N.B.B.M.N. is Nothing But Black Metal November, an annual series of short review columns which I’ve been administering since 2015 in various venues. It was initially inspired by online acquaintances who’d often spend November “only listening to black metal” or at least generally catching up on the releases they’d missed throughout the year until the well ran dry. This year I’ll curate a (mostly) alphabetical list beyond scouring both promotional e-mails and Bandcamp. In an attempt to be more conversational these are more easygoing and casual than longform reviews, so relax and think for yourself. — If you find something you dig go tell the band on social media and support them with a purchase. If you’d like your music reviewed, read the FAQ and send promos to: grizzlybutts@hotmail.com

---

Lyon, France-based quartet ABYSSAL VACUUM is perhaps the most profound vision of Sébastien Besson, who you’ll recognize as the main force behind Dysylumn, a long-brewing force of chthonic atmospheric black metal given to rigid execution within dramatically churning subterranean flow. With this self-titled debut LP the addition of a second guitarist and increasingly sharp render allow a clear window pane into their mechanism. There is an admirable coldness to their work which stems from both atmospheric values and sharpened performance and while this eliminates a “human” emotional element the full effect does not lack in morbid wonderment. With their stance set confident in view of the void these ~5-6 minute black metal pieces eventually begin to loosen, to give into some level of madness (re: “17°08’51.0″N 88°48’45.0″W”) on the way down. Beyond the absolute consistency of this experience the greater strength of this work is of course its immersive value and that’ll be obvious enough from the first piece.

Providence, Rhode Island-based quintet ANCIENT TORMENT may very well take direct inspiration from both Finnish and Québécois familiars yet they’ve made their own satisfyingly semi-melodic immerse from said temperament. A steady thrumming sense of flow ensures their knack for slow-arcing ~5-7 minute black metal pieces is captivating as it is morose. Comprised of folks from Witch King, ex-Black Sorcery and even Cruciamentum the focus here for my own taste is the rhythm guitar work which pools between floatier bluster and nuanced slow-to-form phrase. I don’t know that I’d found myself hanging on every note so much as immersed within the shifting seas of their movement, it was serious hard to put this one down once I’d finally given it some serious attention. “Sorrow Verses” and “Under the Guise of Virtue” are the big deal songs here for my taste.

Aarhus, Denmark-based trio ARKÆON released ‘Når Bjerge Bliver til Støv‘ as a three-song demo tape back in early 2024 and this year it receives a 12″ vinyl version from the good folks at Nomad Snakepit who’ve expanded its reach closer to a half hour of music with a bonus song which appears to be a part of the same sessions. Among their ranks sits folks from the far underrated Tongues, Múspellzheimr and Røkkr where they’ve brought some level of abstraction and atmospheric froth to what is otherwise raw, clangorous black metal. While I wouldn’t suggest their compositional hand is outwardly traditional there is a cold and blazing sort of jolt given to their speedier pieces which I’d appreciated. Most of these pieces find their own groove, a weird bent which reminds me of bands like Hagzissa at times and demo level orthodox abstraction others. I don’t recall if I’d enjoyed their debut LP a few years ago but in this exact form and presentation I’d been thoroughly entertained.

Infamous bestial black/death metal “supergroup” quartet BLASPHAMAGOATACHRIST document their final calling as a collective with sophomore full-length ‘Bestial Abominator‘, an act which was apparently largely authored by guitarist Virrugus and bassist Sabbaoth both of whom unfortunately passed in the last few years. The vocalist from Blasphemy roars across this whole thing setting a tone of violence which matches the frantic grinding death and razor-whipped black metal delivered via folks from Antichrist and of course the hand(s) that drove Goatpenis toward their own infamy. This isn’t a plain war metal barrage nor is it a purely grime-slapped form of black metal but both at once, it pretty much sounds like the mutant crossing that the name suggests.

I can’t count the number of testimonials I’ve read over the last few years touting New York atmospheric black metal act BLACKBRAID‘s work only to just as quickly find the reviewer admit they’re not a fan of the black metal sub-genre and remain less than invested in its history or futurity. It hasn’t been an inspiring preamble to say the least but folks have repeatedly suggested that I would probably like ‘Blackbraid III‘ so I’d picked up a copy back in August of this year and gave it some time per a slow release week. The fellow behind the band has thus far presented a very clean, dryly rocking showing of Scandinavian black metal trait and Cascadian atmospheric black metal composition but in this particular case it is clear he’s touched a few more Swedish black metal classics (re: “The Dying Breath of a Sacred Stag” b/w “Tears of the Dawn”) and the lot even includes a Lord Belial cover. Otherwise the majority of the album fumbles through messy acoustic interludium and plainest Immortal-esque epic trod. While the packaging and its curation are lovely the music, production values and general experience are all dreadfully bland without a spark of expressivity or conviction set anywhere beyond aesthetics. I don’t know if “very high quality, safe-ass generica” is a fair statement on my part but there was zero fire stoked here in the span of a few months.

Michigan-based musician NecroDan and his creations under the flag of BURNING WINDS largely resemble the early USBM contributions made by fellow Midwesterners in the early 90’s. As far as I can tell ‘Hell and Damnation‘ is the first full-length record under this name and of course it sounds like it was recorded back in 1992 a la early Beherit, Havohej and Ride for Revenge where blown speakers and bluntly fumbling riffing help to reek up their plod. Each song, no matter the length, has an introduction pinned to it and all of them center around mid-paced chunking and droning through a single guitar channel. The effect is hideous, uglier than thou and satisfying anti-music for the Hell of it. This won’t appeal to anyone entrenched in moderne black metal gloss as we’re pretty far removed from notions of production values or competent musicianship here and I would deign to suggest that is the point. Much as I like the spirit of this music and the harsh cull that it represents that doesn’t mean I’m going to sit through it more than a handful of times sans any riffs I can respect.

Feltre, Italy-based quintet CHELMNO return after fifteen years since their last with a third full-length album in ‘Decadence of Ego‘ keeping well in line with their taste in raw black metal as well as the drive of the early 90’s Norwegian impetus. The way they wield those weapons is what distinguishes their work as the riffcraft unleashed is variously droning in its monotonous sway but also prone to spastic interruptions. Most of the literature I’d gathered on this band suggest they either sound like earlier Clandestine Blaze or give mention of this band’s relation to Tenebrae in Perpetuum who I believe have a new album out this year as well, I think both mentions are valid enough. The scrambling vortex of the main guitar thread is the major appeal here for my own taste, otherwise it is pure and plain enough black metal action.

To have spent so many years talking up a band like Polish black metal legends CHRIST AGONY and finally getting a chance to talk about their legacy beyond the 90’s in 2025 was a great opportunity to be a fan and enjoy myself but… unfortunately I couldn’t accept ‘Anthems‘ for review. The main reason should be obvious enough upon approach as the cover art doesn’t even attempt to clean up the AI generated slop that it is beyond a sepia-toned filter and a few stray dots. When an artist decides to turn away from art in the most forward-facing way what does that say to the listener? Laziness? Cynicism? Well, sure, but more importantly it suggests that their work is a “product” presented without confidence and without respect for the people paying for entry. It is made for the unthinking consumer and not the serious fandom which heavy metal is exclusively for. So, if the band does not care how their work is presented why should I invest in it? I think that is a fair way to be. As for the music, all that I can say is that there is some immersive value here.

While I’m not the biggest fan of his other black metal troupe Graveir I’ve been thoroughly impressed by the glorious station of Brisbane, Australia-based artist Snjór‘s solo project DECIDUOUS FOREST per this debut ‘Fields of Yore where nodes of Cascadian black metal and a “symphonic-but-not” driver guides their way through a series of ~10 minute epics. Within the immersive stride of these largely mid-paced songs we get a hint of neofolk, forest synth, and even some doom-worthy passages but the main thread is the interplay between the guitars and the leading keys. The biggest criticism I’d push here is that the keys are both prominent and unchanging in their tone making for an experience which reads samey beyond the first two pieces and gives little sense of development within the course. Nonetheless there is a great idea and respectable undertaking here which is worth further tuning.

Intending to tap into the late 90’s underground storm of symphonic black metal adherents the work of anonymous United States-based duo DEOGEN aim away from the top-of-the-heap of the era and instead champion a more intimate mid-paced trot on their sophomore full-length album. ‘The Graves and Ghosts of Yore‘ resembles early Limbonic Art or Ancient to some vague degree, there is a pomp and tarantella to certain melodies induced, but their work is probably too laid back to begin comparing to the rushed-in darkness of early-to-mid 90’s Norwegian efforts. There are a few admirably writ compositions here that’d stuck out to me per the interplay of the keyboards, specifically the piano lead pieces and their interaction atop the grinding and stepping movement of certain songs, for example “Of Abominations to Come” has a bit of life to it in that sense but “Spectral Winds Rise” and “Desolation Bestowed” are driven by much deeper statements. Not a bad album at all though I couldn’t find a point of immerse that’d stuck.

Austrian/Québécois trio DÉTRESSE sport a pretty straightforward rush of semi-melodic/atmospheric black metal style here via six steadily thumped and rasped through pieces on this debut LP. There is a distinct call to anguish and melancholy found throughout ‘Pessimismes‘ which might be somewhat typical in voice but yet remains generally effective for its floated-out wandering soul. I suppose the only strong criticism I’d afford here is that if you’re going to be a trio I’d like to hear the bass guitar in broader, clearer-set feature. Otherwise I’d selected this record for its immersive value more than its arrangements which’re involved but not profound enough to stand in mind for long. Fine enough work with strong lyrics but a very average resonance overall.

Swedish duo DYSTHYMIAN intend to invoke the depressive suicidal black metal of the 2000’s within this debut full-length album and they do just that, carrying the shrieking misery and wandering hand of a bygone era. ‘Ex Vita Abire‘ does reflect the suggested influences of Nyktalgia and Sterbend both German bands who’d faded away beyond a few mid-2000’s releases but the sound design here buries away the vocals, arguably the most important point of interest informing this particular style and in this way the album sounds disembodied more than it does deranged by depressive episode. While I appreciate a black metal band aiming for emotional resonance though I’m not sure what they’ve added to this niche sound beyond generating a believable entry.

German trio EISENKULT once again bring their own brand of acerbic charm to this no less unsettling, bizarrely entertaining fourth full-length album. While I figure you could argue against their methods being any sort of pure black metal, they’ve got a sort of thrashing mode which fires up every couple of songs here, the tuneful music box worthy dangle of their approach gets me every time. ‘Die Hölle ist hier‘ is quite as entranced with melodious anthems as their previous two but this is for the sake of their songcraft developing a better integrated ouevre where a song like “Von gott gehasst” (alternately: “Die Asche eines Engels”) pulls their many faces into one event. While I think I enjoy their compatriot’s vision in Mavorim even more I appreciate that they’ve been prolific with both acts to the point that only their darker, estranged features remain. Still, I don’t think any song here necessarily usurps the entertainment value of the opener.

Reykjavík, Iceland-based solo act ELDUR comes from Eldur the musician best known as the founder of Fortíð as well as earlier spawned black metal groups Potentiam and Curse. ‘Rituals of Death and Necromancy‘ appears to act as a space for the artist to both experiment and illustrate with fewer constraints, intending to carry a dark fantasy narrative within a multi-album saga beyond this starting point. I’d appreciated the non-linear, often surprisingly tentative advance of these pieces though the more typical grooves and some of the blasted-at sections (“Murder and a Curse”) bulldozed the atmospheric glow of the first few pieces, eventually leaning into harder-cut and blasted through sections in the second half. The production values are slightly too present and severe to suit the whole event for my own taste but I suppose this lends its own immediacy to the full listen to start.

Though their discography thus far reflects pointed interest in recreating the dark magick of Swedish melodic black/death metal you’ll find solo project FÄUST is actually based out of Grenoble, France by way of Elvenstorm guitarist/founder Michael Hellström. Though his history in traditional heavy metal does factor into the ultimate result here on album number two ‘Crypts of Eternity’ is most clearly indebted to Necrophobic and perhaps more modern notions of melodic death metal progressions. Without the vicious attack and high-speed pacing of the suggested style this album reads as dreary rather than fiery, deploying a mid-paced plod for the majority of the spin. Things spark up into something more engaged within “And then Blows the Funeral Winds” and I’d liked the way their momentum carried over into “In Ghastly Silence” afterwards. It took a couple of spins to soak into the restrained heavy metal powered verses here but the speed does eventually arrive upon its own terms. I don’t think they’re fully there yet in terms of suggested ambitions and the riff count lacks the rapid-fire ex-death metal congestion of the real thing but this is yet fine work as a sort of melodic black/heavy metal conjoinder.

Best known for their position as one of the earliest and most guttural brutal death metal bands out of Spain in the classic era Ourense, Spain-based trio FERMENTO return with a complete paradigm shift, a full-bodied reinvention with this fourth full-length album. It isn’t as if they can’t do the whole cracking gore-spattered brutal death thing, as they’d released a solid live album of older material back in 2019, so I would assume ‘Acts of Blood‘ represents a connection made as to where they are now rather than a thread they’d carried from the late 2000’s. That is to say that the style here is a form of blackened death metal with its own deranged temperament expressed through unique vocal expression and riffcraft which flows unpredictably. With BST (Sotherion, The Order of Apollyon, et al.) both performing drums and mixing the album you’ll no doubt hear his own stamp upon the experience outright though he’s tuned the bass guitar tone huge and given grime enough to ensure the full effect lands diabolic, away from any certain semblance. I’d found the full listen transfixing overall, taxing in its longer-form pieces, and prone to its own surreal plume of black metal aggression.

---