Viamaer - In lumine lunae

Labels: Self-Released

Formats: CD/Digital

Release Date: 29 Jan 2026

Tracklist:

1. In excitatione terrae

2. In lumine lunae

3. Dimensio mortis

4. Ultra insaniam

5. Liberum arbitrium

6. Haec vox

7. Magna paranoia

8. Smaragdus somnium

A few weeks ago a copy of the debut album from Polish post-black metal/shoegaze act Viamaer dropped through my letter box. In lumine lunae was self-released in January by sole member Krystian Jurkiewicz (also a member of Polish Thrash/Groove metallers Steamachine). This is a record full of Krystian's personal experiences, yet it's also written with the listener in mind. Let's put that to the test...

All of the song titles here (alongside the album title) are in Latin, so forgive me for not translating them. Starting with ‘In excitatione terrae’, Viamaer immediately surprises with music that sounds so clean and melodic. The instrumentation early on is slightly jarring due to a subtle disconnect with the percussion but that’s soon resolved, as the vocals (varying between clean singing and harsh growls) take center stage. The vocals are used sparingly in between the vast instrumental approach of Viamaer though, which is very good indeed.

I’m not a linguist but I think the vocals are being delivered in Polish, Viamaer’s mother tongue (please correct me if I’m wrong here!). The language doesn’t really matter though, as title-track ‘In lumine lunae’  presents itself with so much atmosphere and progression. Viamaer’s bandcamp page recommends  Asunojokei and Ghost Bath as similar bands, which aren’t too far off actually. ‘Dimensio mortis’ might come across as something morbid, but it’s anything but. The instrumentation grows with every bar, sounding very upbeat. The clean vocals sit deeper on the recording, which is quite disappointing actually. All elements come together in the latter-half though, as harsh vocals join the melodic vocals and heavier instrumentation, lifting the tempo and mood on the record.

‘Ultra insaniam’ is the album’s shortest song and as such, it’s a lot calmer in delivery. It’s actually a lot closer to Scandinavian melodic metal than anything else, which is certainly no bad thing. It’s also another really strong example of how creative one individual can be, as Krystian shows during its instrumental entirety. Crossing to the album’s latter-half, ‘Liberum arbitrum’ is gently choral but that gentleness leads into some of the most pummelling percussion so far.

In truth, it’s a record that flows in unexpected directions and is definitely the work of a musician trying to find their sound. ‘Liberum arbitrum’ is the album’s lengthiest song conversely to the one it follows, yet it’s better because of that fact. A lot doomier and earthier for me. ‘Haec vox’ features some truly beguiling guitar that’s retained throughout. The clean vocals are more front and center at times here, but Viamaer’s blackgaze/shoegaze influence does mean that they are still buried within the mix at times. The same can’t be said for the harsh vocal though.

Penultimate number ‘Magna paranoia’ strikes me as Viamaer’s most complete songs on In lumine lunae. I don’t know if it’s because I’ve now spent a good couple of hours with this record or because it just sounds a lot more rounded musically, but something’s definitely clicked. Closer ’Smaragdus somnium’ is another loverly instrumental piece. It rounds out the album in confident fashion.

As I mentioned earlier in the review, Viamaer is a band finding it’s sound. As the album progresses, that sound takes shape and grows in confidence. There’s already an acoustic session available on bandcamp that re-works some of the songs present here, so that tells you that Viamaer isn’t sitting still. A band that’s well worth your time.

You can stream and purchase In lumine lunae digitally below, where it's also available from Viamaer on CD:-

Viamaer - https://www.facebook.com/viamaer

Carrion Spring - Those We've Lost And Continue To Lose

Labels: Self-Released/Zegema Beach Records

Formats: Vinyl/Digital

Release Date: 06 Mar 2026

Tracklist:

1. Abject Disaster

2. Pocket Full Of Poseurs

3. You Feel Like A Dickhead

4. Carrion Phase Springs Eternal

5. Motional

6. The World Is No Longer A Beautiful Place And I'm Afraid To Die

7. I'm Not Fighter

8. Paraquat

9. So Long And Thanks For All The Microfiche

10. Peacemeal

11. Supervisionary

12. Those We've Lost And Continue To Lose

It's been nearly five years since the self-titled full-length from Oregon, USA screamo band Carrion Spring. In between that release and Those We've Lost And Continue To lose, there was an EP that featured three of the songs that made their way onto this album and that made it's way onto tape via ZBR sister label Tomb Tree, albeit in slightly different forms. 

This new LP is available on 250 copies on white/green colour-in-colour vinyl with red and black splatter, which looks stunning as you'll see in the promo pic below:-

Final bit of promo before I dive into the album; Carrion Spring will be playing both the pre-show and the main fest of ZBR Fest itself in Vancouver next month. I'll post a ticket link at the end of my review.

The recent four day weekend seems like a distant memory now but I had some great news last Thursday and have managed to order some records I’ve been after for a while, so things are pretty good! I’ve also taken some time to plan my new review schedule for the next few weeks, starting here. This is actually the first time I’ve featured Carrion Spring too (which I didn’t realise until I sat down to write this review). Opening with ‘Abject Disaster’, the quartet’s emotive hardcore sounds very much rooted in the early-mid 2000’s. The instrumentation is a mix of crunching heaviness and lighter melodies, while the vocals are delivered in much the same way. The contrast between harsh screams and semi-clean singing takes me back to when I discovered 36 Crazyfists and From Autumn To Ashes (and it’s not the first time I’ve name checked those bands).

‘Pocket Full Of Poseurs’ sees Carrion Spring employing math-like instrumentation and time signatures alongside more furious percussion to begin with before layering more of their exceptional post-hardcore over the top. As opening salvos go, the first couple of songs have grown in intensity and urgency, as does ‘You Feel Like A Dickhead’. It’s a delight musically. Slightly math-like once again but also aggressive enough to appeal to those who want an instant hit. There are some tongue-in-cheek song titles on this album too, starting with ‘Carrion Phase Springs Eternal’, which may or may not be a respectful nod to US hip-hop/electronic act Wicca Phase Springs Eternal. There’s no hip-hop or electronic music going on here though. Instead, Carrion Spring continue on their emotive hardcore path, channeling their inner Refused/Snapcase influences as they go. 

This is turning into one of those reviews that could grow to mammoth proportions if I’m not careful! ‘Motional’ gives off a solid metalcore vibe at times, but that vibe is only fleeting as gentler instrumentation and singing muscles in later on. It’s the album’s longest song actually, so the varying styles are expected and welcomed. The second song with a witty musical reference is ‘The World Is No Longer A Beautiful Place And I’m Afraid To Die’, which is a play on words inspired by a US emo band. I think you’ll be able to guess the one! If you’re expecting it to be more emo then you’re in the wrong place. This is probably as gritty as Carrion Spring’s sound gets, if I’m describing it right.

The album’s latter half kicks off with the raucous blast-a-thon ‘I’m Not Fighter’, where Carrion Spring just go full-on hardcore on us. This will definitely be one that gets people dancing/moshing when it’s played live. According to the band’s bandcamp page, ‘I’m Not Fighter’ and ‘Paraquat’ that follows are both the same length. That really doesn’t mean anything, I just note stuff like that you know? ‘Paraquat’ is less hardcore and more off-kilter, with more focus on gentler progressions.

‘So Long And Thanks For All The Microfiche’ holds a special place in my heart already because in my first full-time job, I had to use a Microfiche machine. Funny how memories come flooding back when listening to music! It strikes me that if Turnstile wrote heavier music (now at least), they might sound a bit like this. Damn, that’s enough name-dropping! There’s a pattern to this album too, as just like the opening three songs, the closing three get shorter starting with ‘Peacemeal’. There are so many retro feels flowing through it yet it’s still so fresh.

The nostalgia is super strong on ’Supervisionary’ as sumptuous post-hardcore and dual harsh/clean vocals sing in unison early on, before things take a more familiar turn once again. Carrion Spring just know how to pull the right leavers musically. Closing with the title-track ’Those We’ve Lost And Continue To Lose’, Carrion Spring let gentle piano take centre stage in an unexpected instrumental number. This is a grand album. An album that shows Carrion Spring at their very best. I can’t heap anymore praise on them as a band than that. 

You can stream and purchase the album digitally below, where it's also available on vinyl from Carrion Spring directly (USA only):-

Carrion Spring Instagram - @carrionspring

Copies are also available from Zegema Beach Records below:-

CAN/INTL - http://www.zegemabeachrecords.com/zegema-beach-releases/twlactl

USA - https://zbrusa.com/collections/zbr-releases/products/twlactl

Zegema Beach Records - https://bsky.app/profile/zegemabeachrecords.bsky.social

Also, you can buy tickets to ZBR Fest 2026 here - https://www.zbrfest.com

Ain Sof Aur - Theos-Vel-Samael

Labels: I, Voidhanger Records

Formats: CD/Digital

Release Date: 03 Apr 2026

Tracklist:

1. I

2. II

3. III

It's been a long time since I've featured a release from Italian label I, Voidhanger Records. I was planning to stick to my schedule but the call for something more avant-garde was too great. That's where Brazilian black metal band Ain Sof Aur drew my attention.

It's well worth noting that Ain Sof Aur have been a band since 2006. They released three demos, two full-lengths and a split during nine very productive years before a gap of eight years leading to this release (Disclaimer: all the above information comes courtesy of Metal Archives and therefore may not be fully accurate).

I love experimental, avant-garde metal now more so than ever. Despite the fact that it’s taking pride of place in my personal record collection; it’s not something that my fellow record-loving (local) friends can stomach. Their loss! I guess that’s why I chose to go off-piste this evening with the latest album from Brazilian black metal band Ain Sof Aur. Containing three songs and starting with ‘I’, you’re greeted with a sound that’s both melodic but also incredibly frenetic, and metallic in places. This opening song sits just shy of twenty-one minutes in length and as such, it takes a while to grow. Instrumental metallic elements and subtle doom-like passages grow in prominence before the band’s experimental black metal reveals itself fully.

I can completely see why I, Voidhanger Records took Ain Sof Aur under their wing, even at this early point. After doing some early reading about the album, I was expecting this opener to be a lot more instrumental/drone-like in delivery, but it’s so far from that. It’s a fully encompassing black metal song that rages when it needs to, slows down in tempo where appropriate and uses beautiful panic-chords/riffs as if they were free. I can’t put my finger on any single comparison and I guess that’s a good thing overall.

I decided to write this review in two sittings, which I now realise was a stupid idea because the break in between has halted my momentum. I’ll learn one of these days. ‘II’ thankfully has momentum of its own, being more condensed and shorter than the opener on Theos-Vel-Samael. There’s still a lot of doom influences here but it seems to walk a more avant-garde path too, relying greatly on the band’s instrumental creativity as the vocals flow in and out. Pleasingly to my ears, the further the song progresses, the more avant-garde sounding it becomes. Ain Sof Aur do a great a job though of appealing to all manner of extreme metal listeners, so don’t be worried about my attempts to describe their music.

Even before ‘II’ has had time to finish and sink in, closer ‘III’ comes at you with insane energy. The furious combination of both percussion and guitars lead to the most disgusting black/death metal song to come out of Brazil since I can remember. I don’t think even music by the most well-known Brazilian extreme metal greats can compare (but feel free to shoot me down here!). Honestly, this album is such a joy to listen to. It’s delivered with great integrity and artistry. Ain Sof Aur themselves add to the excitement that’s growing around the Central/South American extreme music community of late.

Theos-Vel-Samael is due for official release just two days now but pre-listening and ordering can be made via I, Voidhanger Records below:-

Alternatively, physical copies will be available to purchase soon from I, Voidhanger Records through their web stores here:-

EU - http://metalodyssey.8merch.com/

USA - http://metalodyssey.8merch.us/

Ain Sof Aur - https://www.facebook.com/profile.php?id=100076227245589

I, Voidhanger Records - https://www.facebook.com/i.voidhanger.records