Sepulchre By The Sea/Godseeker/2026 EP Review

  United  Kingdom's  solo  project  Sepulchre  By  The  Sea  has  returned  with  a  new  recording  which  shows  the  music  going  for  an  atmospheric  and  melodic  mixture  of  post  black,  doom,  death  metal,  hardcore  and  shoegaze  and  this  is  a  review  of  his  self  released  2026  ep  "Godseeker"  which  will  be  released  in  November.

  Nature  sounds  start  off  the  ep  before  adding  in  some  melodic  guitar  solos  and  leads  before  going  into  a  very  fast  and  raw  musical  direction  which  also  adds  in  a  great  amount  of  tremolo  picking  and  blast  beats.  Vocals  are  mostly  high  pitched  black  metal  screams  and  all  of  the  musical  instruments  also  have  a  very  powerful  sound  to  them.

  Melodies  are  also  added  into  some  of  the  guitar  riffing  while  all  of  the  tracks  are  also  very  long  and  epic  in  length.  Some  of  the  music  also  mixes  in  the  heaviness  of  death  metal  along  with  the  recording  also  adding  in  a  good  mixture  of  slow,  mid  paced  and  fast  parts  and  the  clean  sections  show  an  influence  of  shoegaze  and  post  rock.

  At  times  the  music  also  gets  very  atmospheric  sounding  along  with  the  slower  sections  of  the  songs  also  adding  in  elements  of  doom  metal,  growls  are  also  utilized  at  times  as  well  as  some  synths  also  being  utilized  briefly  and  the   mid  tempo  sections  of  the  songs.  The  production  sounds  very  professional  while  the  lyrics  cover  the  writings  of  Edgar  Allan 
Poe.  

  In  my  opinion  this  is  another  great  sounding  recording  from  Sepulchre  By  The  Sea  and  if  you  are  a  fan  of  atmospheric  post  black  metal,  you  should c heck  out  this  ep.  RECOMMENDED  TRACK  "Godseeker".  8  out  of  10.

  https://www.facebook.com/sepulchrebytheseamusic      

Fugit/Where Foxes Say Goodnight/2026 Length Review

 

  Italy's  solo  project  Fugit  has  returned  with  a  new  recording  which  shows  the  music  going  for  an  atmospheric  and  psychedelic  mixture  of  post  black,  doom  metal,  blackgaze  and  ambient  and  this  is  a  review  of  his  self  released  2026  album  "Where  Foxes  Say  Goodnight"  which  will b e  released  in  October.  

  Post  rock  style  clean  playing  starts  off  the  album  while  the  recording  also  adds  in  a  lot  of  touches  of  shoegaze.  When  synths  are  utilized  they  also  add  in  elements  of  ambient  as  well  as  taking  the  music  into  more  of  an  atmospheric  direction  and  the  slower  riffing  is  also  very  heavily  rooted  in  doom  metal.

  Vocals  are  mostly  high  pitched  black  metal  screams  while  the  riffs  also  add  in  a  great  amount  of  melody.  When  the  music  speeds  up  a  great  amount  of  tremolo  picking  and  blast beats  can  be  heard  which  also  gives  the  album  more  of  a  raw  feeling  and  a  couple  of  songs  also  add  in a   good  mixture  of  slow,  mid  paced  and  fast  parts.

  All  of  the  musical  instruments  also  have  a  very  powerful  sound  to  them  along  with  a  couple  of  songs  also  adding  in  a  small  amount  of  clear  female  and  male  vocals,  Most  of  the  tracks  are  also  very  long  and  epic  in  length  as  well  as  some  spoken  words  also  being used  at  timrd.  One  song  is  also  an  instrumental  and  the  album  also  has  its  psychedelic  moments,  acoustic  guitars  are  also  added  towards  the  end.  The  production  sounds  very  professional  while  the  lyrics  are  written  in  a  mixture  of  English  and  Italian  and  cover  night  and  distance  with  some  inspirations  from  the  poems  of  Edgar  Allan  Poe  and  the  paintings  of  Hermann  Kaulbach. 

  In  my  opinion  this  is  another  great  sounding  recording  from  Fugit  and  if  you  are  a  fan  of  atmospheric  and  psychedelic  post  black,  doom  metal,  blackgaze  and  ambient, you  should  check  out  this  album.  RECOMMENDED  TRACKS  INCLUDE  "Where  Foxes  Say  Goodnight"  and  "Le  malincomie  dei  mondo".  8  out  of  10.

   https://fugitofficial.bandcamp.com/album/where-foxes-say-goodnight-2026       

  

Sternweh Interview

 1.For those that have never heard of you before, can you tell us a little bit about the solo project?

 

Sternweh is a melodic black metal/dark metal project with subtle folk elements and German lyrics. I also like to call it—half-jokingly—“Dark Manticore.” It’s exactly the kind of music you should listen to at night in the woods, when the stars twinkle mysteriously and you’re not sure who or what is hiding behind the trees.

 

2.A few months back you released your first full length, can you tell us a little bit about the musical style that you went for on the recording?

 

When writing songs, I usually started by strumming out melodies on my acoustic guitar and harmonizing them with the lyrics. As a rule, I was looking for something that sounded melancholic and unfamiliar, but not hopeless. I usually record the vocals clean first to see if they work for me, and only then do I replace them with screams. After that I add the distorted guitars, the heaviness, and the explosiveness, and finally, I spice the whole thing up with clean vocal parts (by me or my wife) and instruments like the kalimba, handpan, or xylophone.

 

 

3.What are some of the lyrical topics and subjects you have explored so far with the music?

 

The songs deal with longing in various ways. “Für das, was war,” for example, is about the longing for a life one once had but can never regain. “Den Tausend Wegen” is dedicated to the paths in life that one once chose not to take. The title track “Sehnflucht” and the song “Mehr als Vestand” explore the desperate desire to break free from everyday life, while “Feenfeuer,” “Ruf aus dem Moor,” and “Sterngeborgen” each trace, in their own way, the search for a mystical dream world.

 

 

4.What is the meaning and inspiration behind the name 'Sternweh'?

 

The band’s name is a combination of the German words “Stern” (star) and “Fernweh” (which translates to “wanderlust,” but includes the word “weh,” meaning pain, so you could also translate it as “starpain”). In general, that’s exactly what Sternweh is all about: the search for something intangible and the gathering of the fleeting shadows and fragments of it that can be found in our world. It thus combines the cosmic despair of living in such a sober reality with the joy of being able to grasp at least a glimmer of magic—which, however, is also linked to a painful longing.

 

 

5.Can you tell us a little bit more about the artwork that is presented on the new album cover?

 

You’re very welcome. In it, you can see a faun setting out to escape the prison of everyday life. You can also see this as a symbol of the mythical creature—the free being that lies within all of us. It flees from one thicket into the next unknown thicket and is visible in this world only for a fleeting moment. Just like us.

 

6.With this project you record most of the music by yourself, are you open to working with a full line up or do you prefer to work solo?

 

Even though there are advantages to working alone, I’d definitely be interested in collaborating with other musicians. For the songs I’m currently working on, I’m also in touch with a musician from another band of mine (Trümmertiefen), who will likely contribute some drum parts. But I’m generally open to working with other musicians, if only because it would open up the possibility of live performances.

 

7.Currently you are unsigned, are you looking for a label or have received any interest?

 

No one has approached me yet. But I'd be open to it if the right offer came along.

 

 

8.On a worldwide level how has the reaction been to your music by fans of black metal?

 

The reactions so far have been mostly positive. Naturally, the music doesn’t go over quite as well with black metal traditionalists and purists, but it definitely resonates with anyone who likes things a bit more melodic and experimental. Fun fact: I’ve even gotten feedback from a non-metalhead who described the music as unbearable noise but praised the quality of the lyrics. Conversely, there are also plenty of people internationally who don’t understand the German lyrics but still find the atmosphere speaks to them. Personally, I find that particularly exciting.

 

 

9.You also work as a horror and fantasy author, can you tell us a little bit more about the material  you have written so far?

 

Among other things, I’m working on two series of novels. One, "Fortgeschritten (“Advanced") revolves around a bored man from a small village who finds a travel brochure that teleports him from one sinister, nightmarish world to the next, while simultaneously awakening in him a delusional desire to see more and more of them. Then there’s "Knochenwald" (“Bone Forest”). The series is about a sinister parallel world that seeps into ours and features, among other things, giant maggots, a necrophiliac police officer, and a supernatural black metal band (“Knochenherz”). The latter has also inspired a music project of my own, which comes across as significantly rawer and more cynical than Sternweh. Aside from that, I regularly write short stories on dark themes such as decay, dystopian visions of the future, or possible apocalypses.

 

 

10.Where do you see yourself heading into as a musician during the future?

 

To be honest, I actually find it interesting not to know exactly right now. I’m sort of looking forward to facing the unknown. But in any case, I want to continue exploring my sound, opening up new sonic worlds, and I’d love to be able to do that with other musicians as well. Everything else will fall into place.

 

11.What are some of the bands or musical styles that have had an influence on your music and also what are you listening to nowadays?

 

I think I was definitely influenced by projects like “Dornenreich,” “Alcest,” “Eisregen,” or “Eden weint im Grab” when it comes to the genre. Then there’s the band “Sentenced”—which, unfortunately, no longer exists—that’s a huge inspiration for me, at least in terms of atmosphere and emotional pain. But I also have a real soft spot for dark and gothic rock. I mainly listen to the German band “ASP,” but also “End of Green” or classics like “Sisters of Mercy" and "Paradise Lost". And in the metal scene, bands like “The Man Eating Tree,” “Katatonia,”, „Nightwish,“ or “Blind Guardian.” In general, my tastes are pretty broad.

 

 

12.Before we wrap up this interview, do you have any final words or thoughts?

 

First of all, I’d like to thank everyone who takes the time to listen to my music. And then, maybe a little message to everyone who’s feeling depressed about their lives and this messed-up state of the world. Don’t give up. There’s more to the world than just this gloom out there. You still have your imagination—and through it, there’s an inner world to explore that doesn’t have to be all about pain and depression. It’s also home to the strange, distant murmur of the fauns.1.For those that have never heard of you before, can you tell us a little bit about the solo project?

 

Sternweh is a melodic black metal/dark metal project with subtle folk elements and German lyrics. I also like to call it—half-jokingly—“Dark Manticore.” It’s exactly the kind of music you should listen to at night in the woods, when the stars twinkle mysteriously and you’re not sure who or what is hiding behind the trees.

 

2.A few months back you released your first full length, can you tell us a little bit about the musical style that you went for on the recording?

 

When writing songs, I usually started by strumming out melodies on my acoustic guitar and harmonizing them with the lyrics. As a rule, I was looking for something that sounded melancholic and unfamiliar, but not hopeless. I usually record the vocals clean first to see if they work for me, and only then do I replace them with screams. After that I add the distorted guitars, the heaviness, and the explosiveness, and finally, I spice the whole thing up with clean vocal parts (by me or my wife) and instruments like the kalimba, handpan, or xylophone.

 

 

3.What are some of the lyrical topics and subjects you have explored so far with the music?

 

The songs deal with longing in various ways. “Für das, was war,” for example, is about the longing for a life one once had but can never regain. “Den Tausend Wegen” is dedicated to the paths in life that one once chose not to take. The title track “Sehnflucht” and the song “Mehr als Vestand” explore the desperate desire to break free from everyday life, while “Feenfeuer,” “Ruf aus dem Moor,” and “Sterngeborgen” each trace, in their own way, the search for a mystical dream world.

 

 

4.What is the meaning and inspiration behind the name 'Sternweh'?

 

The band’s name is a combination of the German words “Stern” (star) and “Fernweh” (which translates to “wanderlust,” but includes the word “weh,” meaning pain, so you could also translate it as “starpain”). In general, that’s exactly what Sternweh is all about: the search for something intangible and the gathering of the fleeting shadows and fragments of it that can be found in our world. It thus combines the cosmic despair of living in such a sober reality with the joy of being able to grasp at least a glimmer of magic—which, however, is also linked to a painful longing.

 

 

5.Can you tell us a little bit more about the artwork that is presented on the new album cover?

 

You’re very welcome. In it, you can see a faun setting out to escape the prison of everyday life. You can also see this as a symbol of the mythical creature—the free being that lies within all of us. It flees from one thicket into the next unknown thicket and is visible in this world only for a fleeting moment. Just like us.

 

6.With this project you record most of the music by yourself, are you open to working with a full line up or do you prefer to work solo?

 

Even though there are advantages to working alone, I’d definitely be interested in collaborating with other musicians. For the songs I’m currently working on, I’m also in touch with a musician from another band of mine (Trümmertiefen), who will likely contribute some drum parts. But I’m generally open to working with other musicians, if only because it would open up the possibility of live performances.

 

7.Currently you are unsigned, are you looking for a label or have received any interest?

 

No one has approached me yet. But I'd be open to it if the right offer came along.

 

 

8.On a worldwide level how has the reaction been to your music by fans of black metal?

 

The reactions so far have been mostly positive. Naturally, the music doesn’t go over quite as well with black metal traditionalists and purists, but it definitely resonates with anyone who likes things a bit more melodic and experimental. Fun fact: I’ve even gotten feedback from a non-metalhead who described the music as unbearable noise but praised the quality of the lyrics. Conversely, there are also plenty of people internationally who don’t understand the German lyrics but still find the atmosphere speaks to them. Personally, I find that particularly exciting.

 

 

9.You also work as a horror and fantasy author, can you tell us a little bit more about the material  you have written so far?

 

Among other things, I’m working on two series of novels. One, "Fortgeschritten (“Advanced") revolves around a bored man from a small village who finds a travel brochure that teleports him from one sinister, nightmarish world to the next, while simultaneously awakening in him a delusional desire to see more and more of them. Then there’s "Knochenwald" (“Bone Forest”). The series is about a sinister parallel world that seeps into ours and features, among other things, giant maggots, a necrophiliac police officer, and a supernatural black metal band (“Knochenherz”). The latter has also inspired a music project of my own, which comes across as significantly rawer and more cynical than Sternweh. Aside from that, I regularly write short stories on dark themes such as decay, dystopian visions of the future, or possible apocalypses.

 

 

10.Where do you see yourself heading into as a musician during the future?

 

To be honest, I actually find it interesting not to know exactly right now. I’m sort of looking forward to facing the unknown. But in any case, I want to continue exploring my sound, opening up new sonic worlds, and I’d love to be able to do that with other musicians as well. Everything else will fall into place.

 

11.What are some of the bands or musical styles that have had an influence on your music and also what are you listening to nowadays?

 

I think I was definitely influenced by projects like “Dornenreich,” “Alcest,” “Eisregen,” or “Eden weint im Grab” when it comes to the genre. Then there’s the band “Sentenced”—which, unfortunately, no longer exists—that’s a huge inspiration for me, at least in terms of atmosphere and emotional pain. But I also have a real soft spot for dark and gothic rock. I mainly listen to the German band “ASP,” but also “End of Green” or classics like “Sisters of Mercy" and "Paradise Lost". And in the metal scene, bands like “The Man Eating Tree,” “Katatonia,”, „Nightwish,“ or “Blind Guardian.” In general, my tastes are pretty broad.

 

 

12.Before we wrap up this interview, do you have any final words or thoughts?

 

First of all, I’d like to thank everyone who takes the time to listen to my music. And then, maybe a little message to everyone who’s feeling depressed about their lives and this messed-up state of the world. Don’t give up. There’s more to the world than just this gloom out there. You still have your imagination—and through it, there’s an inner world to explore that doesn’t have to be all about pain and depression. It’s also home to the strange, distant murmur of the fauns.

https://sternweh.bandcamp.com/album/sehnflucht

https://open.spotify.com/album/0QG8BAALVpdJEO7k4694Iq

In Luna Interview

1.Can you give us an update on what has been going on with the musical project since the recording of the new album?

Hey, this is Uruksoth. Well, since 2015, when our first album came out, as well as the split we released with Psychonaut 4, Vanhelga, and Offdrykja. In Luna had basically been on hold when it came to writing new music. It wasn’t until around 2020 that we started working on what would eventually become our new album, which is finally coming out now.

2.In October you have a new album coming out, musically how does it differ from the stuff you have released in the past?

Musically, when it came to writing the album, both in terms of the music itself and the lyrics and vocals, there wasn’t really a huge difference. It was more of a natural continuation of what we had already recorded. The most noticeable difference in terms of the recording process is that, on our first two releases—the debut album and the split we put out—the drums were programmed by Auka. This time, however, we had the collaboration of Diego Mota from Gaerea, who joined us as a session musician to record the drums for the new album.

3.From 2015 to 2026 there was no music being released, can you tell us a little bit more about the long wait in between releases?

To be honest, we didn’t really feel the need to record anything new in the years that followed, so we decided to let the band rest until we had a clear intention of recording something new. We didn’t want to record just for the sake of recording something. We wanted it to be something meaningful for us, something that we genuinely felt was important and could bring something to the project. We wanted to reach that point where we could say, “Now is the right time to record these new ideas we have.” On my side, I’ve also been focused on other bands I’m currently involved with or have been involved with, working on various recordings and albums. If I remember correctly, we started the recording process towards the end of 2020. Since then, we’ve been working on it without any kind of rush or pressure. We’ve taken as much time as we felt we needed, and now, finally, the new album will see the light of day very soon.

4.What are some of the lyrical topics and subjects the band explores with the new album and  also how would you describe your progress as songwriters over the years?

The lyrics in Luna are one of the most important things for us, just as important as the composition of the music. They represent who we are and the message we want to convey. They follow the same path as our earliest recordings, talking about inner emptiness, the darkness that we carry within ourselves, which comes from deep inside us. On this new album, we explore themes such as depression, anxiety, loss, and grief. When it comes to writing the lyrics for In Luna has always been quite easy for me to talk about these subjects, since I put my own personal experiences down on paper, either in a more metaphorical way or in a more explicit manner.

5.Can you tell us a little bit more about the artwork that is presented on the new album cover?

All the graphic design for the new album was done by Fernando Navarro and his design company, Mutta. He’s a very good lifelong friend of mine, and we’ve played together in different extreme metal bands over the years. He was also responsible for the artwork and design of In Luna’s first album. He knows us really well, so he’s very easy to work with. He also knows exactly how I think and what kind of design I might like, so he can basically create something that I already know I’m going to love. It’s a perfect fit for us. As for the album cover, there’s a person on it, and the album is called “The Architecture of Negativity”. The idea is that the human being is the architect—the builder as well as the destroyer—of the negativity and pessimism in each person’s life, whether they experience more or less of it. So, considering the album title, it probably would have been easier to go with something like buildings or a modern cityscape, some urban landscape from any city in the world. But we liked Fernando’s concept much more. He came up with the idea for the album partly after seeing the lyrics I had written, and that’s how this whole concept came together. Then, as for the photographs, some of the photos we have inside the album were actually taken by me.

6.The band members live in Chile and Spain, what impact does the long distance between band members have on the musical style that you play?

Yes, Aukka is Chilean and I’m Spanish, although I’ve been living in Germany for about six years now. Actually, the distance between the two members of the band has never really been an obstacle for us, especially given the times we live in, and even back when we first started. You can easily record an idea at home, send it to me, and then we can go over it together. We can say, “Maybe we could change this part,” or “Let’s repeat this section,” or whatever else we feel needs changing. It’s actually a very easy way of working. And when it comes to recording the album, there’s no problem at all either, because we both have our own recording equipment and everything we need. So, honestly, it’s pretty straightforward. Even though we’re based so far apart, as I said, it’s relatively easy to put all our ideas together and turn them into a new piece of work.

7.So far the band has only done one live show which was in 2017, would the band be open to doing any live shows in the future?

The show we played was a one-off, and we presented it as Iluna’s first and last concert. The organizers of the Iberian Warriors Fest got in touch with us and told us they were interested in having Iluna play at the festival. I told them to give us a little time to think about it, because we had never really considered playing live. The distance between us makes that quite difficult. So we thought about it, and although Aukka unfortunately couldn’t make it to Spain for the show, we decided to go ahead with it as an exclusive date. I also thought it could be something really special for people who liked In Luna and had never had the chance to see us live—to give them that one opportunity to see us in an exclusive show. And regarding your next question, no, we’re not going to play any more concerts. It would feel like we were going back on our word after saying that it was going to be our first and last show. But it really was an unforgettable experience. The audience received us incredibly well, and there were so many people there who had never even heard of us before. Playing at a festival, in a completely packed venue, alongside such great bands, and having the audience respond to us the way they did was honestly amazing. But, as I said, we don’t have any plans to play live again.

8.On the new album toy also have a few quests, can you tell us a little bit more about who they are and their contributions to the recording?

Yes, for the new album we worked with two session musicians for the recording. As I mentioned in an earlier question, Diogo Mota from Gaerea played the drums. We met at a festival where I was playing with one of my other bands, and shortly afterwards I immediately thought of him for the drum recordings. We didn’t want to use programmed drums again. They had worked well for us in the past, but we wanted to take another step forward and achieve a more professional sound this time. Diogo is a session musician and that’s part of what he does professionally, so I asked him if he’d be interested in getting involved with the project. I sent him a few demos, he liked the style of music, and we hired him for the recording. Then, on bass, we have Deimos AF, who is a good friend of mine. We’ve also played together in a band in the past, and he joined us to record the bass tracks. He really brought a very intense sound to the album, as well as some great ideas during the recording process

9.The new album is going to be released on 'Talheim Records'. how would you compare working with this label to other labels you have worked with in the past?

Working with Talheim is actually very easy. I’ve known Mat, the owner, for many years. They co-released the “Urban Negativism” split with OP Records, and that was our first contact with the label. Over the years, Talheim has also released material by another one of my bands, a Post Back Metal band called Korzo. So we already had a good relationship with them, and they’re really easy to work with. They listen to your requests, they come up with their own ideas or suggestions on how to improve things, and there’s always been a very positive response. Both Mat and his whole team do honest, genuinely underground work, and they’re truly committed to the bands they release.

10.On a worldwide level how has the reaction been to your newer music by fans of atmospheric, depressive and post black metal?

At the time I’m answering this interview, there hasn’t been any preview of the new album yet—not a song or even a snippet. The album is coming out in early October, so unfortunately I can’t really say anything about it just yet. What did come out a few weeks ago were two older tracks that we originally released on the “Urban Negativism” split. They’ve basically been reissued and are now available on all the major digital platforms, whereas they weren’t available there before. Talheim has made those two tracks available digitally, so people can finally listen to them online. As for those two songs, when they were originally released in 2015, along with our debut album—which was also released that year, although it had been recorded a little earlier—the response from the Black Metal and Depressive Black Metal scene was actually quite good. We were a completely new and unknown band at the time, so considering that we’ve always been part of the underground scene, we were really happy with the reception. 

Jose Lavin | In Luna: 

11.Where do you see the band heading into musically during the future? 

As for the future, we honestly don’t know ourselves. We’ve recorded this new album and we’re very happy with the result. Maybe this will be our last album, or maybe there’ll be another one. Maybe we’ve already said everything we wanted to say. We just don’t know yet.

12.What are some of the bands or musical styles the band members are currently listening to nowadays?

We listen to all kinds of Extreme Metal and Metal in general. We just like music that’s well made. And by that, I don’t mean that it has to be ultra-complicated or incredibly technical or progressive or anything like that. We just want music that we enjoy and that makes us feel something.  We listen to all kinds of Black Metal, Death metal, Doom… Post Rock and Pos Metal, Soundtracks…And personally, I also listen to a lot of Neofolk and Dark folk and some Heavy Metal classics.  We just love music.

13.Before we wrap up this interview, do you have any final words or thoughts?

Thank you very much for the interview and for your support of the band."

https://tree.tal.hm/@inluna

 

Eusapia Interview

 

1. Can you give us an update on what has been going on with the band since the recording and release of the new EP?

First of all, we really appreciate your interest and want to thank you for taking this time with us. I'm Cleopatra the Alchemist, lyricist, guitar player and vocalist for Eusapia. It’s always really exciting to finish up a project. This one was kind of emotional to be “done” with, though, so I kinda sat and let it sink in for a little while. But we aren’t really the type of musicians to sit around for very long, so we’re currently finishing up recording our next two EPs and we’re almost done writing our first full-length.

2. In August you released a new EP. Musically, how does it differ from the stuff you have released in the past?

These are actually songs from the past. I wrote both of these tracks prior to our first iteration in 2013, so these are really what kind of started it all for the project. When we changed our name to Eusapia, we decided to close that chapter, and we actually put our coming spring EP, The Grove, on hold for a year so we could complete these tracks.

But the difference between Thin Cities / Desert Festival and our Formless EP is night and day. Somnium wrote Formless as a one-man project, so when he approached me for lyrics, those songs were really almost done. They have so much of Somnium in them, and I think they are really intimate and vulnerable, where Thin Cities / Desert Festival is on a much grander scale.

Bringing our drummer, Deenie, in for this EP really elevated the compositions. He’s hypnotic to watch and really seems to approach the songs as a writer, so I think that alone made a huge difference in the overall presentation.

3. What are some of the lyrical topics and subjects the band explores with the new release, and how would you describe your progress as songwriters over the years?

Thin Cities and Desert Festival are both these sort of explorations of mortality and impermanence. They feel to me like two sides of the same coin.

Thin Cities deals with exploitation of labor, especially in agrarian parts of the world, and the comforts a lot of us in the developed world extract from these people. It’s a pretty blatant critique of capitalism and complacency.

While Desert Festival is the other side of opulence: this beautiful desert festival is filled with magic and people and decadence, but it’s also a sort of funerary rite, or perhaps the best last breath I could give a friend who passed.

Somnium and I performed in a band together prior to working on Somnium and eventually Eusapia, and the environment was really creatively stifling, to the point I really withdrew from playing music after I stopped playing with them. I think something we bring to our process, more so than any other project I've worked on, is trust. Somnium drew me back into music because what he was making was what I wanted to be making for years, and when he reached out to me, he knew what to expect. As a core partnership in writing and producing so far, I think we are probably each other's biggest fans and that makes the process for us so much more simple.

I think one of the biggest changes for us is that we’ve really grown into being a band rather than a collection of people contributing to songs. Early on, there was a lot more separation between who was writing what, but over time we’ve become much more interested in the composition as a whole. Nobody really has sole ownership of a song anymore. We’re all listening for what the song seems to want and trying to serve that rather than worrying about who wrote which part.

Bringing Frank and Chazdyn into the band has definitely pushed that further. They’re both really different players, and having that much more range available to us has opened up a lot of possibilities. Frank can move between guitar, bass, vocals, and whatever else the song needs, and Chazdyn brought a really natural musical chemistry that we didn’t know we were missing until he was there. I think you’ll hear that more clearly on Blinding Light.

I also think I’ve changed a lot as a writer. I’ve become much less interested in trying to force an idea into a song. I still write poetry separately and pull from my notebooks when the music is ready, but I’ve gotten better at listening to the music and figuring out what it’s asking for. A lot of the time it feels less like I’m writing lyrics and more like I’m finding the right words for something that already exists.

And honestly, I think we’re just much more comfortable with ourselves now, we're older and I think that forces some reality on a person. We’re not trying to prove that we can make a certain kind of music. We’re more interested in following an idea wherever it goes, whether that ends up being heavy, quiet, psychedelic, beautiful, ugly, or something we didn’t expect. I think that freedom is probably the biggest change I’ve noticed.

4. You have also recorded music under the name “Somnium.” How does the music of “Eusapia” differ from the stuff you have released under the previous name?

Somnium was really, I think, intended as a one-man project or a pseudonym more than a band. When he reached out to me, I wasn’t really even in Somnium. I was more of a lyricist and a guest vocalist, and I never left. When we started really doing stuff as a team, it was during our Bummer Summer of Covers. It was our way of figuring out how to even make this thing work.

So I think Somnium was sort of a cocoon or a nest for Eusapia to grow in, but the characteristic that really stands out to me is the vulnerability of the songs on Formless.

5. What is the meaning and inspiration behind the name “Eusapia”?

Italo Calvino’s Invisible Cities is a surreal book about Marco Polo and Kublai Khan’s friendship. In the book, Polo describes all of these cities that simply couldn’t exist.

The City of Eusapia is one of these cities where the living and the dead live these mirror lives. Above ground, the living do what we do, but those who pass are taken below ground and positioned doing their work from life. But this tradition has gone on so long that the inhabitants don’t know if the dead are mirroring the living or vice versa.

The entire book is really beautiful. Each city feels like a poem from another world, and it really inspired me in general. But I think the sort of gray space between the living and dead really fascinated me. These transformative margin areas are always special to me.

6. Can you tell us a little bit more about the artwork that is presented on the new EP cover?

Yeah, I really wanted to create this sense of space and the sky. I think to me, there is a sort of desolation that shows itself, but these recordings kind of transition between crushing, dreamy, and almost majestic. There are parts that remind me of flying above the clouds.

To me, from the perspective of someone who is covered by a canopy of leaves most of the time, there is this magic that the desert, even the high desert on the eastern side of the state, has. The sky opens and it’s almost like being on another planet or in a dream.

And since the songs were so old, almost resurrected, I felt like using a desert that felt ancient and mystical, sort of illustrated those feelings.

7. Out of all the shows the band has done so far, which one stands out the most?

We are very selective when it comes to playing live and have only ever really played in our first iteration, so it’s hard to pick one. We’re in a small town that’s pretty removed from the city, so for us it makes sense to approach the globe, or the internet, with a lot more energy.

All of our art, videos, and anything else we share comes directly from us. We don’t hire teams to make our videos or outsource that side of the project. We try to build everything we can ourselves, so the internet has really become an extension of the venue for us. That’s where we’re able to reach people outside of our immediate area and create a world around the music rather than just playing shows in one place.

We’re not opposed to playing live, and there are definitely shows and festivals we’d love to be part of, but we think our creative energy is better spent writing and producing music that we love than playing endless local shows that don’t necessarily feel like a natural fit for what we’re doing.

We love our friends who grew up playing in bands here, and we have a lot of affection for the local scene, but musically we just don’t really have a home locally. So rather than forcing ourselves into something that doesn’t feel right, we’ve been putting that energy into building something of our own online.

8. On a worldwide level, how has the reaction been to your music by fans of post-black metal?

As far as I can tell, it’s been very warm. Before we released this EP, I’d never really done any sort of press or interviews for anything I’ve made, and it’s been like 25 years of making music.

We really just want to make music that we can all still love in ten years, so the fact that anyone outside of our close friends is listening and finding something they can really enjoy has been surreal. I cannot overstate how grateful we are already.

9. When can we expect a full-length, and where do you see the band heading musically in the future?

Yes. We’re nearly finished writing Blinding Light, which is our planned first full-length.

I think that you’re going to see a more realized Eusapia. During the last year we brought on Frank Keeler, a multi-instrumentalist who helped us with the Bummer Summer project. He played bass, guitar, and did some vocals for it. Working with him was really easy, and he’s incredibly versatile, so it was a natural fit to bring him on during the transition. We found Chazdyn through the local community. I don’t even think we were intending to bring him on, but I personally jammed with him and knew it was an amazing fit. So I think you’ll see some diversity, just on that merit alone.

But the material for Blinding Light has a lot more of Somnium’s fingerprint already, some almost droney or dark psychedelic elements that we haven’t really explored yet. And I think lyrically we’ll be really dealing with more suffering and, I guess, dealing with a sort of undeniable but almost incomprehensible realization or truth. 

Right now, though, we have the Mercy and The Grove EPs almost completed. "Relapse," the first single from Mercy, is going to drop on September 21st. The overall texture of that EP is a little more aligned with DSBM and post-rock; the tracks deal directly with alcoholism, mortality, and depression. I try to write in the abstract more often than not, but these songs are a lot more raw and direct. 

The Grove, coming this spring, feels like the natural follow-up to our most recent release, with both the music and the concept approached from a more abstract or esoteric space. Personally, I feel like Mercy is a

slight departure from our usual form, it feels more personal and close-up, and our delivery on those two tracks reflects that shift in perspective well.

10. What are some of the bands or musical styles the band members are currently listening to nowadays?

I personally listen to a lot of Sleep Party People, Mew, Lantlôs, and I’ve been really loving The Angelic Process lately. Somnium and I listen to a lot of toe together, and he recently got me into ISIS. 

Along with Isis and Toe, Somnium has been listening to a lot of Deafheaven and says that his biggest influences are forever Isis, Alice in Chains and Porcupine Tree/Wilson

Deenie has been listening to Intronaut, Cult of Luna, Mastodon, Meshuggah, and Dissection’s Reinkaos “on repeat” lately.

Frank says Enya and Orbital, while Chazdyn has been enjoying Moray Pringle, which he says comes off as a hyper-impressive, instrumental “Tame Impala” vibe with the way a lot of it is a new take on older styles.

11. What are some of your non-musical interests?

I have an enthusiastic interest in spirituality and theology, and lately I’ve been really diving into modern Hermeticist audiobooks. The Magus by Francis Barrett is a really interesting exploration of ceremonial magic from a slightly more modern perspective as it was written in the early 1800s.

I also spend a lot of time in our natural world out here, our area is filled with really incredible old woods that have this sort of sleeping magic that really inspires and informs the sound that we make in a real way. I really enjoy gardening and look at foraging for mushrooms, berries, herbs, teas and other useful plants in the world as an extension of that same love and it gives me reminders of my place here in this life I get to experience today. I have a thing for physical media. I grew up with records in our home, but in the last few years I’ve been more focused on VHS tapes, specifically things ripped from TV, nature documentaries, animation, music tapes, and other things like that.

Frank is a hobby luthier and builds guitars in his off time, he makes really unique stuff. I own a couple, one really great set neck SG, but we're gonna build my next instrument together. 

Chazdyn is also one you'll find outside, he's said "the fog, moss and cascadian scenery" are an obsession of his, noting that he enjoys going into the deeper parts of the woods to lose signal and just detach in the dark and rain. He is a big tinkerer as well, building plugins, tools and workflows for recording, honestly, he spends about as much time fiddling with that stuff as he does actually recording! It's kinda funny. 

12. Before we wrap up this interview, do you have any final words or thoughts?

We just want to thank you for the opportunity to share what we’re doing. It’s been really surreal to have people outside of our immediate circle finding the music and connecting with it.

We’re just trying to make something that feels honest to us, and hopefully we’ll keep making things that are worth finding.

https://www.facebook.com/profile.php?id=61579158317803

Sternweh/Sehnflucht/2026 Full Length Review

  Sternweh  are  a  solo  project  from  Germany  that  plays  an  atmospheric  mixture  of  black  metal  and  shoegaze  and  this  is  a  review  of  his  self  released  2026  album  "Sehnflucht".

  Synths  start  off  the  album  before  going  into a   heavier  direction  while  the  solos  and  leads  are  also  done  in  a  very  melodic  style.  Vocals  are mostly  high  pitched  black  metal  screams  along  with  the  recording  also  adding  in  elements  of  shoegaze  and  all  of  the  musical  instruments  also  have  a  very  powerful  sound  to  them.

  At  times  the  music  also  gets  very  atmospheric  sounding  while  the  riffs  also  add  in  a  great  amount  of  melody.  Clean  playing  and  acoustic  guitars  are  also  utilized  quite  a  bit  throughout  the  recording  along  with  some  of  the  tracks  also  being  very  long  and  epic  in  length.  programmed  beats  are  also  used  quite  a  bit  throughout  the  album  as  well  as  few  songs  also  adding  in a  small  amount  of  clear  female  and  male  vocals  and  each  song  also  sticks  to  a  slower  direction.

  Sternweh  plays  a  musical  style  that  takes  an  atmospheric  form  of  black  metal  and  mixes  it  with  shoegaze  to  create  a  sound  of  his  own.  The  production  sounds  very  professional  while  the  lyrics are  written  in  German  and  cover  cosmic  longing,  escapism  and  emotional  isolation  themes.

  In  my  opinion  Sternweh  is  a  very  great  sounding  atmospheric  mixture  of  black  emtal  and  shoegaze  and  if  you  are  a  fan  of  those  musical  genres,  you  should  check  out  this  solo  project.  RECOMMENDED  TRACKS  INCLUDE  "Mehr  als  Verstand"  "Ruf  aus  dem  Moor"  and  "Sterngeborgen".  8  out  of  10.

  https://sternweh.bandcamp.com/album/sehnflucht

https://open.spotify.com/album/0QG8BAALVpdJEO7k4694Iq  

Eusapia/Thin Cities/Desert Festival/2026 EP Review

  Eusapia  are  a  band  from  Aberdeen,  Washington  that  plays  a  very  depressive  and  dissonant  form  of  post  black  metal  with  elements  of  shoegaze  and  doom  metal  and  this  is  a  review  of  their  self  released  2026  ep  "Thin  Cities/Desert  Festival".

  Clean  playing  starts  off  the  ep  while  the  music  also  adds  in  a  lot  of  shoegaze  elements  and  all  of  the  tracks  are  also  very  long  and  epic  in  length.  The  slower  sections  of  the  recording  show  an  influence  of  doom  metal  along  with  the  vocals  being  mostly  high  pitched  depressive  black  metal  screams  mixed  in  with  a  few  growls.

  All  of  the  musical  instruments  also  have  a  very  powerful  sound  to  them  while  the  solos  and  leads  are  also  done  in a   very  melodic  post  metal  style.  When  the  music  speeds  up  a  great  amount  of  tremolo  picking  and  blast b eats  can  be  heard  which  also  gives  the  recording  more  of  a  raw  feeling.

  Throughout  the  ep  you  can  also  hear  a  good  mixture  of  slow,  mid  paced  and  fast  parts  along  with  some  clear  singing  also  being  used  at  times.  Dissonant  sounding  melodies  are  also  added  into  a  lot  of  the  guitar  riffing  while  one  of  the  tracks  also  introduces  deep  growls  into  the  music  and  the  recording  is  also  very  heavily  rooted  in  the  modern  era  of  the  genre.

  Eusapia  plays  a  musical  style  that  takes  the  depressive,  post  and  dissonant  style  of  black  metal  and  mixes  it  with  doom  metal  and  shoegaze  to  create  a  sound  of  their  own.  The  production  sounds  very  professional  while  the  lyrics  cover  exploitation,  memory  and  personal  loss.

  In  my  opinion  Eusapia  are  a  very  great  sounding  depressive  and  dissonant  post  black  emtal  band  with  elements  of  shoegaze  and  doom  metal  and  if  you  are  a  fan  of  those  musical  genres,  you  should  check  out  this  ep.  RECOMMENDED  TRACK  "Desert  Festival".  8  out  of  10.

  https://eusapiatheband.bandcamp.com/album/thin-cities-desert-festival-ep-3

https://open.spotify.com/album/5NQIoBRXG5l4vO5hZJp1he  

In Luna/The Architecture Of Negativity/Talheim Records/2026 Full Length Review

  In  Luna  are  an  international  band  with  members  from  Chile  and  Spain  that  plays  a  very  atmospheric  and  depressive  form  of  post  black  metal  and  this  is  a  review  of  their  2026  album  "The  Architecture  Of  negativity"  which  will  be  released  in  october  by  Talheim  Records.

  A  very  fast  and  raw  sound  starts  off  the  album  along  with  a  great  amount  of  tremolo  picking  and  blast  beats. When  guitar  solos  and  leads  are  utilized  they  are  also  done  in  a  very  melodic  post  metal  style  while  the  vocals  are  mostly  high  pitched  depressive  black  metal  screams  and  all  of  the  tracks  are  very  long  and  epic  in  length.

  Throughout  the  album  you  can  also  hear  a  good  mixture  of  slow,  mid  paced  and  fast  parts  while  the  music  also  has  its  atmospheric  moments.  Clean  playing  is  also  added  into  certain  sections  of  the  recording  along  with  elements  of  shoegaze  also  being  utilized  at  times  and  all  of  the  tracks  are  also  very  heavily  rooted  in  the  modern  era  of  the  genre,  clear  singing  is  also  added  towards  the  end.

  In  Luna  plays  a  musical  style  that  takes  an  atmospheric  and  depressive  form  of  post  black  metal  and  mixes  it  with  shoegaze  to  create  a  sound  of  their  own.  The  production  sounds  very  professional  while  the  lyrics  cover  intimate,  pessimistic  and  deeply  personal  themes.

  In  my  opinion  In  Luna  are  a  very  great  sounding  atmospheric  and  depressive  post  black  metal  band  and  if  you  are  a  fan  of  this  musical  genre,  you  should  check  out  this  recording.  RECOMMENDED  TRACKS  INCLUDE  "See  Disappear"  and  "The  Empty  Smile".  8  out  of  10.

  https://tree.tal.hm/@inluna 

Einvigi/Latent/2026 Full Length Review

  Einvigi  are  a  band  from  Finland  that  has  had  music  reviewed  before  in  this  zine  and  on  this  recording  goes  for  a  very  modern  style  of  post  black  metal  and  this  is  a  review  of  their  self  released  2026  album  "Latent"  which  will  be  released  in  October.

  Clean  playing  starts  off  the  album  and  also  adds  in  elements  of  post  rock  while  you  can  also  hear  all  of  the  musical  instruments  that  are  present  on  the  recording.  Melodies  are  also  added  into  some  of  the  guitar  riffing  and  the  faster  sections  of  the  songs  also  add  in  a  lot  of  tremolo  picking  and  blast  beats  which  also  gives  the  music  more  of  a  raw  feeling.

  Vocals  are  mostly  high  pitched  black  metal   screams  mixed  in  with  a  few  whispers  and  growls  while  the  solos  and  leads  are  also  done  in  a  very  melodic  style.  Throughout  the  album  you  can  also  hear  a  good  mixture  of  slow,  mid  paced  and  fast  parts  along  with  some  tracks  also  adds  in  a small  amount  of  clear  singing.

  Touches  of  shoegaze  can  also be  heard  at  times  as  well  as  one  song  also  adding  in  a  brief  use  of  synths  along  with the  album  also  having  its  atmospheric  moments  and  the  music  is  very  heavily  rooted  in  the  modern  era  of  the  genre,  a  couple  of  tracks  are  also  long  and  epic  in  length.  The  production  sounds  very  professional  while  the  lyrics  cover  nature  themes.   

  In  my  opinion  this  is  another  great  sounding  recording  from  Einvigi  and  if  you  are  a  fan  of  post  black  metal,  you  should  check  out  this  album.  RECOMMENDED  TRACKS  INCLUDE  "Resistance"  "Waltz  of  Destruction"  and  "Latent".  8  out  of  10.

    https://www.facebook.com/Einvigi/

Dvorac/On The Wings Of Unknown/Der neue Weg Productions/2023 Full Length Review

 

  Dvorac  are  a  solo  project  from  Croatia  that  plays  a  very  progressive  form  of  black  metal  and  this  is  a  review  of  his  2023  album  "On  The  Wings  Of  Unknown"  which  was  released  by  Der  neue  Weg  Productions.

  Dark  soundscapes  start  off  the  album  along  with  some  clean  playing  and  synths  a  few  seconds  later  which  also  takes  the  music  into  more  of  a  progressive  direction  before  going  into  a  heavier  direction.  Melodies  are  also  added  into  some  of  the  guitar  riffing  while  the  vocals  are  mostly  high  pitched  black  metal  screams.

  When  guitar  solos  and  leads  are  utilized  they  are  also  done  in  a  very  melodic  style  while  a  great  portion  of  the  tracks  are  also  very  long  and  epic  in  length.  The  album  also  has  its  atmospheric  moments  and  when t he  music  speeds  up  a  great  amount  of  blast beats  and  tremolo  picking  can  be  heard  which  also  gives  the  songs  more  of  a  raw  feeling.

  Acoustic  guitars  are  also  utilized  at  times  along  with  the  songs  also  adding  in  a  good  mixture  of  slow,  mid  paced  and  fast  parts.  Touches  of  shoegaze  and  post  rock  are  also  added  into  certain  sections  of  the  album.  The  production  sounds  very  dark  and  raw  while  the  lyrics  cover  death  and  nature  themes. 

  In  my  opinion  Dvorac  are  a  very  great  sounding  atmospheric  and  progressive  black  metal  solo  project  and  if  you  are  a  fan  of  this  musical  genre,  you  should  check  out  this  album.  RECOMMENDED  TRACKS  INCLUDE  "Black  Wall  Of  Sleep"  and  "Witch  of  The  Moon".  8  out  of  10.

https://dvorac.bandcamp.com/album/on-the-wings-of-unknown

Moorah/The Beast Called Ego/Art Gates Records/2026 Full Length Review

  Moorah  are  a  band  from  Czechia  that h as  been  featured  before  in  this  zine  and  on  this  recording  plays  a  very  ritualistic  and  apocalyptic  form  of  black  metal  and  this  is  a  review  of  their  2026  album  "The  beast  Called  Ego"  which  will b e  released  in  November  by  Art  Gates  Records.

  Synths  start  off  the  album  before  going  into  a  heavier  direction  while  the  riffs  also  add  in  a  decent  amount  of  melody.  All  of  the  musical  instruments  also  have  a  very  powerful  sound  to  them  along with  a  great  portion  of  the  songs  also  being  very  long  and  epic  in  length  and  the  vocals  are  mostly  high  pitched  black  metal  screams.

  When  the  music  speeds  up  a  great  amount  of  tremolo  picking  and  blast b eats  can  be  heard  which  also  gives  the  album  more  of  a  raw  feeling  with  some  old  school  touches.  Throughout  the  recording  you  can  also  hear  a  good  mixture  of  slow,  mid  paced  and  fast  parts  and  the  solos  and  leads  add  in  more  of   post  metal  style.

 Clean  playing  can  also  be  heard  at  times  along  with  a  couple  of  tracks  also  adding  in  a  small  amount  of  spoken  words.  Some  of  the  music  also  adds  in  influences  of  post  punk  and  blackgaze  which  also  takes  the  album  into  a  more  modern  direction,  clear  singing  can  also  be  heard  briefly.  The  production  sounds  very  professional  while  the  lyrics  cover  faith  and  destiny  within  an  apocalyptic  world.

  In  my  opinion  this  is  another  great  sounding  recording  from  Moorah  and  if  you  are  a  fan  of  ritualistic  and apocalyptic  black  metal,  you  should  check  out  this  album.  RECOMMENDED  TRACKS  INCLUDE  "Left  Hand  Of  Darkness"  and  "Demon  za  krkem".  8  out  of  10.

https://artgatesrecords.com/artists/moorah   

Cairriss Interview

1. For those that have never heard of you before, can you tell us a little bit about the band?

We are Cairiss, we play Blackgaze. We formed the band when we were at University together about 13 years ago.

2. In July you have your first full length album coming out, musically how does it differ from your previous ep and demo?

It’s a fair bit more progressive and refined than the EP, and the lyrical themes are more personal and emotional.

3. This is also going to be your first release in 10 years, can you tell us a little bit more about the long wait in between releases?

Primarily just life got in the way really, but many of us are also in other projects that have been busy during the gap (Mountainscape and Asira).

4. What are some of the lyrical topics and subjects the band has explored over the years with the music?

Our lyrics primarily deal with different aspects of trauma and trauma recovery.

5. What is the meaning and inspiration behind the name 'Cairiss'?

At the time we didn’t think it would gain any traction, so we pretty much just made up a word that we thought sounded interesting and fitted the music!

6. Can you tell us a little bit more about the artwork that is presented on the new album cover?

It was all the work of our vocalist Freya Brown, she wanted to capture the artistic essence of “Wilderness” and the meshed connectivity between different aspects of the psyche.

7. What are some of the best shows that the band has played so far and also how would you describe your stage performance?

Probably the best shows we’ve had are Warhorns Winterfest and Atmosfest! We’d like to think our stage performance is very emotive and deeply personal. We always love to chat to everyone afterwards!

8. Do you have any touring or show plans once the new album is released?

We intend to play some UK shows in the latter half of the year and we have some plans in the works.

9. Currently you are unsigned, are you looking for a label or have received any interest?

We’re definitely open to the right label helping us in the future! We have received some interest from a few labels but we felt we were in a better position to release independently this time.

10. On a worldwide level how has the reaction been to your music by fans of post black metal and blackgaze?

We have had a fairly consistent underground following since Disgraced was released that have always been amazing, but we’ve been very pleasantly surprised by how widely in the scene it’s reached!

11. Where do you see the band heading into musically during the future?

We have ideas in the works for more music which builds upon the same themes and feelings we’ve always drawn from!

12. What are some of the bands or musical styles that have had an influence on your music and also what are you listening to nowadays?

We’re heavily inspired by Blackgaze, Post-metal, pretty much all branches of Extreme Metal, alongside prog rock, jazz, classical, film & video game score and pretty much anything else in-between! These days we’re enjoying Ethel Cain, Angine De Poitrine, Corey Wong and reminiscing with Linkin Park.

13. Before we wrap up this interview, do you have any final words or thoughts?

Thank you for having us!

https://linktr.ee/cairiss
https://www.instagram.com/cairiss_band/
https://www.facebook.com/Cairiss/
https://www.youtube.com/@CairissUK
https://cairiss.bandcamp.com/

https://open.spotify.com/artist/2d1UsJ7a6PT3hN9yb87bNg?si=J5aT6TdhSDyqJEmmq9AQxw 

As Bright As The Stars/Celestial Ascension/Flowing Downwards/2026 Full Length Review

  As  Bright  As  The  Stars  are  a  solo  project  from  Indonesia  that  plays  an  atmospheric  mixture  of  post  black  metal  and  blackgaze  and  this  is  a  review  of  his  2026  album  "Celestial  Ascension"  which  will  be  released  in  July  by  Flowing  Downward. 

  Atmospheric  sounding  synths  start  off  the  album  and  also  mixes  in  with  the  heavier  sections  of  the  songs  at  times.  When  clean  playing  is  utilized  it  also  brings  in  elements  of  shoegaze  along  with  a  good  portion  of  the  songs  also  being  very  long  and  epic  in  length  and  the  riffs  also  add  in  a  lot  of  melody.

  All  of  the  musical  instruments  also  have  a  very  powerful  sound  to  them  while  the  solos  and  leads  are  also  done  in  a  very  melodic  post  metal  style.  Clear  singing  is  also  utilized  at  times  along  with  the  harsh  vocals  being  high  pitched  black  metal  screams  and  blast b eats  are  added  into  the  faster  sections  of t he  album.

  When  tremolo  picking  is  added  into  the  fast  riffing  they  also  give  the  music  more  of  a  raw  feeling  along  with  the  album  also  adding  in  a  good  mixture  of  slow,  mid  paced  and  fast  parts  as  well  as  a  couple  of  tracks  also  adding  in  a  small  amount  of  angry  shouts  and  spoken  words.  The  production  sounds  very  professional  while  the  lyrics  cover  spirituality  and  transcendence  themes.   

  In  my  opinion  As  Bright  As  The  Stars  are  a  very  great  sounding  atmospheric  mixture  of  post  black  metal  and  blackgaze  and  if  you  are  a  fan  of  those  musical  genres,  you  should  check  out  this  solo  project.  RECOMMENDED  TRACKS  INCLUDE  "A  Lost  Shadow"  "Untouched"  and "Celestial  Ascension'.  8  out  of  10.

https://www.metal-archives.com/bands/As_Bright_as_the_Stars/3540454043

https://www.facebook.com/abatsofficial/

https://www.instagram.com/asbrightasthestarsmusic/

   

Cairiss/Wilderness/2026 Full Length Review

  Cairiss  are  a  band  from  the  United  Kingdom  that  plays  an  atmospheric  mixture  of  post  black  metal  and  blackgaze  and  this  is  a  review  of  their  self  released  2026  album  "Wilderness"  which  will  be  released  in  July.

  Clean  playing  starts  off  the  album  while  also  bringing  in  elements  of  post  rock  and  shoegaze  before  going  into  a  heavier  direction.  When  guitar  solos  and  leads  are  utilized  they  are  also  done  in  a  very  melodic  post  metal  style  while  the  music  also  has  its  atmospheric  moments  and  all  of  the  tracks  are  also  very  long  and  epic  in  length.

  Clear  singing  is  also  utilized  quite  a  bit  throughout  the  recording  while  the  harsh  vocals  are mostly  high  pitched  black  metal  screams.   When  the  music  speeds  up  a  great  amount  of  tremolo  picking  and  blast  beats  can  be  heard  which  also  gives  the  album  more  of  a  raw  feeling  and  the  songs  also  have  their  atmospheric  moments.

  Throughout  the  album  you  can  also  hear  a  good  mixture  of  slow,  mid  paced  and  fast  parts  along  with  the  music  also  being  very  heavily  rooted  in  the  modern  era  of  the  genre,  acoustic  guitars  can  also  be  heard  on  a  few  tracks.  The  production  sounds  very  professional  while  the  lyrics  cover  melancholy  and  existential  themes.

  In  my  opinion  Cairiss  are  a  very  great  sounding  atmospheric  mixture  of  post  black  metal  and  blackgaze  and  if  you  are  a  fan  of  those  musical  genres,  you  should  check  out  this  band.  RECOMMENDED  TRACKS  INCLUDE  "Nervosa"  and  "Wildfire".  8  out  of  10.

  https://linktr.ee/cairiss

https://www.instagram.com/cairiss_band/
https://www.facebook.com/Cairiss/
https://www.youtube.com/@CairissUK
https://cairiss.bandcamp.com/
https://open.spotify.com/artist/2d1UsJ7a6PT3hN9yb87bNg?si=J5aT6TdhSDyqJEmmq9AQxw

https://youtu.be/8F4_c4s2AIc?si=jYYgqLiXFsA2c4qD