeii are in your wheelhouse this could resonate with you or you could write this off as mimicry. I can understand the case for either side of the argument.
NoEvDia unleashed the debut from Serpentes hot on the heels of Teitanblood. Maybe not the best timing, but, again, the music speaks otherwise. The bandcamp default song is in the gut of the album and this comes barreling out with a fury. Beginning at the first Desert Psalm sets a completely different tone. One that begins melodic and haunting before methodically ramping up dread atmosphere before letting loose with speed and intensity. Initially conceived by Angrenost’s AinvarAra (Gonçalo Borges) this appears to be filled out by members of Misþyrming, Svartþoka and Angrenost.
Two Pyrrhon members with a doom lean. Weeping Sores is the brainchild of Doug Moore (vocals/guitars/bass) once again joined by drummer Steve Schwegler and a handful of Brooklyn and NJ rogues. Preview track is something like early Melvins caught in a rehearsal with My Dying Bride circa 1989. Caveman riffs underscored with melodic bass, angular drums, classical instrumentation accents, roars and screams.
oh, speaking of Pyrrhon, guitarist Dylan DiLella and former drummer Alex Cohen get wild and crazy with Radiance. Just in case Pyrrhon’s Exhaust was too riffy and within grasp for you, along comes this jazz metal freak out to get more out of hand than some of Weasel Walter’s discharges or Crom-Tech.
Can new Seputus be far behind? One can wonder. Never forget this 2021 crusher.
Title track from forthcoming Hibernum album Djavo dropped earlier in the month. As is usually the case, when vocals are in native language and foreign to me the delivery tends to carry more intensity. A Behemoth Emperor from Croatia by way of the UK.
Speaking of blackened UK, All Men Unto Me announced its second release. This project is masterminded by Rylan Gleave and assisted by members of Ashenspire, Healthyliving, Maud the Moth. First tease is downright harrowing in an 80s Swans drone with organs meets Ashenspire caustic chords.
Look what has arrived from the very depths of Colombia. No, not Mico, but, related. Hear here, the blackened death roar of Flagelo with a mission statement predicated on outright destruction where barbaric, caveman pounding and dual synchro guitar churning through slime rule. Unrelenting grime and filth where the only respite appears near the closer and even there, there things only become more caustic in terms of guitar chords and dual guitar interplay rather than the oppressively heavy tones from earlier. File next to Tzompantli, Caveman Cult and Black Curse.
Interestingly enough Cave Sermon’s Divine Laughter has Mico/Flagelo’s Miguel Méndez handling vocal chores. This latest missive from the cavern has Charlie Park handling everything. Musically this dials back the aggro metal for melody and atmosphere while the vocals retain a bit of bestial ferocity. There are elements at play here that recall early Mars Volta with the dynamic arrangements that can spin on a dime, swell to searing highs and drop the foundation from below to the guitar tones/effects and bass playing. Much of this recording is very prog and mathy with a post headspace. For instance one can hear strains of Mono and Envy melding with Sunny Day Real Estate or Coheed and Cambria in a track like “Arrows and Clay.”
Can’t leave Poland out of the mix. It would be uncivilized. Medico Peste have thrown down the gauntlet 5 years after the Black Bile with “St. Anthony’s Fire.” If you aren’t familiar with these guys when you see how they tag this, you’ll know whether or not it’s for you before pressing play. Killer bass/drum interplay to open the works, whacked out guitar chords, vomit vocals, chorals, cyclical drones.
Mystery and madness… Thanatorean …
like that cave sermon album quite a lot. some interesting (and pretty) melodies and dissonance duking it out. mood swings.
thanks for the shoutout man! obligatory correction from Columbia to Colombia hehehe, big hug from afar brother!