On September 18th, 2020, Icelandic post/black metal outfit DYNFARI will release their fifth full-length "Myrkurs Er Þörf", a haunting dose of atmospheric mix of post-rock and black metal but today MetalBite is proud to present you the full preview to this sorrowful and ominous sonic experience.

The new masterpiece, "Myrkurs Er Þörf" sees the band merge influences from post/black realms, plumbing new emotional depths while merging subtle myriad influences from a broad outlook on life to forge a cohesive, powerful sound. Emotive, vast and fulfilling atmosphere has a dreamy quality to it that awakens buried memories that are strangely alluring yet immensely harrowing. It transports you to a bleak and desolated area of your own mind, where you find yourself reflecting upon the hopelessness of humanity.

DYNFARI is epic, psychotic, dark and absolutely mesmerizing in its own way, yet distinctly human with staggering exhibition of despair and immersive power, fueled by an inhuman degree of atmospheric density.

DYNFARI is:

Jóhann Örn - Vocals, Guitars, Bass, Keyboards
Martin Tsenov - Guitars
Bragi Knútsson - Guitars
Jón Emil - Drums, Guitars, Bass

MORE INFO AND PRE-ORDERS:

https://www.facebook.com/Dynfari
https://dynfari.bandcamp.com/album/myrkurs-er-rf
http://www.code666.net/
https://www.facebook.com/code666.label/

I see a lot—probably too many—concerts every year. Hundreds of them. From tiny, suffocating basement shows to massive stadium productions with fireworks and screens the size of apartment buildings. Most are good, some rise above the average, and a few are truly unforgettable. But when you experience that many shows, everything eventually starts to blur into one deafening mass of memories, and very little stays with you for years.

And yet, there are exceptions.

One of them was the Vastum show I saw nine years ago at the "Ciemna Strona Miasta" club in Wrocław. I went in with zero expectations, persuaded by one of my friends, who simply said, "Come on, it'll be fun."

It was.

Across five albums, the San Francisco band has carved out its own remarkably effective take on death metal—mid-tempo for the most part, dark, oppressive, occasionally almost absurdly bass-heavy, balancing sheer brutality with an atmosphere that feels ripped straight from the deepest circles of hell. We've heard variations of these sounds hundreds—probably thousands—of times before, but when bands like Vastum do it, it still hits with devastating force.

Lyrically, though, they've always stood apart. Drawing from the psychoanalytic work of the band's leaders, their songs explore violence—often sexual, often religious—in ways that completely sidestep the usual metal clichés.

But Vastum on record and Vastum live are two entirely different beasts.

Yesterday, I saw them for the third time, this time at the VooDoo Club in Warsaw. Since that first night in Wrocław, I'd only managed to catch them once more, in 2019 at the Kill-Town Death Fest in Copenhagen.

And once again, the Americans delivered a jaw-dropping performance that completely shattered every death metal convention.

Much of that credit belongs to vocalist Daniel Butler, whose manic energy and stage-bound ADHD make him look less like a traditional death metal frontman and more like the vocalist of some unhinged hardcore punk band. Quiet as a lamb before the slaughter offstage, he transforms into a complete madman the second he steps under the lights.

He never stands still.

With the wild stare of a lunatic and foam practically gathering at the corners of his mouth like some rabid bulldog, he charges through the venue, "attacking" the crowd, jabbing fingers inches from people's faces, bouncing off bodies, provoking physical confrontation—not dangerous, but definitely not passive. Again and again, he launches himself onto the shoulders of the crowd, throwing his body into the chaos.

In many ways, Daniel is the perfect physical embodiment of the darkness buried inside Vastum's lyrics.

And the crowd—initially caught somewhere between confusion and disbelief—buys into it almost immediately, becoming part of this strange, violent theater as if hypnotized.

Yesterday, the walls of VooDoo shook. Dust fell from the ceiling. Rubble seemed ready to break loose from the stage. And Vastum, with all the subtlety of a sledgehammer, delivered blow after murderous blow, seemingly unconcerned with their own survival—or ours.

The hour flew by.

One song for an encore.

That was all they needed.

I'm not sure anyone in that room had enough left for more.

This time, only four musicians took the stage. Injured guitarist and vocalist Leila Abdul-Rauf had been forced to stay home. A shame, because her growls, charisma, and yes—let's admit it—her undeniable presence aren't easily replaced.

But to the band's credit, they didn't try to fake anything or compensate with gimmicks. Instead, the performance felt even rawer. More direct. As if another layer had been stripped away, leaving something even closer, even more suffocating.

And in a venue as intimate as VooDoo, that only amplified the effect. It carried the same claustrophobic intensity I remembered from all those years ago in Wrocław.

Vastum took the stage once again and did what they do best.

And "what they do" still defies easy description.

You leave a Vastum concert feeling like you've received exactly as much as you were capable of handling.

Not a second more.

Because Vastum aren't interested in pleasing you.

They're here to steamroll you, leave you bruised—physically, mentally, maybe spiritually—and force you to stand there afterward, trying to process what the hell just happened.

In a world where hundreds of concerts dissolve into one blurred memory, nights like this are worth their weight in gold.

And if there's one show from 2026 that I'll still remember years from now, there's a very good chance it'll be that suffocating, sweat-soaked, speaker-rattling evening at VooDoo.

Third time.

Still devastating.

Greetings, MetalBite legion!

A brand-new edition of Digging Through Past is live and ready for you to explore. We've unearthed even more forgotten gems and overlooked releases. Every feature has been revisited with updated information, useful links, and fully polished reviews to give them the attention they deserve.

We hope this edition helps you uncover new music, new bands, and plenty of fresh headbanging material. As always, thank you for your continued support—it truly means everything to us.

Check out previous editions of Digging Through Past (links below), and if there's anything you'd like to see improved or covered next, feel free to reach out to tom@metalbite.com.

Cheers! 🤘

Filii Nigrantium Infernalium - H​ó​stia (2018) - Label: Osmose Productions - Review by Felix

Bewitched - Spiritual Warfare (2006) - Label: Regain Records - Review by Felix

Bewitched - Rise Of The Antichrist (2002) - Label: Osmose Productions - Review by Felix

Angrrsth - Donikąd (2021) - Label: Godz Ov War Productions - Review by SzejkElRopa

Aara - Eiger (2024) - Label: Debemur Morti Productions - Review by SzejkElRopa

Minenwerfer - Alpenpässe (2019) - Label: Purity Through Fire - Review by SzejkElRopa

Worm - Foreverglade (2021) - Label: 20 Buck Spin - Review by Sam

Bolt Thrower - Mercenary (1998) - Label: Metal Blade Records - Review by Sam

Undergang - Misantropologi (2017) - Label: Dark Descent Records - Review by Sam

Aurora Borealis - Prophecy Is The Mold In which History Is Poured (2022) - Label: ;Hammerheart Records - Review by HanSathanas

All That Remains - Behind Silence And Solitude (2002) - Label: Prosthetic Records - Review by HanSathanas

Draugaskógur - Fullmoon Hypnotic Ritual (2025) - Label: Independent - Review by HanSathanas

Archgoat - Worship The Eternal Darkness (2021) - Label: Debemur Morti Productions - Review by Maverick

Winterfylleth - The Imperious Horizon (2024) - Label: Candlelight Records - Review by Dominik

Various Artists - The World Domination Live (1988) - Label: Osmose Productions - Review by Carl

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DTP - 6/26
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DTP - 3/26
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