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Tellingly titled, The Awakening displays yet more sides to this still-unfolding entity. To be sure, Valravn's poise and power are firmly accounted for here - you can still FEEL every note, so vital, virile, and vivid - and they've even added a bit of death metalled muscle, too, but the songwriting itself is where their second album truly takes flight. Sharp and yet never sterile, thanks to a production that's on the right side of polished, there's an acute balance of contrasts across The Awakening's 44-minute runtime; each of the album's eight songs features some twist of melancholy and militancy, of bursting color and bristling monochromatism, of stoic resignation and steadfast determination, of man-on-the-mountain spaciousness and stuck-in-the-catacombs claustrophobia. Concluding with the literally breathtaking "Charge of the Last Cavalry," The Awakening consolidates all the strengths of its predecessor and indeed leads Valravn into a new charge for glory. 

An otherwise-new entity, Valravn nevertheless evince a mastery beyond their short time as a band with their first public recording, the full-length Prey. Arriving very fully formed, Valravn's debut album no doubt displays characteristics of Finland's now-world-renown black metal sound - cryogenic melody, raw 'n' rugged execution, an unapologetic assertion of traditionalism - but in other, more telling aspects, Prey asserts its own identity counter to this prevailing paradigm.

Valravn truly sound like a band, as in four individuals playing together in the same room rather than the usual copy/paste practices used by so many studio-only "bands." This very tangible physicality bleeds over into the overall emotion of Prey, whereby the listener can literally FEEL every note...and every note is vital, virile, vivid. Of course, Valravn are a black metal band, and black metal by definition is monochromatic, but that vividness is writ large across the album's eight central tracks, each one as cutting 'n' concise as the next. As such, Prey feels a lot larger than it should, for the band pack in an almost-cresting sense of the epic into these tight 'n' taut tracks.

Tellingly titled, The Awakening displays yet more sides to this still-unfolding entity. To be sure, Valravn's poise and power are firmly accounted for here - you can still FEEL every note, so vital, virile, and vivid - and they've even added a bit of death metalled muscle, too, but the songwriting itself is where their second album truly takes flight. Sharp and yet never sterile, thanks to a production that's on the right side of polished, there's an acute balance of contrasts across The Awakening's 44-minute runtime; each of the album's eight songs features some twist of melancholy and militancy, of bursting color and bristling monochromatism, of stoic resignation and steadfast determination, of man-on-the-mountain spaciousness and stuck-in-the-catacombs claustrophobia. Concluding with the literally breathtaking "Charge of the Last Cavalry," The Awakening consolidates all the strengths of its predecessor and indeed leads Valravn into a new charge for glory. 

"Original Finnish Heavy Rock recorded 1987: Where Thunder Meets Steel"
Born from the roar of unyielding spirit and electrifying riffs, this is heavy rock that resonates across decades. A long-lost gem blending grit, melody, and epic attitude — echoing the golden age of Finnish rock glory and reigniting the spirit of an era when thunder roared and steel reigned supreme.

Contains last unreleased material of this band, 3 studio and 4 live tracks.
Live tracks are extremely raw and primitive yet fairly good sounding.
Dead But Dreaming is the memory of true East-European black metal golden dawn.

Track 1 previously unreleased, originally performed by Arkona on "Imperium" LP.
Track 2 previously unreleased, created in 2001, taken from the forthcoming split EP with Legion Of Doom.
Track 3 previously unreleased, created in 1995 and 2002.
Track 4 performed live in 2001, originally appeared on "The Gates" EP.
Track 5 performed live in 2001, originally appeared on "Tormenting Legends I"compilation.
Track 6 performed live in 2001, originally appeared on "Purity" LP.
Track 7 performed live in 2001, originally performed by Bolt Thrower on "War Master" LP.

The flickering light of fragile hope battles the crushing weight of despair in Fields of Mildew’s fourth release, “IV”. With its signature minimalist dark folk, the project delves into the innermost recesses of human emotion, offering an unflinching reflection on loss, resilience, and the stark beauty of barren landscapes.

On “IV”, Fields of Mildew shifts its focus inward, exploring the fragmented psyche of a solitary soul caught between the oppressive weight of reality and fleeting moments of imagined relief. Themes of love and loss, fragile dreams, and the slow erosion of hope thread through the album, painting a harrowing yet tender portrait of inner struggle.

Amidst the sorrow, glimmers of solace emerge as the music itself offers moments of reprieve. Immersive melodies are shaped by the same austere minimalism that defines the project’s essence – from its stripped-down instrumentation to its visual aesthetic, inspired by the desolate Teufelsmoor region of Northern Germany.

Since its inception in 2015, Fields of Mildew has stood as a testament to the human spirit pushed to its limits. Helmed by a musician known only as R, the project began as an ode to the resilient souls who eked out a living in the unforgiving lands of the Teufelsmoor. Over time, its thematic scope expanded, but the core remained unchanged: an unflinching portrayal of human existence in its most vulnerable and honest form.

“IV” is the culmination of this evolution – a quiet yet powerful meditation on despair, resilience, and the fleeting beauty found even in life’s harshest moments. For those seeking music that channels the depth of mortal experience with haunting clarity, “IV” is a profoundly moving journey into darkness and beyond.