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The startling 1996 debut album of dark atmospheric Black Metal from Katatonia mastermind Anders 'Blackheim' Nyström. 

“A work of considerable depth and power.” - Metal Archives

Ravendusk In My Heart combines fantastic imagery, which work alongside accomplished atmospherics mixed with cold Black Metal (bringing to mind the early works of Emperor). 

The album was recorded at the famous Unisound Studio in September 1995, produced by Dan Swanö and Blackheim, and mixed by Swanö (Opeth, Dissection, and Marduk).

VG-

 digipak reissue

After the big success of “Futile” in 1999, Rapture released the sophomore “Songs For The Withering”, following the path traced two years.

Austin Lunn from Panopticon would say on the album: “This album is for me, the joy and comfort in melancholy... The bittersweet sound track to autumn, the echoes of rainy days... Nostalgic yet relevant but above all, an honest and relatable glimpse into human sorrow.  It is a warm but wet blanket, reminding me of worse days and how I fucking made it through: One foot in front of the other, consoled by the honest and exposing lyrics, powerful melodies and crushing drums of Rapture’s unsung masterpiece. Before the last breath, inhaling. Before the final death, to exhale and never let hope die that I would one day conquer the great distance.”

Giving a follow up to a masterpiece like Black shining leatherà was hard, but C.F. confirms their unique class in creating a waird opus like this, true Black Metal.
 

"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.

For fans of: Emperor, Dimmu Borgir (pre-2000), Dismal Euphony, Mactatus, Limbonic Art, Odium, Obtained Enslavement.