Annotations of an Autopsy - Before the Throne of Infection (2008) Review

One of my earliest and shortest posts on here in October 2012, was about Annotations of an Autopsy and their second full-length album, II: The Reign of Darkness. A more death metal-related record compared to the band's discography, it was the next step after a straight-up brutal deathcore / hardcore debut titled Before the Throne of Infection, in 2008. 

Driven by the charming youthful excess of that era, these British lads grew a notorious name for themselves by encapsulating all the best and the worst of UK deathcore, while being one of its most characteristic presenters. Building on the considerable attention through the Welcome to Sludge City EP, whose introduction, samples and grotesque visuals got legend status in the Myspace generation, this full-length expanded on the palette but stayed true to that circle. 

Nordlicht - Nebelmeer (2002) Review

If you're a regular visitor of this blog or have somehow landed here of your own accord, there's a good chance you are already familiar with the Swiss artist Tobias Möckl (a.k.a. Wintherr) and his involvement in the prolific projects Paysage d'Hiver and Darkspace. 

I've spent some time reviewing a couple of releases from both projects, even though a deeper dive is borderline mandatory and would be the perfect counterweight to surviving this dreadful summer. Apart from the interest in the discography, a more observant listener should have already noticed that Paysage d'Hiver material is consistently being released on Wintherr's own label, Kunsthall Produktionen.

Sallow Moth - Hydrophilous Brood (2026) Review

I discovered Sallow Moth through last year's Mossbane Lantern, a truly captivating exercise in tech and prog death metal whose complex songwriting set it apart from the genre's overcrowded landscape. It also somehow marked a rebirth for the project, which had limited its activity between 2022 and 2024, but since then Garry Brents has been quite active. Hydrophilous Brood arrives less than a year after its predecessor, a short turnaround considering the ambition of both records. Sallow Moth consists of Brents, also the driving force behind Gonemage, Demon Sluice, and formerly Cara Neir, joined by Hypaethral / Sanguinary Consummation drummer, Alen Gingerich. Two minds are better than one.

Nargaroth - Apocalyptic Steel (2026) Review

Believe it or not, one of the defining moments in my relationship with black metal came the first time I heard Nargaroth's Jahreszeiten, and specifically the repetitive riffing on the last track, "Winter". This was my introduction to this band, before I knew of their earlier, more notorious records, as well as before many of the genre's foundational names. This kind of monotonous melodic austerity captured what I found to be essential in black metal, and shaped how I continue to appreciate it today. 

Vafurlogi - Gneisti af eldi Guðs (2026) Review

We're no strangers to the glory of the Icelandic black scene, which has always aimed for production of music with ever-present ferocity, and continental significance. Most of the bands active during the previous decade dominated my playlists of favorites, some of which I still consider recordings or such magnitude that elevates the whole genre. 

One could argue that one of the perpetrators of the movement was Svartidauði with their earliest demos in the mid 00s, then continued by numerous impressive bands, such as Sinmara and their 2014 debut, Aphotic Womb, as well as the more well-rounded continuation, Hvísl stjarnanna (2019).