Nothing Stays Buried: An Interview with Mirror of Deception
A dolphin skull, a Victorian ghost ship, and Bronze Age bones in a German river. Mirror of Deception’s sixth album knows that nothing stays buried.
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The Hermit Has No God: Interview with Mauna Sol
Romania’s Mauna Sol on “A New Life” and the secular desert at the heart of The Calling.
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(((SIGNALS))) Ambergris – “Bottom Feeder”
A signal comes before the full transmission. (((SIGNALS))) is Doomnation Radio’s space for bands to tell us about their new single and what it points toward: why this song came first, where it lives on the album, and what world it carries inside it. Three questions only, the rest is up to them.
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(((SIGNALS))) Yoyo Club 66 – Horst
A signal comes before the full transmission. Signals is Doomnation Radio’s space for bands to tell us about a new track and what it points toward: why this song came first, where it lives on the record, and what world it carries inside it. Three questions, the rest is up to them.
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Review: Sisyphean – Divergence
Sisyphean’s third album funnels Camus, a medieval emperor’s epithet, and the psychology of manipulation into 42 minutes of dissonant black/death metal from Vilnius. Produced at Poland’s Hertz Studio, Divergence is the sharpest and most daring record yet from a band built around one guitarist’s twelve-year refusal to stop.
Review: Non Est Deus – Blessings and Curses
Noise, the anonymous German musician behind Kanonenfieber and Leiþa, returns with the fifth Non Est Deus full-length. Blessings and Curses is his most chaotic record yet: melodic black metal built for festival crowds that never loses the claustrophobia of a one-man operation, and an indictment of religious coercion that lets the scripture do the talking.
Twenty Minutes in Angers: An Interview with Endeavour
Drummer Simon on studios, influences, and the particular weight of building something heavy in a city that has never asked for it.
Clay and Kabbalah: DER GOLEM (1920)
Germany, 1920. The war is lost, the empire is gone, and a Jewish rabbi is building a protector from mud. Paul Wegener’s Der Golem is a film about what happens when the thing you created to save you stops listening.
Doom From the Wine-Dark Sea: Interview with Catapult The Sun
Athens band Catapult The Sun arrive at their first full-length with a record built from copper engravings, biblical quotation, Greek myth, and live feedback. Guitarist and composer Panagiotis explains how all of it belongs in the same room.
(((SIGNALS))) Fossile – No King
Fossile are a stoner doom band from Finland, and “No King” is their debut single, arriving ahead of their first full-length album, due in May 2026. Lanke answered our three questions.
STATE OF DOOM #18: NEW AND NEWER SOUNDS IN DOOM METAL
STATE OF DOOM #18: NEW AND NEWER SOUNDS IN DOOM METAL
Review: The Ruins of Beverast – Tempelschlaf (2026)
Twenty-three years into one of extreme metal’s most uncompromising discographies, The Ruins of Beverast deliver Tempelschlaf: seven tracks of blackened doom that move closer to the live stage than anything von Meilenwald has attempted before, while remaining as resistant to easy interpretation as the oracular dreams the album takes its name from.
The Devastation: Vienna’s Youngest Are Not Waiting for Permission
Demetra Cartsos is fifteen years old. She fronts a band, writes the songs, manages the bookings, runs the social media, attends regular school and music school in the same week, and still finds time to have nightmares worth writing about. The Devastation, the Vienna occult rock and metal band she founded in February 2025 at fourteen, spent their first year winning competitions, opening for established acts, and playing every serious doom stage the Austrian underground had to offer
Daughters of Darkness: ALUCARDA (1977)
Doom Cinema exists because certain films and certain music share the same blood. They were built in different rooms, by different hands, but they arrive at the same place: enclosed spaces, obsessive bonds, institutions rotting from within, the body as a site of punishment and desire. Alucarda is one of those films, and its roots run deep: Le Fanu’s 1872 Carmilla, Stoker’s 1897 Dracula, de Sade’s Justine from 1791, Goya painting his black visions onto the walls of a house nobody else was meant to enter. Director J.L Moctezuma drew from all of it, fed it through the Panic Movement, and came out the other side with something that belongs at the center of everything doom has ever been about.
