About

A print zine founded MMXXIII, run primarily by Lolth and published by the Eastern Black Metal Inner Circle (E.B.M.I.C.), and distributed by Cult of Oblivion Recordings. Issues are compiled and published quarterly, and include content pertaining to dark underground music and other black arts.

Reviews

Taken from various issues. Most reviews are published in print form only. Purchase a physical copy to read more.

ONE OF NINE - “Dawn of the Iron Shadow” LP
(2025; Profound Lore)
[Taken from Spectral Sorcery, Issue #10, Winter MMXXVI A.Y.P.S.]

ONE OF NINE is the premier Tolkien black metal band of this decade. I first heard of them when I saw them open for EBONY PENDANT and LAMP OF MURMUUR in Baltimore back in 2024, and I was definitely impressed with their musicianship. I found their debut album to be a bit bland but nonetheless well-executed. This album is most certainly a step up, developing on their original sound but bringing it into the fold with a more ambitious musical and lyrical endeavor. The building blocks of their sound remain the same, with songs built around chord progressions and soaring lead melodies with crystal clear screaming vocals above. However, Dawn of the Iron Shadow’s emphasis on harmony is more mature, tied together with proper metal riffs and interspersed with synth interludes that never overstay their welcome. In fact, nothing overstays its welcome—the pacing of the songs on this album strikes a satisfying balance between lengthy and contained. Songs develop for a while on a few basic ideas, but never meander aimlessly from section to section. Also, the use of synths and samples on this record is particularly well suited to ONE OF NINE’s musical vision. One might be tempted to make obvious comparisons to other high-fantasy symphonic bands like NAZGÛL (Italy) or NERTHUS (Austria), but ONE OF NINE relies less on symphonic elements as a driving force of the music, more along the lines of WINDIR or early EMPEROR. For most of the album, the synths only serve to counter the guitar and bass parts, filling in gaps by laying down ambient chords or highlighting melodies already outlined by tremelo guitar leads. But, these often very simple parts enhance the music and take it to new heights. The clean vocals are an obvious fit in this epic and orchestral sound. The only criticism I have is that the songs are a bit samey, without a lot of variation that sets one track apart from another, but in my mind that can be easily excused with the quality of the sound this promising band has established.

KRINGA - "All Stillborn Fires, Lick My Heart" LP
(2022; Terratur Possessions)
[Taken from Spectral Sorcery, Issue #7, Spring MMXXV A.Y.P.S.]

The title sparked my interest. It’s the type of absurd esoteric-sounding title fitting of an experimental project like YELLOW EYES or VED BUENS ENDE. With this album, Austria’s KRINGA does an incredible job living up to these avant-garde expectations. While most of the riffs are straightforward (melodic yet punishing) the atmospheric compositions are absolutely sublime. The first track opens with a rolling thunder of black metal riffage, then, halfway through, opens up into a dark soundscape of haunting terror, setting up a triumphant return of the chorus with bloodcurdling screams soaring overhead. There’s something for fans of many breeds of black metal here, from avant-black experimentation to raw punk-infused grooves and clean vocals to high pitched screeches and growls. Don’t be turned away if you prefer the traditional style (as I said, it’s got something for all stripes), but KRINGA is making something genuinely innovative here, and I regret that they didn’t reach my ears sooner. - Lolth

МЁРЗЛОСТЬ / ПОЛЧИЩЕ "Инфернализм" Split
(2025; Independent)
[Taken from Spectral Sorcery, Issue #7, Spring MMXXV A.Y.P.S.]

This is a split (“Infernalizm”) between two Russian acts, whose latinized names I believe are MERZLOST and POLCHISHCHE, respectively. I haven’t heard of either of the bands before, and I can’t find much information about them online, but I was made curious to see more of what’s going on in the Russian scene once I saw this split announced. We begin with a dark synth intro, setting an appropriate tone for the next 24 minutes. МЁРЗЛОСТЬ’s songs feel very raw and old-school, but in a 2000’s sort of way. They sound like they were recorded to tape and then digitized on a Nokia phone, very fitting for this style. The music feels very lively and rehearsed—you feel like you’re right in the room with the band. It’s midpaced, raw, and heavy. Very straightforward and uncomplicated, but very enjoyable. ПОЛЧИЩЕ’s music is more on the experimental side of things, with some synths (or some other unintelligible instrument) mixed in overtop the relentless blastbeats and blaring guitar riffage, creating a wall of sound that contrasts nicely with the previous side. Nothing revolutionary, but it’s nice to see Russian BM get some attention here in the West, at least online. - Lolth

Mournful Moon - "Twilight, My Passion" LP
(2025; His Wounds/GoatowaRex)
[Taken from Spectral Sorcery, Issue #7, Spring MMXXV A.Y.P.S.]

Modern Hellenic legend MOURNFUL MOON returned this year, after releasing the classic “...As Shadows Fall Over Zenitheaen” and a debut full-length three years ago. This time, the style has shifted even further in the gothic metal direction, while of course still retaining the signature triumphant synthwork and flowing guitar riffage which define M.M.’s work. The synths overlayed on top of and in sync with the lead guitars really elevates the melodies and makes it stand out from other more generic black metal. It’s honestly more of a symphonic gothic metal work with some black metal influence especially with the vocals and drums. The vocals are sick and nasty, and the drums are played live with ample skill and precision, playing blastbeats and slow sections and everything in between. There’s nothing terribly experimental or extreme (in fact it’s a rather tame style), but it’s nonetheless heavy and very well put together. The compositions flow nicely from one to the next with good track sequencing to allow each song to stand on its own while still retaining an identity as part of the whole album. This band fills the void left after the decline of the Y2K-era gothic black metal that won the mainstream over after crawling out of the underground. Total support! -Lolth

HAEMOPTYSIS/EYES IN DARKNESS WITHOUT FORM/YEW/CALLING OF PHASMIC PRESENCE - “Cadavre Exquis: Faces of the Drawn and Quartered Moon” Split
(2024; Malevolent Relics)
[Taken from Spectral Sorcery, Issue #6, Winter MMXXV A.Y.P.S.]

Malevolent Relics is the new home for the best experimental dark music being crafted in the modern era. All of the acts on their roster are selection with extreme discretion, and they all fit together with a cohesive—but not too samey—artistic vision. Cadavre Exquis is a four-part work, with each of the bands contributing one of the movements. We open with a track by HAEMOPTYSIS, a haunting cacophony of noise and black soundscapes. I wouldn’t call it black metal per se, but it definitely appeals to that style. As with much of the rest of this split, it feels like something in the vein of Les Legiones Noires, specifically the more experimental projects like TORTURE or AÄKON KËËTRËH. This sets the stage very aptly for the following three tracks, which range in style but all convey the same dark occult mood. Broken harpsichords and whirling organs sound over discordant guitars and plodding drums. Eerie is the best word I could use to describe this album. It’s ABRUPTUM meets BRENORITVREZORKRE and everything in between and some other shit too. Everyone involved has something uniquely strange and abrasive to offer. I honestly can’t recommend this enough. -Lolth

NIGHTMARE EFFIGY “Horrors of the Flesh” Demo
(2024; Independent)
[Taken from Spectral Sorcery, Issue #5, Autumn MMXIV A.Y.P.S.]

NIGHTMARE EFFIGY west-coast black metal act that debuted this year with an EP on Nocturnal Dissonance prior to this demo’s [so far] digital-only release. I put on the intro and was pleasantly surprised by what looked like a pretty par-for-the-course modern raw black metal solo project. You’re first greeted by some eerie synths which are suddenly overtaken by harmonized guitar leads and a plodding drum machine which then transitions nicely into the first of two “real tracks, “Paranoia Under a Dying Sun” and “Waking Night Terror.” Both of these tracks are 4-5 minutes of solid melodic riffs with a straightforward modern sensibility. There’s a dark romanticism to the melodies written with a good taste for dissonance and harmony. My main criticism of this project is that it doesn’t stand out among all the other dozens of “Bandcamp black metal” projects with more or less the same songwriting, visual aesthetic, and production style. It’s almost exceptional, but not quite. There’s nothing wrong with that, especially in a genre as notoriously homogenous as this, but if NIGHTMARE EFFIGY pursues a full-length effort, I recommend adding a bit more variety in their sound and focus on making their music stand out just a bit more. -Lolth

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