In the Woods… – Otra Review

By Dr. A.N. Grier

Oh, yay, I get to review In the Woods…!! How I haven’t reviewed them before is beyond me. I must have been in the bathroom or something. I’ve been jamming to these guys forever, which led me to another favorite band: Green Carnation. As stated before by Z and Ferox, these Norwegians are an odd bunch that can’t quite figure out what they want to be, like gender confusion but genre confusion. After almost four decades in business, they’ve tinkered with everything from black to doom to progressive metal. As of 2022’s Diversum, In the Woods… has pretty much combined all their genre influences into one. In some cases, it works; in other cases, it’s a touch messy. That said, I think I liked Diversum more than Ferox because I thought the individual songs came together nicely to create the album, though there were obvious issues with some of the tracks. Some of it might be the new singer on staff. Or, it could be the songwriting as a whole. But Fjellestad is a solid addition to the crew, returning once again for this year’s Otra. The question is, will we see another side of In the Woods…, or will they finally reel in their influences to release something stunning?

One thing I can say that should please those who weren’t quite thrilled with the new vocalist on Diversum is that Fjellestad and the band have come quite a way since 2022. I’m not saying the vocals are better (because he’s a good vocalist), but the performance and songwriting are stronger on Otra. It might be because this time around, the album has a theme that connects the songs. Personifying the Otra river in Norway, the album flows through tumultuous rapids and sputtering streams, bringing the water molecules together for a forty-five-minute rafting trip. Now that we are in a boat instead of the forest, will Otra supply a soothing mist to my face or give me… wood? Wait.

“The Things You Shouldn’t Know” begins right away with gentle guitars and soothing vocals before it erupts into harsh vox and a grooving black metal lick. As this eight-plus-minute beauty builds, it alternates between Green Carnation-like passages and Borknagar/Vintersorg-esque black metal blasts. You’ll also find passionate guitar leads here (and elsewhere on the album) that push the vocals to soaring heights. The bigness only gets bigger when a second voice partners with Fjellestad in the final chorus. “The Crimson Crown” is another biggun that opens with pleasing keys that morph into a blanket of atmoblack riffage before cruising into a bass-led verse. Then, the song explodes into a Borknagar-ish chorus with alternating clean and harsh vox that works so damn well. One of the song’s coolest sections involves a calmness over the water, where Fjellestad adds subtle movement to his voice that adds layers to the music.

Other stellar tracks are “Let Me Sing” and the closing number, “The Wandering Deity.” The closer expands on that vocal wizardry of “The Crimson Crown” by hypnotizing the airwaves with vibrato. This slick addition makes the song’s final chorus that much more impactful. Being less than six minutes in length, this song sure as hell does a lot. Using a Green Carnation foundation, it slithers its way through dark, black metal riffage, gorgeous melodies, and even some black ‘n’ roll a la Carpathian Forest. “Let Me Sing” begins as an innocent piece, introducing it with muffled keys. That’s until the sinister mid-paced chug comes in, accompanied by a surprising vocal arrangement that brings to mind Type O Negative and The Vision Bleak. This song is one of the better tracks at alternating between clean and harsh. I also can’t move on without mentioning the bass work. Not only is it more prominent than other tracks, but nothing quite gets me erect like a bass slide.

The track that does not do well at alternating between the soft and hard sections is “The Kiss and the Lie.” While not a terrible track, its transitions feel forced and awkward, making it difficult to enjoy compared to the other pieces. “Come Ye Sinners” almost suffers the same fate, but the performances make up for it in the back half to save it. While Otra would do better with a more dynamic master, I can’t deny that the songwriting and vocal performances are some of the best in this new era of In the Woods… Taking what they learned from Diversum and polishing it up, this outing is a tight, seven-track affair and one of my favorites of theirs. Though, it’s damn near impossible to achieve what they did in the past, Otra is a pleasing listen and well worth a spin for In the Woods… enthusiasts.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Prophecy Productions
Websites: in-the-woods.bandcamp.com | facebook.com/inthewoods
Releases Worldwide: April 11th, 2025

#2025 #35 #Apr25 #AvantGarde #BlackMetal #Borknagar #CarpathianForest #GothicMetal #GreenCarnation #InTheWoods #NorwegianMetal #Otra #ProgressiveMetal #ProphecyProductions #Review #Reviews #TheVisionBleak #TypeONegative #Vintersorg

Nazis raus. Neue Folge im #Podcast: https://www.metal1.info/podcast/blech-folge-45-toleranz-haltung-abgrenzung-und-die-causa-prophecy-mit-moritz-von-metal1-info/
#prophecy #prophecyproductions #metal #fcknzs

Dornenreich / Vinsta – Dortmund

Braving the thorny shutdown of London’s Heathrow Airport a week ago, I recently travelled to Dortmund by way of Düsseldorf on very little sleep. Awaiting an evening in attendance of Austrian Black Metal / Neofolk veterans (and fellow Prophecy labelmates) Dornenreich‘s recent Arcane Ceremonies acoustic tour.

Hosted in the atmospheric surrounds of Dortmund’s Pauluskirche, the Saturday service was certain to be something special, even as we stepped in from the somewhat urban Schützenstraße under fading daylight. The power of church architecture to draw focus away from the mundane and into the spiritual is never to be underestimated. A suitable match for the music of the night.

Sadly, original supports Perchta were unable to make the tour. Instead, we were treated to a captivating performance by fellow Austrians Vinsta. Originally a solo project by Perchta’s dulcimerist Moosemandl, a full band politely stepped up to deliver an acoustic set no less electrifying for the lack of amplification.

With the hammered dulcimer featuring strongly in Vinsta’s compositions, I was taken aback at how such a traditional instrument could sound thoroughly modern in the right hands. Progressive compositions and themes drew my interest, reinforced by tender, delicate violin. A fine replacement indeed.

It has been a long time since I last saw Dornenreich, playing their Black Metal in Bradford back at the turn of the century in support of “Her von welken Nächten”. Impressive enough at the time, it was a very different band that filled the pews tonight.

Older, perhaps wiser, and stripped down to a two-piece, vocalist Evíga was joined by violinist Ínve, and together they held the attention of all in attendance for a time that seemed eternal yet transient.

Performing a selection of reinterpretations from across their three decades of existence, focus was understandably from 2008 folk opus “In Luft geritzt.” Simpler song titles reflecting the intimacy of the evening, and carving their own way in the air.

Although my German skills are rusty these days, it was still enough to be able to follow along. The intent of the music carrying forward across the syntax of language even if the exact words escaped me. Drifting off on hypnagogic waves of emotional rapture, and very much taken through the dream.

Tremendous gratitude to dear friend Méli and family for the invite and ensuring I was well looked after during my all-too brief stay. After a decade of online interaction, it was delightful to finally meet in person, and especially enhance the occasion with fine food, beer, and finer conversation.

I will most definitely return!

https://heathenstorm.com/2025/03/31/dornenreich-vinsta-dortmund/

#acoustic #arcaneceremonies #church #dornenreich #dortmund #germany #livemusic #melimelancholia #music #neofolk #pauluskirche #perchta #prophecyproductions #vinsta #Photography #Reviews

Year Of The Cobra goes self-titled for their third album. Review at FFR, https://flyingfiddlesticks.com/2025/02/26/year-of-the-cobra-year-of-the-cobra-prophecy-2025/ #metal #heavymetal #rock #hardrock #sludge #sludgemetal #YearOfTheCobra #ProphecyProductions #doom #doommetal #stoner #stonermetal

Amber Asylum bring melodic acoustic doom to your doorstep with their latest album, Ruby Red. Review at FFR, https://flyingfiddlesticks.com/2025/02/11/amber-asylum-ruby-red-prophecy-2025/ #metal #heavymetal #rock #hardrock #acousticdoom #dirge #SanFrancisco #AmberAsylum #ProphecyProductions

Unreqvited – A Pathway to the Moon Review

By Carcharodon

Unreqvited and I have history. The excellent Mosaic I: L’Amour et L’Ardeur (2018) was just the third review I wrote here and also my first 4.0.1 Since then, I’ve reviewed the slightly creaky Mosaic II: La déteste et la détresse (3.0) and the very good Beautiful Ghosts (3.5). Now back with seventh album, A Pathway to the Moon, Unreqvited are the band I’ve reviewed more than any other, and the bright, expansive synth work, paired with post-black explosions and howled, wordless vocals feel almost like a comforting hug at this point. While retaining a core sound, Unreqvited’s albums have moved progressively away from the DSBM / post-black stylings that defined their early releases, moving ever further into an ambient post-space. However, A Pathway to the Moon, sees possibly the biggest shift to date, the introduction of vocals. Like, proper singing, with words and stuff. So, what does sole member 鬼 (Ghost) have to say?

While closer to a traditional album in structure than Unreqvited’s previous output, A Pathway to the Moon gives the impression of a cinematic soundtrack. Flowing between something that, at times, nudges up against Ihsahn territory (“The Antimatter”), synth-dominated ambient work and soaring guitar- and vocal-led pieces that could almost be Caligula’s Horse in places (“The Starforger”), there’s a lot to take in. It’s credit to 鬼 that the album retains a cohesive feel, despite its chameleonic mood shifts. Bookended by the percussion-free dreams of “Overture: I Disintegrate” and “Departure: Everlasting Dream,” A Pathway to the Moon has the feel of a journey, guiding the listener through shifting landscapes. Or moonscapes. For all the lush synth work and keys, there’s something desolate and sad about the album, which has a much more despondent feel to it than 2021’s Beautiful Ghosts.

Perhaps A Pathway to the Moon’s feeling of loneliness is driven by the vocals. It turns out that 鬼’s voice, previously a wordless, howling demon, is actually high, clear, and fragile, with an almost ethereal edge to it, especially when double-tracked (“Void Essence / Frozen Tears”). In places, I was reminded of Mark Garrett’s (Kardashev) cleans, which is a very good thing indeed. While clean vocals now dominate, both black metal rasps and DSBM shrieks have their place in the mix but, from the outset to the close, it’s Unreqvited’s new face that we see the most. Whether set to warbling electronica (“Into the Starlit Beyond”) or dancing guitar lines (“The Starforger”), it’s hard to see the focus as anything but 鬼’s voice. There may be a degree to which this is because A Pathway to the Moon shatters my expectations of what an Unreqvited album is but there is no doubt that, after six albums more or less instrumental albums, 鬼 has found his voice.

The prominent introduction, not just of vocals, but of clean singing, came as a surprise to me. However, on reflection, it is also a natural progression in Unreqvited’s sound from previous outing, Beautiful Ghosts. It also aligns with the shift into being more of a touring band. While 鬼’s (surprisingly) strong voice carries the transition, to a certain degree, the compositional focus has also shifted slightly away from the gorgeous soundscapes that were the hallmark of Mosaic I and Empathica. While “Void Essence / Frozen Tears” showcases all aspects of Unreqvited’s sound to excellent effect, other tracks (most notably “Into the Starlit Beyond”) feel almost like something was taken away to make space for the vocals. To put it another way, rather than the vocals embellishing or enhancing what was great about Unreqvited, what used to be achieved instrumentally, is now achieved through the vocals. It’s still very good but weirdly has the feel of treading water, rather than moving forward. The drums are also pushed way down into the mix to make space for the vox, leaving the percussion lacking a bit of impact.

If that last paragraph reads as heavily critical of Unreqvited, it’s not meant to. I really enjoy A Pathway to the Moon but I’ve been on something of a journey with it. I generally don’t listen to advance tracks of things I know I’m going to review, preferring to come into the album as a whole. This meant the shift to singing caught me off guard. After I got over my surprise, I loved it but, the more time I spent with the album, the more I missed some of the rich textures and dynamics from previous records, some of which were left on the cutting room floor. That said, this is a hugely enjoyable, emotively written record that I thoroughly recommend.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Prophecy Productions
Websites: unreqvited.bandcamp.com | facebook.com/unreqvited
Releases Worldwide: February 7th, 2025

#2025 #35 #APathwayToTheMoon #AmbientMetal #Blackgaze #CaligulaSHorse #CanadianMetal #DSBM #Feb25 #Ihsahn #Kardashev #PostRock #PostBlackMetal #PostMetal #ProphecyProductions #Review #Reviews #Shoegaze #Synthwave #Unreqvited

Blackgaze regulars Unreqvited have at you with their seventh album in nine years, A Pathway To The Moon. Review at FFR, https://flyingfiddlesticks.com/2025/01/23/unreqvited-a-pathway-to-the-moon-prophecy-2025/ #metal #heavymetal #rock #hardrock #blackgaze #postrock #ProphecyProductions #Unreqvited #Shoegaze #ambient #Canada #Ontario

Although I knew there were challenges ahead as the world ticked into 2024, I had no expectation of the struggles that would manifest from week one. Launching straight into the Mentors tour as festive fireworks still echoed was hardly the wisest timing; but through grit, good humour, and the able help of the Witchfinder, we made it a success.

With barely time to confirm venues and announce the Diocletian tour, a prolonged and vicious assault against my work began. Open threats made due to my association with Solstice soon impacted business outside the band. AI-generated screeds of anonymous accusation and outright fabrication risked cancellation of the entire tour. I thank the venues and promoters who saw these empty words for what they were – rewarded by sell-out shows across the country – and regret that others were so easily swayed despite our well-reasoned and oft-repeated rebuke.

Courage tested, and hesitant at the hand dealt my way in spite, I had no choice but to step up and stand against such petty subterfuge. Backing down is never an option, however tempting an easy life, and through stubborn resilience I found a notable shift in my friendships.

Those previously silent spoke in confidence, offering much needed words of support and deeds of decency – agreeing in areas of contention and respecting the right to disagree when not. Even as other promoters, in self-righteous convenience, colluded to run me out of their tiny fiefdoms.

Chatlogs from not-so-private ‘activist’ groups made for grim reading. My name, and those of my friends, fervently smeared by strangers. Contriving enemies across irrelevant and incorrect political divides for the sake of age-old grudges.

My bandmates rallied around me and I for them, inspirational in consistent strength of character. Facing cowardly condemnation from all quarters, we chose to focus on band business. Re-emerging around the Summer Sunstead to announce the Deströyer 666 tour and our signing to Prophecy Productions.

That tour was predictably targeted also, with disapprovers aflame in their apoplexy. The Glasgow show stalked with the social panache of a Peeping Tom. Full respect to those in London who shone a light on the more vocal detractors by naming and shaming at the venue.

Despite the efforts of those who seek silence, the bands played on. Each tour thrived in its own way, followed by smaller shows with Abysmal Grief and Deitus. I reflect positively on the outcome, even if future events are on hold as I focus elsewhere.

For such distractions take their toll. Energies devoted towards doing the right thing in the immediate gnawed away at the progress of long-term projects. Creativity stalled. Accountability waned. Health suffered. Balance restores.

It took a long time to return to the Orphan shoot, and I am deeply grateful we finally have a working cast and crew eager to bring it together – once schedules synchronise again.

Solstice grows from strength to strength. The current line-up is the tightest I have experienced in my six years on bass, united by an outlaw attitude and will to make music beyond the tropes of trite expectation. Prophecy Fest was a stand-out show, winning over the German crowd and justifying our place on such a prestigious label. Followed swiftly by a packed-out rampage across Finland, the support we’ve seen on all sides of the stage has been phenomenal.

I find myself walking different social circles now, having deftly circumnavigated the backbiting barriers evoked by gossip and hearsay. Feeble accusations dissipated by positive action, I cultivate kindness.

Renowned artists and musicians across the globe have reached out in respect of my stance. Deeper, more sincere friendships emerge, and bonds of blood and belonging are forged.

Yet the greatest triumph of this year is one which must be held tightest to my chest. All the effort and care invested into staying the course these past twelve months has been tremendously rewarded, as I do what I’ve always dreamed of at a scale unimagined. With wonderful opportunities already embraced on mutually beneficial terms and prosperity assured through hard work ahead.

It is the way of the weak to undermine all endeavours, and I am disappointed I cannot be more open about this achievement – mindful as I am of further feckless sabotage. A scar in the battle of hearts and minds. A blemish on the face of candour. But despite the schemes of lesser men, I have never been more certain of myself.

Success against organised adversity is the most radical response of all…

… and said I wouldn’t surrender!

https://heathenstorm.com/2024/12/31/the-year-that-radicalised-me/

#2024 #abysmalgrief #deitus #destroyer666 #diocletian #heathenstormproductions #mentors #music #newmoonincapricorn #newyear #orphan #prophecyfest #prophecyproductions #roundup #solstice #tour

‘Wolfs-head!’ shall be cried against him, for that a wolf is a beast hated of all folk; and from that time forward it is lawful for anyone to slay him like a wolf.

Very pleased to reveal a (relatively) tiny three-minute teaser of new Solstice material. Painstakingly crafted in preparation for our Prophecy Productions debut, the new line-up gives their all – even in this roughshod demo recording.

More shall be divulged in time, including the title…

https://youtu.be/uURNzmrHZWA

https://heathenstorm.com/2024/11/07/hooves-on-english-soil/

#demo #epicmetal #heavymetal #metal #music #prophecyproductions #solstice

Whispering Void – At the Sound of the Heart review

By Mystikus Hugebeard

Whispering Void is, by all accounts, a supergroup. Created by former Trelldom guitarist Ronny Stavestrand, his Trelldom connections allowed him to bring Kristian Eivind Espedal (otherwise known as the problematic fave, Gaahl) onto the project. From there it snowballed, with Gaahl’s Wardruna tenure opening the door for vocalist Lindy-Fay Hella to join the project as well. Rounding out the formation is Iver Sandøy on drums, the drummer for Enslaved’s last two albums. So not only is Whispering Void a supergroup, but they’re probably one of the most Norwegian supergroups ever. Whispering Void channels the diverse musical backgrounds and ideologies of these Norwegian musicians through, in their own words, “an organic and free-spirited studio process,” culminating in their debut album, At the Sound of the Heart.

Whispering Void plays a rich blend of folk, prog, and post-rock that conjures to mind a strikingly Norwegian Crippled Black Phoenix. Clear guitar melodies gently propel songs forward amidst ebbing layers of percussion, strings, and vocals. At the Sound of the Heart has a clean prog-rock tone like that of Lunatic Soul while the songwriting builds towards grand, post-y climaxes, with some added ambient influences to enrich the sound. The performances are excellent, obviously, given the pedigree. The instrumentation from Stavestrand and Sandøy is clean and tight, Hella’s expressive vocals are full of emotion, and nobody can do gravelly spoken words quite like Gaahl. It’s not what I would call the most bodacious of supergroups, comprised of larger-than-life personalities, but the musicians of Whispering Void work together well.

Something that struck me early on regarding At the Sound of the Heart that took a while to put into words is how it feels devoid of ego. Supergroups are typically eager to showcase what certain members’ excel at in their own groups to the point of excess, and while Whispering Void does lean into its members’ strengths, it’s subtle and restrained. The music is thoughtfully composed in a way that strives for melodic clarity and atmospheric richness, which rings most clearly through At the Sound of the Heart’s first half. “Vinden Vier” tastefully pairs a beautiful melody sung by Hella with Gaahl’s percussive recitation of the song’s title, whereas “Vi Finnes” gives Gaahl’s vocals a greater spotlight as the haunting chorus escalates through the song. “Whispering Void” is a great track that dynamically leads through a clean guitar melody paired with Hella’s vocals into a chorus where Gaahl’s vocals complement Sandøy’s drumming prowess, culminating in a sublime melodic climax. It’s genuinely refreshing to hear such talented musicians who are all great on their own working together in a way that’s less about showing off and more about creating something unique through a free-form collaborative process.

As At the Sound of the Heart enters its second half, the results of that artistic process grow shakier. It’s tempting to wax poetic about some cerebral, damning problem rooted deep within the album’s second half to justify it, but truthfully, it’s the simple anticlimax of just being weaker than the first half. The songs are less gripping and slowly sink into the background—the melodies aren’t as strong, the song structure becomes predictable, the atmosphere less inviting. The title track and “We Are Here” adopt a gloomy and dramatic veneer that leans into Gaahl’s spoken words, but they’re frequently more of a whisper and the melodies just never really click. “Lauvvind” returns to the clean, prog-rock tone of the earlier songs, but has a jam-session feel that doesn’t quite land. The songs here aren’t even all that unpleasant, but they’re just boring enough. It’s like the first half marries a solid, driving composition with excellent atmosphere, while the second half lets the compositional strength seep away in favor of the vibes. Vibes can be good, but vibes do not a song make.

It is a unique challenge to score At the Sound of the Heart; in many ways, it defies scoring. At times sublime in its composition and at times little more than musicians just shooting the breeze, At the Sound of the Heart is an unobstructed view into an organic, collaborative artistic process that never truly fails, but only occasionally succeeds. The free-form nature of the music is clearly the point, and it would be a loss if Whispering Void abandoned their free-form experimentation for rigidity. I only wish Whispering Void made more stellar songs like those of the album’s first half, but perhaps you’ll feel differently, and I invite you to experience At the Sound of the Heart for yourself.

Rating: Mixed
DR: 7 | Format Reviewed: 320 kbps
Label: Prophecy Productions
Websites: facebook | bandcamp
Releases Worldwide: October 18th, 2024

#25 #2024 #Ambient #AtTheSoundOfTheHeart #CrippledBlackPhoenix #Enslaved #Folk #LunaticSoul #NorwegianMetal #Oct24 #PostRock #ProgRock #ProphecyProductions #Trelldom #Wardruna #WhisperingVoid

Cave of Wonder

With just over a week before Solstice fly out to Finland, and life outside the band likewise refusing to slow down; I take brief pause to reflect on a wonderful weekend in and around Balver Höhle.

Prophecy Fest has always been a unique affair. Expertly curating an eclectic line-up of bands beyond the usual expectations of Extreme Metal. Personal highlights would have to be incendiary performances by both Perchta and Dymna Lotva – band of the weekend to both neck and ears. Wild noise and feminine fury contrasted by such as the acoustic introspection of Empyrium – performing the entirety of “Where at Night the Wood Grouse Plays” to a rapt audience moved by earnest, well-earned integrity; and of course Wolcensmen at the warm-up.

As for our own set, delivered without apology or compromise, I feel we carried ourselves well. Playing to many who may not be aware of our intent, a quintet of classics offered appropriate introduction – even as we meticulously work on new material for the forthcoming album. The many fists raised and cheers resounding throughout the cave prove our purpose found its place.

Joining the Prophecy family was a daunting prospect; with the tropes of Heavy Metal seeming cliched and primitive against such sophisticated, multi-textured soundscapes. Rather than cower intimidated, I choose to take this as vital inspiration to evolve and grow as an artist. To embrace and explore how these different styles may complement each other, rather than compete in the trite posturing and insecure blather of smaller circles.

To channel another cave, what we believe as reality can often be tainted by the shadowed projections of a narrow, stymied perspective. It is only by stepping into the light that we see what truth may come to pass.

The support and solidarity of our labelmates has been phenomenal. Breaking bread and making merry, sharing conversations insightful and inane. Friendships forged in Wieland’s Smithy, and camaraderie which will linger as steel.

Humblest praise also to the hard-working crew who tirelessly kept everything together over the festival. Their kind patience made us all feel welcome and valued, and none of this could happen without their exemplary efforts.

It is by no coincidence that we are all connected. A synchronicity of spirit and sincerity of soul. My gratitude abounds for the presence of those who share these precious moments of wonder; and for the opportunities presented as I walk my own creative path.

https://heathenstorm.com/2024/09/11/cave-of-wonder/

#dymnalotva #empyrium #heavymetal #livemusic #metal #music #neofolk #perchta #prophecyfest #prophecyproductions #solstice #wolcensmen #Blog #Solstice

Vuur & Zijde – Boezem Review

By GardensTale

Few things make as big a difference to genre as vocals. If it doesn’t have raspy screeching, can it still be called black metal? If it doesn’t sound like a certain blue monster swapped his addiction from cookies to craniums, can it still be called death metal? Vuur & Zijde is a new project that tests these questions with an odd blend of post-black and post-punk, eschewing harsh vocals entirely and glorifying love rather than hate. It’s no wonder that the line-up contains, among others, two-thirds of Laster, a band that also does not seem overly concerned with ‘genre conventions’ or ‘making sense.’ With other members cribbed from Terzij de Horde and Witte Wieven, Vuur & Zijde is a cross-section of the Dutch black metal scene, with only vocalist Famke Canrinus new to the scene. But is black metal about love really black metal to love?

The blend peddled on Boezem makes more sense when heard rather than read. The post-punk is a fair bit more prominent than the post-black. The influence of the latter is largely confined to the atmospheric streams of tremolos drifting off the guitars. The drums often remain fairly stoic, holding a steady yet sparse mid-pace with a focus on the snare and low-impact kicks, which keeps the overall energy reserved for the occasional few stretches of blasts. A surprise highlight is the bass, its dynamic compositions granting the music a bit more flexibility and soul. Overall, the darkly gothic and stifling atmosphere draws favorable comparisons with Killing Joke with forays into Alcest territory.

Miss Canrinus is the heart of the band, with a vocal performance hewing closer to occult rock like Coven with a warm, bewitching quality. Her timbre is clear and inviting, occasionally reminding me of Anneke van Giersbergen (Vuur et al), but despite her technical proficiency, her approach isn’t terribly dynamic, using the same delivery and intensity across most of Boezem. “Nest” is an outlier, showcasing several characterizations with phrases at turns sardonic and consoling, but a sense of repetitiveness diminishes their impact. Thankfully, the instrumental variety is stronger across the album. The aggressive bursts of “Onbemind,” the gothic doom “Us,” the energetic haunting of “Omheind” and the echoing atmosphere of “Naakt” all display different sides of Vuur & Zijde and demonstrate its aptitude for diverse yet cohesive songwriting.

Despite the unusual sound, Boezem sounds remarkably cohesive and lived in, as if the band has been honing its compositions for years. The only big compositional bump is in the center, the lethargic and repetitive “Kuier” which combines spoken word with a plodding, incessant melody. It completely halts the album’s momentum, and actually takes away from follow-up “II,” a powerful, synth-heavy and atmospheric track with a slow start that would have benefited from more contrast to its predecessor. It’s a sizeable mark on Boezem’s otherwise impeccable flow, but thanks to the strength of the rest of the material and the excellent production, it doesn’t sink the ship.

Though I’m the furthest thing from nationalistic, I do feel a little pride at the state of Dutch underground metal. Vuur & Zijde is yet another example of the innovative, envelope-pushing music emerging from our scene. Combining disparate well-trod genres into a new and engaging sound is no small feat, but here it feels effortless, as if the band has never done anything else. Considering the pedigree of the musicians, it should come as no surprise, but so often experiments like this fail miserably anyway. Boezem has its issues, the centralized momentum-robber chief among them. But it’s a bold demonstration of Vuur & Zijde’s qualities in both composition and execution and a very promising start to a hopefully fruitful project.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Prophecy Productions
Websites: vuurenzijde.bandcamp.com | facebook.com/vuurenzijde
Releases Worldwide: July 12th, 2024

#2024 #30 #Alcest #Boezem #Coven #DutchMetal #GothicMetal #Jul24 #KillingJoke #Laster #PostBlackMetal #postPunk #ProphecyProductions #Review #Reviews #TerzijDeHorde #Vuur #VuurZijde #WitteWieven

#TheMetalDogArticleList #BraveWords HEXVESSEL Sign With Prophecy Productions; Share New Track "Under The Lake" bravewords.com/news/hexvess... #Hexvessel #ProphecyProductions #BlackDeath #FinnishBlackMetal

#TheMetalDogArticleList
#BraveWords
HEXVESSEL Sign With Prophecy Productions; Share New Track "Under The Lake"
Finnish black metal act

https://bravewords.com/news/hexvessel-sign-with-prophecy-productions-share-new-track-under-the-lake

#Hexvessel #ProphecyProductions #BlackDeath #FinnishBlackMetal

Had anyone asked at the start of the year if I would find myself sharing a stage with the legendary Arthur Brown, let alone sharing a record label, then I would have laughed heartily at such a suggestion.

But it’s been a very strange year for SOLSTICE, one with too little laughter for my liking. Weathering a co-ordinated trial of malicious defamation and weaponised grudges, my bandmates and I have endured. Endeavours outside the band have also withstood associated sabotage, and my own work continues unabashed.

To that end, I want to thank all those who stand by us in private and in public; and especially Martin at Prophecy for his trust and support of the band despite the naysayers. Such a statement is proof itself that the accusations have no base in reality.

I shall also ‘thank’ those who joined in the dogpile, spewing petty online allegations in failed attempts to smear, then deleting their weasel words after the truth of things came to light. Their pseudo-pious virtue signalling, mewled from behind the cowardice of keyboards, has proved we are still very much a band worth talking about!

Both Solstice and WOLCENSMEN will play this year’s Prophecy Festival, and I look forward to what may come within the cave and without.

After many decades in and out of a handful of projects, it feels strange to be formally signed to a label as prestigious as Prophecy.

Does this mean I’m now a “professional” musician?

Solstice sign to Prophecy Productions

Prophecy Fest – Balver Höhle, Germany. September 5-7 2024

https://heathenstorm.com/2024/06/20/the-right-time-has-come/

#heavymetal #label #metal #music #prophecyproductions #signing #solstice #wolcensmen

Botanist – Paleobotany Review

By Thus Spoke

A band with a strong conceptual identity is always something. Whether that’s 1914 and their commitment to depicting the true horrors of world conflicts, or The Ocean, and their exploration of Earth’s many (pre-) historic eras. And were that a spectrum, experimental black metal collective Botanist would fall towards the latter end. Not only insofar as their music leans towards an airy, progressive, post-rock, but also their concept, which, if it wasn’t obvious, is flora. Paleobotany—the band’s eleventh LP—sees this similarity become even more blunt, centering as it does on the prehistoric plants of many millions of years ago. But let not such a comparison fool you; Botanist are–as they always have done—making music that’s totally unique to them. And it’s about ancient plants. Cool right?

Paleobotany is a subtle record, and it’s not what it first appears. Botanist have dialed back the ethereal atmospheres, whispers, and the deep-in-the-mix vocal production of previous outings. Taking a big step out of atmo-black and into something quite different, they remain just as roaming, progressive, and deep. This evolution is deceptively peaceful, with sunny melodies and harmonizing singing dominating its first half. But its carnivorous side soon comes to the fore with the prevalence of throaty growls and barbed tremolos. Songs that begin with gentle post-metal find their apexes in buzzing blackened bursts, and vice-versa. These dual aspects of light and dark are the two voices that tell the story, in wonder and zeal respectively, and their interplay leads to a compelling, if strange musical experience.

The strongest aspect of Paleobotany is its charm. There’s something about the way that delicate piano and hammered dulcimer meet with ripples of elastic, energetic drumming and the warmest of riffing that’s oddly magnetic. And Botanist pull this off in so many ways; from the dramatic, with surging refrains and blastbeats (“When Forests Turned to Coal,” “Archeamphora,” “Strychnos Electri”) to the subtle, with the ‘softer’ instrumentation taking the lead (“Aristolochia,” “Magnolia,” “Sigillaria”). Melody flows smoothly through floating, sparkling major, to wistful (“Magnolia,” “Royal Protea”), or even urgent (“Archeamphora,” “Dioon”) minor modulations, and into dissonance—and back—with grace. The dynamism is electric, but somehow understated, and never overwrought, as tremolos rise into glittering apexes, and d-beats cluster, rock-operatic cleans burst out into a new, subtly hinted-at refrain. It’s all genuinely lovely, the compositions so cleverly woven together that they carry you along through ups and downs on a stream of dancing arrangements. “Archeamphora,” “Sigillaria,” and “Royal Protea,” especially take the listener on one such miniature journey, whilst snappy “Wollemia Nobilis” injects a little much-needed bite by way of blackened jazziness, in direct opposite to “The Impact…”‘s drifting peace.

Such is the pull of Paleobotany that it seems to open up a little world of its own. It certainly helps that it’s so beautifully produced, with every strum, beat, every little sung note floating crisply like falling leaves in the air. Combined with interesting, intelligent song structures, the music becomes hazily, subtly immersive, and the cleans downright endearing. On paper, this album is not my thing at all, and yet I now find myself singing along happily throughout—especially at those moments when the vocals ascend into soaring, uplifting reprise (“Strychnos Electri,” “Royal Protea”). Not to mention how listening to this album set me off reading about the subjects of every song, from the “first to be carnivorous” “Archeamphora,” to the poisonous “Strychnos Electri”—the “ancient ancestor of everything that flowers”. Given how many albums Botanist have under their belt, you know what you’re getting in for when it comes to these cleans, but I’m guessing, if not, that they could be an acquired taste. Then again, they won me over, so I’d give them a chance.

Paleobotany was the breath of fresh air I didn’t know I needed. As someone who spends the majority of their listening time deep in the dissonant, angry, and bleak, Botanist’s ability to coax me into the light is a testament to the brilliant storytelling and compositional craftsmanship on display here. And it makes a good starting point for any new listener, with memorable, distinctly pretty refrains, and a solidity gained from the distancing from abstractions of atmo-black. Maybe it’s too early to say whether it’s Botanist’s best album, but it definitely marks a new moment in the sun for these plant-worshippers.

Rating: Very Good
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Prophecy Productions
Websites: Bandcamp | Facebook
Releases Worldwide: May 17th, 2024

#2024 #35 #AmericanMetal #BlackMetal #Botanist #Deafheaven #ExperimentalBlackMetal #ExperimentalMetal #May24 #Paleobotany #PostBlackMetal #PostMetal #ProphecyProductions #Review #Reviews #TheOcean

#TheMetalDogArticleList
#MetalSucks
Review: Botanist Solidify Love of Plants with New Release Paleobotany
More heavy music about plants.

https://www.metalsucks.net/2024/05/13/review-botanist-solidify-love-of-plants-with-paleobotany/

#Botanist #Paleobotany #Experimental #ProphecyProductions #Plants #AlbumReview #AvantGardeMetal #HammeredDulcimer

Album Review: DOOL – ‘The Shape of Fluidity’

#DOOL #AlbumReview #AprilReleases #ProphecyProductions

https://metalinsider.net/reviews/album-review-dool-the-shape-of-fluidity

The Vision Bleak – Weird Tales Review

By Dr. A.N. Grier

The Vision Bleak is one of those bands that gets me. Or, I get them? Whatever. This German, Goth outfit has been delivering haunting concept albums ranging from Lovecraftian characters to Edgar Allan Poe themes for twenty years. Even going as far as coining their unique brand of music as “horror metal.” Utilizing Type O Negative-esque booming vocals, surprisingly heavy riffs, and bombastic key-driven atmospheres, every The Vision Bleak album is Gothic metal goodness that’ll leave your skin crawling, hands bloody, and eyes leaking. Funny enough, 2016’s The Unknown was the first time any album I reviewed was chosen as the RotM. These eight long years have been quiet, undoubtedly due to the band brewing their next horrific release. Now it’s here and it’s like nothing they’ve ever done before.

For those diehard fans, there’s nothing to be concerned about when listening to this year’s Weird Tales. Musically, all is safe and sound. Nothing on Weird Tales is concerning. Well, minus the lyrical content and unsettling, beautiful, and devastating passages created as a tribute to the magazine of the same name. No, what’s so unique about this release compared to the band’s previous material is that it’s a single song. That’s right, The Vision Bleak has ventured into territories where few have succeeded and many have failed. Thankfully, Weird Tales sits happily next to greats like Green Carnation’s Light of Day, Day of Darkness and Edge of Sanity’s Crimson. As intended, it’s an album that cannot be experienced in pieces but must be cherished as a whole. But, how do you even review an album whose sections can only be measured in time? Thankfully, The Vision Bleak was kind enough to not only identify where the changes occurred but also title each of these twelve passages.

After opening the album in classic instrumental fashion, “Chapter II: In Rue d’Auseil” gets things moving with a Gothy groove and smooth vocals. A minute in, it transitions to an addictive chug that eventually sprouts wings and takes off like a demon hellbent on the pearly gates. Not that it’s new for the band, but kicking the album off with such a strong chorus does wonders for the rest of the album, encouraging me to dive in and never leave. “Chapter IV: Once I Was a Flower” is another chapter in the story that grips me tight and never lets me go. Opening with a gentle piano and acoustic guitar, the band borrows from the likes of Moonspell to drive the song with a charging rhythm and perfectly arranged vocal delivery. When those beautiful strings surface, this melodic beauty guides you into a hopeless graveyard where you’ll lie and cry forever.

“Chapter VIII: The Undying One” also has moments of utter sadness, made stronger by the combination of pained cleans and acoustic guitars. However, this rollercoaster ride goes further, taking you up and down in emotional mind-fucking segments. After beginning with a slithering riff engulfed in ghostly keys, the vocals arrive, bound in a cloak of hard-hitting riffage. After passing through a heart-wrenching interlude, the vocals and drums come screaming out of the mist, pushing hard on the wind. When you think the storm can’t get worse, the clouds split with a thunderous ruckus as the band unleashes the most badass riff on the record. “Chapter XI: Canticle” blends seamlessly with its former chapter to deliver a maddening frenzy of guitars and growls as the patient rips free from his straight jacket. After a short lull, a new lead emerges, growing into a snarling vocal performance and massive climb. For all its maniacal characteristics, it sheds the jacket and soars to new heights, pushing into the stratosphere with one of the most powerful choruses on the album.

Not surprisingly, The Vision Bleak has delivered on an album concept that rarely works. But, honestly, I didn’t think it would work as well as it did—most likely because I’m used to the song separation on their albums, typically finding myself targeting those song-of-the-year tracks the most when I return to one of their albums. So, it did take a couple of spins to absorb everything. But, with a few spins, you’ll also recognize and accept Weird Tales’ segments, transitions, and seamless characteristics. Due to its unique construction, it’s difficult to determine its place in the hierarchy of The Vision Bleak output. But, it has everything—growls and cleans, pianos and strings, acoustic and distorted guitars, orchestrations, and hard-hitting riffs that even go as far as the thrashy, Sodom-like qualities of “Chapter IX: Evil Dreams Run Deep.” But, nothing will prepare you for the heartbreaking and somewhat Amon Amarthian closer. So, enjoy.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Prophecy Productions | Bandcamp
Website: facebook.com/thevisionbleak.official
Releases Worldwide: April 12th, 2024

#2024 #40 #AmonAmarth #Apr24 #EdgeOfSanity #GermanMetal #GothicMetal #GreenCarnation #Moonspell #ProphecyProductions #Review #Reviews #Sodom #TheVisionBleak #TypeONegative #WeirdTales