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Among the most beloved and revered acts within the atmospheric metal field, Australia's MIDNIGHT ODYSSEY is back with “Biolume Part 2: The Golden Orb”, the second part of a trilogy started in 2019 with “Biolume Part 1: In Tartarean Chains.” The new album explores the themes of the sun, set within the context of classical mythology and in continuation from its predecessor.
“Whereas the first part was very much about creating one’s own light in the deepest tracts of darkness, the second part is about being confronted and embraced by nothing but light,” explains sole member Dis Pater. “The sun, Sol Invictus, Helios, the eye of Zeus (including his sister, Eos or Aurora, the dawn) are the light giving and all-seeing purveyors of the day.”
Featuring once again a sumptuous cover painting by Elijah Tamu, “The Golden Orb” tells the story of being exposed to the majestic and searing power of starlight, a burning and unbearable heat, like being chained in a desert. “Like our hot Australian summers,” Dis Pater continues, “it’s a harsh and uncomfortable place of being that brings to mind stories of the desert in ancient near-Eastern mythology and literature. And atop on his golden chariot is the Sun God himself, punishing with heat and thirst, drought and drying winds.”
Musically this is a different style to previous MIDNIGHT ODYSSEY releases. This time Dis Pater's main influences came from the epic heavy metal and doom of bands like SCALD and SOLSTICE (UK), but also from medieval music (such as chant, troubadour and trouveres music) and military style battle horns, with a dose of viking-era BATHORY.

Swe-doomdeath MOONDARK returns with the debut “The Abysmal Womb”, a brooding and dense atmosphere weaving towering grooves of perpetual tenebrosity. With insurmountable gloom strewn over the entire album, “The Abysmal Womb” permeate a striking yet unique parallelism of early Crematory, Crowbar and peppered with bits of debut-album Cathedral; the clever utilization of megalithic riffs are clearly evident and immense pulsations are scorched in deep abyssic darkness. Recorded between several locations and with mixing and mastering handled by Peter Bjärgö (Tyrant, Crypt Of Kerberos, etc) at Erebus Odura Studio, the cover artwork for “The Abysmal Womb” was conceptualized by Johan Jansson and Allan Lundholm.

Collector's Edition in 8-panel Digipack, limited to 1000 copies. 

The new album shows Nasheim from a more matured and contemplative side. The harsh Black Metal outbreaks are not altogether gone but they do leave more room for quieter parts where violin, cello and even the occasional clean vocals are allowed to take center stage. Still, the music is immediately recognizable as Nasheim, so unique has the sound become at the very least since "Solens Vemod".

Joined by eon[0] from Progenie Terrestre Pura the band unleashes a new opus of unpredictable music showing off its best album to date; musical extremism merges with the band’s inborn avantgardish attitude in a new mind blowing sonic identity.
Under the visionary artistic direction of FRANCESCO GEMELLLI, produced and mastered at 322Studio and with special guest Greg Chandler from ESOTERIC, URNA marks the borders of madness in music.
ATMF is going once again to support the band producing its third full length album and an artistic new beginning in doom, URNA was a founder band for this label and will continue in shaping dark art under this artistically independent banner.

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After the acclaimed debut, THE NEGATIVE BIAS are ready to introduce the listeners to a deeper understanding of their unique musical vision, one that transcends the common idea of music as a mere sum of instruments dealing with melodies and patterns.
“Narcissus” has a visionary and majestic inspiration that prominently flows though the strings and the synth lines.
The evocative force of this new chapter is an exciting merging of 90’s Black Metal echoes and a genuine atmospheric attitude dealing with the dark side of the cosmos, where extreme vibrations are channeled into a vast world of emotions.
Someone may recall Limbonic Art’s early works, but the Wagnerian orchestral symbiosis takes distance from this immanent parallelism by crossing the genres’ borders and propitiating the co-existence of ambient and soundtrack-inspired layers.
Staying within the meaning of epic like a state of mind, opposed to the traditional understanding of this term, the time pattern moves towards a dimension where the fear to trespass the human point of view is a key factor.
Listening to “Narcissus” is like closing your eyes and mind-traveling through new forms of existence and the cruel perceptions that no human philosophy may affect.

Hailing from Chile, Lascar is back with their sophomore release, “Saudade”, an album that moves exactly along the lines of its illustrious predecessor (“Absence”, 2016), underlining once again the band’s naturalistic approach and marking a perfect syncretism of those feelings of loss, fragility and desperation that have always been LASCAR’s trademark.
Their emotional post-black metal offers a unique interpretation of the apparent conflict on the naturalistic experience. The “Saudade” implies a sense of abandon and a nostalgic mourning manifested within an artistic environment.

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4 panel digipak edition.

The sole definition of Depressive Black Metal doesn't fit anymore to Falaise.
With their second effort the italian duo is ready to further cross the boundries of this genre to involve the expanding vision of post-rock and indie tunes.
This defragmented vanishing flux of emotions is well shifted on the cover, the mind and the feelings are like swallowed into the infinity of cosmos.
A tribute to Amesoeurs is performed with the cover song "Les Ruches Malades" providing a possible chance of comparision. If "As Time Goes Bye" was already an impressive and coherent collection of emotionally heart wrenching songs maturity has been achieved with "My Endless Immensity", where the different chapters seems like part of a bigger scenario.

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On the ninth full-length with the tell-tale title of "Subject to Change", XASTHUR took a musical leap of faith: Mastermind, multi-instrumentalist, and singer Scott Conner abandoned black metal as a form of musical expression for the time being, and turned to something stylistically rather comparable to acid folk and neofolk instead. Keeping the minimalistic approach of his previous albums, but embarking on a long journey through the dark underbelly of the American dream, Conner created his own brand of dark Americana. XASTHUR were originally conceived by Scott Conner in California, USA in the year 1995. The project started out in the vein of bleak black metal in the tradition of the Nordic second wave. Over the course of nine albums and a host of split-singles, EPs, and occasional demos, XASTHUR's individual, particularly depressive style became highly regarded within the extreme genre. In 2010, Scott announced the end of XASTHUR and returned with an acoustic dark folk project under the banner of NOCTURNAL POISONING. In 2015, the American artist returned to the name XASTHUR, but insisted that his black metal days were over. On his so far latest album, "Inevitably Dark", XASTHUR have partly lifted the self-imposed ban on black metal, simply because Conner simply did like he felt.