#Repost from Iwan Ruby Sasmita at #threads
Menurut 𝗞𝗕𝗕𝗜 (Kamus Besar Bahasa Indonesia), Dersik artinya desir atau tiruan bunyi angin yang berdesir. Kata ini merujuk pada suara angin yang berhembus dan bergesek dengan daun atau benda lain.
www.threads.com/@iwanrubys/post/DcK1CuEE0hY
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Characteristic, Onset, Location, Duration, Exacerbation, Relief, Radiation, Associated.
𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗡𝗢𝗠𝗘𝗟𝗢𝗡 𝗡𝗢𝗟𝗘𝗠𝗢𝗡/𝗔𝗢𝗢𝗢 – ユラリユレル/𝗗𝗔𝗬𝗦!
Really this is two singles in one, but it seems silly to break these into two separate releases in the way that they are so tethered to each other. This is the OP and ED for the currently airing summer 2026 anime Grow Up Show: Sunflower Circus [Himawari no Circus-dan], with Nomelon Nolemon contributing the OP, “Yurari Yureru” [“ユラリユレル”], and Aooo contributing the ED, “DAYS!” to the mix. In addition to being the opening and closing to the same anime, and sharing space within the currently booming Japanese rock scene, both groups share member Tsumiki, who is Aooo’s drummer and half of the duo of Nomelon Nolemon.
These two singles also one more thing that is a fun anime trend as of late, the groups involve recorded their OP and ED, but they also cover the other’s OP or ED, respectively. So you end up with both OP and ED sung by both groups. When you combine that with these particularly intertwined acts, the results are a very playful and welcome experiment. In this case, both groups fall into this more modern and playful form of Jrock, and if you enjoy one, you are bound to enjoy the other. To first look at Nomelon Nolemon’s contributions, their original OP, “Yurari Yureru” is an upbeat blast. The guitar melodies and the light synths work hand in hand (along with some horns and electronics) to drive the track ahead, and Miki Maria’s singing hits just the right balance with the instrumentation to make the track bloom. There’s an airy quality in addition to all of this that let’s the track breathe, while keeping the momentum going forward. It’s a great song and a definite highlight. But the same can be said for Aooo’s “DAYS!,” in which the playfulness of the guitar and bass is highlighted as the track opens and that feeling never leaves the song. Like most EDs, it’s a bit more relaxed but still captures an adventurous tone that is going to get your feet tapping. Like Aooo has a tendency to do, you can really focus on the different instruments and pull some real wealth from each performance.
As mentioned, the fun part really lies in hearing each group cover the other’s song, in addition to the single emphasizing their own. Aooo’s version of “Yurari Yureru” gives it a more instrumentally playful version of the song, with their more signature style coming across and giving the song a very distinct Aooo feeling without losing the inventive spirit of the original. Much of the same creativity can be applied to Nomelon Nolemon’s cover of “DAYS!,” which shifts the song into a much more electronics-heavy version of the song, giving it a more immediate and almost danceable feeling to it. There’s a lot of interesting things going on in each of these covers, and listening to the original and cover really showcases how the songs have been successfully transformed into the other group’s sonic toolkit without sacrificing the feeling of the originals.
Aooo has been a treat to hear continually providing anime tie-ins as of late, and Nomelon Nolemon has an equally curious sound that feels at home within the space as well (as noted by their contributions in the last few years). Both groups have a similarly catchy sound that pulls you in and makes you want to hear more of what they have to offer. These singles are a treat if you enjoy either act (or both). Considering both groups as some major up-and-comers, it’s well worth a quick listen. Then check out the enjoyable Grow Up Show if you haven’t already.
———
𝗙𝗿𝗼𝗺:
deadrhetoric.com/reviews/nomelon-nolemon-aooo-%e3%83%a6%e3%83%a9%e3%83%aa%e3%83%a6%e3%83%ac%e3%83…
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
music.apple.com/us/album/%E3%83%A6%E3%83%A9%E3%83%AA%E3%83%A6%E3%83%AC%E3%83%AB-days-ep/6793851911
open.spotify.com/album/0g74c4L2btWbochcpLcy8k
www.deezer.com/us/album/1036084252
music.youtube.com/playlist?list=OLAK5uy_mCRaf7IJrsgYjzkjxHnprA-w-aCRQbIJg
———
#Colderra
#ColderraMusic
#MusicReview
#NomelonNolemon
#Aooo
#ユラリユレル
#DAYS
Really this is two singles in one, but it seems silly to break these into two separate releases in the way that they are so tethered to each other. This is the OP and ED for the currently airing summer 2026 anime Grow Up Show: Sunflower Circus [Himawari no Circus-dan], with Nomelon Nolemon contributing the OP, “Yurari Yureru” [“ユラリユレル”], and Aooo contributing the ED, “DAYS!” to the mix. In addition to being the opening and closing to the same anime, and sharing space within the currently booming Japanese rock scene, both groups share member Tsumiki, who is Aooo’s drummer and half of the duo of Nomelon Nolemon.
These two singles also one more thing that is a fun anime trend as of late, the groups involve recorded their OP and ED, but they also cover the other’s OP or ED, respectively. So you end up with both OP and ED sung by both groups. When you combine that with these particularly intertwined acts, the results are a very playful and welcome experiment. In this case, both groups fall into this more modern and playful form of Jrock, and if you enjoy one, you are bound to enjoy the other. To first look at Nomelon Nolemon’s contributions, their original OP, “Yurari Yureru” is an upbeat blast. The guitar melodies and the light synths work hand in hand (along with some horns and electronics) to drive the track ahead, and Miki Maria’s singing hits just the right balance with the instrumentation to make the track bloom. There’s an airy quality in addition to all of this that let’s the track breathe, while keeping the momentum going forward. It’s a great song and a definite highlight. But the same can be said for Aooo’s “DAYS!,” in which the playfulness of the guitar and bass is highlighted as the track opens and that feeling never leaves the song. Like most EDs, it’s a bit more relaxed but still captures an adventurous tone that is going to get your feet tapping. Like Aooo has a tendency to do, you can really focus on the different instruments and pull some real wealth from each performance.
As mentioned, the fun part really lies in hearing each group cover the other’s song, in addition to the single emphasizing their own. Aooo’s version of “Yurari Yureru” gives it a more instrumentally playful version of the song, with their more signature style coming across and giving the song a very distinct Aooo feeling without losing the inventive spirit of the original. Much of the same creativity can be applied to Nomelon Nolemon’s cover of “DAYS!,” which shifts the song into a much more electronics-heavy version of the song, giving it a more immediate and almost danceable feeling to it. There’s a lot of interesting things going on in each of these covers, and listening to the original and cover really showcases how the songs have been successfully transformed into the other group’s sonic toolkit without sacrificing the feeling of the originals.
Aooo has been a treat to hear continually providing anime tie-ins as of late, and Nomelon Nolemon has an equally curious sound that feels at home within the space as well (as noted by their contributions in the last few years). Both groups have a similarly catchy sound that pulls you in and makes you want to hear more of what they have to offer. These singles are a treat if you enjoy either act (or both). Considering both groups as some major up-and-comers, it’s well worth a quick listen. Then check out the enjoyable Grow Up Show if you haven’t already.
———
𝗙𝗿𝗼𝗺:
deadrhetoric.com/reviews/nomelon-nolemon-aooo-%e3%83%a6%e3%83%a9%e3%83%aa%e3%83%a6%e3%83%ac%e3%83…
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
music.apple.com/us/album/%E3%83%A6%E3%83%A9%E3%83%AA%E3%83%A6%E3%83%AC%E3%83%AB-days-ep/6793851911
open.spotify.com/album/0g74c4L2btWbochcpLcy8k
www.deezer.com/us/album/1036084252
music.youtube.com/playlist?list=OLAK5uy_mCRaf7IJrsgYjzkjxHnprA-w-aCRQbIJg
———
#Colderra
#ColderraMusic
#MusicReview
#NomelonNolemon
#Aooo
#ユラリユレル
#DAYS
𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗙𝗘𝗡 – 𝗘𝗟𝗘𝗠𝗘𝗡𝗧𝗔𝗟 𝗣𝗔𝗥𝗧 𝗢𝗡𝗘: 𝗠𝗢𝗨𝗥𝗡𝗜𝗡𝗚 𝗘𝗔𝗥𝗧𝗛
When some of us hear the genre term called ‘black metal’, things that come to our mind include guys with long hair in corpse paint, wielding weapons on snow-covered grounds of a burnt out church. Maybe even some animal sacrifice to boot. Musically, what comes to mind is that wall of guitars we often associate with the genre, screeching vocals, organic, raw production, and drums that move faster than the speed of lightning. However, those were the old days. Black metal, like a lot of other genres, has evolved, and today it might boast the most variation of any genre of metal. Take Ihsahn or even Oranssi Pazuzu for examples of how far the genre has come, just to name a couple quick ones off the top of my head. Enter UK band Fen. They’ve been around for a while now, forming in 2006, and have explored the boundaries of the genre, even pushing them to their will. Their eighth full-length album is presented here, titled Elemental Part One: Mourning Earth, and their focus is ‘climbing to new artistic height by coming down to earth.’
The East Anglian trio has turned to their ‘roots’ in every sense, by distilling the true essence of what constitutes their sound through everything that they have learned and added in the last two decades. Mourning Earth was recorded live to allow an organic nature to flow, and to permit the natural rhythms of the pieces to develop. Lyrically, FEN sum up their basic idea behind Elemental Part One: Mourning Earth in their own poetic words: ‘The morning mists clearing over the boggy expanses of the fens to reveal another grey, gloom-laden day of sorrow and regret. And at twilight, the slow, sad realization that tomorrow promises only more of the same – tormented by the half-heard whispers of the spirits bound to the soils, our pain continues. And we can only endure.’ With Elemental Part One: Mourning Earth, Fen have reached a new pinnacle in their exciting career and achieved a perfect balance between their black metal foundations and post-black metal innovations.
“Glacier” is first, and the opening tones are gentle, smooth…even dreamy. When clean vocal harmonies join the fold, hues of different colors materialize. Harsh vocals are strong, and add some menace and aggression to the song, but Fen keeps the melody flowing. It’s as if progressive metal and black metal were married and this was their first child…he is dashingly handsome, but always dresses in obsidian. “Tectonic” comes closer the definition of traditional black metal described in the opening paragraph, but it doesn’t stand still. Harsh vocals rage, drums roll like thunder, and riffs fill the air with an acrid smoke, but the bassist keeps a groove moving forward. This sturdier song seems to fill your primal need for something heartier, and it’s on the other end of the spectrum, but I really like the diversity of what I am hearing so far on the album.
“Massif” capitalizes more on mood and atmosphere than anything else, and it broods with shadow and darkness. It also builds tension…starting out as a little bug bite but growing to something you can no longer avoid. The clean vocal harmonies are outstanding, and there are also whispers here and there, to the point where you have to ask yourself…did I hear that? Tension is finally released when harsh vocals enter and the guitar riffs grow in sonority and length. Even as sinister as it tries to be, melodies temper their aggressive advances. “Abyssal Plain” opens with slow, somber tones, and you get the feeling of a rainy day just dragging on endlessly. There are people however who love rainy days…they are called pluviophiles, and there is something magical about it. It might be its cleansing value. Aggressive tones approach with harsh vocals, but again, they hold firm on the melody with two hands gripped tightly around it.
“Barrow” seems to combine the best of what they album has to offer in a balanced manner…progressive elements in the complex guitar riffs and the void of black metal. It’s as aggressive as the band has been so far on the album. It transitions to gentler tones as it winds down, reinforcing the title of the song which means a pile of dirt or stones built over graves, bit it gains a second wind of aggression. “Moor” is the closer, and it’s also the longest track. When I heard the word moor, I get imagery of cold, of rain, and of a wide-open swath of land that has both. Depressive tones echo the title of the song, and it lingers. The early transformation of the song moves it out of despair and into anger, but it digresses again. This is one of the best features of the album…the way the band pushes and pulls you into many directions. It ends with a stark wonder of trying to figure out if it was all a dream or not.
Powerful, yet gentle…cold, yet inviting…somber, yet emotionally alive. These are just some of the paradoxes offered on the album. The take the basics of the black metal genre in a small container into a blacksmith’s workshop, who also reportedly dabbles in alchemy, and they bend, twist, warp, and apply both fire and pressure, until what comes out the other side only vaguely resembles what went in. The foundation of the genre is still there…hard, cold, dark, and aggressive, but their use of ambiance, feeling, melody and progressive elements suggest a higher order of songwriting.
———
𝗙𝗿𝗼𝗺:
deadrhetoric.com/reviews/fen-elemental-part-one-mourning-earth-prophecy-productions/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.metal-archives.com/albums/Fen/Elemental_%28Part_1%3A_Mourning_Earth%29/1441108
music.youtube.com/playlist?list=OLAK5uy_m2uYDFxjMwDEf549xxouqFrRMiAFTICBA
fenuk.bandcamp.com/album/elemental-part-one-mourning-earth
———
#Colderra
#ColderraMusic
#MusicReview
#Fen
#ElementalPartOne
#MourningEarth6 track album
When some of us hear the genre term called ‘black metal’, things that come to our mind include guys with long hair in corpse paint, wielding weapons on snow-covered grounds of a burnt out church. Maybe even some animal sacrifice to boot. Musically, what comes to mind is that wall of guitars we often associate with the genre, screeching vocals, organic, raw production, and drums that move faster than the speed of lightning. However, those were the old days. Black metal, like a lot of other genres, has evolved, and today it might boast the most variation of any genre of metal. Take Ihsahn or even Oranssi Pazuzu for examples of how far the genre has come, just to name a couple quick ones off the top of my head. Enter UK band Fen. They’ve been around for a while now, forming in 2006, and have explored the boundaries of the genre, even pushing them to their will. Their eighth full-length album is presented here, titled Elemental Part One: Mourning Earth, and their focus is ‘climbing to new artistic height by coming down to earth.’
The East Anglian trio has turned to their ‘roots’ in every sense, by distilling the true essence of what constitutes their sound through everything that they have learned and added in the last two decades. Mourning Earth was recorded live to allow an organic nature to flow, and to permit the natural rhythms of the pieces to develop. Lyrically, FEN sum up their basic idea behind Elemental Part One: Mourning Earth in their own poetic words: ‘The morning mists clearing over the boggy expanses of the fens to reveal another grey, gloom-laden day of sorrow and regret. And at twilight, the slow, sad realization that tomorrow promises only more of the same – tormented by the half-heard whispers of the spirits bound to the soils, our pain continues. And we can only endure.’ With Elemental Part One: Mourning Earth, Fen have reached a new pinnacle in their exciting career and achieved a perfect balance between their black metal foundations and post-black metal innovations.
“Glacier” is first, and the opening tones are gentle, smooth…even dreamy. When clean vocal harmonies join the fold, hues of different colors materialize. Harsh vocals are strong, and add some menace and aggression to the song, but Fen keeps the melody flowing. It’s as if progressive metal and black metal were married and this was their first child…he is dashingly handsome, but always dresses in obsidian. “Tectonic” comes closer the definition of traditional black metal described in the opening paragraph, but it doesn’t stand still. Harsh vocals rage, drums roll like thunder, and riffs fill the air with an acrid smoke, but the bassist keeps a groove moving forward. This sturdier song seems to fill your primal need for something heartier, and it’s on the other end of the spectrum, but I really like the diversity of what I am hearing so far on the album.
“Massif” capitalizes more on mood and atmosphere than anything else, and it broods with shadow and darkness. It also builds tension…starting out as a little bug bite but growing to something you can no longer avoid. The clean vocal harmonies are outstanding, and there are also whispers here and there, to the point where you have to ask yourself…did I hear that? Tension is finally released when harsh vocals enter and the guitar riffs grow in sonority and length. Even as sinister as it tries to be, melodies temper their aggressive advances. “Abyssal Plain” opens with slow, somber tones, and you get the feeling of a rainy day just dragging on endlessly. There are people however who love rainy days…they are called pluviophiles, and there is something magical about it. It might be its cleansing value. Aggressive tones approach with harsh vocals, but again, they hold firm on the melody with two hands gripped tightly around it.
“Barrow” seems to combine the best of what they album has to offer in a balanced manner…progressive elements in the complex guitar riffs and the void of black metal. It’s as aggressive as the band has been so far on the album. It transitions to gentler tones as it winds down, reinforcing the title of the song which means a pile of dirt or stones built over graves, bit it gains a second wind of aggression. “Moor” is the closer, and it’s also the longest track. When I heard the word moor, I get imagery of cold, of rain, and of a wide-open swath of land that has both. Depressive tones echo the title of the song, and it lingers. The early transformation of the song moves it out of despair and into anger, but it digresses again. This is one of the best features of the album…the way the band pushes and pulls you into many directions. It ends with a stark wonder of trying to figure out if it was all a dream or not.
Powerful, yet gentle…cold, yet inviting…somber, yet emotionally alive. These are just some of the paradoxes offered on the album. The take the basics of the black metal genre in a small container into a blacksmith’s workshop, who also reportedly dabbles in alchemy, and they bend, twist, warp, and apply both fire and pressure, until what comes out the other side only vaguely resembles what went in. The foundation of the genre is still there…hard, cold, dark, and aggressive, but their use of ambiance, feeling, melody and progressive elements suggest a higher order of songwriting.
———
𝗙𝗿𝗼𝗺:
deadrhetoric.com/reviews/fen-elemental-part-one-mourning-earth-prophecy-productions/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.metal-archives.com/albums/Fen/Elemental_%28Part_1%3A_Mourning_Earth%29/1441108
music.youtube.com/playlist?list=OLAK5uy_m2uYDFxjMwDEf549xxouqFrRMiAFTICBA
fenuk.bandcamp.com/album/elemental-part-one-mourning-earth
———
#Colderra
#ColderraMusic
#MusicReview
#Fen
#ElementalPartOne
#MourningEarth6 track album
𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗦𝗢𝗨𝗟𝗚𝗥𝗜𝗡𝗗 – 𝗔𝗗 𝗣𝗨𝗟𝗖𝗛𝗥𝗔𝗠 𝗠𝗢𝗥𝗧𝗘𝗠
When Lord Heikkinen formed Soulgrind in 1992, it was a rough and raw solo death/doom band. He released two EPs and two LPs between 1993 and 1995 for the now-defunct Malodorous Mangled Innards Records before deciding to invite some band members along for the ride. This would drastically alter Soulgrind’s musical direction towards gothic black/thrash, a decision likely influenced by the introduction of vocalist Tanya Lilith. Lilith and Lord Heikkinen remain the only current band members from the 1997 record, Whitsongs, as long-time drummer and sometimes vocalist Agathon “The Beast” sadly passed away in 2022 from cancer. Soulgrind experimented with harsh vocalists until settling on keyboardist Azhemin in 2001, though they still incorporated a vocalist committee for some time. In 2010, Soulgrind released their ninth full-length album, The Tuoni Pathway, before suddenly disappearing. It took sixteen years until they finally found the time and inspiration to release their tenth album, Ad Pulchram Mortem.
Soulgrind has seen a significant evolution in their sound since the beginnings of their life as a gothic act. Their early material was raw and evil-sounding, with demo-level production quality. The blackened rasps from Lord Heikkinen and Caesar McLaulone were sometimes grating,2 yet there’s no denying a hunger and passion in their music. The early 2000s felt like a period where Soulgrind were trying to figure themselves out, with some inconsistency in identity from release to release. Then something clicked in 2007 with the release of Pakana, and the music grew more cohesive as it began to revolve around Lilith’s melodic touch. The Tuoni Pathway would see this direction improved before Soulgrind’s lengthy hiatus. Ad Pulchram Mortem brings about a mix of the old and the new, continuing the melodic direction of the last two records while still including some of the rough blackened touches of the older material. This sounds like a veteran group that hasn’t lost an edge of its passion despite the long hiatus.
Ad Pulchram Mortem contains gothic touches resembling fellow Helsinki natives Hanging Garden and the melodic black metal of Sojourner. They dabble in thrash on the likes of “Jylhä Metsämies” and “A Whispered Curse Upon the Gale,” as well as Paradise Lost-style death/doom on the terrific “The Origin of the White Serpent.” The deep, grizzled blackened growls of Azhemin delve into a darkness and ugliness that bring a harsh edge to the music—sometimes at the risk of putting off listeners. Soulgrind occasionally gets weird, such as on the sinister “In the Circus of Tuonela,” yet typically the weirdness is offset by the melodic and catchy choruses from Lilith, as exemplified by “Tears of the Earth.” The duo of Lilith and Azhemin proves a boon, as she serves as the foil of beauty to his beast. Her emotionally charged cleans lift the spirits and act as a soothing balm. This culminates in an outpouring of passion and melody on finale, “Into the Shadows of Devotion,” that is simply jaw-dropping.
For a band with a sixteen-year gap between releases, there is, understandably, still some rust to shake out—in this case, struggles with consistency and length. The record generally works better when Lilith is singing, and she sometimes rescues songs that are otherwise just okay, such as “Tears of the Earth” and “As a Narrow Fjord Descends.” Even so, she occasionally has distracting issues with pitch or odd-sounding vocal tones. Perhaps the biggest miss is the mid-album tune, “In the Circus of Tuonela,” which feels out of place with its lack of memorable hooks. The inconsistency goes hand in hand with a need to edit. While Soulgrind has pretty consistently pumped out 45-minute records throughout their career, this one feels a bit YOLO, reaching the 65-minute mark, including an eleven-minute finale. This last song, incredible as it is, would have a greater impact in a tighter package.
Soulgrind write the sort of melodic music that I love to overrate, with choruses that have me swooning and a heavy crunch of guitar and growls that beautifully contrast with the gentler side of the music. Yet Ad Pulchram Mortem feels as if the band was a touch over-enthusiastic, unable to make the edits necessary to create a more cohesive record. In my heart, there is a 4.0 lurking within these 65 minutes. The compositions revolving around Lilith as well as her soaring performance are just too good. Now that they have this one under their (onion) belt, I hope Soulgrind can return to the studio and create another work with this level of artistry, but a little more cohesion.
———
𝗙𝗿𝗼𝗺:
www.angrymetalguy.com/soulgrind-ad-pulchram-mortem-review/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
soulgrind.bandcamp.com/album/ad-pulchram-mortem
———
#Colderra
#ColderraMusic
#MusicReview
#Soulgrind
#AdPulchramMortem10 track album
When Lord Heikkinen formed Soulgrind in 1992, it was a rough and raw solo death/doom band. He released two EPs and two LPs between 1993 and 1995 for the now-defunct Malodorous Mangled Innards Records before deciding to invite some band members along for the ride. This would drastically alter Soulgrind’s musical direction towards gothic black/thrash, a decision likely influenced by the introduction of vocalist Tanya Lilith. Lilith and Lord Heikkinen remain the only current band members from the 1997 record, Whitsongs, as long-time drummer and sometimes vocalist Agathon “The Beast” sadly passed away in 2022 from cancer. Soulgrind experimented with harsh vocalists until settling on keyboardist Azhemin in 2001, though they still incorporated a vocalist committee for some time. In 2010, Soulgrind released their ninth full-length album, The Tuoni Pathway, before suddenly disappearing. It took sixteen years until they finally found the time and inspiration to release their tenth album, Ad Pulchram Mortem.
Soulgrind has seen a significant evolution in their sound since the beginnings of their life as a gothic act. Their early material was raw and evil-sounding, with demo-level production quality. The blackened rasps from Lord Heikkinen and Caesar McLaulone were sometimes grating,2 yet there’s no denying a hunger and passion in their music. The early 2000s felt like a period where Soulgrind were trying to figure themselves out, with some inconsistency in identity from release to release. Then something clicked in 2007 with the release of Pakana, and the music grew more cohesive as it began to revolve around Lilith’s melodic touch. The Tuoni Pathway would see this direction improved before Soulgrind’s lengthy hiatus. Ad Pulchram Mortem brings about a mix of the old and the new, continuing the melodic direction of the last two records while still including some of the rough blackened touches of the older material. This sounds like a veteran group that hasn’t lost an edge of its passion despite the long hiatus.
Ad Pulchram Mortem contains gothic touches resembling fellow Helsinki natives Hanging Garden and the melodic black metal of Sojourner. They dabble in thrash on the likes of “Jylhä Metsämies” and “A Whispered Curse Upon the Gale,” as well as Paradise Lost-style death/doom on the terrific “The Origin of the White Serpent.” The deep, grizzled blackened growls of Azhemin delve into a darkness and ugliness that bring a harsh edge to the music—sometimes at the risk of putting off listeners. Soulgrind occasionally gets weird, such as on the sinister “In the Circus of Tuonela,” yet typically the weirdness is offset by the melodic and catchy choruses from Lilith, as exemplified by “Tears of the Earth.” The duo of Lilith and Azhemin proves a boon, as she serves as the foil of beauty to his beast. Her emotionally charged cleans lift the spirits and act as a soothing balm. This culminates in an outpouring of passion and melody on finale, “Into the Shadows of Devotion,” that is simply jaw-dropping.
For a band with a sixteen-year gap between releases, there is, understandably, still some rust to shake out—in this case, struggles with consistency and length. The record generally works better when Lilith is singing, and she sometimes rescues songs that are otherwise just okay, such as “Tears of the Earth” and “As a Narrow Fjord Descends.” Even so, she occasionally has distracting issues with pitch or odd-sounding vocal tones. Perhaps the biggest miss is the mid-album tune, “In the Circus of Tuonela,” which feels out of place with its lack of memorable hooks. The inconsistency goes hand in hand with a need to edit. While Soulgrind has pretty consistently pumped out 45-minute records throughout their career, this one feels a bit YOLO, reaching the 65-minute mark, including an eleven-minute finale. This last song, incredible as it is, would have a greater impact in a tighter package.
Soulgrind write the sort of melodic music that I love to overrate, with choruses that have me swooning and a heavy crunch of guitar and growls that beautifully contrast with the gentler side of the music. Yet Ad Pulchram Mortem feels as if the band was a touch over-enthusiastic, unable to make the edits necessary to create a more cohesive record. In my heart, there is a 4.0 lurking within these 65 minutes. The compositions revolving around Lilith as well as her soaring performance are just too good. Now that they have this one under their (onion) belt, I hope Soulgrind can return to the studio and create another work with this level of artistry, but a little more cohesion.
———
𝗙𝗿𝗼𝗺:
www.angrymetalguy.com/soulgrind-ad-pulchram-mortem-review/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
soulgrind.bandcamp.com/album/ad-pulchram-mortem
———
#Colderra
#ColderraMusic
#MusicReview
#Soulgrind
#AdPulchramMortem10 track album
𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗗𝗬𝗠𝗡𝗔 𝗟𝗢𝗧𝗩𝗔 – 𝗩𝗬𝗥𝗔𝗝
The power of storytelling is well-known to Belarusian post-black outcasts Dymna Lotva. Their previous album, The Land Under the Black Wings: Blood, progressed that series through tragic true and folkloric tales, its overt tragedy in this sense bringing the real devastation wracking their native and settled home countries. Vyraj sees Dymna Lotva continue to communicate with stories. Taking its name from the Slavic mythological realm to which both migrating birds and the souls of the dead travel, there’s an explicit parallel with the members’ own emigration as well as themes of personal journey, life, and death. But there’s always been more to Dymna Lotva’s music than their symbolically powerful concepts, and Vyraj makes no exception.
Dymna Lotva already had somewhat of a winning formula in a uniquely executed blend of black, folk, and post-metal. They evolve anyway, bringing in and emphasising further an electronic side that ranges from shimmering, chimelike keys to soft symphonics. It’s never enough to overshadow the metallic and, at its best, amplifies the (melo)drama of the climaxes and adds more layers to the band’s nuanced and emotional sound. This new direction brings with it something of the anthemic, with songs reprising uplifting melodies, stepping into steady sways, and being narrated more often by a duet, if not a chorus of voices. Leading those voices is the force of nature Katsiaryna Mankevich, who once again absolutely kills it with her wrenching screams and solemn classical cleans. The music is more direct, due to all the above as well as a comparatively shorter runtime, with fewer tracks, each of which references the others through recurring motifs.
Vyraj condenses and concentrates Dymna Lotva’s characteristic potency and poignancy, which this time are tinged a touch more with the blush of hope than the blackness of rage. The urgent, cascading melodies ring with a thrilling solidarity (“Zory,” “Viedźmieragina,” “Ustań Za Mianie”) and the mournful soaring solos with bittersweet sadness (“Niama Darohi,” “Return my Coffin Home”). The highlight here, and also the crowning jewel of the album, is the centrepiece “Niama Darohi,” which practically hums with longing for freedom. It’s in these places that the new electronic elements work the most magic, spinning glittering counter-melodies or supporting the climax with subtle strings and fluttering keys. The atmosphere they bring is deepened by the way Dymna Lotva use the dynamics of rhythm and intensity to deepen their compositions and make them still more compelling. Variously whispered, spoken, rasped, screamed lines circulate spells amidst shifting tempos (“Veha,” “Viedźmieragina,” “Niama Darohi”); sung and screamed male and female voices call and respond and join together (“The Boat of Despair,” “Ustań Za Mianie,” “Return my Coffin Home”); and both the graceful lull of cleans and the vicious snarls of harsh vocals move in synchronisation with those of the lead guitars. This also serves to bring the fierceness into sharper focus, through emphasis and contrast alone, or the dramatic turn from this graceful tension into a building explosion of passion and electricity (“Zory,” “Veha,” “Viedźmieragina”).
All of Vyraj has a somewhat magical aura, thanks to the use of (children’s) group vocals and xylophone-esque chimes and ambience amidst the savage or sombre. At its most vibrant, it sings with so much feeling that I long desperately for a lyric sheet and the ability to speak the language(s) these songs are written in. The brightness of these highs also obscures the comparative dimness of the lows, where that fire seems to be missing, and mellowness and ambience win out (“The Boat of Despair,” “Bu Samoje”). This is some feat considering the fact that the overall production seems tailored to the increased electronic emphasis, which presses the beautiful layers together, and so the very aspects that lend Vyraj some new magic also weaken that magic’s power. Just a bit more space would do wonders.
But Dymna Lotva are not ones to fade into the background. They care about their stories and delivering them in a way that forces you to listen. Despite any unevenness, Vyraj has an intangible specialness to it that irresistibly pulls the listener back. This is a lovely, sad, empowering piece of art that deserves more than the length of its runtime to weave its world around you.
———
𝗙𝗿𝗼𝗺:
www.angrymetalguy.com/dymna-lotva-vyraj-review/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
dymnalotva.bandcamp.com/album/vyraj
———
#Colderra
#ColderraMusic
#MusicReview
#DymnaLotva
#Vyraj8 track album
The power of storytelling is well-known to Belarusian post-black outcasts Dymna Lotva. Their previous album, The Land Under the Black Wings: Blood, progressed that series through tragic true and folkloric tales, its overt tragedy in this sense bringing the real devastation wracking their native and settled home countries. Vyraj sees Dymna Lotva continue to communicate with stories. Taking its name from the Slavic mythological realm to which both migrating birds and the souls of the dead travel, there’s an explicit parallel with the members’ own emigration as well as themes of personal journey, life, and death. But there’s always been more to Dymna Lotva’s music than their symbolically powerful concepts, and Vyraj makes no exception.
Dymna Lotva already had somewhat of a winning formula in a uniquely executed blend of black, folk, and post-metal. They evolve anyway, bringing in and emphasising further an electronic side that ranges from shimmering, chimelike keys to soft symphonics. It’s never enough to overshadow the metallic and, at its best, amplifies the (melo)drama of the climaxes and adds more layers to the band’s nuanced and emotional sound. This new direction brings with it something of the anthemic, with songs reprising uplifting melodies, stepping into steady sways, and being narrated more often by a duet, if not a chorus of voices. Leading those voices is the force of nature Katsiaryna Mankevich, who once again absolutely kills it with her wrenching screams and solemn classical cleans. The music is more direct, due to all the above as well as a comparatively shorter runtime, with fewer tracks, each of which references the others through recurring motifs.
Vyraj condenses and concentrates Dymna Lotva’s characteristic potency and poignancy, which this time are tinged a touch more with the blush of hope than the blackness of rage. The urgent, cascading melodies ring with a thrilling solidarity (“Zory,” “Viedźmieragina,” “Ustań Za Mianie”) and the mournful soaring solos with bittersweet sadness (“Niama Darohi,” “Return my Coffin Home”). The highlight here, and also the crowning jewel of the album, is the centrepiece “Niama Darohi,” which practically hums with longing for freedom. It’s in these places that the new electronic elements work the most magic, spinning glittering counter-melodies or supporting the climax with subtle strings and fluttering keys. The atmosphere they bring is deepened by the way Dymna Lotva use the dynamics of rhythm and intensity to deepen their compositions and make them still more compelling. Variously whispered, spoken, rasped, screamed lines circulate spells amidst shifting tempos (“Veha,” “Viedźmieragina,” “Niama Darohi”); sung and screamed male and female voices call and respond and join together (“The Boat of Despair,” “Ustań Za Mianie,” “Return my Coffin Home”); and both the graceful lull of cleans and the vicious snarls of harsh vocals move in synchronisation with those of the lead guitars. This also serves to bring the fierceness into sharper focus, through emphasis and contrast alone, or the dramatic turn from this graceful tension into a building explosion of passion and electricity (“Zory,” “Veha,” “Viedźmieragina”).
All of Vyraj has a somewhat magical aura, thanks to the use of (children’s) group vocals and xylophone-esque chimes and ambience amidst the savage or sombre. At its most vibrant, it sings with so much feeling that I long desperately for a lyric sheet and the ability to speak the language(s) these songs are written in. The brightness of these highs also obscures the comparative dimness of the lows, where that fire seems to be missing, and mellowness and ambience win out (“The Boat of Despair,” “Bu Samoje”). This is some feat considering the fact that the overall production seems tailored to the increased electronic emphasis, which presses the beautiful layers together, and so the very aspects that lend Vyraj some new magic also weaken that magic’s power. Just a bit more space would do wonders.
But Dymna Lotva are not ones to fade into the background. They care about their stories and delivering them in a way that forces you to listen. Despite any unevenness, Vyraj has an intangible specialness to it that irresistibly pulls the listener back. This is a lovely, sad, empowering piece of art that deserves more than the length of its runtime to weave its world around you.
———
𝗙𝗿𝗼𝗺:
www.angrymetalguy.com/dymna-lotva-vyraj-review/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
dymnalotva.bandcamp.com/album/vyraj
———
#Colderra
#ColderraMusic
#MusicReview
#DymnaLotva
#Vyraj8 track album
𝗦𝗶𝗻𝗴𝗹𝗲 𝗮𝗻𝗱 𝗩𝗶𝗱𝗲𝗼 𝗥𝗲𝗹𝗲𝗮𝘀𝗲: 𝗚𝗥𝗘𝗘𝗡 𝗟𝗨𝗡𝗚 – 𝗕𝗟𝗔𝗖𝗞 𝗠𝗔𝗚𝗜𝗖𝗞 𝗥𝗔𝗗𝗜𝗢
GREEN LUNG have released a new single!
The London occult rock outfit have unveiled Black Magick Radio, the latest single to be taken from their upcoming new album, Necropolitan, which is scheduled for release on September 11th via Nuclear Blast Records.
The new track sees the band channelling the spirit of 1960s pirate radio while paying tribute to the history of occult rock, drawing influence from the likes of Lucifer’s Friend and Black Widow and referencing London landmarks such as Le Macabre and The Process Church of the Final Judgement.
Speaking about the new single, the band shares, “Black Magick Radio is our love letter to occult rock itself, and a promise to spread its gospel as widely as we possibly can. All together now… Eko Eko Azarak, Eko Eko Zomelak…”
Necropolitan is set for release on September 11th, 2026 via Nuclear Blast Records. Pre-orders are available now and can be purchased here greenlung.bfan.link/necropolitan
———
𝗙𝗿𝗼𝗺:
distortedsoundmag.com/green-lung-release-new-music-video-for-black-magick-radio/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.youtube.com/watch?v=68hJKOiKGQo
———
#Colderra
#ColderraMusic
#MusicReview
#GREENLUNG
#BlackMagickRadio
GREEN LUNG have released a new single!
The London occult rock outfit have unveiled Black Magick Radio, the latest single to be taken from their upcoming new album, Necropolitan, which is scheduled for release on September 11th via Nuclear Blast Records.
The new track sees the band channelling the spirit of 1960s pirate radio while paying tribute to the history of occult rock, drawing influence from the likes of Lucifer’s Friend and Black Widow and referencing London landmarks such as Le Macabre and The Process Church of the Final Judgement.
Speaking about the new single, the band shares, “Black Magick Radio is our love letter to occult rock itself, and a promise to spread its gospel as widely as we possibly can. All together now… Eko Eko Azarak, Eko Eko Zomelak…”
Necropolitan is set for release on September 11th, 2026 via Nuclear Blast Records. Pre-orders are available now and can be purchased here greenlung.bfan.link/necropolitan
———
𝗙𝗿𝗼𝗺:
distortedsoundmag.com/green-lung-release-new-music-video-for-black-magick-radio/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.youtube.com/watch?v=68hJKOiKGQo
———
#Colderra
#ColderraMusic
#MusicReview
#GREENLUNG
#BlackMagickRadio
GREEN LUNG – Black Magick Radio (OFFICIAL MUSIC VIDEO)
www.youtube.com
The new single Black Magick Radio is out now: greenlung.bfa… 𝗦𝗶𝗻𝗴𝗹𝗲 𝗮𝗻𝗱 𝗩𝗶𝗱𝗲𝗼 𝗥𝗲𝗹𝗲𝗮𝘀𝗲: 𝗚𝗥𝗔𝗩𝗘𝗬𝗔𝗥𝗗 – 𝗔 𝗠𝗘𝗔𝗡𝗦 𝗧𝗢 𝗔𝗡 𝗘𝗡𝗗
One of the most distinctive and revered forces in modern rock music, Sweden’s very own Graveyard, are back with a brand new single, “A Means To An End,” the first glimpse at their 7th studio album Fever, which will be released on October 9 worldwide on Nuclear Blast Records.
Arriving three years after the gloomier, introverted Six, Graveyard are literally turning up the heat by delivering a sonic experience that is drenched in fuzz and distortion, sporting massive Sabbath-ian grooves on opener “Back From The Grave,” CCR fuelled grandeur on “Time To Tell” and straight-forward, hard hitting rock on “Room Tempered,” “Tongue Tied” and “Means To An End.” Formed in 2006, the band collectively emphasizes the fierce spirit of the album.
With Fever, the band returns to the forefront of the scene with a noticeably heavier, more direct sound. They’ve entrusted the mixing duties to Pelle Gunnerfeldt who is widely renowned for capturing the ferocious energy of bands such as The Hives, Refused, and recently Viagra Boys whereas mastering was handled by Robin Schmidt at 24-96 Mastering. Amidst its sheer drive, Graveyard retained the undeniable, blues-soaked soul that originally defined their breakthrough album, Hisingen Blues, on slower songs like album closer “Dead Note” yet with a good dose of fiery anger.
After the fairly subtle, mysterious art on Six, Graveyard went for a striking visual approach on Fever relying on acclaimed Dutch artist Maarten Donders who cooperated with the band on their split 7” with Goat, and whose work has been prominently showcased at cult festival Roadburn, featuring designs for more than 50 artists, ranging from Acid King to legendary Frank Zappa.
With two number-one albums in Sweden already to their name, Graveyard will initiate the touring cycle with a co-headline run through Scandinavia with Blues Pills to properly celebrate the release of Fever, followed by Europe/UK wide touring and festivals in 2027.
Brace for impact, Graveyard came back from the grave and they caught a Fever.
Stream “A Means To An End” here graveyard.bfan.link/a-means-to-an-end and find the music video below.
Fever physical formats:
– LP Black (Gatefold)
– LP Oxblood (Gatefold)
– LP Transparent Orange (Gatefold) Ltd. Sweden Exclusive
– LP Coke Bottle Green / Black Marbled (Gatefold) Ltd. EU & US NB Mailorder Exclusive
– LP Transparent Blue, Red, Yellow Twister (Gatefold) Ltd. EU NB Mailorder Exclusive
– Jewelcase CD
Pre-order/pre-save here graveyard.bfan.link/fever
———
𝗙𝗿𝗼𝗺:
bravewords.com/news/graveyard-release-stomping-new-single-a-means-to-an-end-official-music-video/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.youtube.com/watch?v=JQ3FnW1CO2I
———
#Colderra
#ColderraMusic
#MusicReview
#GRAVEYARD
#AMeansToAnEnd
One of the most distinctive and revered forces in modern rock music, Sweden’s very own Graveyard, are back with a brand new single, “A Means To An End,” the first glimpse at their 7th studio album Fever, which will be released on October 9 worldwide on Nuclear Blast Records.
Arriving three years after the gloomier, introverted Six, Graveyard are literally turning up the heat by delivering a sonic experience that is drenched in fuzz and distortion, sporting massive Sabbath-ian grooves on opener “Back From The Grave,” CCR fuelled grandeur on “Time To Tell” and straight-forward, hard hitting rock on “Room Tempered,” “Tongue Tied” and “Means To An End.” Formed in 2006, the band collectively emphasizes the fierce spirit of the album.
With Fever, the band returns to the forefront of the scene with a noticeably heavier, more direct sound. They’ve entrusted the mixing duties to Pelle Gunnerfeldt who is widely renowned for capturing the ferocious energy of bands such as The Hives, Refused, and recently Viagra Boys whereas mastering was handled by Robin Schmidt at 24-96 Mastering. Amidst its sheer drive, Graveyard retained the undeniable, blues-soaked soul that originally defined their breakthrough album, Hisingen Blues, on slower songs like album closer “Dead Note” yet with a good dose of fiery anger.
After the fairly subtle, mysterious art on Six, Graveyard went for a striking visual approach on Fever relying on acclaimed Dutch artist Maarten Donders who cooperated with the band on their split 7” with Goat, and whose work has been prominently showcased at cult festival Roadburn, featuring designs for more than 50 artists, ranging from Acid King to legendary Frank Zappa.
With two number-one albums in Sweden already to their name, Graveyard will initiate the touring cycle with a co-headline run through Scandinavia with Blues Pills to properly celebrate the release of Fever, followed by Europe/UK wide touring and festivals in 2027.
Brace for impact, Graveyard came back from the grave and they caught a Fever.
Stream “A Means To An End” here graveyard.bfan.link/a-means-to-an-end and find the music video below.
Fever physical formats:
– LP Black (Gatefold)
– LP Oxblood (Gatefold)
– LP Transparent Orange (Gatefold) Ltd. Sweden Exclusive
– LP Coke Bottle Green / Black Marbled (Gatefold) Ltd. EU & US NB Mailorder Exclusive
– LP Transparent Blue, Red, Yellow Twister (Gatefold) Ltd. EU NB Mailorder Exclusive
– Jewelcase CD
Pre-order/pre-save here graveyard.bfan.link/fever
———
𝗙𝗿𝗼𝗺:
bravewords.com/news/graveyard-release-stomping-new-single-a-means-to-an-end-official-music-video/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.youtube.com/watch?v=JQ3FnW1CO2I
———
#Colderra
#ColderraMusic
#MusicReview
#GRAVEYARD
#AMeansToAnEnd
GRAVEYARD – A Means To An End (OFFICIAL MUSIC VIDEO)
www.youtube.com
One of the most distinctive and revered forces in modern rock music… My love, as the night falls and the world opens something completely new for us, let my burning heart and wandering soul whisper a prayer just for you. Hold this night and stay with me; don’t go far away. Let us share this intimate moment without any tears, holding onto the silent reason we both share in the dark. Leave everything behind tonight, and let us fly together into a realm where our deepest desires unite. In your arms, time stops killing the day, our souls awaken, and every fading hope is reborn inside our passionate embrace.
COLDERRA – Desire (Official Lyric Video)
youtu.be
For Promotional Use Only© 2019 COLDERRA™. All Rights Reserved.C… 𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗣𝗨𝗟𝗟 𝗧𝗛𝗘 𝗦𝗧𝗥𝗜𝗡𝗚𝗦 – 𝗚𝗥𝗜𝗘𝗙𝗕𝗟𝗢𝗢𝗠
While it’s true that some bands spring from the proverbial womb fully formed, generally speaking mosts bands take a little bit of time to achieve their final form.
Influences both internal and external, issues of place and time, evolving line-ups and changing circumstances, all have an impact on a band’s development, and it’s difficult to predict exactly what confluence of factors will inspire a band to produce their best work.
And in the case of Pull the Strings, it was the shift from a pure solo project – masterminded by multi-instrumentalist Alan Brucke (also of Mind Prisoner) – to a collaborative duo (with the addition of the equally talented Gabriel Yadon) which has ultimately allowed them to achieve their full potential.
The duo themselves are clearly fully aware of this, even going so far as to state that Griefbloom “sounds like an entirely different band”… something which is pretty instantly noticeable as soon as the gloomy glimmer of “Ego Death” comes drifting, dream-like, out of the speakers, and then thoroughly affirmed by the shimmering, sorrowful strains of “From Winter to Winter”.
Reminiscent more of the likes of An Autumn for Crippled Children and/or Agape-era Lantlôs than the DSBM-leaning work of the project’s first two albums, the band’s sound – further enhanced and expanded by the use of extended-range guitars and bolder, more colourful synthetic embellishments – still retains the same raw energy and passion, if not even more so, but simply feels more vital and vibrant, as if the duo’s creative collaboration has freed them both from their self-imposed artistic chains.
Perhaps the most effective and impactful change, however, is in the vocals, which now employ a more anguished and agonised scream to express the album’s core themes of grief, sorrow, and loss, cutting through the likes of the gorgeously gloomy “Thereafter” (where they even shift into a more raggedly melodic, semi-clean howl of despair) and the desolately doomy “Lost Guardian” in an all-too-human display of pain and pathos.
That’s not to say that the guitar work isn’t also of note – the electifying, interwoven tremolo lines and scintillating arpeggiated notes of “Halo Aflame”, for example, combine both power and nuance in equal measure, while the thrumming, tightly-wound riffage and haunting harmonics of cathartic closer “All the Heavens Wept” wouldn’t sound out of place alongside the likes of Anomalie or Agrypnie at their best – it’s more that the changes here are in some ways a little more subtle, though ultimately no less striking in their impact.
Make no mistake, it’s more of a slow-burner than a barn-burner (even if the band aren’t afraid to employ some impressively intense blastbeats when necessary), but it’s also a real grower as a result, and one that rewrads your time and attention by giving back far more than you put into it.
———
𝗙𝗿𝗼𝗺:
www.nocleansinging.com/2026/08/10/pull-the-strings-griefbloom/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
music.youtube.com/playlist?list=OLAK5uy_knSKhgMiiitLglLZ4tGQBBFZroQwKLJFI
pullthestrings.bandcamp.com/album/griefbloom
———
#Colderra
#ColderraMusic
#MusicReview
#PullTheStrings
#Griefbloom9 track album
While it’s true that some bands spring from the proverbial womb fully formed, generally speaking mosts bands take a little bit of time to achieve their final form.
Influences both internal and external, issues of place and time, evolving line-ups and changing circumstances, all have an impact on a band’s development, and it’s difficult to predict exactly what confluence of factors will inspire a band to produce their best work.
And in the case of Pull the Strings, it was the shift from a pure solo project – masterminded by multi-instrumentalist Alan Brucke (also of Mind Prisoner) – to a collaborative duo (with the addition of the equally talented Gabriel Yadon) which has ultimately allowed them to achieve their full potential.
The duo themselves are clearly fully aware of this, even going so far as to state that Griefbloom “sounds like an entirely different band”… something which is pretty instantly noticeable as soon as the gloomy glimmer of “Ego Death” comes drifting, dream-like, out of the speakers, and then thoroughly affirmed by the shimmering, sorrowful strains of “From Winter to Winter”.
Reminiscent more of the likes of An Autumn for Crippled Children and/or Agape-era Lantlôs than the DSBM-leaning work of the project’s first two albums, the band’s sound – further enhanced and expanded by the use of extended-range guitars and bolder, more colourful synthetic embellishments – still retains the same raw energy and passion, if not even more so, but simply feels more vital and vibrant, as if the duo’s creative collaboration has freed them both from their self-imposed artistic chains.
Perhaps the most effective and impactful change, however, is in the vocals, which now employ a more anguished and agonised scream to express the album’s core themes of grief, sorrow, and loss, cutting through the likes of the gorgeously gloomy “Thereafter” (where they even shift into a more raggedly melodic, semi-clean howl of despair) and the desolately doomy “Lost Guardian” in an all-too-human display of pain and pathos.
That’s not to say that the guitar work isn’t also of note – the electifying, interwoven tremolo lines and scintillating arpeggiated notes of “Halo Aflame”, for example, combine both power and nuance in equal measure, while the thrumming, tightly-wound riffage and haunting harmonics of cathartic closer “All the Heavens Wept” wouldn’t sound out of place alongside the likes of Anomalie or Agrypnie at their best – it’s more that the changes here are in some ways a little more subtle, though ultimately no less striking in their impact.
Make no mistake, it’s more of a slow-burner than a barn-burner (even if the band aren’t afraid to employ some impressively intense blastbeats when necessary), but it’s also a real grower as a result, and one that rewrads your time and attention by giving back far more than you put into it.
———
𝗙𝗿𝗼𝗺:
www.nocleansinging.com/2026/08/10/pull-the-strings-griefbloom/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
music.youtube.com/playlist?list=OLAK5uy_knSKhgMiiitLglLZ4tGQBBFZroQwKLJFI
pullthestrings.bandcamp.com/album/griefbloom
———
#Colderra
#ColderraMusic
#MusicReview
#PullTheStrings
#Griefbloom9 track album
Hold this night and stay with me, share this intimate moment without tears. Let our burning hearts and souls unite, flying away together into our deepest desires.
I am deeply sorry for the pain and tears I caused you. Without your smile, everything is gone. Please forgive me, and give me one more chance.
Never dismiss depression and anxiety. Pain in the dark is real; be gentle, stay strong, and always look out for each other.
Though demons storm the heavens, let not thy courage wane. Within thy soul lies an eternal kingdom; rise, valiant knight, and conquer the night.
Stop acting like a fool waiting for a sign in the dark. If you're truly 'Colderra,' quit running like a coward. Burn your spirit, show some real power and catch the future—unless you want to die!
Greetings, dear friends. It's been a long time since we last spoke. We hope the last few seasons have been good for you all. We're back, and we can't wait to reconnect!
Happy metal weekend.. for all of you who still exist in this mortal world!
METAL OPERA Chapter 1: The Melodic Metallers
Mow available on @audiomack
For more information you can contact the following accounts:
@metaloperamedia
@oridistromedia
@sembranix
https://goo.su/wBUAKQ
METAL OPERA Chapter 1: The Melodic Metallers
Sudah tersedia & mengudara di @Bandcamp
Info lanjut mengenai kompilasi ini dan jika ada hal lain yang ditanyakan atau disampaikan bisa menghubungi akun berikut:
@metaloperamedia
@oridistromedia
@sembranix
https://s.id/1YRzA
METAL OPERA Chapter 1: The Melodic Metallers [T-Shirt]
For ordering or purchasing & more information, contact us through various channels available on our website! You can also contact the following accounts:
@metaloperamedia
@oridistromedia
@sembranix
https://goo.su/RFzYE
