2025 11:11 

 

ArMORTE - 2025 — Signal of the Deep - (Single)

ArMORTE is a solo instrumental project from the Far East. In my view, this marks the formation's debut, making it all the more intriguing to see what goals ArMORTE sets and what horizons it considers at the start of its journey.
From my experience, this isn’t the first time a musician has begun with instrumental tracks, even recording albums that are quite fascinating. I’ve often encouraged such artists to “grow into” adding a vocalist, thus transforming into a full-fledged band.
After all, metal is traditionally a band-centric genre, featuring a vocalist as an integral part. Interestingly, that earlier project I referenced did manage to evolve into a complete band. m/
It’s clear that, in some cases, a musician works solo, creating and shaping their art independently. They simply need to present their material to the public—sometimes as a checkpoint or a starting point.
ArMORTE, however, starts off with ferocious intent, delivering solid thrashy dynamism. The drum machine is set to a punchy, driving tempo (well-structured for this track), while the lead guitar grinds out riffs with the relentless precision of a CNC machine.
I wondered when the solo would kick in… and it did—barreling in with speed and tearing through nerves with raw energy and flair.
Vocals? Honestly, I don’t think they’re necessary here. Within three minutes of playtime, the string-driven crescendo justifies itself without any additional embellishments.
The composition "Signal of the Deep" oddly feels like the soundtrack to a wildlife documentary about predators. The track carries a distinct mood, the energy of a feral chase—a pursuit of prey—but it abstains from showcasing the anticipated conclusion.
Admittedly, it feels like part of a larger, more complex work with extended dramaturgy.
What’s more surprising is how well it’s recorded—for a debut effort.
Listened to on Behringer HPS3000 headphones.

https://vk.com/club231023098
 

Ikotka — 2025 — Limb (Compilation)
For reference, Ikotka is a spirit or an entity.
This Perm-based project in the Atmospheric Black Metal genre will resonate with enthusiasts of the style and serve as a perfect introduction for newcomers. This compilation includes:
Tracks 1–5: Valuable rehearsal material from preparations for the 2024 Yekaterinburg festival.
Tracks 6–9: "Mortal Lullabies" EP (Mix MMXXV).
Tracks 10–12: "Unbearable Helplessness" EP (Mix MMXXV).
Essentially, two remixed EPs from previous years. The set is comprehensive and illustrative of the project’s evolution.
Highlights:
Rehearsal Material
The rehearsal tracks are presented in high-quality audio, worthy of a CD release and essential for dedicated listening. The sound is refined enough to showcase Ikotka’s signature style.
Genre Dynamics
While Atmospheric Black Metal is the core, tagging this compilation as Ritual Doom Black Metal would better capture its essence. The extensive dark riffs, the intense interplay of string power, and the haunting, brooding keyboard lines claw into the listener's mind, forcing reflection on the transience of human existence. This is complemented by extreme vocals, with lyrics that are surprisingly comprehensible—an essential part of the project's message.
The second track takes a faster, galloping pace while staying true to the overarching themes of darkness and oblivion. The layered vocals and atmospheric richness deserve high praise. The guitar passages don’t just impress—they exude melodic doom-inspired elegance.
Vocal Style
By the second composition, the project's vocal signature becomes clear—a phenomenal Fusion of Russian folk and metal. The folk elements, rooted in the boisterous and bold Russian tradition, are intertwined with genuine Black Metal aggression, complete with extreme growling and a flair of rebellious metal energy.
Rehearsal Atmosphere
The rehearsal section delivers towering atmospheres and rich polyphony, with the layering of instrumental and vocal lines often creating an orchestral impression. Once again, the Ritual Doom Black Metal tag feels necessary.
The 11-Minute Epic "Decay"
A chthonic "darkness and disembodiment" symphony unfolds at a moderate pace. The comparison to Burzum is inevitable—this is Russian Burzum on the march. The track evokes lines like "Along the cliff edge, above the abyss, right on the brink..." from a Vysotsky song. Powerful, indeed.
Mini-Albums:
The EP section opens with an ambient track, setting the tone. It transitions into mystical Black Metal with spellbinding vocals and ritualistic themes, enhanced by sinister sound effects. Emotionally, it feels as intense as a torture chamber.
Intermissions
To provide listeners some relief, the creator introduces moments of eerie repose. However, these moments come with their own dark charm. Toward the end of the mini-albums, the Black Doom and Depressive Black Metal aspects return, epitomized by "Sowing New Rage."
Final Impression:
This compilation is Ritual True Black Metal at its finest, featuring a versatile lineup of vocal styles—one even approaching throat singing. The vocal layers and lines have been meticulously crafted, and the overall soundscape is professionally polished.
Verdict: Exceptional quality and artistry.

https://ikotka.bandcamp.com/album/compilation-2
 

ROCKQUINTESSENCIA — 2025 - Until Death Do Us Part — (Instrumental, EP)
It's always intriguing when a musician starts off creating brutal music (for example, with a band like RADUYISIAPOKANESDOH — Brutal Death Metal; if you're curious, look them up—it's worth the excitement!) and then, bam!—shifts to something lighter. "Well," you might say, "we've seen this happen so many times in the musical continuum that it's impossible to count." And you'd be right.
Still, it's fascinating to ponder what drives such a musician. I think every composer has a wealth of ideas, and not all of them fit neatly into a box labeled "Brutal Only." So, they begin to store those other ideas elsewhere... and before you know it, an EP emerges.
Let’s dive in.
Genres: Post-Metal // Melodic Death Metal
Indeed, this project kicks off with Melodic Metal. Since it's instrumental rather than a song with vocals, the creator has to lean towards more progressive track structures. Musically, the themes are melodic yet heavily solo-driven. While not over-the-top shredding, there’s no trace of simplicity here either. Art Rock? That seems to be the direction. The guitar, it seems, relishes being the dominant force in this dynamic sea—far more satisfying than merely supporting a vocalist, for instance.
To my surprise, the musician crafted a cohesive set of tracks bound by a conceptual core. Interestingly, the music often seems to transcend the meanings implied by the track titles. In some sense, this is "Music Here and Now"—a soundscape created to exist in the moment, right alongside you.
The hallmark of any quality instrumental is its free-spirited, expressive soloing, which always (or almost always) replaces vocals. Here, we hear guitar and keyboard presets intertwining, creating a genuine creative synergy. Of course, the need to solo brighter and bolder persists, driven by the effect of "This is good, but it could be better."
Moreover, the artist has clearly spent considerable time gathering melodic material, ensuring the mini-album has enough depth for each track to stand out. While not every song is a chart-topper, each possesses its own identity within the album's framework.
This leads us to reflect: remembering the artist's Brutal Death Metal roots, where does their true essence lie? Is it here, or back in that project with the telling name?
Such is the life of a musician.

https://vk.com/rockquintessencia

playlist in VK
https://vk.com/music/playlist/-23068684 ... 1f60b79d70

Thunder Volt - 2025 - Wild Ride — (Album)
The Moscow-based band plays Stoner Doom Metal and Sludge Grunge.
Thunder Volt quickly composed and recorded a new album titled «Wild Ride», the fourth in their discography. The cover, depicting a biker on a highway in a post-apocalyptic desert, promises an exhilarating journey.

The band has a new vocalist, Anna. Her fierce growling vocals have reshaped the group’s artistic goals and musical vision. From now on, the tracks are dominated by unrelenting brutality and vocal aggression. Previously, vocals were handled by the band’s guitarist and composer, Yaroslav, who likely decided to take a break from singing and focus on the guitar.

Thunder Volt kicks off the album with the track «Fury», featuring extended low-frequency riffs that create a sense of oppression and gloom. Anna’s vocals perfectly complement the atmosphere, adding fuel to this slow-burning fire. Initially, her vocal delivery understandably draws the track’s energy toward itself, but it doesn’t take long for her voice to integrate seamlessly, becoming another driving force behind this monstrous soundscape. The organic fit of the new vocal style earns high marks. I suggest revising the genre tags to include Stoner Doom Death Metal.

The track «Dragon Slayers» adds a touch of grim epicness and old-school riffing. Anna confidently navigates her new role, creating an additional front of sonic pressure.

Dark thunderclouds gather over the composition «Dead Hearts», where the tight rhythm section and the mystical artistry of the vocal line stand out.

In «Abyss», riffs burst forth as if from the depths, clawing their way to the surface and trampling everything in their path. In the first half of the track, there’s a fascinating interplay between the lead guitar and vocals, as if illustrating a final stand against inevitable doom. But no—there is no mercy here.

«Wasteland» paints desolate landscapes, again illuminated by the lead guitar. The rhythm section stands guard, solid and unyielding like anchors driven into stone.

The most structurally diverse song is the title track, «Wild Ride». This one leans closer to Heavy Doom Metal in the vein of Black Sabbath. Both the guitarist and the vocalist decided to make this track the most dramatic on the album.

Initially, I expected the album to contrast extreme vocals with Stoner-Doom foundations, but the further I listened, the clearer it became that this was a well-conceived and brilliantly executed creative collaboration.

In conclusion, Thunder Volt proves they are right at home in the ranks of the New Wave of Russian Doom Metal.

https://thundervolt1.bandcamp.com/music

Stonehand — 2025 - Superstitions and Prejudices - (Album)
Eighteen years is no joke. That’s how long the band STONEHAND has been around. Over this historic period, they’ve released eight albums, with the eighth being this very subject.
To note, STONEHAND plays their own brand of Hard Rock and Southern Metal. They've crafted a unique signature sound, marked by its vivid melodicism—one of the group’s most distinguishing features.
The latest album, Superstitions and Prejudices, contains 11 tracks and 45 minutes of solid music. Its roots delve deep into the 1970s and 1980s, the era when Heavy Metal as a genre was forged.
The band’s driving force is undoubtedly Alexander Gorbunov. He’s responsible for the vocals, guitars, drums, and percussion, as well as writing all the music and lyrics. Bass duties are handled by Gina "Rose of Steel".
Whether intentionally or not, there are no filler tracks on this album. It feels like Alexander might just be something of a perfectionist—meticulously focused on achieving results. Almost every song here is a standout, featuring remarkable guitar work, carefully constructed song structures, and top-tier production quality. (Yes, no effort or resources were spared in this regard.)
As a vocalist, Alexander holds his own brilliantly. His voice has long been a signature of the band—a serious rock vocal style that can elevate any song. His range spans from a strong, dynamic foundation to soaring high notes. A track exemplifying this is "Uncle Joe's Cabin". In this song (and others), the vocal arrangements play a significant role in perfecting the track. What might seem like a simple choice is often layered across multiple vocal tracks in the final mix.
Lyrically, the album explores mystical themes (as hinted by the title), biker culture (a staple of classic Hard Rock), social outcasts ("Outcast"), gambling (think Motörhead's Ace of Spades), and other subjects fitting for Hard Rock and especially Southern Metal.
The album’s tracks are clearly concert-ready, charged with substantial energy and drive. Much of this can be attributed to the precise organization of the riffing and rhythm section. The rhythmic alignment of the lyrics also plays a key role.
Highlighting a specific track is a tough task given the album’s consistent quality. That said, let’s go with "Louder". It’s quintessential Southern Metal, boasting standout vocal performances, unexpected structural changes, and electrifying guitar solos. This track, in particular, proves that this music deserves close attention.

https://vk.com/stonehandmusic
 

Vodomyér — 2025 — In Dark Waters — (Album)
You know, Symphonic Black Metal comes in many shades. So you’ve got to actually listen to get it.
And you really shouldn’t skip debuts—those often concentrate a band’s best compositional ideas, sometimes written over the span of several years. That said, the Moscow-based project VODOMѢRЪ first released a few singles, and now delivers its debut full-length. Let’s dive in.
In Dark Waters opens in classic fashion: looming keys roll in, followed by a female choir, and then comes the epic orchestration. The vocalist, slightly buried in the mix, enters with Black Metal screams—casting his first incantations.
On track two, Wolf, the vocals are brought closer to the surface, more present in the mix. It's also here that you realize how central choral elements are to VODOMѢRЪ’s structure—and that the keyboards are crafted to slip through everything like dark, haunting, and gloriously pretentious shadows.
What’s crucial is that the band slows things down at the start of the next track, giving the listener a moment to look around—only to be hit again by a blackened orchestral hurricane, battering your speakers with steel whirlwinds. Praise the gods for the brief melodic bridge.
Throughout both the track and the entire album, VODOMѢRЪ showcases complex vocal architecture: screeches might accompany clean singing or be layered with shadowy vocal backings. The choral textures haven’t shown all their tricks either. The primary vocal style is a tense, desperate scream—deadly and sometimes rapid. For the first time, I might describe a vocal tone as saw-like, even a little dismembering.
In The Hunt for the Leshy, a deeper extreme vocal tone makes an entrance—sometimes serving as a second, more submerged layer throughout various tracks.
A notable point: the keyboards often take the lead, and their parts are anything but simple—frequently intricate and baroque.
Track IX, a two-minute neoclassical piece, offers elegant cold arrangement: driven keys and disciplined choral lines. Essentially, it’s an interlude—marking the eye of the storm swirling under the modest name VODOMѢRЪ. Mercy? Not on the menu.
It’s worth noting that the album’s sound mix clearly reflects the personal taste of its creators—it’s unmistakably underground, because that’s exactly how the composer wanted it. I’m sure many Black Metal fans will appreciate this kind of sound. First, because there’s already plenty of polished, glossy production out there without VODOMѢRЪ joining in. Second, and more importantly—this is Black Metal, even with a “Sympho” prefix. And in this genre, there are no rules. Complaints like “too much this,” “not enough that,” or “why not like band XXX?” don’t really apply.
In any case, you need to listen to In Dark Waters in the highest audio quality possible (as I did), so you can fully grasp this terrifyingly polyphonic, deliberately unruly Black Metal sound.
And honestly, it’s time for a public warning: the demons have taken over the philharmonic. Burning the piano was just the beginning.
https://vk.com/club229152583

VagranD – Mech (Sword) (Single) (2025)
Power/Melodic metallers from Saint Petersburg have ignited the scene with a new epic track running over eight minutes. A great moment—there’s truly something to hear and enjoy here.
Let’s start with the recording quality—it’s top-notch (courtesy of Anton Makarov, Silence Records). Anton really delivered on this one; I get the feeling that producing Power Metal in the studio is second nature for him. Every musical layer and melodic progression is perfectly audible.
The single Mech (Sword), I believe, belongs to a broader saga that the band VAGRAND is building. This is especially noticeable in the ease and fluidity with which the track is performed—though of course, that kind of ease is always the result of long hours of rehearsal and studio work.
It begins with acoustic fingerpicking on strings, accompanied by vintage-sounding keys, followed by the band’s vocalist entering with a wordless vocalization—almost as if announcing the emotional peaks to come. This intro clearly evokes a medieval mood.
But soon, the signature tight rhythm section and riff-driven team kicks in, galloping ahead like wild horses, pulling the listener deep into the melodic thickets of Power Metal.
Now pay close attention: the full lead vocals enter, and here’s the thing—Tatiana Rogachyova’s silvery-soft voice is, in my opinion, VAGRAND’s crown jewel. Lyrical, expressive, and full of artistic dynamics. This kind of vocal is a real gift for the band—it allows any track to be saturated with emotional resonance. And let’s face it, the audience eats that up. Of course they do.
Guitarist Timur Karimov delivers an excellent solo in the heart of the track—tasteful, inspired, yet restrained enough not to disrupt the core concept of the composition: dramatic, but ultimately leaning toward the melodramatic.
The only mystery surrounding this moving (Sword!) song is whether it will be woven into the melodic fabric of the upcoming album—or remain a standalone gem in the band’s discography.

https://vk.com/vagrand



https://band.link/vagrand_sword

Instant Fury – 2025 – Instant Fury – (Maxi-Single 2025)
This Saint Petersburg band, INSTANT FURY, one of the standout representatives of the New Wave of Russian Heavy Metal, continues to bombard its fanbase—and lovers of quality Heavy Metal in general—with singles, and now, going even further, with a maxi-single.
So get ready.
It’s also important to note that these musicians are true devotees of the genre. It seems they’ve dug deep into the very roots of this magnificent musical phenomenon (the recent final concert of Black Sabbath’s original lineup proved once again the genre’s uniqueness and its profound impact on the cultural life of both the 20th and 21st centuries).
They’ve reached the roots—and, you know, they’ve started brewing some kind of life-giving extracts. So much so that at times, it feels like this music came straight out of the 1980s.
The band has managed to resurrect the spirit, the musical obsession, and that special sense of celebration and spectacle from back then.
That’s exactly how this maxi-single begins.
“Instant Fury” – furious Speed Power Metal, with threatening and enthralling melodies, driven by a rich and intricate guitar sound. The instrumentals are boiling over, bursting with blazing riffs. The drummer hammers away skillfully and powerfully, crafting rhythmic patterns mid-flight.
And don’t forget the intense vocalist, who—channeling the best old-school tradition—drives the entire track forward like a whip. With soaring high notes and gritty lows that veer into the extreme. Honestly, many bands dream of having a singer like this.
What’s more, I can see the track’s structure isn’t simple at all—it’s built in the best possible way, both to reveal the musical narrative and to fully engage the listener.
The second track, the sorrowful, minor-key “When I Die,” sets a completely different mood, showing the band’s strength in ballads—piercing and tense, in the style of Scorpions and the like. The vocal parts entwine and wail, oozing melancholy and grief. The acoustic (and electric) guitars follow suit, playing their parts delicately and with raw emotion.
It’s worth pointing out that the band overcame the “just another ballad” stereotype, delivering a genuinely gripping and tragic piece. If this track ends up on a full-length album, it should definitely be placed closer to the finale.
Every time I ask myself—why include an instrumental? In this case, the track “Instant Fury.” But when I actually listen to it, that question disappears.
Because when you hear only the instrumentalists, the track seems to open up a new dimension. And in that space, “OTHER creatures” dwell. Like in the cult film From Beyond.
Anything else worth mentioning? The band INSTANT FURY cites Running Wild, Blind Guardian, Rage, and Gamma Ray as their key influences.

https://vk.com/instantfury

Virgins Blood Of Čachtice – 2025 – Odin – (EP)

It’s been a while since we last heard from Virgins Blood Of Čachtice. And now — here they are!
Since 2009, the band has been playing underground metal, integrating a wide range of styles and influences. Their main goal has always been to achieve what others struggled to do — or couldn’t achieve at all.
Interestingly, the band has now brought in two vocalists — alongside their own extreme one — which not only surprised listeners but piqued their interest as well.
VBOČ greets us with a booming, hyper-atmospheric sound — the kind rarely found in the tracks of today’s newer bands. The vocals are dual: a low, growl-leaning voice, and a higher-pitched scream. The composition is built on a raging rhythm section that masterfully shifts tempo and forms the backbone for a brutal duet between the two voices — a space where you’ll find both dialogue and all-out sword-fighting chaos.
In this four-track mini-album, the composers have naturally crafted different structural approaches, pulling the listener into the musical flow and tuning them into the band’s original death/black metal message. Notably, in each composition, the central vocal duo manages to discover unique stylistic solutions that clearly differentiate the songs while also outlining the band’s specific aesthetic priorities. This is a major strength of Virgins Blood Of Čachtice.
And that’s why the track “Grave’s Coordinates,” featuring the powerful guest vocalist Silence... (with a deep death-metal tone underneath), unexpectedly takes on Power Metal and Gothic Metal influences. These layer over the death-metal meat grinder, resulting in an intriguing kind of interference — the physical phenomenon that occurs when two or more waves overlap.
The title track, “Odin,” with vocals by Sergey Lazar, blends Hardcore drive and frenzy with an even more unexpected epic feel and dramatic weight — complete with a theatrical piano part.
Virgins Blood Of Čachtice are one of those bands that know how to surprise.

Tleet — 2025 — Chernyashka — (Album)
The Moscow-based band has brought their first full-length album into the world. As expected, singles had been released earlier—listeners took them in, wrote lengthy comments, and generally kept their fingers on the pulse. And rightly so.
Three cards are thrown on the table — Stoner, SLUDGE, DOOM — and all of them are dark, and from a certain point of view, sinister. That’s the sweet spot.
And so, TLEET breaks into your mind with a thick, depressive doom-stoner riff, cloaked in a doomy, fog-laden mood. The same low, raspy, split-vocal style tells chilling stories in a meditative and obsessive manner. After the midpoint, the guitar grinds down some melodic themes into fine dust, waving long banners of sound.
It should be noted early on that the vocals (in the first two tracks) serve as the leading force of TLEET — set against the backdrop of towering, concrete-like guitar structures. This creates a uniquely oppressive and searing atmosphere for the album. It’s also worth noting that the vocal layer isn’t monolithic; it’s enhanced by additional textures to give it depth and, most importantly, to intensify its horrifying effect. You begin to wait for the lead guitar part like a message from beyond.
Track 3, “Igla” (The Needle), shifts the balance between vocals and guitar, steadily veering toward Funeral Doom Metal. Along with that change, the vocals take on a bubbling, gurgling edge. The track is loaded with cubic meters of psychopathological atmosphere. Without a doubt, this track — one of the longest on Chernyashka — carries a kind of voodoo-like dark magic.
The track “Son” (The Dream) steers things further into demonic territory, and it becomes clear that the members of TLEET have somehow uncovered a proper guide (grimoires?) to crafting infernal-sounding music. Why didn’t they start here? Well, perhaps the listener had to be prepared, gradually eased into the inevitable...
In “Son,” the lead guitar simmers with searing solos and oozes honeyed harmonies. The rhythm section is meditative and cathartic.
In truth, there’s no drop in dark radioactive intensity as the album progresses — nor does anyone expect it. Once you've built up speed and are riding the rails of darkness and hopelessness, there’s no point in hoping for a bright message.
Take, for example, the track “Kubiki” (Blocks) — here the vocalist sings in a grim, split-throated tone, stretching and dragging it in ways that defy understanding. This shows that the band isn’t resting on its laurels, but instead continues to find new ways to command attention from within their bleak message.
Fittingly, TLEET closes the album with the track “Podnyat'sya” (To Rise), where the links between their work and Black Metal become most apparent — particularly in the vocal department.
The sound of Chernyashka deserves high marks — it’s so organic that you only fully realize it after the last sounds fade and you find yourself replaying the album again...
The album was recorded by Denis Novikov — guitar/vocals, and bassist Alexander Gorshkov.
https://vk.com/tleet_mess

playlist
https://vk.com/music/album/-2000489717_ ... 0be41ef7c2