BLOEDMAAN

 CIRCLE OF THE MOON (2026)

Desde las frías tierras belgas nos llega el tercer larga duración de Bloedmaan, proyecto personal de Rönarg, músico sobradamente experimentado gracias a su participación en formaciones como Ars Veneficium y Aantzaat, entre otras. Una trayectoria que parece haber encontrado en Bloedmaan el vehículo perfecto para desarrollar una propuesta de black metal de marcado carácter melódico, oscuro y con una importante carga atmosférica. Tras “Castle Inside the Eclipse” (2023) y “Vampyric War in Blood” (2025), llega ahora “Circle of the Moon”, un trabajo que mantiene intactas las señas de identidad del proyecto. Musicalmente nos encontramos ante un disco que bebe directamente de las fuentes del black metal de segunda generación, aunque incorporando suficientes elementos melódicos para dotar a sus composiciones de una personalidad reconocible. Las guitarras vuelven a ocupar un lugar protagonista, alternando riffs afilados y contundentes con desarrollos melódicos de cierta inspiración épica, que terminan envolviendo al oyente en una atmósfera de oscuridad y decadencia. Unas líneas de guitarra que, en determinados momentos, adquieren un carácter hipnótico gracias a la reiteración de sus estructuras. La batería, a cargo de Sathrath, cumple sobradamente con su cometido, alternando pasajes de velocidad y contundencia con ritmos más pausados, pesados y machacones. Lejos de recurrir constantemente al habitual despliegue de blast beats, el apartado percusivo encuentra también espacio para desarrollar patrones más cadenciosos, aportando variedad y dinamismo al conjunto. El bajo, por su parte, contribuye a reforzar esa sensación de densidad instrumental. En el apartado vocal, Rönarg vuelve a apostar por unos registros rasgados, agónicos y bastante desgarrados, perfectamente integrados en la naturaleza sombría de las composiciones. Una interpretación que transmite crudeza y hostilidad, aunque en ocasiones recurre a estructuras y cadencias demasiado similares. Destaca especialmente “Oh Come Night Eternal”, donde la incorporación de voces limpias y fantasmagóricas introduce un interesante contraste respecto al resto del álbum. A lo largo de sus ocho composiciones, “Circle of the Moon” transita por diferentes escenarios de oscuridad, vampirismo y fantasía tenebrosa, encontrando algunos de sus momentos más interesantes en la inicial “On Dragons Wings”, la melódica “He Who Speaks in Dreams” y la especialmente densa “Transylvanian Tears”, encargada de cerrar el recorrido con unos riffs de marcada orientación atmosférica. En definitiva, Bloedmaan vuelve a demostrar que sabe desenvolverse con soltura dentro de los parámetros del black metal melódico y atmosférico, ofreciendo un trabajo consistente que, sin buscar grandes experimentaciones, consigue mantener el interés gracias a sus acertadas melodías y a una instrumentación que sabe combinar agresividad y oscuridad. Un álbum especialmente recomendable para los seguidores de las vertientes más melódicas y épicas del género. (7,9).

Immortal Frost Productions

1. On Dragons Wings 06:32  

2. The Sorceress and the Key 05:53  

3. Dawn of the Eternal Frost 04:19  

4. Oh Come Night Eternal 05:16   

5. He Who Speaks in Dreams 04:53  

6. Curse of the Undead 05:17  

7. Spell of Thralldom 06:36  

8. Transylvanian Tears 05:20  

  44:06

Palace Of Worms ‎– The Ladder (Limited to 100 clear with black/red splatter vinyl) 19.99 €

Vinyl, LP, Album, Clear With Black/Red Splatter

BOARHAMMER

 III: INSTRUMENTS OF FUNGAL INTENT (2026)

Desde las profundidades más oscuras de los bosques alemanes regresa Boarhammer con su particular ceremonia de oscuridad y psicodelia, presentan su nuevo trabajo, “III: Instruments of Fungal Intent”. Un álbum que supone un nuevo capítulo dentro de la peculiar trayectoria de este dúo, formado en 2020 por Wodwoz y The Vessel, y que ha ido desarrollando una propuesta muy personal a través de “I: Cutting Wood for Magickal Purposes” (2021) y “II: Chemognosis – A Shortcut to Mushrooms” (2024). Ocho composiciones en las que vuelven a confluir las raíces más primitivas del black metal con influencias de heavy metal clásico, doom y rock psicodélico, todo ello envuelto en una atmósfera de marcado carácter ocultista y ceremonial. Una combinación que encuentra en las viejas sonoridades de la primera hornada del género su principal punto de partida, aunque sin renunciar a ciertos pasajes que escapan de los convencionalismos habituales. La batería adquiere un protagonismo considerable durante todo el recorrido, mostrando una interpretación orgánica, rudimentaria y especialmente dinámica. The Vessel alterna momentos de mayor aceleración y violencia con ritmos pesados y machacones, incorporando cambios de cadencia que contribuyen a dotar de personalidad a unas composiciones que respiran cierta libertad interpretativa. Lejos de buscar una ejecución excesivamente técnica, los patrones rítmicos se ponen al servicio de esa sensación de primitivismo y descontrol que impregna el conjunto. Por su parte, las guitarras de Wodwoz ofrecen un repertorio de riffs ásperos, distorsionados y de evidente naturaleza underground, alternando agresivas descargas de black metal con desarrollos más pausados, densos y cercanos al doom. Sin embargo, uno de los aspectos más interesantes reside en su capacidad para introducir melodías de corte psicodélico y algunos desarrollos de heavy metal tradicional, aportando matices inesperados a una propuesta que no se limita exclusivamente a la agresividad. Todo ello queda plasmado en una producción deliberadamente cruda, que conserva ese carácter añejo y poco domesticado. En el el apartado vocal encontramos registros desgarrados, cavernosos y de marcada expresividad, con interpretaciones que parecen surgir de algún antiguo ritual celebrado en mitad de un bosque. Los pasajes más ásperos conviven con intervenciones de voz limpia y momentos casi declamatorios, reforzando ese componente teatral y alucinógeno que caracteriza la identidad de Boarhammer. Una variedad que contribuye a enriquecer el desarrollo de las canciones y a potenciar su particular imaginario esotérico. Temas como “Forest Grave Malediction”, “Psychotic Bogwitch” o “Psychedelic Renaissance” representan perfectamente esa amalgama de influencias, mientras que “Shades in the Triangle” y “Gewitterlicht” dejan espacio para desarrollos más atmosféricos y melódicos. En definitiva, “III: Instruments of Fungal Intent” supone un nuevo paso adelante para una formación que continúa explorando los rincones más extraños y primitivos del Metal extremo. Un trabajo de espíritu genuinamente underground, donde la crudeza instrumental, la psicodelia y las evocaciones ocultistas se dan la mano para construir un universo sonoro tan peculiar como reconocible. Boarhammer siguen transitando por senderos poco convencionales, demostrando que todavía existen formas de reinterpretar las viejas raíces del género sin perder personalidad. (8,3)

1. Forest Grave Malediction 07:18

  Deep within the remotest parts

Of the majestic autumnal woods,

There lies a hidden place,

Surrounded by ancient stone walls

That manifest a borderline

Between the world of the living

And the realm of death

That is within the walls’ premises.

Here,

Whence I shall go to draw upon the powers

That sleep in the soil,

Corpses are in the ground.

Three bows:

“Oh, masters of this place of the dead,

I greet thee!

Fresh blood and dried black bread I bring to thee!

And three candles do I light,

To ask thy permission to channel the forces of the ground

Into a malediction most potent and terrible.”

Draw the devil’s cross.

Shades are in the triangle once more.

Surrounded by rusted nails and grains of salt,

Chant the secret words of power

To awaken the spirits of those who lie here

In the forest eternally.

With gratitude I leave this place

Through the opposite gate,

While trees whisper ominously

In anticipation of the horror that is to come.

The curse is cast.

2. Bauk 04:42

   In the blackest holes, in the shadows,

Deep within the nooks and crannies

Of old forests and long-forgotten places,

There it lies hidden.

Eerie evaporations waft about its lair,

Casting strangest illusions,

A spell of fear and weird allurement intertwined.

There go the young,

Walking in the woods,

Drawn towards the darkest heart of the wild,

See them crawl along!

Crawling towards their doom.

A bear-shaped dread walks the night,

Child-eater,

Fell hunter of all that is deemed to promise hope and a future.

Still your hunger!

Inhale and feast upon the world!

Breathe fear and fire!

Come forth from the hidden places,

In darkness walk and darkness deliver!

The air has petrified the tears on our faces.

Fires rage in the midnight winter forest.

We await the arrival of demons.

3. Psychotic Bogwitch 05:15

Nightly winds blow over heath and bog, Things slither through the marshes, fetid, reeking of earth and slow decay. Along she crawls, through the night, through the darkness, The waning moon’s pale glare reflecting in her eyes. Past huts with doors and shutters firmly closed – An ominous premonition of a ghastly night to come – She walks the dirt roads, her wagon made of bones Dragged along, wheels creaking forlorn in the lonely wild. Ever alone among the living, she creeps into the boglands, Her companions for this night to find. The people of the bog, ancient, half-turned to stone and leather, Haggard faces, peat-black skin stretching over olden bones, They await her. Collector of bone and skin She keeps her dead within Into the wagon go! Then taken down below. To where she dwells alone - A world of skin and bone. “As below, so above! – All skin and bone the universe shall be! From these ancient bodies, I distill the essence of the moors To weave a spell to turn the whole world into marshes! One eternal swamp, haunted by the people of the bog To drag down all life, To drown in water and mud!” 

4. Spirits, Yours Is the Gift of Madness! 07:05

Ah! Most ancient and holy alchemy! To take the soul of crop and fruit, To dissolve life itself in the steaming vapours Distilled by the mighty fires from the wort, Only to be born again in potent liquids Of pure and shining magnificence! Drink deep! Do not hold back! Ingest the precious poison, let it burn through your veins! Embrace the pandemonium, let the demons of Earth and Fire mix with the blood And ride the winds of frenzy through the night! Spirits, yours is the gift of madness! Now, hence the floodgates have all been raised, Come forth! Ghosts of the invigorating fumes, Come forth! Manifest! Take shape, And show your twisted and dilapidated realms to me. 

5. Psychedelic Renaissance 06:33

Open your eyes to the world for the first time. Ingest the earth’s chemicals, Unlock the hidden gates That open the bridge between the infinite cosmos And what lies unconsciously hidden Within yourself. To walk the stars, To fall through void And galaxies abound! To witness the collapse of worlds And the birth of a million suns, All emptiness suddenly alive, A kaleidoscope of darkness, colour, and flame. Death – the implosion of planets and stars. Rebirth – the molding of matter and life. A vast vortex of chaotic motion, All ever evolving around the heart Which lies hidden behind the cosmic veils. Macrocosm and Microcosm – The prime magick of all there is, and was, and ever will be. To gaze into these streams Of eternal cosmic ebb and flow, To perceive one’s nothingness And the worlds that are within it – Psychedelic Renaissance. 

6. Shades in the Triangle 05:13

  On a warm summer’s full moon night,

Go, find your path to the water’s source

Where the moon is mirrored in a pool so bright.

Drink deep, rejoice!

Fill your cup!

Into the Triangle this potion shall be spilled –

Stang, Vervain, and Wormwood! -

And as a mirror it shall serve!

Under the vast and starry sky, there! Pour a glass

Into which to cast the innermost aspects of the self.

Behold the liquid reflection of the soul!

Focus, cast the Shadow, put forth the essence

To force it into the sacred waters

Which shall then be poured into the cosmic streams,

Eternal,

To flow through space and time,

From now on and for all ages to come,

To be sent where you wish the Shadow to appear,

A likeness of yourself, to do your will,

An agent of your needs and deep desires –

For evermore!

7. Schwammgeister 05:05

They awake at dusk. The forest becomes alive, Ancient myths arising from the ground. Protectors of the woods, makers of mischief. Providers of magick, song, and poison alike. Wanderer, be careful of your step! Tread lightly, Not to violate the patterns and pathways They have been weaving since the birth of moss and tree. To mock their ways is to evoke their deadly wrath. Mists swirl through the woods, The air is filled with ethereal fungus spores. Breathe in, and let them enter your mind. To forge connections between the human And the fungal cells. Vegetal conquest of the brain, Taking over command To bind you to their will. Soulless wanderers of the woods, Instruments of fungal intent, Mindless, but connected to strangest minds. Bow to the ghosts of the fungus. Honour their ways. Tread lightly.

8. Gewitterlicht 07:27

Seeker of hidden doors and passageways: On the quest for the pillars of the powers that shape all, Behold the skies! A convergence of forces small as well as overwhelming. As the bird flies and pierces the air, So the storm chases the clouds and the lightning. The principle of power and determination – Tear a rent into the fabric of superficiality, Overcome the hedge and push the sky away! Ominous illuminations of otherworldly possibilities. Read that which is written in the way of the waters, In the shape of leaf, stem and branch, In the changing of sun and rain. Decipher the language of stone and beast, And behold the skies! “Where does the wind come from that blows upon your face, That fans the pages of your book?” Where the magick of the creatures of the wild Meets the magick of man, Where the language of the wind, And the rain, and the trees can be understood, There, you will find what you seek.  

  48:38

Torrid Death's Fire ‎– From Beneath The Crumbling Reality 22,99 €

Vinyl, LP, Compilation, Limited Edition

VINTERASKE

 

Origen: Alemania.

Formados: 2022

Estilo: Black

Temática: anhedonia, depresión y nihilismo

Enlaces: Instagram.

Miembros:

• Alex Todo

Discografía:

• Letzter Frieden Demo 2023  
• Hateful Cries Single 2024  
• Wahrnehmung des Sturms Single 2024  
• Memories of a Undreamed Single 2024  
• Der weg, fort von meinem fluss Single 2025  
• Nocturne CD 2026

NOCTURNE (2026)

Desde las profundidades del underground alemán emerge Vinteraske, proyecto unipersonal creado en 2022 por Alexandro Hornbogen, que tras una primera etapa de publicaciones independientes y varios singles, presenta "Nocturne", su primer larga duración, editado por Naturmacht Productions. Una propuesta que se mueve entre los territorios del atmospheric black metal, el post-black y el blackgaze, con una marcada orientación hacia la melancolía y la expresión de emociones profundamente introspectivas. "Nocturne" se desarrolla a lo largo de ocho composiciones que encuentran en la oscuridad nocturna su principal fuente de inspiración. De hecho, todas las canciones fueron concebidas durante la noche, circunstancia que parece impregnar el carácter sombrío y emocional de la obra. Musicalmente, Vinteraske construye un discurso donde la agresividad del black metal convive con pasajes de una belleza melódica ciertamente desoladora. Las guitarras adquieren un protagonismo fundamental, alternando afilados desarrollos de tremolo picking con armonías envolventes, melodías cargadas de nostalgia y atmósferas de clara influencia post-rock. No se trata únicamente de buscar contundencia, sino de generar sensaciones, de construir paisajes sonoros donde la desesperanza y la fragilidad emocional adquieren un protagonismo absoluto. La batería, por su parte, participa en esa alternancia de intensidades, proporcionando el impulso necesario para los momentos más abrasivos sin perder de vista el carácter atmosférico de las composiciones. La dinámica entre los desarrollos más pausados y los episodios de mayor intensidad resulta esencial para mantener esa tensión emocional que atraviesa el álbum. En el apartado vocal encontramos otro de los elementos más interesantes de la propuesta. Los desgarradores registros rasgados, cargados de desesperación, contrastan con intervenciones de voz limpia que aportan una dimensión mucho más melancólica y evocadora. Una dualidad que refuerza considerablemente el componente emocional de las canciones. Temas como "Schwerer regen", "Unverstanden" o el ya adelantado "Trübsal" permiten apreciar las diferentes vertientes de un trabajo que también encuentra espacio para desarrollos más introspectivos, como sucede en "Nocturne" y "Crépuscule". Todo ello bajo una concepción musical que bebe de referencias como Karg, Ellende, Olhava o Alcest, aunque incorporando elementos propios de otros territorios del post-metal y los sonidos core. En definitiva, "Nocturne" se presenta como una obra de marcado carácter introspectivo, donde la oscuridad no se entiende exclusivamente como una expresión de agresividad, sino también como un refugio ante el desasosiego y la alienación. Una interesante carta de presentación en formato larga duración para Vinteraske, que encuentra en la combinación de crudeza, melodía y atmósferas su principal argumento. (7,8).

Naturmacht Productions

1. Schwerer regen  

2. Irgendwas verlieren wir alle  

3. Unverstanden  

4. Kein ort wird mehr für mich blühen  

5. Trübsal

6. Crépuscule  

7. Nocturne  

8. Erfroren // Verbrannt

Tyrannic ‎– Exterminating Angel 12,99 €

Vinyl, 12", EP, Limited Edition

TERATUM - INTERVIEW

 

1. Teratum was formed in 2024. Why did you decide to create the band? Why did you choose the name Teratum, and what does it refer to?

DTH and PWL were part of the Black Thrash band Beastiality and after the last two gigs in march of 2024 it became clear that the band had run its course. Since DTH and PWL shared a common visión, the decisión to form a new band to keep on carrying the torch was made. It was decided very early on that we wanted to have DMH of Die Hard (Swedish Thrash band) infamy on vocals/guitar, and he agreed, thus the core of Teratum was formed. We were after a name that was original and that we could fill with its own meaning and power instead of opting for a more commonly used word/name. The meaning is personal.

2. Despite being active for a short time, the members of Teratum have extensive experience in Swedish extreme metal bands. How do you balance working in these different bands with Teratum, and most importantly, how do you find the time and motivation to embark on a new project? Is it difficult to set boundaries between your different projects? In other words, do you have a clear idea of ​​how each one should sound?

Teratum is for all intended purpuses the bandmembers main priority, the idea to créate the band was spawned the moment the demise of Beastiality became evident. Of course being active in several bands as well as just being alive demands time management, no one is in this because its easy, its a calling. The process of shaping the songs for the minialbum showed us what Teratum was meant to be and has since become even clearer as to what Teratum is, and thus what ideas to work with in that framework.

3. Teratum seems destined for a career firmly rooted in the underground, starting with the release of a demo and now taking a significant step forward with their first EP. What are your expectations for Teratum? How did you approach the songwriting and recording process for “Ordnance of Spiritual Warfare”? What differences can we expect compared to the sound of last year's demo? What brands of instruments did you use during the process?

There is no recording difference comparing the promo tape and minialbum, except that the promo tape had 2 songs and the MLP has 4 and a major upgrade in sound and especially packaging with the LP and CD editions. The promo tape was made as a limited edition for us to sell at our first live show so that the old school bangers could check out some of our songs in an underground way. The songs that shape the minialbum was already written when the band was formed, but draped in a new cloak under the new banner of Teratum. Teratum abuses BC Rich exclusively!

4. The sound of “Ordnance of Spiritual Warfare” maintains a balance between black metal, primitive thrash, and classic influences, always preserving its inherent violence and aggression. How would you describe the sound of this EP to someone who hasn't heard it yet? What inspired you to compose and record “Ordnance of Spiritual Warfare”?

Teratum dwells within the Black/Thrash genre. Though we add additional poison from our nordic Black Metal bloodline, the chaos of South Americas Metal Extremo and some madness of the Ross Bay Cult. The minialbum is the result of a fire that must burn!

5. You also maintain a fairly recognizable style in your lyrical themes: death, occultism, and Satanism, among others. Do you consider that a style like 80s-style black/thrash lends itself to these themes? Furthermore, are the themes inextricably linked to this style? What inspired you to write the lyrics for the EP? Do the lyrics adapt to the music, or vice versa?

The lyrics are extensions of who we are. We write what we feel must come out and be channeled through the audio violence at hand. You cant play the devils music without the devil.

6. There isn't much information about the recording, mixing, and mastering process for the album. Did you do it yourselves, or did you record in a studio? 

The recording was mainy done by PWL in the bands own studio facilities to preserve complete creative freedom while shaping the sound and in that way the foundation of the band and direction of work to come. Anders Eriksson of Offbeat Studio (also active in the band Vananidr) handled the mastering.

7. It seems that Dying Victims Productions has become the perfect haven for bands of a specific style—that is, bands with a retro and underground feel where black metal merges with thrash or speed metal elements. Beyond that, how did the opportunity to work together on the release of "Ordnance of Spiritual Warfare" arise? 

We thought that they would be a suitable working partner based on their reléase history, so we reached out and a deal was made. The LP edition of the minialbum came out very good and no expense was spared in that part, so we are happy with that.

8. The cover doesn't quite capture the more traditional metal feel; it seems to convey a more occult character. Who designed this cover, and how does it relate to the EP's content?

You are right, it heralds the coming of Teratum as a destructive forcé. All accompaning artwork for the minialbum was made specificly for Teratum to fit with the message and lyrics of the band. In essence we are more of a Black Metal band so the illustrations depicts what we feel the band represent more then trying to fit into something “retro traditional”. The artwork was made by Mörkestöl a skilled tattooer based in Stockholm, who among others have worked with Ofermod and our old band Beastiality. The layout was handled by M.A of Ultra Silvam.

9. Another noteworthy aspect is your creation of a couple of music videos to promote the EP. How did the idea for these videos come about, and how were they filmed? What do you think they might contribute to your promotion? 

We saw it as a natural way to promote the band and spread the plague. Like the production of the minialbum we handled the process ourselves including filming and editing of the videos to have complete creative freedom. Leviathan Rise and Total Void were the natural choices from the minialbum to do videos for.

10. How do you see the state of Swedish extreme metal since you've been active in your various projects? How did the opportunity to collaborate with SET, from the Italian band Feralia, come about?

When the recording of Ordnance Of Spiritual Warfare was finished we started to get offers to play live and thus needed one more guitar player to bring the live attack into fruition. Set lived in Stockholm, Sweden at the moment and was looking for a band to join and we needed a guitar player.

11. What are your plans for concerts to present the new EP? What can your fans expect from one of your shows?

The reléase of Ordnance Of Spiritual Warfare was celebrated in Uppsala with a performance, then Umeå was desecrated when we participated in the Outbreak Of Evil festival on the 10th of October together with Gates Of Ishtar, Voodus and Svederna, then there was the return to Stockholm on the 30th of October for a headline show. The congregating masses should expect a bestial onslaught of Metal and Death, Blood and Bones, Fire and Faith!

12. How did you get started in music? What were the first concerts you attended? What were the first albums you bought? What event in your lives inspired you to become musicians?

This would be quite comprehensive if going deep into it. But lets say that the bigger bands that are more easily accessable showed the path into the abyss of the undergroud step by step. Once the music speaks to your soul and you understand that you have the creative drive, there is no turning back. Never stop the madness!

13. Which album represents the essence of black metal for you? What are your latest albums?

Some bands that may be relevant to understand the path of Teratum are: Dissection, Bathory, Venom, Nifelheim, Merciless, Blasphemy, Sarcofago, Funeral Mist and Malign. Of course you cant escape the greatness of 80s Metallica and Slayer as well. One should always check out something that is released by Norma Evangelium Diaboli, Sepulchral Voice Records and Invictus Productions, regarding newer albums.

14. Thank you so much for taking the time to answer these questions for Black Metal Spirit. If you'd like to add anything for Teratum fans, this is the place. I hope you enjoy the questions.

Thank you for the interest in the band. Those who are tired of wimps and posers may enter the hall of Teratum!

-----------------------------------------------------------------------------------------------------------------------------

Ereb Altor - Ulfven 16,99 €

2 × Vinyl, LP, Album

ENSLAVED

 MIð (2026)

Con más de tres décadas de trayectoria a sus espaldas, los noruegos Enslaved continúan demostrando una envidiable inquietud creativa, alejándose cada vez más de sus primitivas raíces dentro del black metal noruego para adentrarse en territorios donde el progresivo, el folk y la experimentación tienen cada vez mayor protagonismo. "Mið", decimoséptimo larga duración de su discografía, vuelve a poner de manifiesto esa capacidad de reinventarse sin perder completamente sus señas de identidad. A lo largo de sus ocho composiciones encontramos una interesante combinación de pasajes atmosféricos, desarrollos melódicos y contundentes arrebatos de agresividad, todo ello envuelto en una producción moderna, nítida y especialmente rica en matices. La batería de Iver Sandøy desempeña un papel fundamental en el desarrollo de las composiciones, alternando ritmos veloces, contundentes ráfagas de doble bombo y estructuras sincopadas con otros momentos mucho más pausados. Su interpretación resulta especialmente dinámica, aportando una considerable variedad rítmica y sabiendo adaptarse perfectamente a los continuos cambios de intensidad que caracterizan el álbum. En el apartado guitarrístico, Ivar Bjørnson y Arve Isdal vuelven a ofrecer un magnífico trabajo, combinando riffs afilados de clara ascendencia blackmetalera con armonías envolventes, desarrollos progresivos y pasajes de una marcada orientación psicodélica. Destacan especialmente los cambios de orientación que encontramos en "Mountain" y "Tales of Trees", donde las guitarras transitan desde la contundencia más aplastante hasta elaboradas estructuras melódicas. Tampoco faltan los excelentes solos de Ice Dale, que contribuyen a enriquecer unas composiciones de considerable profundidad instrumental. Las voces constituyen otro de los grandes atractivos de "Mið". Los registros ásperos y desgarrados de Grutle Kjellson contrastan con las interpretaciones limpias de Håkon Vinje e Iver Sandøy, generando diferentes ambientes que enriquecen notablemente el resultado. Especial interés despiertan las colaboraciones de Johan Sara Jr., aportando sus tradicionales cantos sami en "I Am Ice", y Kevin Kicking Woman en "Spirit Helper", incorporando nuevas texturas vocales que amplían el horizonte cultural de la propuesta. En definitiva, "Mið" representa otro interesante capítulo dentro de la extensa trayectoria de Enslaved, una formación que, lejos de acomodarse en sus logros pasados, continúa explorando nuevas posibilidades musicales. Un trabajo sólido, elaborado y con suficientes argumentos para satisfacer tanto a sus seguidores más veteranos como a quienes disfrutan de su vertiente más progresiva. (8,3).

Nuclear Blast Records

Soyuz Music

1. Non-Being 01:19   instrumental

2. I Am Ice 05:02

The darkness I entered

In the gloom, I escaped

With lucid lifelines

In crystallized chambers

I cut loose the giant

The beast gave birth

Through flickering aether

The war-poet appeared

I am treasure, I am torment

In the wake of the wanderer

In withered dreams

Dwells the dormant doom

In the grip of winter

I fought my war

They hauled, they hailеd

On the blood-red bed

Through bonеs, through ash

I shivered, I sang

In this sacred gap

I became what I grasped

The quiet quintessence

The static sleep

The strength abides

The frozen river flourishes

I am ice

3. Solar Will 04:39

Son of cosmic wisdom Son of Mother Earth The starlight at the center The illuminated I Drowned in dreams of blood Pierced by merciless vanity The starlight at the center The illuminated I Let in the soothing storms Fear to ashes Release the poisonous arrow The solar will Bound to ancient anxiety Shattered to the corners of the self The starlight at the center The illuminated I Reimagined by eternal will Remade through suffering The starlight at the center The illuminated I Let in the soothing storms Fear to ashes Release the poisonous arrow The solar will No tears will fall from the jester's eyes Let in the soothing storms Fear to ashes Release the poisonous arrow The solar wil

4. Mountain 05:46

Primal, untamed will Awakened in salty ground Ever reaching, never conquered Ever pulsating, never blinded Spawn of love in the void Conceived in nothingness Ever dreaming, never silenced Ever standing, never fading At the dawn of illusions In the unfolding gap The laws of cruelty The consumption of offspring In the tongue of aeons In gravitas and might The laws of duality The consumption of volatility Made from his bones We are all we havе We are all we need Evеr circular, never tamed 

5. Spirit Helper 04:52   instrumental

6. Parting 08:16

This night could not be wished to be the last The crooked and the wretched march In a lingering crimson mist Twisted creatures of mistrust The grip of sanity weakens The songs have been sung The beauty of motherhood vanishes The vessels of avarice return When the inner eye closes Fertility and harvest wither When the fire-beast swallows We learn to lovе the dying day The mother rеturns The sun is healing The wisdom unites The horns are resounding Sal sér hon standa Sólu fęgra Golli takdan Á GimléI Tar munu dyggvar Dróttir byggva Ok of aldrdaga Yndis njóta Sal sér hon standa Sólu fęgra Golli takdan Á GimléI Tar munu dyggvar Dróttir byggva Ok of aldrdaga Yndis njóta

7. Tales of Trees 04:43

Through the eternal seasons Beholding perilous realms Giving shelter and shadow Still we gnawed, we dissolved Will we once again remember The dreams from the wake? Will you once again let us Tend to your roots? The branches The bones The maternal roots The branches The bones The maternal roots When we crawled out When we gathered As the empires passed by We fell into the serpent's lair Will we once again remember The dreams from the wake? Will you once again let us Tend to your roots? The branches The bones The third eye The branches The bones The third eye When we faced the treason We opened the well We drank from the source We once again stand We once again stand

8. I Miðju 07:16

All powers from the dawn The fragile reflection From the cosmic sea Now alone, raised by war Flesh from passion Mind from love In the stone circle The sacrifice was made At the center Connecting through the ages History's quantum distance All caught up in destiny What is and what shall be Is to wither into shadows Shadows Flesh from passion Mind from love In the stone circle The magic of the child At the center Adulthood and sorrow Through silence The nightmares emerge Ride with the storms Step into the dark Look death in the eye A new dawn approaches Through patience We lit the flames All powers from the dawn The fragile reflection From the cosmic sea Now alone, raised by war Flesh from passion Mind from love In the stone circle To ever evolve At the center To withstand the tides

  41:53

Kringa ‎– All Stillborn Fires, Lick My Heart! 25,99 €

Vinyl, LP, Album

TROLLDOM

 

Origen: Suecia, Nyköping.

Formados: 2004

Estilo: Black, atmosférico.

Temática: ?

Enlaces: Bandcamp.

Miembros:

• Swartadauþuz Bajo, guitarra y teclados.

Discografía:

• Av gudablod röd... Demo 2016  
• Av gudars ätt... CD 2022  
• I nattens sken (Genom hemligheternas dunkel) CD 2022
• Tronen CD 2026

TRONEN (2026)

Desde los bosques de Småland, en Suecia, regresa Trolldom con "Tronen", tercer larga duración de un proyecto que, bajo la batuta de Swartadauþuz, continúa reivindicando las esencias más majestuosas y melódicas del black metal escandinavo de los años noventa. Fundada en 2004, esta formación tardó bastante en materializar su primera entrega discográfica, que llegaría en 2022 con la publicación simultánea de "I Nattens Sken (Genom Hemligheternas Dunkel)" y "Av Gudars Ätt...". Tras aquellos dos trabajos, Swartadauþuz vuelve a dar forma a un álbum que mira directamente hacia la época dorada de bandas como Setherial, Naglfar, Sacaramentum o Mörk Gryning, incorporando además una marcada dimensión sinfónica. En esta ocasión, el músico sueco vuelve a rodearse de colaboradores para completar su visión musical, contando con Thorn a las voces, Sortilege al bajo, Graf Nuzawandils a los teclados y K. Paradis (Belphegor, Melechesh) tras los parches. Musicalmente, "Tronen" se presenta como una obra de black metal melódico y sinfónico de corte clásico, donde las guitarras adquieren un protagonismo indiscutible mediante una sucesión de afilados riffs, desarrollos armónicos y melodías de carácter épico que se entrelazan con unas atmósferas de evidente inspiración noventera. La batería de K. Paradis constituye otro de los grandes atractivos del trabajo, desplegando un despliegue técnico considerable, con constantes cambios de ritmo, vertiginosos blast beats y contundentes redobles que imprimen una enorme sensación de dinamismo a las composiciones. Su ejecución resulta especialmente efectiva a la hora de acompañar los pasajes más acelerados, aunque también sabe adaptarse a los momentos de mayor solemnidad. Por su parte, las guitarras de Swartadauþuz alternan trepidantes cabalgadas de tremolo picking con armonías de gran riqueza melódica, encontrando en las capas de teclado de Graf Nuzawandils el complemento perfecto para reforzar esa ambientación oscura y majestuosa. En el apartado vocal, Thorn ofrece una interpretación visceral, recurriendo a desgarrados registros rasgados y prolongados alaridos que encajan perfectamente con el carácter grandilocuente de las composiciones. Los seis cortes que conforman el álbum mantienen una línea bastante homogénea, destacando especialmente "Tidens Evighet", "Dräpt ur Dunkel" e "I Völvans Spår", donde encontramos algunos de los pasajes melódicos más inspirados de todo el recorrido. Tampoco desmerecen "Etter Falla..." y "Dödens Släktled Stiga", dos composiciones que condensan buena parte de las virtudes del disco, combinando agresividad, melodía y un interesante sentido de la progresión. En definitiva, "Tronen" supone una nueva demostración de la devoción de Swartadauþuz por las sonoridades más gloriosas del black metal sueco de mediados de los noventa. Un trabajo sólido, intenso y muy bien ejecutado, que quizá no aporte demasiados elementos novedosos al género, pero que sabe recuperar con notable acierto aquella combinación de ferocidad, melodía y majestuosidad que convirtió a toda una generación de formaciones escandinavas en referentes imprescindibles. Una interesante propuesta para los seguidores del black metal melódico y sinfónico de vieja escuela. (7,9).

Debemur Morti Productions

1. Tidens Evighet 04:29  

2. Dräpt ur Dunkel 05:23  

3. I Völvans Spår 06:05  

4. Etter Falla… 05:28  

5. Ulvarnas Kall 05:40  

6. Dödens Släktled Stiga 05:26  

  32:31

Ancient Guard ‎– Desiderans Dissolvi 24,99 €

Vinyl, LP, Album, Limited Edition

ANAGNORISIS

 

Origen: E.E.U.U., Louisville.

Formados:  2003

Estilo: Post black

Temática: Adicciones, depresión y religión

Enlaces: Anagnorisis, ampwall, bandcamp, facebook e instagram.

Miembros:

• Cody McCoy Batería
• Josh Mumford Bajo
• Zachary Kerr  Voces
• Zak Denham Guitarra

Discografía:

• Overton Trees CD 2007  
• Alpha and Omega EP 2009  
• Ghosts of Our Fathers EP 2012  
• Beyond All Light CD 2013
• Peripeteia CD 2016  
• Nothing Left to Give Single 2026  
• Choke Single 2026  
• Caregriever CD 2026

CAREGRIEVER (2026)

Diez años después de "Peripeteia" (2016), los estadounidenses Anagnorisis regresan con "Caregriever", un trabajo que convierte el sufrimiento, la impotencia y el desgaste emocional en una experiencia sonora de enorme intensidad. Formados en Louisville (Kentucky) en 2003, Anagnorisis han ido construyendo una trayectoria marcada por la evolución de su propuesta dentro del black metal atmosférico y el post-black metal. Tras trabajos como "Beyond All Light" (2013) y "Peripeteia" (2016), la formación reaparece con un planteamiento bastante más áspero, visceral y directo, dejando atrás buena parte de los desarrollos sinfónicos que habían caracterizado su anterior etapa. El álbum está compuesto por ocho cortes y gira alrededor de una temática especialmente dolorosa: el deterioro progresivo de un ser querido a causa del Parkinson y la demencia, abordando sentimientos como la culpa, la frustración, la impotencia y el duelo anticipado. Una carga emocional que se traslada a unas composiciones que renuncian a buena parte de los convencionalismos del género para explorar terrenos más personales y angustiosos. Musicalmente, "Caregriever" se mueve entre el black metal atmosférico, el post-black y ciertos pasajes de carácter industrial y hardcore, desarrollando una propuesta bastante más agresiva y compacta que la de sus anteriores entregas. La batería de Cody McCoy adquiere un protagonismo considerable, alternando ritmos machacones de medio tiempo con aceleraciones, cambios de compás y contundentes ráfagas de blast beats. Su interpretación destaca especialmente por la variedad de recursos y por una pegada que aporta un carácter casi mecánico a determinados pasajes, sin limitarse a acompañar los desarrollos de las guitarras. Las guitarras de Zachary Kerr y Zak Denham constituyen otro de los grandes atractivos del trabajo. Sus composiciones combinan riffs cortantes y disonantes con abundantes trémolos, desarrollos melódicos de marcado carácter melancólico y pasajes más expansivos en los que la música adquiere una dimensión atmosférica muy interesante. Conviene destacar la capacidad de la pareja para alternar momentos de enorme densidad instrumental con otros de mayor sensibilidad melódica, como sucede en "Nothing Left To Give" o en los interesantes cambios de orientación que encontramos en "Monuments In Ash". Tampoco faltan incursiones industriales que enriquecen el conjunto y aportan una personalidad bastante particular a su propuesta. En el apartado vocal, Zachary Kerr apuesta por registros desgarrados, ásperos y cargados de rabia, con una interpretación que transmite una sensación constante de desesperación. Sus voces se alejan deliberadamente de cualquier planteamiento ornamental para convertirse en una prolongación del sufrimiento que impregna las composiciones. También encontramos aportaciones vocales de Josh Mumford y la participación de Niels Riethorst en "Death of Man", enriqueciendo los matices de un apartado que resulta especialmente convincente. La producción, realizada por los propios Kerr y Denham, consigue mantener un equilibrio entre la crudeza de las guitarras, la contundencia de la sección rítmica y los diferentes elementos atmosféricos e industriales que aparecen a lo largo del repertorio. "Choke", "Nothing Left To Give" y "Death of Me" representan algunos de los momentos más interesantes de una obra que no siempre busca la velocidad como principal argumento, sino que sabe aprovechar los contrastes y las variaciones de intensidad para construir una atmósfera opresiva. 

En definitiva, Anagnorisis regresan con un trabajo notable, posiblemente uno de los más personales de su trayectoria, en el que demuestran que todavía tienen bastante que ofrecer dentro de una escena extrema cada vez más abierta a la experimentación. "Caregriever" puede resultar emocionalmente agotador, pero precisamente ahí reside buena parte de su atractivo: en transformar una experiencia profundamente dolorosa en un ejercicio de metal extremo honesto, oscuro y visceral. Un regreso muy recomendable que justifica sobradamente la larga espera. (7,6).

Vendetta Records

Bölverk Collective

So Below Productions

1. Choke 07:57

Gods in flesh have failed to sever the likes of me. Infallible, a fairytale father for troubled times. My ivory throne held no more room for a deity. And the severed head of state has no more stake in a life I no longer need. The passions of youth we once revered become the panes of empty glass houses. You’re frail from the weight of stones I cast in judgment of your life. Hollowness and empty words. What once was will no longer be. We both choke. We both choke. The toll of time will pull the wool from your eyes. To consume everything and destroy our lives. The cost of consequence, held like a knife to my throat. My compassion as a gag, until we both choke. The worst of me is the best of me. The worst of me is the best of me. The worst of me is all I have. The toll of time will pull the wool from your eyes. To consume everything and destroy our lives. The cost of consequence, held like a knife to my throat. My compassion as a gag, until we both choke. In your suffering, we both die. It’s your fucking fault—I hate the man I am. It’s your fucking fault—I hate this world. It’s your fucking fault—I hate myself. It’s your fucking fault—I hate everything. We choke. 

2. Nothing Left to Give 04:10

I should have been there to hear the tales of the triumph. To feel the sympathy in their collective loss. To fill my sinking world with the grandness of your design. And use your accomplishments as a rope out of this hell. But now I ruminate, and use them as a noose. The harder I kick, the more time I lose. I spent a lifetime asking for nothing, and calling on no one, in hopes to total demise. Your support was a crutch, that weakened my mind, that poisoned the presence, eating the light inside. I’ve never felt so alone, with so much to lose, having everything but using it as kindling. On this total self-hatred forest fire of our lives, let the comparison burn away like the valor of a man. You’ve existed as a pyre, in funeral and flame. Your memory a beacon of hope to this lost soul. But like a moth to flame, my perception of your light will too be my demise. But now I ruminate, and use them as a noose. The harder I kick, the more time I lose. As a seedling, I plan to grow in the wake of this fire we’ve set to both our lives. With nothing left to give. I will gloat in the image you’ve created. With nothing left to give. None of you know me, for I’ve kept myself close to the chest. Let the sadness and sorrow be replaced. With nothing left to give. With the worst moments we’ve shared together. But you’re all fucking cowards. Nothing left to give. Nothing left to give. I spent a lifetime asking for nothing, and calling on no one, in hopes to total demise. Your support was a crutch, that weakened my mind, that poisoned the presence, eating the light inside. I’ve never felt so alone, with so much to lose, having everything but using it as kindling. To be renounced and not revered is what I deserve, but you’re all fucking cowards.  

3. Nothing Left to Take 03:47

 And in the end, it's always been. Me, against myself.

4. Death of Man 03:24

 Healed scars scratched open, reliving a dream once conquered.

Hold your breath as you sacrifice too much. Giving air to the undeserving.

Was it fate that stopped you, from running away in the face of human decay?

Were you ready to wear this mask, day by day, with every breath you take?

Such a caring soul, but at what cost?

5. Death of Men 04:56  

6. A Living Grave 06:14

No peace since you’ve appeared. The mask you’re forced to wear. We all have our own versions of them now. I can’t walk away, even though I’ve had enough. There’s no escaping from this disease. It consumes you, it controls me. It’s the slow curse that’s draining your life away. It betrayed you, and it’s ruining me. The guilt inside, of watching you… Broken hands shuck the husk of your time, tearing pages from the book of your life. A living grave to reside, as memories become like nails to help crucify. Wallowers of embers past, as we remember your fire. A burden on who? Am I the aggressor here? The catalyst to your misery? Or am I manifesting my own demise? Am I stealing my own time, my youth, my joy, and my life? You’re the victim here, but why do I feel like I’m watching myself die? Eye to eye, staring death in the face. Your fate has become the mirror for my life. In its reflection all I see is disgust staring back at me. It consumes you, it controls me. It’s the slow curse that’s draining your life away. It betrayed you, and it’s ruining me. The guilt inside of watching you be buried alive.  

7. Monuments in Ash 06:11

Everything is in flames. I love the comfort of its warmth. So many versions of this life. The ash encapsulates the fire. My ilk, the ember of its flame. My pain, the coal-black heart of it all. I know the path remains the same. I’ll live, and thrive, and die, and burn. The same, the same, the same, the fucking same. I’d reduce myself to ash. Make past tense out of present time. Soon no more skin to shed. Soon no more life to dread. Everything is in flames. I love the comfort of its warmth. So many versions of this life. The ash encapsulates the fire. My ilk, the ember of its flame. My pain, the coal-black heart of it all. I know the path remains the same. I’ll live, and thrive, and die, and burn. The same, the same, the same, the fucking same. With a self-projected dignity, we all want but don’t deserve. I stand again, with my back against the light. Casting shadows in the night, like a ghost. As we both move further into this irrelevance. Has-beens, to lead funeral processions. Past tense, to speak on present times. Reminders of how deep my hatred runs for those previous lives. And how I’ve failed myself, again, and again, and again for believing this lie. To bury self-hatred under a thousand stones. To cover it in enough dirt to sanctify the weight of its blows. To dance in celebration, at the end of my rope. And as much as I fear retreat, I know, it's time to let go.  

8. Death of Me 04:12

How can I forgive myself for feeling such ill will? How can I forgive myself for being so sick? How can I forgive myself for all this misplaced resentment? For all this hatred, I’m burning myself in effigy, as I’m drowning in guilt. Just. Let. Me. Die.  

  40:51  

Sicarius ‎– God of Dead Roots 21,99 €

Vinyl, LP