Kalmhain Antwerp, Belgium
Kalmhain is an avant-garde, extreme metal project from Kalmthout, Belgium formed in 2019 by F. “Fenrir” Martens, whose music is an amalgamation of black metal, blackened death, blackgaze, and post-metal. Intense melodies, lush, swirling electronic textures, and screamed vocals entwine in its songs ... more
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supported by 8 fans who also own “Crépuscule Aux Champs Des Morts”
The atmosphere of this album is fantastic. Makes you feel like you're knee-deep in the trenches drenched in mud, filth, sweat, and blood. Truly encapsulates the horrors of World War I, and the fact that the lyrics of some of the songs are taken from old war letters really adds to the authenticity. Favorite Track(s): Die Feuertaufe, Grabenlieder
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supported by 6 fans who also own “Crépuscule Aux Champs Des Morts”
Gaerea's first release of "Unsettling Whispers" was in 2018, and since, they dared define a "black metal" niche of their own, they dared to walk a new path and stir shit up a bit in the realm of BM, this album is a masterpiece and a milestone proving that it can be done, provided the band can pull it off, and they did, oh they did! Gloomy, dark, post-BM sludgy whatever, it's Gaerea, and this one belongs in my BC collection, the end.
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supported by 6 fans who also own “Crépuscule Aux Champs Des Morts”
One of the greatest black metal albums ever!
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In The Shadow Of The Lights
by Vanessa Funke / Luroga
featured on Bandcamp Radio Aug 18, 2023
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featured on Bandcamp Radio Aug 4, 2023
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Tokyo band contrast black metal's brutal complexity with shoegaze's abyssal grandeur, resulting in an LP that feels crushing, yet infinite.
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Life has gone on long enough
by NONE
supported by 6 fans who also own “Crépuscule Aux Champs Des Morts”
On ne frappe pas un homme à terre : c'est ce que dit la règle mais NONE a déjà prouvé qu'il ne les suivait pas et si son album éponyme retirait toute perspective de béatitude spirituelle, Life has gone on long enough, son deuxième opus, nous interdit l'accès au bonheur terrestre. La vie n'a aucune substance et la production plus distante le confirme. Le DSBM s'empare de textures sonores blues, mettant en relief une dépression urbaine. Les cris partent en fumées : ne restent que les pleurs...
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