Review by Jeger on October 13, 2026.

When cruelty comes into conversation's equation and when one thinks of inexplicable acts of barbarism, naturally, someone like Ted Bundy comes to mind. But what of crimes against Humanity committed on a mass scale? The shit that makes Bundy seem like Mr. Rogers… They are the scourge of History - maniacs who deserve a little recognition as being some of History's greatest monsters: Mengele, Genghis Kahn, Pol Pot, Vlad Țepeș… Each one of these Men were responsible for innumerable atrocities; the kinds of things you never even thought a Human Being would be capable of, but alas, amidst the gruesome experiments, the population-diminishing genocides and the grotesque impalements, there is much to inspire the dark Artist…

Within the realm of Extreme Metal, namely Black Metal, History and the masochistic ways of Man have been detailed with fervor. Always fresh material and inspiration to be had so long as the Human war/murder machine keeps revving. Over in Finland, there is a Black Metal soloist known as Josam operating under the Days Ov Yore banner, and despite the notoriously Occult-inspired nature of the Scene, this Man's modus operandi lies in the heart of storytelling. This year, Days Ov Yore decided to bestow upon us a two-part volume of Black Metal that details the ruling methods, military campaigns and the acts of savagery associated with the aforementioned Vlad Țepeș - Vlad III - Vlad the Impaler… In June, they released "The Tale of Vlad Țepeș Part I" and just a few months later in September, they released "The Tale Of Vlad Țepeș Part II" - a pair of beautifully packaged, steeped-in-classicism albums that cast Melodic Black Metal in a most compelling light. After all, who isn't fascinated by acts of unspeakable evil?

Just like its predecessor, "The Tale Of Vlad Țepeș Part II", is a highly visual piece with narrations and epic cinematic parts, while musically, Days Ov Yore just ignites the atmosphere with energetic guitar riffs, elegant keyboard accents and a multi-faceted vocals contribution that collectively create immersion on a deep scale. Following a boldly narrated intro during the opening title-track that details Vlad's reunification of Wallachia and his revenge against the Ottoman Empire, a myriad of complex rhythms, intrepid bass lines and harmonious guitar parts unfold during the track's final half. The following track, "Poenari Rises", opens in equally captivating tones, but with only the core instruments this time and we're getting deep into the heart of some Black Metal now… we're racing through this one in triumphant fashion as expert shifts in tempo and rolling melodies, the sound of steel upon steel and the echo of the vocals, all come together.

What I've stumbled upon in these two albums are two prime examples of why Black Metal is superior: it's deeply Historical concepts, its unabashed excursions into the sphere of killing and just the conducive-to-the-fantastical atmosphere are like nothing you get out of Genres like Thrash or DM. Which is why I question the intelligence of any Man who listens to Extreme Metal, but dislikes Black Metal. These people are misinformed or stupid, because albums like these are - even though they aren't the highest ranking - a couple of fine recordings for obvious reasons. Folkish tones in "Sultan's Tax" are redolent to those of Ukraine's Nokturnal Mortum, and such a vibe is continued with the following track, "Voivode's Song". Visions of bonfire-sweat-soaked Eves under starlight; striking up the music in celebration of wartime victories.

If you have a pulse, you will enjoy both of these benchmark Black Metal albums. A little something different coming out of Suomi this year. Love me some Horna but Bloody Valkyria is great, too! And so is Days Ov Yore - an epic-spawning, History-enlivening Black Metal project with aspirations for nothing other than the creation of true Finnish Melodic Black Metal. Masters at the art of storytelling and world-class Artists through and through. Hails to Vlad III! We could use a guy like him around these days…

Rating: 8 out of 10

Review by J.C. on June 10, 2026.

Russian doom metal band Shallow Rivers released a new album a few days ago. I have always been fond of this band and have listened to their previous albums countless times, so naturally I was eager to hear their latest work. Their previous album, The Tales Told Under The Willow, left me somewhat disappointed, as the band's characteristic style did not fully emerge, and several passages felt unnecessarily drawn out. This new album, however, is a different story altogether. It is truly excellent.

Shallow Rivers have never been a typical doom/death metal band. Their music incorporates a considerable amount of progressive metal and technical death metal, particularly on their second album, The Leaden Ghost, where the band constructed a labyrinth of intricate riffs as dense and bewildering as Kowloon Walled City itself. That album, however, was also the least melodic release in their catalog. Their debut, while equally complex, featured far more memorable melodies. Those melodic passages emerged from seas of dissonance, suddenly slowing into moments of sorrow and crushing heaviness, like a cursed giant dutifully carrying out its eternal task. In short, Shallow Rivers are not always slow and mournful, but whenever the doom elements surface, the atmosphere and emotion of their music become impossible to ignore.

Most of the songs on this album are of moderate length, with none exceeding ten minutes, though the record still stretches to roughly an hour in total. The compositions are filled with shifting sections, ranging from delicate acoustic guitar passages to heavy yet beautiful melodies, alongside harsher and more unconventional moments. The riffs in the faster sections are aggressive and melodically unusual, occasionally displaying a progressive edge. When the music slows down, the guitars become heavier, reinforcing the emotional weight of the melodies.

Vocally, the album is dominated by extreme metal techniques, alternating between beastly growls and a higher vocal style reminiscent of Norther. Outside of the harsher moments, whispers and spoken-word passages appear throughout the softer sections. The drum sound is exceptionally clear and powerful, even though outright fast passages are relatively rare. The bass is equally clear and weighty, though wisely mixed as part of the overall sound rather than being pushed to the forefront. The keyboards deserve special mention, as they are more effectively integrated than ever before. Rather than merely adding atmosphere, they function like connective tissue, binding the album together and strengthening its overall identity.

The opening track, 'В путь', serves as a two-minute introduction and is perfectly paced. The second track, 'Сквозь заснеженные берега', begins with a string-driven introduction before erupting into a brutal riff. Its unusual atmosphere may discourage impatient listeners unfamiliar with the band, preventing them from reaching the melodic passages that best represent Shallow Rivers' strengths.

The third track, 'На гордом корабле', and the fourth, 'Царь морей', are arguably the most melodically striking pieces on the album. The former is elevated by beautiful keyboard arrangements during its second half, while the latter uses a multi-part structure to great effect, allowing a deceptively simple central melody to leave a lasting impression.

The fifth track introduces piano passages that add a sinister elegance to the music. Its opening notes seem inspired by the piano melody from 'Утонувшие' on Mental Home's 2012 album, though the songwriter expands upon the idea in a far more elaborate and engaging manner.

As for the seventh track, 'Чёрное сердце', its combination of piano, spoken-word sections, and heavy melodic passages evokes memories of Saturnus' debut album while still retaining the band's distinctive identity. The eighth track, 'Зов тёмных вод', stands apart from the rest of the album almost immediately. From its introduction onward, it projects a unique character. As the longest composition here, it contains a wealth of ideas: tranquil passages emerging after moments of intensity, beautiful keyboard arrangements, spoken-word sections, and riffs built around unusual scales and rhythms that recall the work of elite progressive metal bands.

Although I still prefer their debut album, Nihil Euphoria—a deeply sad and philosophical work—this new release nonetheless resonates with me on an emotional level. Its atmosphere is captivating, its songwriting is consistently strong, and it is undoubtedly an album that I will return to again and again in the years to come.

Rating: 9.5 out of 10