Lmst

Uh .. Hat schon jemand #Darkspace gezockt? Lese ich heute zum ersten Mal von. Das ist offenbar ein #Shadowdark #SciFi Hack, der echt viel versprechend aussieht. 🙂
Ich wäre sehr an Eindrücken interessiert. #pnpde
https://www.dmingtheworld.com/darkspace-shop

Paysage d’Hiver – Die Berge Review

By Dear Hollow

While black metal and cold atmosphere are nearly inseparable, Paysage d’Hiver’s icy Nordic aesthetic is a step above. Through the eyes of “the wanderer,” mastermind Tobias “Wintherr” Möckl1 weaves tales of frostbitten wilderness, icy desolation, and vicious blizzards through raw tremolo and shimmering synth. Each release another chapter in the wanderer’s journey, fourteenth installment Die Berge is its final installment.2 Die Berge (“the mountains”) tells of the monkish pilgrimage taken across jagged peaks and forlorn valleys, the ultimate revelation and unveiling of death awaiting him. It’s a beautiful demise, but as anything you expect with Paysage d’Hiver, it’s cold.

Die Berge is Paysage d’Hiver’s third full-length. To say that is absolutely asinine because Wintherr’s long legacy of ten formidable demos spans three decades, including highlights like Schattengang, Winterkälte, and Das Tor, masterclass after masterclass of raw black and icy ambiance. 2020’s “first full-length” Im Wald was a pinnacle, a balanced two-hour trek through frozen wilderness that married Paysage’s trademark rawness with the dark ambient of demos like Nacht and Einsamkeit, evocative of both cold and darkness. This is what made 2022’s Geister a head-scratcher. While chilly like second-wave ought to be, Wintherr took a newfound dive into riffy grooves in evoking the Tschäggättä, masked beings in a regional Swiss winter festival. Die Berge is a step back and forward, its predecessor’s groove lending itself to muscular riffage, patient pacing, and frostbitten rawness that evokes the majesty of the mountains.

Paysage d’Hiver’s effectiveness lies in its trademark simplicity. Each track features a chord progression or plucking motif around which shrieked and growled vocals, tremolo, percussion, and synthesizer revolve. Endlessly grim, the riffs are what sets Möckl’s compositions a step above, refusing the warmth and saturation of contemporary “atmoblack” in favor of something both searingly raw and frigidly haunting – truly like being caught in a blizzard on a desolate mountainside. The groove of Geister collides with the trademark atmosphere in riffs that sound bigger and more commanding than anything Paysage d’Hiver has ever written, sounding both jagged and majestic in their conjuration of snowy peaks (“Urgrund,” “Verinnerlichung”). As per the trademark, these riffs and melodies sway ominously between its triune of grim, dissonant, and beautiful – its range of emotions conveyed exquisitely across its mammoth 103-minute runtime. Contrary to earlier material, Die Berge feels remarkably more patient, its riffs beating to a nearly doom pulse, the grandeur enacted more commanding than the traditional blastbeats-and-tremolo duo that has pervaded Paysage’s catalog.

What has made Paysage d’Hiver so effective is its ability to progress the music forward without forsaking its trademark,3 and Die Berge is no exception. While the opening two tracks fit snugly into the act’s history of ice-crusted blasting, the final hour and ten minutes takes on new life. The “Transzendenz” trilogy revolves around the same chord progression, but each installment is a diminuendo and dissolution of scathing raw guitar (“Transzendenz I”) with a growth of icy synth, concluding entirely in synth-forward beauty (“Transzendenz III”). The conclusions of Die Berge are wonders unto themselves, aptly epic and bombastic closers that revel in both the desperation and denial, then beauty and clarity of a frozen death in synth- and piano-forward meditations (“Ausstieg”) and the ultimate succumbing to the colossus of frigidity at the summit with tragedy and gloom at its center (“Gipfel”).4 The demise of the wanderer is beautifully communicated without sacrificing the grimness so central to Paysage d’Hiver’s raw black metal aesthetic.

Die Berge is a beautiful end to the wanderer’s tortured life. Like all Paysage d’Hiver albums, it is a mammoth undertaking, and certain melodies can grow wearisome for some listeners after so many iterations (“Verinnerlichung,” “Transzendenz II”), but it’s more about the experience than riffs and highlights. Somehow, Die Berge doesn’t feel as bombastic as its spiritual predecessor Im Wald, but its subtlety and tragedy make it all more intriguing and its central storyline of the spiritual pilgrimage to the wanderer’s final breaths atop jagged peaks more tangible. While this may be the end of Paysage d’Hiver’s central character, Die Berge ensures his memory lives on in a grim and beautiful collusion of storytelling and raw black metal. We can only hope to never see the end of winter.

Rating: 4.0/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Kunsthall Produktionen
Websites: paysagedhiver.bandcamp.com | facebook.com/PaysagedHiver.Official
Releases Worldwide: November 8th, 2024

#2024 #40 #AmbientBlackMetal #BlackMetal #Darkspace #DieBerge #KunsthallProduktionen #Nov24 #PaysageDHiver #RawBlackMetal #Review #Reviews #SwissMetal

Tinkle Bavard №12 https://wiesmann.codiferes.net/wordpress/archives/38453 #BerlinXVIII #CarWars #DarkSpace #Laborinthus #RêveDeDragon #TigresVolants #TinkleBavard

Un extra-terrestre devant un bâtiment futuriste sur une planète exotique

#Hörspiel am Feiertag ▶️
#DarkSpace 2046 - Folgen 4.1 + 4.2 - (#ScienceFictio)
Folge 4.2 —https://youtu.be/Bjs_S5QfTVw?si=Wv39IPaxLTN4SDmW
Folge 4.1 — https://youtu.be/HRzHn-IaZBM?si=Ep_7xwp9V_-RLX5k

Ist es echt schon wieder 10 Jahre her seit dem letzten Release?

...

Das ist nichts für nebenher. Kopfhörer auf, weg mit all den Gedanken, Menschen, tagesaktuellen Themen, Sorgen, Konflikten, Schwere, Leichtigkeit und... naja... Gefühlen irgendeiner belastenden Art.
Das hier ist ist nur Zuflucht ins Nichts.

#spaceblackmetal
#darkspace

Darkspace - Dark 4.20
https://www.youtube.com/watch?v=qpU3UDoOvik

Adon – Adon Review

By Mystikus Hugebeard

When I happened across one of the singles for Adon, I recall thinking it sounded, quote, “impossibly good.” Adon formed in 2019 and has thus far released one EP, Arkane, in 2020. They currently maintain a humble online presence; unsurprising for a relatively new band, but from what I’d heard I couldn’t help but believe they deserved better. When I got the chance to review their self-titled debut I felt excited at the prospect of potentially helping their following grow… but that depends on the music, doesn’t it? And so I dug in, hoping the potential I saw in their pre-release material would be realized.

Turns out that potential was realized, and more. Listening to Adon is like falling into a black hole that’s actually a meat grinder; this is a densely textured album of cosmic scope with a heaviness that strikes with the force of a supernova. Adon plays a kind of extreme black metal that inhabits a singularity between Darkspace, Behemoth, and Decapitated. Atmospheric layers of black metal tremolos, vocal fills, and trilling flutes flank the vitriolic riffs, creating a genuine sense of depth. However, Adon never lose themselves in a cosmic haze, instead keeping the music grounded in accessible yet subtly complex black metal aggression. “Ascension” wastes no time introducing you to the Adon assault: a wall of anguished growls and piercing guitars try to drown an emerging riff that escalates into a skull-splitting onslaught. Adon is the complete package; the musicianship is top-notch—Decapitated’s James Stewart kills it on drums, Argonath is a fierce guitarist, and I love Æthulwulf II’s unhinged vocals—the songwriting is mature, and the production keeps the guitars brutally heavy without ever smothering the music’s nuances.

There’s plenty to like about Adon at face value, but for me, the true appeal lies in the palpable atmosphere of madness. Like voices in your head, the penetrative layers of growls and tremolos floating above the riffs invade your mind, coagulating into an unshakeable feeling of slowly going mad—until the white noise suddenly drops, and your focus zeroes in on the guitars. It’s an exciting give and take, and is prevalent throughout the album’s shorter tracks. “Æther” and “Azimuth” utilize this through old-school black metal verses leading into heavier, death metal choruses. “Axiom” is a more straightforward slab of hateful black metal, dispersing the noise for a muscular bridge and the album’s best guitar solo courtesy of Warscythe’s Justin Sakogawa. The cosmic scale of Adon is most felt during the ten-plus minute epics. The discordant downward spiral of “Æon” and the energetic battle between cacophonous flutes and guitar riffs—including a badass guest performance by Fallujah’s Kyle Schaefer—in “Adon” drag you into a tangible musical void, before building back heavensward with massive riffs whose clarity contrasts the chaos of each song’s first half. A descent into madness, a search for knowledge, the emergence of something different entirely; Adon’s themes all come together here, and they are clear highlights.

There’s one point in “Adon” where I first noticed a crack in Adon’s firmament. The recurring motif of swirling flutes (courtesy of Ember Belladonna) giving way to intense riffs nails the desired effect—light and dark, knowledge and nothingness—as a fast-paced alternating decrescendo or as a swampy ambiance of horror flutes and guitars. The theming is lost when a funeral doom riff bursts into a bright dance between flutes and notably progressive guitars, before switching back again; these ideas feel awkward when sandwiched together due to their length. This section befuddled me, and I began to notice other cracks; the clean guitar ending of “Æther” feels slightly out of place, “Æon” fades out too fast after such an effective build-up, and the chorus in “Azimuth” sounds cluttered when mixed with the guitar solo. Despite everything, I struggle to glean any underlying pattern of incompetence in Adon; rather, they’re isolated mistakes earnestly committed by artists close to their art, and their infrequence can’t help but accentuate them. Fortunately, there’s nothing minor edits couldn’t fix, but that only makes their existence sting all the greater.

Even with some wrinkles to iron out, Adon is a stupidly good debut. When I set out to review Adon, I hoped that I could, in some small way, act as a catalyst for the success and recognition that Adon deserves, but I’ve realized that I overestimated my own importance in this equation. Adon is a self-assured release whose quality speaks for itself, and Adon is destined for remarkable things regardless of my help.

Rating: Very Good!
DR: 6 | Format Reviewed: PCM
Label: Self-Release
Websites: adon.bandcamp | adon.facebook
Releases Worldwide: April 12th, 2024

#2024 #35 #Adon #AmericanMetal #Apr24 #Behemoth #BlackMetal #Darkspace #DeathMetal #Decapitated #EmberBelladonna #ExtremeMetal #Fallujah #Review #Reviews #SelfRelease #Warscythe

New Darkspace incoming at last! #darkspace #blackmetal #metal #nowplaying
🤘 🤘

Impatiently waiting Darkspace to push go on their new release.

#darkspace #newmetalfriday

Darkspace – Dark Space -II Review

By Dear Hollow

Few acts have been as influential as Darkspace and its storied lexicon, from its cosmic take on atmospheric black metal to Swiss extreme music in general.1 While unwavering in the kvlt standard, spacious and cold ambiance collide with an unshakeable and vicious groove like the impact of planetary collisions. Their veritable chaos galaxies of Roman numeral monikers are grounded by this lethal sonic balance, each album offering yet another formidable perspective on the unfathomable cosmos. Darkspace’s last album, Dark Space III I, earned a much-deserved 4.0 a decade ago from the beloved gone-but-unforgotten space cat Grymm, who praised its intensely cold interpretation of space-faring black metal while wary of its warbling production. A whole decade later, we are faced with Dark Space -II.

As the name perhaps suggests, Dark Space -II is less a follow-up to III I as it is a spiritual successor of 2012’s Dark Space -I, itself a rerecording of the trio’s first-ever 2002 demo. In this way, Darkspace sidewinds expectations in a mysterious pulsar rather than a tangible planet. Dark Space -II, consisting of a single forty-seven minute track “Dark -2.-2,” saturates the sound with ambiance and pulsing industrial beats in a far more streamlined attempt than -I. Dark Space III I had its moments of industrial influence, but in its newest incarnation Darkspace utilizes them for full effect. It’s a gutsy move to provide a follow-up to a band’s most controversial offering after a decade of silence, but mercifully Dark Space -II takes the challenge in strides for the evocation and inimitable atmosphere they are renowned for, even if it will not be for everyone.

Dark Space -II crowds the negative spaces of the act’s trademark expansive cosmicity as if emerging from a gigantic black hole. The trio’s repertoire has long been colossal expanses of opaque atmosphere contrasting with passages of riffy black metal, with fluid dynamic songwriting moving between the two galactic fringes seamlessly. Darkspace opts for a claustrophobic density that settles neatly on the event horizon, eerie transmissions from alien sources settling patiently in the darkness. Increasingly chuggy riffs are balanced by pulsing electronic beats, while synth lies front-and-center in the ethereal and pitch-black sound we know and love from this Swiss trio. The combined vocals and strings of Wroth (Tobias Möckl – also known as Wintherr from Paysage d’Hiver), Zhaaral (of Sun of the Blind), and newcomer Yhs (replacing longtime member Zorgh following her departure in 2019) show off atmospheric prowess in sprawling pendulum swings between grim chord progressions and droning guitar chugs, alongside patient explorations of ambient proceedings. The songwriting remains fluid and intriguing as expected — swelling synth and guitar guided by dark beats – with little variation aside from some rhythmic variations, sparse placid passages, indistinguishable vocals, and subtly riffy guitars that all emerge and collapse into the singularity at its center.

This is the grimmest and most intriguing element about Dark Space -II: if you’re looking for the riffs that brought weight and density to the trio’s classic albums, you won’t find them here. Dark Space -I was already controversial in its electronic artifice, putting riff and punishment on the back burner for an album focused entirely on evocation. In some ways, -II paints Darkspace as solid blackened EDM, among the likes of Aborym or Psyclon Nine, which may not be a selling point – particularly to the second-wave worshipers that have often populated this fanbase. Dark Space -II is a natural progression for an act devoted to sonic blackness in attempts to conjure the mystery and horror of sinking into gravitational anomalies, which contrasts neatly with the exploratory expansion of its catalog. As its negative value moniker suggests, Dark Space -II is a sonic portrayal of a black hole, crushing emptiness, rather than the frigid isolation of space exploration constituting its creators’ traditional methods.

Dark Space -II has tormented and perplexed me, offering something this evasive and opaque after a decade of silence. While more is perhaps coming from Darkspace in the near future, this is both a detriment and an asset to –II, as its mysterious and opaque nature offers barely noticed horizons for the trio to explore while potentially alienating its fanbase with industrial beats and a black canvas saturated with indistinguishable performances. The point of Dark Space -II is to be evasive, evocative, and eerie, and it massively succeeds in doing so – even if it doesn’t quite reach the heights of its classic sound.

Rating: 3.5/5.0
 DR: 7 | Format Reviewed: 320 kb/s mp3
 Label: Season of Mist
Website: darkspace.bandcamp.com
Releases Worldwide: February 16th, 2024

#2024 #35 #Aborym #AmbientBlackMetal #BlackMetal #DarkSpaceII #Darkspace #Feb24 #IndustrialMetal #PaysageDHiver #PsyclonNine #Review #Reviews #SeasonOfMistRecords #SunOfTheBlind #SwissMetal

New Darkspace coming this Friday. Can't freaking wait.

So I am going to yet again listen to the Darkspace discography.

#darkspace #blackmetal #nowplaying #metal

🇬🇧 Swiss atmospheric space black metallers Darkspace will release a new album, 'Dark -II' on February 16. This is a song from the upcoming album, 'Dark -2.-2'.

Some more information: the 'album' is actually one 47 minute song. Initially it was composed as a keyboard piece, but the band liked it so much it became a group effort. There is also talk of a proper new album, named 'Darkspace V'.

https://www.youtube.com/watch?v=YAY-mJ-uWZg

#Darkspace #Switzerland #atmospheric #blackmetal #ambient #space #sciencefiction

Dear Hollow’s Prava Kollektiv Collection [Things You Might Have Missed 2023]

By Dear Hollow

Look, I get this shit is niche. Like real fuckin’ niche. Cherd of Doom‘s excellent Black Metal Muster from 2022 enabled a new generation of us black metal wanderers to flip off the doom and prog aficionados, emerge from our corpsepainted closets, and shriek in indecipherable tones until that Methodist church down the street burned to the ground. Here we are, praising black metal twice in one year, and it doesn’t get much better than the enigmatic Prava Kollektiv, an enigmatic and anonymous congregation based probably in Russia or Slavic states, whose releases are unleashed, often simultaneously, in conjunction with Amor Fati Records and Fallen Empire Records. It is known that its five bands share members, and as you may have guessed, they all share the black metal tag. It is unknown, however, what thread courses through all the releases, as themes of the void, consciousness, the cosmos, and other abstract concepts plague the sound and lyrics. What is more important is that the Prava Kollektiv is an unfuckwithable and unmissable collection of blackened tunes, with 2023 offering their most formidable array yet. Without further ado, let’s get kvlt.

Arkhtinn // 三度目の災害 – The Prava Kollektiv’s flagship act is perhaps one of the more traditional of the bunch, conjuring the isolation of ice-crusted stars through its use of raw black and ambiance. The release of 三度目の災害 also coincides with Arkhtinn’s ten-year anniversary. Reconciling both the iciness and star-borne darkness of Wintherr’s projects, Arkhtinn’s “third disaster” (in Japanese) proves far from it. Through its two tracks and forty-four-minute runtime, you will feel smothered by darkness then exposed to the vacuum in the course of every ebb and flow of the cosmic winds of tracks “一番” and “二番,” shifting from lonely ambiance to blasting raw black intensity fused with symphonic and crystalline ambiance that recalls Emperor or Vordven. As evident in the 2020 split Astrophobia with and in contrast to Starless Domain, Arkhtinn is also here unafraid to embrace a scathing quality that spits in the face of modern atmoblack’s stereotypical warmth. 三度目の災害 is atmospheric and otherworldly, but uncompromisingly punishing work from the act that proves its mettle again and again.

Voidsphere // To Infect | To Inflict – Like Wintherr’s Darkspace to his Paysage d’Hiver, Voidsphere dwells in vicious and suffocating darkness, while Arkhtinn largely concerns itself with isolation and frigidity. You will see the tricks of swelling synth and ambiance, but the claustrophobic ambivalence of noise saturates empty space and adds a weight all its own in Voidsphere’s sixth full-length. The act’s forty-three-minute dive into darkness is less an experiment but a sharpening of craft, as the riffs are stronger and the honed melodies are less a reprieve to the punishment but a last scream cut short. As its name suggests, “To Infect” is far more creeping and subtle while “To Inflict” offers a no-holds-barred assault of blackened intensity. What the void-worshipers have long done above shoulders better than their counterparts is conjure the claustrophobia and darkness of its source material and the colossal quality of its artwork. It has long felt that Voidsphere is hurtling toward some grand and earth-shattering conclusion, and we should all tremble to ponder it.

Mahr // Odium – The denser and darker sibling of the Prava Kollektiv, Mahr separates itself by incorporating a more deathened and industrial take on second-wave worship. Odium is a furious offering, as its hate-themed title indicates, grinding and relentless throughout its forty-minute beatdown. Even its moments of placidity balance the onslaught with scorched earth ambient compositions that survey the wreckage, basking in obsidian tones and subtle industrial electronic beats. “Infames” offers a slowly unraveling structure, layer after layer being stripped across its blastbeats and thick tremolo, culminating in the central riff: suddenly death metal clarity punches through the blackened murk in a downtuned skull-crushing riff paired with death metal vocals that drags the entire industrial black palette to hell and back. Mahr dials the dread up in “Maledicti” with a nearly impenetrable fog of sound that makes the vicious attack even more devastating. Odium finds Mahr distinguishing itself from the Prava Kollektiv’s more household acts with a relentlessly bleak and brutally unforgiving attack.

Hwwauoch // Under the Gaze of Dissolution – While Voidsphere conjures the weight of the void and Mahr channels hate, Hwwauoch’s dissonant and fluid-structure has always felt like a twisted and perverse image of Freud’s unconscious “id.” The dissonance conjured from the act’s catalog has always hinted at something beyond simple menace of or even unknowable hugeness: they play the music of distorted consciousness and humans made in God’s corrupted image. What their fourth full-length constitutes, however, is a radical departure from the dense impenetrability of Hwwauoch’s catalog. They brighten vocals and scathing melody into something resembling free jazz, but into a crippled and limping image unlike the decadence of Imperial Triumphant. A rare semblance of humanity in a chunky riff or tangible vocal appears beneath the howls (i.e. “Voluntary Trepanation”), but across its six-track acid trip they stumble through wonky compositions, complete with jazzy basslines, tortured layers of vocals, wonky ambiance, and dissonant punk riffs. Hwwauoch accomplishes an album that stands out due to its shining clarity and the ultimate descent into insanity.

Pharmakeia // Maenadic Ecstasy – While the tricks don’t necessarily feel earthshaking, the Prava Kollektiv’s newest addition manages to sound the most traditionally “kvlt” while still reveling in devastating density. No frills black metal with no reprieve from the scathing tremolo and blastbeats, there is an undeniable rawness here that recalls the borderline noise of Upir or even Portal’s twisted guitar tone. However, in the refusal to succumb to atmoblack tropes, the breaks in the chaos are more like the raised fist between blows. There’s undeniable psychedelia and otherworldliness woven into Pharmakeia’s approach, which fits them neatly among the Prava Kollektiv’s ranks, while its sparsely used clean baritone adds a haunting liturgical weight. It adheres to the second-wave worship most consistently, that although “Execration” features a sliding riff, “Furore” and “Lunacy” offer viciously chunky riffs, and “Zeal” kicks you in the face with a synth passage, it never feels as if it departs from black metal’s roots. Perhaps the only Prava Kollektiv offering that strays from the “atmospheric black metal” tag, don’t let its youth fool you: Pharmakeia is worth all the pain it inflicts.

#2023 #AmorFatiProductions #Arkhtinn #AtmosphericBlackMetal #BlackMetal #Darkspace #DissonantBlackMetal #Emperor #ExperimentalBlackMetal #FallenEmpireRecords #Hwwauoch #ImperialTriumphant #IndustrialBlackMetal #Mahr #PaysageDHiver #Pharmakeia #Portal #PravaKollektiv #StarlessDomain #ThingsYouMightHaveMissed2023 #TYMHM #Upir #Voidsphere #Vordven

#TheMetalDogArticleList
#MetalInjection
DARKSPACE Announces First Album In 10 Years
Dark Space -II is coming.

https://metalinjection.net/new-music/darkspace-announces-first-album-in-10-years

#DarkSpace #NewMusic #SciFi #DoomMetal #AvantGarde #10YearsApart #DarkenedNocturnSlaughtercult #Metalinjection

Some impressions from #Samhain Festival in #Maastricht last weekend.
Finally had the chance to see #Unru live and I'm still impressed from the concert. Go listen to their latest album "Die Wiederkehr des Verdrängten".

Also finally saw (Dolch), Darkspace and Naxen performing live. Afsky was also excellent as always.

#Samhain2023 #BlackMetal #Dolch #Afsky #Naxen #Darkspace

Space Academy

Multi-use space on St Asaph Street, opposite the established Darkroom bar. With Doki Hair Saloon at the front, and running during the day as Kadett Cafe, Space Academy is a lively, spacious live music venue and bar from 4pm - 11pm every Tuesday till Saturday.

https://thebigcity.co.nz/resources/venues/space-academy/

#DarkSpace #Darkroom #DokiHairSaloon #KadettCafe #SpaceAcademy #THETRANSISTORS