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AMID, the third album of Berlin based AZKETEM whilst continuing their style known from previous releases, first and foremost, represents a sonically new chapter. Besides keeping with the tradition of christening his albums with a single word starting with the letter a, AMID is also proof that AZKETEM’s mastermind and sole member Azken is still driven to craft melancholic and densely atmospheric Metal.

Yet, while the bleak atmosphere the latest offering’s six tracks wallow in remains pretty much the same, the means by which these are being evoked rather strongly differ from previous efforts. Most strikingly, there’s various elements to be found on the album that are reminiscent of bands like TYPE O NEGATIVE, KATATONIA or even FIELDS OF THE NEPHILIM.

AMID, the third album of Berlin based AZKETEM whilst continuing their style known from previous releases, first and foremost, represents a sonically new chapter. Besides keeping with the tradition of christening his albums with a single word starting with the letter a, AMID is also proof that AZKETEM’s mastermind and sole member Azken is still driven to craft melancholic and densely atmospheric Metal.

Yet, while the bleak atmosphere the latest offering’s six tracks wallow in remains pretty much the same, the means by which these are being evoked rather strongly differ from previous efforts. Most strikingly, there’s various elements to be found on the album that are reminiscent of bands like TYPE O NEGATIVE, KATATONIA or even FIELDS OF THE NEPHILIM.

Rearing its head out of the seemingly endless darkness of the north, Sweden based NATTRADIO are a rather recent born, obscure entity with so far only one full length album to their name. If the strength of their second album The Longest Night is anything to go by NATTRADIO’s obscurity should be over soon, though.

The album is characterised by a sombre and pervasive sense of melancholy that splendidly encapsulates themes of isolation and emotional struggle. Preferably listened to during the night’s darkest hours The Longest Night is a record that gently envelops you.

One of the band’s members by writing the following regarding NATTRADIO’s motives and sound perfectly characterizes the band:
“NATTRADIO was born out of sleepless nights. Every song is written and recorded between 01:00 and 05:00. The songs move through a nocturnal landscape we call Doom Noir – drawing from ’90s Gothic Doom, Darkwave, Ambient and at times, Noir Jazz. The goal is to capture night-time themes. These are stories from the hours after midnight, with grief as the central emotion.”

Despite drawing inspiration from various sources NATTRADIO’s soundscape has certainly most in common with KATATONIA’s era beginning with Discouraged Ones. Especially the singer’s voice sounds strikingly similar to Jonas Renkse. So much so that one can only wonder if it’s actually the KATATONIA singer’s characteristic melancholic voice singing to the sound noir.
The Longest Night stands as an evocative journey through the labyrinth of melancholy, offering listeners a soundscape both immersive and introspective.

Appearing right in time to accompany you on endless strolls during the most melancholic season, we heartily encourage you to do yourself a favour and obtain a copy of this marvellous album!

NATTRADIO is Niklas and Martin, known for collaborations with Anders Fridén (IN FLAMES) & Jonas Renkse (KATATONIA).

Rearing its head out of the seemingly endless darkness of the north, Sweden based NATTRADIO are a rather recent born, obscure entity with so far only one full length album to their name. If the strength of their second album The Longest Night is anything to go by NATTRADIO’s obscurity should be over soon, though.

The album is characterised by a sombre and pervasive sense of melancholy that splendidly encapsulates themes of isolation and emotional struggle. Preferably listened to during the night’s darkest hours The Longest Night is a record that gently envelops you.

One of the band’s members by writing the following regarding NATTRADIO’s motives and sound perfectly characterizes the band:
“NATTRADIO was born out of sleepless nights. Every song is written and recorded between 01:00 and 05:00. The songs move through a nocturnal landscape we call Doom Noir – drawing from ’90s Gothic Doom, Darkwave, Ambient and at times, Noir Jazz. The goal is to capture night-time themes. These are stories from the hours after midnight, with grief as the central emotion.”

Despite drawing inspiration from various sources NATTRADIO’s soundscape has certainly most in common with KATATONIA’s era beginning with Discouraged Ones. Especially the singer’s voice sounds strikingly similar to Jonas Renkse. So much so that one can only wonder if it’s actually the KATATONIA singer’s characteristic melancholic voice singing to the sound noir.
The Longest Night stands as an evocative journey through the labyrinth of melancholy, offering listeners a soundscape both immersive and introspective.

Appearing right in time to accompany you on endless strolls during the most melancholic season, we heartily encourage you to do yourself a favour and obtain a copy of this marvellous album!

NATTRADIO is Niklas and Martin, known for collaborations with Anders Fridén (IN FLAMES) & Jonas Renkse (KATATONIA).

"Neverland", the fourteenth studio album by ULVER is the sound of an escape. A journey into undiscovered lands.

Following three albums – "The Assassination of Julius Caesar" (2017), "Flowers of Evil" (2020), and "Liminal Animals" (2024) – rooted in more traditional song and production structures, "Neverland" marks a new chapter in the revered Oslo band's history.

"With 'Neverland' we embraced a more 'punk' spirit – more dreaming, less discipline – freer, quite simply", the band comments on the creative process behind the album.

Bursts of daybreak synths and whooshes of sound set the atmosphere, before the wolves start digging into the dynamics of ambient calm and anarchic mysticism. Dreamy and transportive textures develop into trippy percussive energies, and as the album unfolds, a lush and vibrant, and at times exotic space opens.

Apart from a few recurring distant voices and vocal chops, "Neverland" is a largely instrumental record, reminiscent of the mood and structure of that place where late '90s IDM sounds met the meandering structures of post-rock.

The ghost of premillennial sample culture surely haunts "Neverland", and some might even hear echoes from earlier acclaimed works like "Perdition City" (2000), or the "Silence" EPs (2001), or more recently "ATGCLVLSSCAP" (2016).

Still, "Neverland" sounds and feels like something else, something fresh in ULVER's continuous journey of perennial reinvention. Pop music from in-between worlds? A sonic hallucination? Or better: a collage of dreams. It's up to you.

"Neverland", the fourteenth studio album by ULVER is the sound of an escape. A journey into undiscovered lands.

Following three albums – "The Assassination of Julius Caesar" (2017), "Flowers of Evil" (2020), and "Liminal Animals" (2024) – rooted in more traditional song and production structures, "Neverland" marks a new chapter in the revered Oslo band's history.

"With 'Neverland' we embraced a more 'punk' spirit – more dreaming, less discipline – freer, quite simply", the band comments on the creative process behind the album.

Bursts of daybreak synths and whooshes of sound set the atmosphere, before the wolves start digging into the dynamics of ambient calm and anarchic mysticism. Dreamy and transportive textures develop into trippy percussive energies, and as the album unfolds, a lush and vibrant, and at times exotic space opens.

Apart from a few recurring distant voices and vocal chops, "Neverland" is a largely instrumental record, reminiscent of the mood and structure of that place where late '90s IDM sounds met the meandering structures of post-rock.

The ghost of premillennial sample culture surely haunts "Neverland", and some might even hear echoes from earlier acclaimed works like "Perdition City" (2000), or the "Silence" EPs (2001), or more recently "ATGCLVLSSCAP" (2016).

Still, "Neverland" sounds and feels like something else, something fresh in ULVER's continuous journey of perennial reinvention. Pop music from in-between worlds? A sonic hallucination? Or better: a collage of dreams. It's up to you.

Malefic Throne is guitarist Gene Palubicki (Angelcorpse, Perdition Temple), vocalist & bassist Steve Tucker (Morbid Angel) and drummer John Longstreth (Origin, Hate Eternal, ex-Angelcorpse). “The Conquering Darkness” marks their debut album due out November 28th on Agonia Records in physical & digital formats.

Malefic Throne is guitarist Gene Palubicki (Angelcorpse, Perdition Temple), vocalist & bassist Steve Tucker (Morbid Angel) and drummer John Longstreth (Origin, Hate Eternal, ex-Angelcorpse). “The Conquering Darkness” marks their debut album due out November 28th on Agonia Records in physical & digital formats.

Norrsinnt’s returns with a haunting blend of dark folk and cinematic atmosphere in the second album ”Djupt inni skoga”. An album that is an invitation to step off the path, deep into the forest, and listen to the echoes that live between silence and sound. It is the esoteric solo project of Mathias Gyllengahm (Utmarken), turning the focus inward into solitude and reflection. It is a darker, more atmospheric journey into solitude, nature, and the human spirit.

”Djupt inni skoga” (“Deep Within the Forest”) presents a soundscape that is equal parts dark folk, ambient, and atmospheric metal. Clean vocals and distorted guitars merge with the mournful tones of the nyckelharpa, while instrumental passages drift into cinematic soundworlds reminiscent of forgotten, untamed landscapes.

Lyrically and sonically, the album is steeped in nature mysticism and existential reflection: a meditation shaped by a long and deeply personal creative process, since it was recorded over a period of 7 years. Some tracks stand out for their collaborative spirit, such as “Skogsmakt”, featuring guest contributions from members of Fejd (Sweden), Myrkgrav (Norway), and Byrdi (Norway) - voices and instruments that add new dimensions to Norrsinnt’s already expansive atmosphere.

Linnea Hjertén’s second album, “Steg för steg” (‘Step by Step’), offers both continuation and departure. It extends the ritual ambient and folk foundations of “Nio systrar” while opening new paths through lyrics and expanded instrumentation. Each track feels like a threshold: a step deeper into vulnerability, a step further into the unknown.

Traditional instruments anchor the record without confining it. Nyckelharpa and moraharpa – especially in minor modes and long, sighing notes – draw out a distinctly Swedish melancholy. Hjertén favours old tools in new contexts: keeping traditions alive, connecting to those who came before, and working with what the land provides.

Layers of voice carry the emotional weight; arrangements bloom from drones, framedrum pulse, and the hush between tones. Hjertén also draws on kulning, the ancient Nordic herding call, which rises briefly in pieces such as “Blodmåne” and “Alltet är intet”, reshaped through her own expression.

She records and mixes everything herself, ensuring an intimacy that seeps through every tone. Minimal means, maximal presence. Songs carried by breath and purpose rather than studio sheen. The result is folk-rooted Nordic ambient that places essence over ornament: step by step, surrender by surrender.