Category: Reviews

Review: Fires in the Distance – Circadian Promise (2026)

Doom is the music of the self alone in the dark. It sits with grief and holds it, slow and low. Twice before, a recorded voice entered one of their songs, a man who looked at his own death and called it a plain ending. Circadian Promise brings in a different voice, one that says the self is part of everything around it, that what you fear losing dissolves back into the whole it came from. A new singer arrives to carry it, and the band that kept to the ground begins to rise.

Review: Godthrymm – Projections

The third album from the Halifax doom band closes a trilogy built on the language of light, and hands its songs from one singer to the next. Strong, heavy and varied, with a handful of moments that lift above the rest.

Review: Litúrgia – I

Litúrgia’s debut album, I, delivers six tracks of Catalan epic doom from Barcelona, sung entirely in their native tongue and rooted in the mythology and landscape of Catalonia. The band perform in hooded pilgrim robes and call themselves the Pilgrim Order of Holy Fear. The model for what they are doing is older than doom metal: Romanesque art, made to teach legends and scripture to a congregation that could not read.

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.

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.

Beyond the Doom: Darvaza – We Are Him (2025)

Released in December 2025 through Terratur Possessions, We Are Him is a visceral reminder of what happens when black metal is played with genuine, predatory intent. Omega handles every instrument with a level of focused aggression that bypasses the typical lo-fi murk, opting instead for a production style that is punchy and massive.

Review: The Howling Void – The Glow Of A Distant Fire (2025)

The April 2025 release of The Glow Of A Distant Fire, the ninth full-length album by The Howling Void, the monolithic, San Antonio, Texas-based one-person project of Ryan Wilson, is less an evolution than a culmination of his symphonic funeral doom style, immediately asserting itself as a standard for the genre. While deeply rooted in the genre’s defining characteristics of glacial pacing and oppressive atmosphere, the album distinguishes itself by leveraging immense soundscapes, aimed for intense philosophical introspection.

Review: Pilgrimage – From Amber to Sun (2025)

Attention! Pilgrimage have unleashed their second album, From Amber to Sun, an overwhelming masterclass in Death-Doom Metal saturation. This cross-border alliance, anchored by musicians from Malta and The Netherlands, constructs sloe, monolithic structures of sound. Titanic low-end frequencies and ice-age tempos establish an immense, terrifying scale.