First post here and I would like to introduce an absolute beast of a record! From my home country The Netherlands hails this #melodicblackmetal band Shagor! They are on #vendettarecords

Give them a try!

https://shagor.bandcamp.com/album/lyksalver

Stuck in the Filter: October 2024’s Angry Misses

By Kenstrosity

Never fear, the blog’s penchant for deep lateness punctuality persists! It is likely the new year already by the time you see this post, but we’re taking a step back. Way back, into October. I was deep in the shit then, and therefore couldn’t do anything blog-related. And yet, my minions, those very laborers for whom I provide absolutely no compensation whatsoever, toiled dutifully in the metallic dinge that is our Filter. Unforgiving though those environs undoubtedly are, they scraped and scoured until, at long last, small shards of precious ore glimmered to the surface.

These glimmers are the same which you witness before you. Some are big, some are small. Some are short, some are tall. But all are worthy. Behold!

Kenstrosity’s Belated Bombardments

Cosmic Putrefaction // Emerald Fires atop the Farewell Mountains [October 4th, 2024 – Profound Lore Records]

I was originally slated to take over reviewing duties for Cosmic Putrefaction this year, as Thus Spoke had a prior commitment and needed a buddy to step in. Unfortunately, I was rendered useless by a force of nature for a while, so I had to let go of several items of interest. But I couldn’t let 2024 go by without saying something! Entitled Emeral Fires atop the Farewell Mountains, Cosmic Putrefaction’s fourth represents one of the smoothest, most ethereal interpretations of weird, dissonant death metal. The classic Cosmic Putrefaction riffsets under an auroric sky remain, as evidenced by ripping examples “[Entering the Vortex Temporum] – Pre-mortem Phosphenes” and “Swirling Madness, Supernal Ordeal,” but there lurks within a monstrous technical death metal creature who rabidly chases the atmospheric spirits of olde (“I Should Great the Inexorable Darkness,” “Eudaemonist Withdrawal”). While in lesser hands these distinct aesthetics would undoubtedly clash on a dissonant platform such as this, Cosmic Putrefaction’s particular application of sound and style coalesces in devastating beauty and relentless purpose (“Hallways Engraved in Aether,” “Emerald Fires atop the Farewell Mountains”). Were it not for some instances wherein, for the first time ever, Cosmic Putrefaction threatens to self-plagiarize their own material (“Eudaemonist Withdrawal”), I would likely consider Emerald Fires atop the Farewell Mountains for year-end list status.

Feral // To Usurp the Thrones [October 18th, 2024 – Transcending Obscurity Records]

Another one of my charges that I unfortunately had to put down against my will, Swedish death metal fiends Feral’s fourth salvo To Usurp the Thrones deserves a spotlight here. Where Flesh for Funerals Eternal impressed me as my introduction to the band and, arguably, my introduction to modern buzzsaw Swedeath, To Usurp the Thrones impresses me as a singularly vicious record in the style. Faster, meaner, more varied, and longer than its predecessor, Thrones offers the punk-tinged, thrashy death riffs you know and love, with bluesy touches reminiscent of Entombed’s Wolverine Blues adding a bit of drunken swagger to the affair (“Vile Malediction,” “Phantoms of Iniquity,” “Into the Ashes of History”). Absolute rippers like “To Drain the World of Light,” “Deformed Mentality,” “Decimated,” and “Soaked in Blood” live up to the band’s moniker, rabid and relentless in their assault. In many ways, Thrones evokes the same bloodsoaked sense of fun that Helslave’s From the Sulphur Depths conjured, but it’s angrier, more unhinged (“Spirits Without Rest,” “Stripped of Flesh”). Consequently, Thrones stands out as one of the more fun records of its ilk to come out this year. Don’t miss it!

Sun Worship // Upon the Hills of Divination [October 31st, 2024 – Vendetta Records]

Back in 2020, our dear Roquentin offered some damn fine words of praise for Germany’s Sun Worship and their third blackened blade, Emanations of Desolation. It’s been six years since that record dropped, and Upon the Hills of Divination picks up right where Emanations left off. That is to say, absolutely slimy, post-metal-tinged riffs bolstered by dense layers of warm tremolos and mid-frequency roars. Opener “Within the Machine” offers a concrete encapsulation of what to expect: bits and pieces of Hulder, Gaerea, and Vorga melding together into a compelling concoction of hypnotic black metal. Using the long form to their utmost advantage, Sun Worship craft immersive soundscapes liable to scald the flesh just as quickly as they seduce the senses, leaving me as a brainwashed minion doing a twisted mystic’s bidding unconditionally (“Serpent Nebula,” “Covenant”). Yet, there roils a sense of urgency in these songs, despite many of them occupying a mid-paced cadence, which unveils a bleeding heart willingly wrenched from Sun Worship’s body (“Fractal Entity,” the title track, and “Stormbringer”). This is what sets it apart from its contemporaries, and what makes it worthy of mention. Why it’s gotten so little attention escapes me. It is with the intent of rectifying that condition that I pen this woefully insufficient segment.

Dolphin Whisperer’s Duty Free Rifftrocity

Extorted // Cognitive Dissonance [October 16th, 2024 – Self Release]

You don’t need to read this review to know that the Kiwis of Extorted plays pit-whipping death/thrash. Though not adorned with other obvious symbols, like Vietnam War paraphernalia or crushed beer cans, the Ed Repka-penned brain-ripped head figure screams “no thoughts only riff” all the same. With snares set to pow and crashes set to kshhh, Cognitive Dissonance finds low resistance to accelerating early Death-indebted refrains. Vocalist Joel Clark even plays as a dead ringer for pre-Human Schuldiner or Van Drunen (Asphyx, ex-Pestilence) as the torture in many lines grows (on “Infected” and “Ghastly Creatures” in particular). And in a continued tour of Van Drunen-associated sounds, Extorted’s ability to find a push-and-pull cadence that twists the fury of thrash with the cutting drag of death hits that hard-to-nail early Pestilence pocket with studied flair (“Deception,” “Limits of Reality”). Though a considerable amount of the Extorted identity rests in ideas borrowed and reinterpreted, a modern tonal canvas gives Cognitive Dissonance’s rhythms a punchy and balanced low-end weight that doesn’t always present itself in the world of old. Couple that with hooks that reach far beyond the limits of pure homage (“Transformation of Dreams,” “Violence”), and it’s easy to plow through the thirty minutes of tasteful harmonies, bending solos, and spit-stained lamentations that Extorted offers with their powerful debut.

Bríi // Camaradagem Póstuma [October 11th, 2024 – Self Release]

With Camaradagem Póstuma we enter the hazy, folky world of Caio Lemos’ unique vision of what experimental electronic music can be colored by the underpinnings of atmospheric black metal and jazz fusion. Using terraced melodies like baroque music of old and distant breakbeats like the Bong-Ra of recent yesteryears, Brazil’s Bríi represents one man’s highly specific melding that rarely occurs in this space. The guitar lines that do exist play out as textural, slow-developing passages. On tracks “Aparecidos” and “Baile Fantasma” this looping and hypnotic pattern shuffle resembles ambient Pat Metheny or King Crimson colors, the kind where finding the end of nylon pluck into a weaving, high-frequency synth patch feels not impossible but unnecessary. And on the more metallic side of things, Lemos cranks programmed blasts that carry his tortured, panning, and shrouded wails as a guide for the melodic evolution of each track, much in the same way a warping bass line would in a progressive house track. But maintaining the tempo of classic drum and bass, Camaradagem Póstuma wisps away in its atmosphere, coming back to a driving rhythm either via pummeling double kick or glitching break. Despite the hard, danceable pulse that tracks “Enlutados” and “Entre Mundos” boast, Bríi does not feel built for the kvlt klvbs of this world, leaning on a gated, lo-fi aesthetic that makes for an ideal drift away on closed cans, much like the equally idiosyncratic Wist album from earlier this year. And similarly, Camaradagem Póstuma sits in an outsider world of enjoyment. But if any of this sounds like your jam, prepare to get addicted to Bríi.

Thus Spoke’s Rotten Remnants

Livløs // The Crescent King [October 4th, 2024 – Noctum Productions]

Livløs are one of those bands that deserves far more recognition than they receive. With LP three, The Crescent King, they might finally see it. Their punchy intriguing infusion of Swedish and US melodic death metal—though the band themselves hail from Denmark—has a pleasing melancholia and satisfying bite. Here in particular, there’s more than a passing resemblance to Hath, to Cognizance, and to In Mourning. Stomping grooves (“Maelstrom,” “Usurpers”) slide in between blitzes of tripping gallops, and electrifying fretwork (“Orbit Weaver,” “Scourge of the Stars”). Mournful, compelling melodies woven into this technical tapestry—some highlights being the title track, “Harvest,” and “Endless Majesty”—turn already good melodeath into great melodeath; melodeath that’s majestic and powerful, without ever feeling overblown. With its relentless, groovy dynamism, the crisp, spacious production seals the deal for total immersion. If this is your first time hearing about Livløs, you’re in for a treat.

Sordide // Ainsi finit le jour [October 25th, 2024 – Les Acteurs de l’Ombre Productions]

And So Ends the Day, whilst another begins where I rediscover Sordide. I know not how I forgot their existence despite the impression that 2021’s Les Idées Blanches made upon me, yet all I could recall was the disturbingly simple, melty art.1 Ainsi Finit le Jour arrives with a hefty dose (53 minutes no less) of punky, dissonant black metal that’s even rawer and more pissed-off than their usual fare. “Des feux plus forts,” “La poesie du caniveau,” and the title track stand out as the most vicious, near-first-wave cuts the trio have ever laid down, with manic, group wails, and chaotic, jangling percussion. But as is so often the case with Sordide, perhaps the truest brutality comes in the slower discordant crawls of “Sous Vivre,” “Tout est a la mort,” and the particularly unsettling “La beauté du desastre,” whose creeping, half-tuneful teasing and turns to eerie spaciousness get right under your skin. It is arguably a little too long for its own good, given its intensity, but its impressiveness does mean that, this time, Sordide won’t be forgotten.

Dear Hollow’s Droll Hashals

Annihilist // Reform [October 18th, 2024 – Self Release]

What Melbourne’s Annihilist does with flamboyant flare and reckless abandon is blur the lines of its core stylistic choices. One moment it’s chugging away like a deathcore band, the next it’s dripping away with a groove metal swagger, ope, now it’s on its way to Hot Topic. All we know is that all its members attack with a chameleonic intensity and otherworldly technicality that’s hard to pin down. An insane level of technicality is the thread that courses throughout the entirety of this debut, recalling Within the Ruins or The Human Abstract in its stuttering rhythms and flailing arpeggios. From catchy leads and punishing rhythms (“The Upsend,” “Guillotine”), bouncy breakdowns, clean choruses, and wild gang vocals (“Blood”), djenty guitar seizures (“Virus,” “Better Off”) to full-on groove (“N.M.E.,” “The Host”), the likes of Lamb of God, early Architects, Born of Osiris, and Children of Bodom are conjured. Lyrics of hardcore punk’s signature anarchy and societal distrust collide with an instrumental palette of melodeath and the more technical kin of metalcore and deathcore, groove metal, and hardcore. As such, the album is complicated, episodic, and unpredictable, with only its wild technicality connecting its fragmented bits – keeping Reform from achieving the greatness that the band is so capable of. As it stands, though, Annihilist offers an insanely fun, everchanging, and unhinged roller coaster of -core proportions – a roller -corester, if you will.

Under Alekhines Gun

Theurgy // Emanations of Unconscious Luminescence [October 17th, 2024 – New Standard Elite]

In a year where slam and brutal death have already had an atypically high-quality output, international outfit Theurgy have come with an RKO out of nowhere to shatter whatever remains of your cerebral cortex. Channeling the flamboyancy of old Analepsy with the snare abuse and neanderthalic glee of Epicardiectomy, Emanations of Unconscious Luminescence wastes no time severing vertebrae and reducing eardrums to paste. Don’t mistake this for a brainless, caveman assault, however. Peppered between the hammiest of hammers are tech flourishes pulled straight from Dingir era Rings of Saturn, adding an unexpected technical edge to the blunt force trauma. The production manages to pair these two disparaging elements with lethal efficiency. Is it the techiest slam album, or the wettest, greasiest tech album? Did I mention there’s a super moldy cover of Devourment‘s “Molesting the Decapitated”? It slots right into the albums flow without feeling like a tacked-on bonus track, highlighting Theurgy’s commitment to the homicidal odes of brutality. Throw in a vocal performance that makes Angel Ochoa (Abominable Putridity) sound like Anders Fridén (In Flames), and you’re left with one last lethal assault to round out the year. Dive in and give your luminescence something to cry about.

GardensTale’s Great Glacier

Ghosts of Glaciers // Eternal [October 25th, 2024 – Translation Loss Records]

Ghosts of Glaciers’s last release, The Greatest Burden, was a masterclass of post-metal flow and has become a mainstay in my instrumental metal collection since my review in 2019. Dropping in tandem with several other high-profile releases, though, I could not give its follow-up the kind of attention it deserves. And make no mistake, it absolutely deserves that attention. The opening duo, “The Vast Expanse” and “Sunken Chamber,” measure up fully to The Greatest Burden, though it takes a few spins for that to become clear. Both use repetitive patterns more than before, but closer listens reveal how subtle variations and evolution of each cycle build gradual tension, so the release becomes all the more satisfying. I’m a little more ambivalent on the back half of Eternal, though. “Leviathan” packs a bigger punch than more of the band’s material, it lacks the swirling and sweeping currents that pull me under and demand full and uninterrupted plays every time. Closer “Regeneratio Aeterna” is a pretty but rather demure piece that lasts a bit longer than it should have. But despite these reservations, the great material outstrips the merely good, and Eternal is a worthwhile addition to any instrumental metal collection.

#AbominablePutridity #AinsiFinitLeJour #AmericanMetal #Analepsy #Annihilist #Architects #Asphyx #AtmosphericBlackMetal #AustralianMetal #BlackMetal #BongRa #BornOfOsiris #BrazilianMetal #Bríi #BrutalDeathMetal #CamaradagemPóstuma #ChildrenOfBodom #CognitiveDissonance #Cognizance #CosmicPutrefaction #Death #DeathMetal #DeathThrash #Deathcore #Devourment #DissonantBlackMetal #DissonantDeathMetal #Electronic #EmanationsOfUnconsciousLuminescence #EmeralFiresAtopTheFarewellMountains #Entombed #Epicardiectomy #Eternal #ExperimentalMetal #Extorted #Feral #FrenchMetal #Gaerea #GermanMetal #GhostsOfGlaciers #GrooveMetal #Hardcore #HardcorePunk #Hath #Helslave #Hulder #InFlames #InMourning #InternationalMetal #ItalianMetal #KingCrimson #LambOfGod #LesActeursDeLOmbreProductions #Livløs #MelodicDeathMetal #Metalcore #NewStandardElite #NewZealandMetal #NoctumProductions #OSDM #PatMetheny #Pestilence #PostBlackMetal #PostMetal #ProfoundLoreRecords #Reform #RingsOfSaturn #SelfRelease #SelfReleased #Slam #Sordide #SunWorship #SwedishMetal #TechnicalDeathMetal #TheCrescentKing #TheHumanAbstract #Theurgy #ThrashMetal #ToUsurpTheThrones #TranscendingObscurityRecords #TranslationLossRecords #UponTheHillsOfDivination #VendettaRecords #VertebraAtlantis #Vorga #Wist #WithinTheRuins

Ante-Inferno – Death’s Soliloquoy [Things You Might Have Missed 2024]

By Mystikus Hugebeard

That was one hell of a November 22nd this year, huh? We had new releases from bands like Múr and Panzerfaust, blog favorites Fellowship and Defeated Sanity, and even the industry titans Opeth. Yes, the metal community ate quite well that day—so well that certain releases might slip through the cracks, such as Death’s Soliloquoy, the third full-length by English four-piece black metal act Ante-Inferno. But I refuse to allow Death’s Soliloquoy to be overshadowed because Ante-Inferno have made one of the most compelling and devastating releases of the year.

Ante-Inferno play a sort of misanthropic atmospheric black metal that blends the biting chill of second-wave black metal with an atmospheric, beautiful melodic clarity. The evocatively titled opener, “The Cavernous Blackness of Night,” reveals the two sides of Death’s Soliloquoy’s coin. The first half of the song wallows in an atmosphere of dissonance through aggressive, sawing guitars that grind out a macabre melody, before almost exactly halfway through, the song shifts gears into a more pronounced melancholic beauty. The gnashing tremolos become gentler, but still vital, as the melody grows clearer and stronger. “Cold. Tenebrous. Evil.” delves deeper into the dissonance, while “No Light till Life’s End” leans further towards the side of melody without sacrificing aggression, but both shades of Ante-Inferno are omnipresent and crucial. The stellar production greatly helps this contrast work. The rhythm guitars vibrate with a wintry second-wave buzz, and the atmospheric side is absorbing and dense. The vocals, which range from distant, crestfallen shrieks to hoarse shouts, come from the primary songwriter Kai. Death’s Soliloquoy is inspired by Kai’s own experiences of depression and hopelessness, and her existential misery is felt in every word.

That misery is the lifeblood of Death’s Soliloquoy, as the whole album radiates the same black light of sorrow as Kai’s vocals. The shorter tracks (“Cold. Tenebrous. Evil,” No Light till Life’s End”) are aggressive and full of emotion, but the real impact of Death’s Soliloquoy is felt in the longer tracks. The bleak riffs of “The Cavernous Blackness of Night” and “Towards Asphyxiating Darkness” evolve slowly and frequently return, like a lingering sadness that’s impossible to break away from. The subtly repetitive nature of the longer songs, paired with their length, might turn away some less patient listeners, but I think this approach is to the music’s benefit. Across the length of the album, a crushing, hypnotic weight sets in as the density and intensity of the music marches on with a suffocating constancy, and Ante-Inferno iterates upon their riffs and ideas enough to keep the energy high and the pace from dragging. Everything that comprises the nature of Death’s Soliloquoy collides in the genuinely sublime “An Axe. A Broadsword. A Bullet.” Here, dissonance has been cast aside for an assault of riffs that burn with a cold fury, while the melodies, almost crystalline in their clarity, carve a path through the indifferent noise. It commands your attention with paramount urgency, and like Death’s Soliloquoy as a whole, is hopelessly, heartbreakingly bleak.

Ante-Inferno have crafted an incredible piece of atmospheric black metal that, for my money, is the best release to come from this historic November 22nd. It’s possible that Death’s Soliloquoy may take some time to fully sink in. I surprise myself by admitting that even I was unimpressed on my first listen, before the slow riff and anguished scream at about 4:55 into “An Axe. A Broadsword. A Bullet.” moved me in such a way that the full album was re-framed in my mind, and now, to this day, every listen is better than the last. Death’s Soliloquoy is everything I love about black metal—it’s heavy, harrowing, and honest.

Tracks to Check Out: “The Cavernous Blackness of Night,” “Cold. Tenebrous. Evil,” “An Axe. A Broadsword. A Bullet.”

#2024 #AnteInferno #AtmosphericBlackMetal #BlackMetal #DeathSSoliloquoy #Nov24 #ThingsYouMightHaveMissed2024 #VendettaRecords

Amarok – Resilience Review

By Twelve

It’s been a while since I’ve had the opportunity to review funeral doom for this site. Mostly, this is Cherd‘s fault; funeral doom itself is something of a rarity in our Promo Pit, and the guy has some sort of sixth sense that specifically tells him when it shows up. So it’s nice to sit back, relax, and listen to some low, slow, doom. Amarok, hailing from the United States, aren’t just a band of funeral doom, however—on Resilience, their second full-length release, they blend a whole bunch of styles together to create a dark, gritty, and towering work of music designed to appeal to the most morose of metal’s mortals. But how does it stack up to the crushing weight of expectation?

In typical funeral doom style, Resilience is primarily made up of four songs that each span between twelve and eighteen minutes. Many hallmarks of the style are present—slow, dramatic, drawn-out riffs, growling vocals, and the aforementioned long songs. Opener “Charred (X)” is perhaps the most funereal of the bunch, opening with slow, bleak passages that build carefully to a quiet interlude midway through the song. From there, the song builds and builds, slowly incorporating variations, breakdowns, and finally elements of black metal into the mix. Mournful guitar leads inject melody throughout while agonized vocals rasp, growl, and scream their way into a mournful edge for the song.

But even this “most funereal of the bunch” has that blackened edge, and this is where Amarok look to set themselves apart. Throughout Resilience, the band incorporates elements of doom, sludge, and black metal into their music, a choice that’s evident in the songwriting, production, and mix of the album. The guitars are crunchy with distortion, and in fact, one of the more memorable choices on “Ascension (XI)” is the way it heavily amps up that distortion towards the end of the song. By the time “Penance (XII)” reaches its conclusion, it has fully transitioned to a black metal song, with blast beats and tremolos emerging from the slow build which starts out firmly in funeral doom territory. Throughout, Amarok is careful to keep a morose atmosphere, an edge of gloominess to each song that allows the album to feel, ultimately, like a unified work of doom, despite its many influences.

Resilience hits a lot of the right notes in its sludge/doom/black/funeral metal blend, but it feels like an album that’s playing it too safe. Most of it follows a familiar structure, in which Amarok finds a strong melody to act as the primary theme for the song, and then, in true funeral doom style, repeats it, often with small variations to keep it from becoming stale. On “Ascension (XI),” however, the pattern just doesn’t stop repeating. Most of the song (and it’s an eighteen-minute song, the longest on the album) is that same riff. Despite the variations and impressive vocal performance, it’s hard to shake the feeling that the band found a strong melody and never fully moved away from it. Unfortunately, “Penance (XII”) follows a similar pattern with a riff whose timing and feeling are extremely similar. This hurts the album’s pacing and places several lengthy passages in a sort of “background noise” category, where the record hits a comfortable stride and stops doing anything exciting with it.

Of course, there are far worse things than for a song to be comfortably fine, and the ideas that inform these songs are strong ones. On the whole, Resilience is a good album, one that finds a strong catharsis as it blends several styles together in a natural and effective way. I may have a few issues with the songwriting, but I can’t complain about the way the leads make me feel, the strength of the drumming and vocal performances, or the clever way it does blend those styles. I look forward to seeing what Amarok do next—Resilience is a strong foundation to build on.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Vulture Print & Vendetta Records
Websites: amarok.bandcamp.com | facebook.com/amarokdoom
Releases Worldwide: June 28th, 2024

#2024 #30 #Amarok #AmericanMetal #BlackenedDoomMetal #FuneralDoomMetal #Jun24 #Resilience #Review #Reviews #SludgeMetal #VendettaRecords #VulturePrint

#nowplaying

Nimbifer - Demo I&II
Nimbifer - Der böse Geist

Medieval Raw Black Metal from Germany

https://yewtu.be/watch?v=G0JIfWi4D30
https://yewtu.be/watch?v=vlKcAiof6X0

#Nimbifer #DerBöseGeist #BlackMetal #RawBlackMetal #VendettaRecords

Naxen – Descending Into a Deeper Darkness Review

By Dear Hollow

Last we met Germany’s Naxen, we were deep in the swills of the pandemic lockdown here in the States. Released in June of 2020, debut full-length Towards the Tomb of Times was a solid black metal affair that I gleefully awarded a 3.5 but just never listened to again. Not that it was bad by any means, but it did not have the staying power I expected. The trio exists in the cross-section of black metal, adhering to hints of melodic black and death metal, but is pure unadulterated black metal. As such, aside from the act’s adoration of alliteration, we’ve got ourselves a neat lil’ blackened number.

Naxen has been around the blackened block, having released alliterative albums since 2018, including EPs To Abide in Ancient Abysses, Of Fainting Faith in Futile Flesh, and The Perilous Path of Pain as well as 2020’s debut. If you know black metal, there’s really nothing terribly unique about Descending Into a Deeper Darkness, but that’s okay. Semi-raw, semi-dense tremolo and heavy guitar grooves dance about the ears with harsh rasps, while percussion varies between funereal plods and blazing blastbeats. United by a feeling of melancholy founded in more depressive interpretations, Naxen offers us a rock-solid black metal album that ascends its alliterative antecedent by an awful amount.

Comprising four tracks with lengthier compositions dominated by diminished chord progressions, songs are smartly composed and neatly executed. Naxen attacks with a blend of scathing and riffy, balanced by sustained melodic plucking that adds a beating heart to the mid-tempo attack. The melodic layers of guitar plucking in the closing portion of “Our Souls Shall Fall Forever” or the heart-wrenching melodic template of “Triumphant Tongue of a Thousand Swords,” for instance, make their respective attacks extremely memorable in the balance of melody and shredding punishment – seriously, the latter really provided the scratch to the brain I needed. These two are most solid, while the fluid movements of “To Writhe in the Womb of Night” revel in a Trist-esque tremolo buzz while shapes of vocals and melody emerge and submerge around it, including an immense percussive presence that feels nimble and pummeling in its necessary measures. The most traditionally punishing track is “A Shadow in the Fire – Pt. III (A Life Led by Loss),” more punky upbeat drumming colliding with barbed-wire tones of drawling guitar, stinging melodies, and rabid percussion fills.

There is little to complain about in terms of the album at large or Naxen’s performance, but it likely should go without saying that four tracks with massive track lengths require a fair amount of patience. As fluid and smartly composed as “To Writhe in the Womb of Night” is, for instance, its melodic approach does not hold up as well as “Triumphant Tongue of a Thousand Swords,” and it grows old quicker over nine minutes than the latter’s fourteen, while the melodies in “A Shadow in the Fire…” can feel directionless in comparison to its more crushing moments as well as its successor in the closing opus. As with its debut, Naxen exists in the shadow of the early 2010s black metal releases of the likes of Altar of Plagues, Svartidauði, or Wolves in the Throne Room, whose more protracted lengths added up to greater breathing room and dynamic growth for both contemplative and punishment, but it still requires a fair amount of patience to sit through.

Naxen will not change your mind about black metal, but they also don’t make any pretense about doing so. It’s black metal with a melodic sensibility and an ear for dynamic songwriting, nothing more and nothing less. The bookends are the undisputed highlights in expert balance of melody, crunch, and shred, although the relatively weaker middle portions feature neat punishment and fluid songwriting themselves. In the end, Descending Into a Deeper Darkness is far from mediocre, but its alliterative bad self doesn’t do its duty in decreasing black metal dread. If you are a black metal fan, dive deep into Descending Into a Deeper Darkness, never neglecting Naxen.

Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Vendetta Records
Websites: naxen.bandcamp.com | facebook.com/naxenbm
Releases Worldwide: May 3rd, 2024

#2024 #30 #AltarOfPlagues #BlackMetal #DescendingIntoADeeperDarkness #DSBM #GermanMetal #May24 #MelodicBlackMetal #Naxen #Review #Reviews #Svartidauði #Trist #VendettaRecords #WolvesInTheThroneRoom

I expected a #DSBM album, but all I hear is a gloriously fierce rifftastic #BlackMetal banger! Fuckin' hell, this rips! 🔥🖤

#Andracca #ToBareTheWeightOfDeath #VendettaRecords #Metal #UKBM

https://andracca.bandcamp.com/album/to-bare-the-weight-of-death-2

#NowPlaying

Vukari - Aevum 🇺🇸 (2019)

Some of the absolute best USBM of recent years. Loved his EP a couple years back, badly need a new album #vendettarecords #mariuszlewandowski

🇬🇧 For Black Metal Monday, I'm posting 'De Strijder' ('The Warrior') from Beenkerver's EP 'Twee Wolven' ('Two Wolves') which was released on July 9th, 2023.

Beenkerver ('Bone Carver') is a one-piece black metal band from the Netherlands.

#BlackMetalMonday #Beenkerver #NL #VendettaRecords #Bandcamp

https://vendetta-records.bandcamp.com/track/de-strijder

#WeekInMetal time. New Vanagandr (USBM in Norwegian style) 🇺🇸 , OAK (doom from members of Gaerea) 🇵🇹 , Mithridatum (DM) 🇺🇸 🇮🇹 , Gates of Mourning (BM) 🇺🇸 .
A Bolt Thrower deep dive rewarding as always.
#AOTW is Scáth na Déithe - Virulent Providence 🇮🇪 , Two epic songs of doomy atmoblack FFO Ethereal Shroud #vendettarecords
https://vendetta-records.bandcamp.com/album/virulent-providence