There is something profoundly mystical about the way Andreas Hedlund approaches his craft under the Vintersorg moniker, and nowhere is this more evident than on his latest offering, Vattenkrafternas Spel (The Game Of Hydroelectric Forces).
From the moment the opening track cascades into existence like water rushing through a mountain gorge, Hedlund has crafted quite exquisite as the compositional architecture throughout Vattenkrafternas Spel demonstrates Hedlund's continued evolution as a songwriter. Where his earlier work often relied on stark contrasts between beauty and brutality, now there seems to be more of a nuanced approach that allows elements to flow into one another with liquid grace.
Vocally, Hedlund continues to astound with his range and versatility. His clean vocals soar with operatic grandeur when the material demands it, conveying both the majesty of untamed nature and the introspective quality of solitary contemplation. When he shifts into harsh territory, there's a raw power that never feels forced or gratuitous – instead, it serves as the perfect counterpoint to represent the more destructive aspects of the elemental forces he's channelling and in particular the Swedish lyrics, while impenetrable to many listeners, carry an inherent musicality that transcends language barriers.
The album's conceptual framework, is centred around hydroelectric power and humanity's relationship with natural forces, provides more than just thematic window dressing. It serves as a genuine structural element that influences everything from the ebb and flow of the compositions to the choice of instrumental textures.
The mixing allows listeners to focus on individual instruments without losing sight of the ensemble, creating an immersive experience that rewards both background listening and intense scrutiny through quality headphones. There are well placed guest appearances woven in too Guest vocals on” Efter Dis Kommer Dimma by Johanna Lundberg and Guest Keyboards solo on Ödsliga Salar by Peter Roy Wester
For newcomers to Vintersorg's catalogue, this album provides an excellent entry point that highlights the project's distinctive blend of progressive metal sophistication and folk-influenced melody. Long-time followers will find familiar elements pushed into new configurations, creating a sense of comfortable exploration that never feels like mere repetition.
Overall the balancing razor-edged riffing with layered clean vocals, icy shrieks, and a knack for songwriting that’s as cinematic as it is punishing suits the aesthetic down to a tee and a the nights turn in an there is a crisp in the air, this is a perfect accompaniment for this time of year.
A captivating mix of atmospheric metal and folk. 7/10
Voidlurker - Loathe For Life (APF Records) [Matt Bladen]
A trio, made up of Brad Thomas (guitar/vocals), Andrew Rennie (bass) and Mitch Bishop (drums), they've released some singles and EP before this, building a following slowly but surely since 2017, playing the New Blood Stage at Bloodstock and alongside Conan, Crowbar, The Obsessed and many more masters of the riff, so they've paid many dues on the UK stages.
This second EP once again recorded with the guru of noise Chris Fielding at Foel Studios, dialling up the fuzz and distortion so Voidlurker will strike your eardrums like a hammer, kicking off with the vicious Green Ghost, shifting towards more massive sludge/doom on Loathe For Life.
Unfazed by fads or what hot, this is music that comes from the underbelly, sleazy, grimy and menacing, fresh off the streets of Brum, with S.O.B bringing a pummelling repetition and Time Heals Nothing dials up the heaviness towards the end leaving your ears ringing for about a week afterwards.
Voidlurker do more than just lurk they intimidated and threaten, a monster from the shadow that swells into something all consuming. They're from the birthplace of heavy metal but Brad Thomas, Andrew Rennie and Mitch Bishop won't rest until it all gets crushed under their steamrolling slowness. 8/10
Sundrowned – Higanbana (Fysisk Format) [Cherie Curtis]
Sundrowned brings us Higanbana 7 tracks of an ethereal amalgamation of sound complimented by heavily distorted, deep and powerful metal vocals. The album itself doesn’t feel heavy in the way we are used to but the sheer volume of intricacy and resolve shines through each track, it’s beautiful, loud and tranquilizing.
What stands out the most in Higanbana is the drums. It's loud enough to rattle your brain, it’s strong, booming and varies between complex and simple, considering its strength it doesn't pump you up but acts as a pulse for each track. The lead guitar does its job like a flashlight in a tunnel and wields elaborate riffs. What’s interesting to me about this album is that it’s instrumental focused and however strong the vocals are it doesn’t take the shine away from the musical composition.
This album is more of a soundscape than anything else and that’s what I feel sets Higanbana apart from its genre counterparts. As someone who isn’t familiar with Sundrowned, this album isn't like anything I have come across so it feels special.
Although it’s not something I would gravitate towards normally, and I did find it to be a little slow and longer than expected upon second listen it did grow on me, and I started to really appreciate it. Overall, I did enjoy this one and if anyone needs something to unwind with, I recommend Higanbana. 7/10
Demiurgon – Miasmatic Deathless Chamber (Transcending Obscurity Records) [Martin Brown]
Italy’s Demiurgon return with Miasmatic Deathless Chamber, a record that plants itself firmly in the brutal, technical wing of death metal. From opener Worldwide Grave through to Apoptosi, the formula rarely shifts: fast, jagged riffs, relentless percussion, and guttural growls delivered with precision.
The performances are solid. The guitar playing is sharp, the drumming forceful and locked-in, and the vocals do their job without falling short of their narrow remit. The issue isn’t ability, it’s variation. Track after track follows much the same feel and flow, and very little stands out once the album has run its course. Even the title track Miasmatic Deathless Chamber and Throne Of Derangement, which hint at dynamics, don’t do enough to break the mould.
Production is clear and competent — perhaps too much so. The guitars sit very high in the mix, often overshadowing the bass, which is difficult to pick out with clarity. Drums cut through well, but the balance feels guitar-forward to the point of dominance. The result is a clean, polished sound when what the material could really use is a harsher, grittier edge to match its subject matter. Production is a huge part of the sound character, and here it is bordering on sterile.
Miasmatic Deathless Chamber is fine, but it doesn’t demand repeat listens. It’s an album that shows technical ability without leaving a lasting impression. 5/10
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