Showing posts with label Møl. Show all posts
Showing posts with label Møl. Show all posts

Saturday, 7 March 2026

Sonic Selections (((o))): 10 Essential Metal Albums released in February, 2025


 

Welcome to “Sonic Selections (((o)))” — a monthly descent through the records that have shaped my listening, defined the mood of the weeks gone by, and carved out their own space in the noise.  This is a curated reflection (based on my listening habits) on the releases that lingered, pressed themselves forward, and refused to fade into the backdrop. These are the albums that carried weight, that revealed themselves across repeated listens, and that left a tangible imprint on me throughout February.
 
Across this rotation, I clocked 1,562 streams, drawing from 87 artists, 88 new albums, and 347 new tracks, amounting to five full days of listening. The numbers may have dipped — an average of 56 streams per day, down 18%, with the weekly peak landing at 108 streams on February 11th, itself a 13% drop — yet the decline didn’t dull the impact. If anything, the quieter pace sharpened the focus, allowing certain records to rise with clarity and insistence
 
What follows is a collection of works that held my attention through atmosphere, intent, and sheer sonic presence — releases that demonstrated resilience under scrutiny, that demanded immersion, and that ultimately became the pulse of this month’s listening.
 
Here are the recordings that shaped the week’s sonic landscape.
 
1) Converge – “Love Is Not Enough”
 
What Converge present here is the sound of a band decades into their craft, yet still utterly unwilling to become a monument to past glories. Love Is Not Enough feels like the culmination of years spent refining emotional violence into something startlingly measured. There is an unmistakable sense of purpose woven through these songs — a clarity in the way they rise and collapse, as though the band have learned to channel turmoil rather than be consumed by it. Converge have long reshaped the boundaries of heavy music, and here they do so again, not through shock or abrasion, but through the quiet confidence of artists who know the weight their music carries.
2) Eximperitus – “Meritoriousness of Equanimity”
 
This album feels like an excavation — a slow, deliberate unearthing of something ancient and unfathomably dense. Eximperitus construct their world with a steady hand, each riff carved with ritualistic focus, each passage unfolding like a text written long before modern ears learned how to listen. Beneath the suffocating weight lies a remarkable sense of order; the chaos is controlled, the momentum purposeful. It is music that demands immersion, rewarding those who surrender to its gravity with hidden intricacies and quiet revelations. A towering, enigmatic work.
3) MØL – “DREAMCRUSH”
 
With “DREAMCRUSH”, MØL continue to blur the lines between beauty and abrasion, crafting a record that seems to breathe in colour before exhaling cold shadow. There is an emotional immediacy at play — melodies that shimmer with longing, vocals that tear through the haze with raw intensity. These songs feel like fragments of memory: radiant, fleeting, and occasionally devastating. MØL guide the listener through a landscape that is both bruised and luminous, and the journey leaves its mark long after the final notes fade.
4) Shine – “Wrathcult”
 
“Wrathcult” strikes with an immediacy that borders on confrontational. Shine waste no movement, no breath, no unnecessary flourish; every moment is honed to impact. Yet beneath the bluntness lies a sense of conviction — the sound of a band who trust the power of simplicity, who understand that aggression need not be clouded by excess. These tracks barrel forward with unwavering resolve, leaving behind a trail of grit and purpose. It is a record built from discipline, momentum, and unfiltered intent.
5) Ritual Arcana – “Ritual Arcana”
 
Ritual Arcana craft music that seems suspended in a perpetual twilight, where each note lingers like incense drifting through a dimly lit chamber. Their self‑titled record unfolds slowly, shaped by a patience that draws the listener inward. It is spacious yet heavy with atmosphere, each track carrying the quiet pulse of something unseen but deeply felt. There is a sense of ritual — a deliberate cleansing of emotion through sound and silence. This is not music that demands attention; it quietly earns it, inviting you to sit within its shadows and listen.
6) Poppy – “Empty Hands”
 
With “Empty Hands”, Poppy steps forward as an artist unafraid to reshape her skin once again. What emerges is a record of clarity and re‑definition — a distillation rather than an expansion. These songs move with purpose, their edges still sharp but their centre more grounded, revealing a maturity in both tone and intent. There is a quiet confidence throughout, as though she has stripped away the noise to reveal something more vulnerable and sincere. A graceful, compelling reinvention.
7) Embittered – “Archatron”
 
“Archatron” feels like a descent — a slow, oppressive drift into a world sculpted from shadow and ritual. Embittered’s debut moves with an almost ceremonial patience, each riff rising like smoke from a long‑forgotten altar. The two‑part “Archatron” suite anchors the journey, a pair of sprawling movements that radiate cold purpose and atmospheric weight. This is blackened death metal that sees no need to rush; instead it smothers, surrounds, and eventually consumes. A stark, commanding first offering.
8) Shields – “Death Connection”
 
Shields deliver a record that feels polished yet heartfelt, a modern metalcore release shaped by hooks that soar and rhythms that strike with precision. “Death Connection” is driven by clarity — of production, of songwriting, of emotional direction. There is a sincerity beneath the sheen, a sense that the band have distilled their strengths into a series of tracks that move with both accessibility and earnest impact. It is an album that understands its purpose and fulfils it with confidence.
9) Gros Enfant Mort – “Les Sang Des Pierres”
 
This album moves like shifting earth — slow, deliberate, and charged with an underlying tension that never quite resolves. Gros Enfant Mort lean away from convention, embracing mood and atmosphere over traditional structure, and the result is music that feels both meditative and unsettling. Each track expands and contracts like breath, pulling the listener deeper into its textured emotional terrain. “Les Sang Des Pierres” is a quiet revelation: immersive, expressive, and haunting in the most understated way.
10) Fossilization – “Advent of Wounds”
 
“Advent of Wounds” is an immense and suffocating experience, the kind of death‑doom release that moves with the inevitability of encroaching night. Fossilization construct their songs from towering riffs and cavernous resonance, creating an atmosphere so dense it feels almost tactile. Yet within that heaviness lies a profound sense of mood — a slow‑burn emotional gravity that pulls the listener into its depths. It is a record built on scale, texture, and unrelenting weight, and one that lingers long after its final rumble subsides.
 


🩸 Top 10 Artists (minutes streamed): 
 
1). Converge (388 minutes)
2). Shine (344 minutes)
3). Eximperitus (339 minutes)
4). Syberia (325 Minutes)
5). Mol (295 minutes)
6). Embittered (283 minutes)
7). Fossilization (276 minutes)
8). Worm (205 minutes)
9). Urne (263 minutes)
10). Gorrch (263 minutes)
 
⚔️ Top Tracks (most streamed)
 

1). Armed for Apocalypse – “Fist Like Feathers” (17 times)
2). Converge – “Make Me Forget You” (14 times)
3). Converge – “Bad Faith” (14 times)
4). Nightmarer – “Crawl of Time” (13 times)
5). Nightmarer – “Hell Interface” (13 times)
6). Converge – “Gilded Cage” (13 times”
7). Converge – “We Were Never the Same”” (13 times)
8). Converge – “Amon Amok” (13 times)
9). Converge – “Beyond Repair” (13 times)
10). Pilori – “Lese-Majeste” (13 times)



⚔️🩸 Sonic Selections (((o)))  - February 2026  (30 biggest tracks of the month)


Sunday, 15 February 2026

PLAYLIST: 🩸 THE NEW FLESH INDEX — WEEKLY ROTATION #7 Friday, February 6th to Thursday, February 12th, 2026



 

A curated descent into the tracks that defined February 6th – February 12th: the most vital, corrosive, forward‑leaning new metal of the week, delivered with the slow, air‑starved crush of something sinking under its own mass. This rotation sinks fully into February’s churn, crawling through the filthiest new strains on offer and locking onto the sounds that bruised deepest, smothered the room, or clung like a tightening coil long after the final impact.

 
This week’s choice cuts were stripped from the following release(s)
 

Eximperitus – “Meritoriousness of Equanimity”

The gravitational centre of the entire week, streamed 90 times, making it both the top artist and the most‑played album. Its labyrinthine death metal architecture set the tone for the rotation from start to finish.

MØL “Dreamcrush”

A major presence throughout the cycle with 79 track streams, its soaring blackgaze intensity cutting through the week with relentless momentum.

Shine “Wrathcult”

With 77 streams, this release carved deep into the mid‑week sessions, its serrated edge leaving a clear mark on the week’s overall texture.

Shields “Death Connection”

Although not included in the playlist, it still landed 59 streams, becoming one of the most significant outside‑rotation forces of the week.

Nightmarer “Hell Interface”

A dense, disorienting slab that contributed 45 track streams, adding weight and atmosphere to the darker corners of the rotation.

Blacklight Holywater “Not Here Not Gone”

Another off‑playlist standout, streamed 42 times, its bleak, shadow‑drenched tone fitting seamlessly into the week’s overall mood.

Syberia – “Quan tot s'apagui”

A sweeping instrumental counterbalance with 42 streams, offering atmosphere without easing the intensity of the broader cycle.

Urne “Setting Fire to the Sky”

With 27 streams, this track added a dose of muscular, melodic heft to the week’s listening profile.

Armed for Apocalypse “Fist Like Feathers”

The most‑played individual track of the week at 17 streams, standing out as the blunt‑force highlight amid heavier full‑length rotations.

Pilori “Lèse-Majesté”

A venomous single that pulled in 15 streams, holding its own against the week’s dominant albums and adding a sharp, caustic edge to the rotation.


 
WEEKLY LISTENING REPORT — FEBRUARY 6–12
 
⚔️ Total Streams: 504 — a 32% increase, marking one of the heaviest surges in recent rotation. The bulk of that weight came from a handful of records that demanded repeat immersion, with Eximperitus and MØL in particular pulling the week into deeper, more obsessive territory.
🩸 Total Artists Streamed: 18 — down 38%, reflecting a much tighter focus. This was a week defined by fixation rather than exploration, with a small circle of bands dominating the atmosphere from start to finish.
⚔️ New Albums: 19 — a 35% drop, though still a substantial intake for a week where repeat plays carried most of the load. Even with the narrowed scope, new material continued to carve out space in the rotation.
🩸 New Tracks Streamed: 82 — down only 4%, holding nearly steady despite contraction elsewhere. Fresh tracks continued to feed the edges of the listening cycle, but the gravitational pull of a few dominant releases kept the centre of the week firmly anchored.
⚔️ Total Listening Time: 1 day, 15 hours — a 30% rise, signalling longer, more immersive sessions. Much of that time was spent locked into the dense, ritualistic weight of Eximperitus and the atmospheric punishment of Nightmarer.
🩸 Average Streams per Day: 72 — up 31%, showing consistent pressure throughout the week rather than isolated spikes. The rotation stayed heavy from start to finish.
⚔️ Most Active Day: 108 streams on February 11th — a 15% increase, standing as the week’s clear peak. This was the day where the listening pattern tipped fully into saturation.


 
⚔️ Top Artist: Eximperitus (90 individual track streams)


🩸  Top Album: Eximperitous “Meritoriousness of Equanimity” (90 track streams)


 


⚔️ Top Track: Armed for Apocalypse “Fists Like Feathers” (17 streams)



⚔️🩸 The New Flesh Index Playlist #7 (30 biggest tracks of the week)


Monday, 15 July 2019

REVIEW: MØL, "I/II"

By: Eeli Helin


Album Type: EP
Date Released: 07/06/19
Label: Holy Roar Recordings,
Deathwish Inc




”I/II” CD//DD//LP track listing:


1. Sundrowned
2. Airy
3. Makhachkala
4. Kathexis
5. Atacama
6. Rush

The Review:

Some great waves were put forth last year in the European shoegaze/post-metal scene, when the Danish quintet MØL released their debut album "Jord", through Holy Roar Records. Whenever a band like this comes along the way, a lot of people are eager to dive into their past, looking for any possible prior material. That seems to pay off on many occasions, since most bands today make their demos available through streaming sites, and usually release EP's or other smaller releases before tackling their first full-length. Same goes for MØL, who released their first two EP's in '14 and '15, first carrying the bands name and second being simply "II".  These EP's were then remastered and re-released as a compilation on June 7th through Holy Roar and Deathwish on vinyl, CD and digital formats.

Firstly, the bands style is extremely hard to put simply. The shoegaze/post-metal title in the first paragraph could also use the atmospheric black metal prefix, hence creating just another monster of a genre list for people too busy to actually listen to the music. That's also a tad problematic in today’s music scene; why everything has to be put to strict boxes, when people everywhere are encouraged to be and do what they want to do and not to care about external pressure and limitations? Well, this planet has a lot more work to do with that, so could we at least throw the genre cages to the garbage bin? Okay? Thank you.

Titled respectively as "I/II", the two EP's deserve to finally get a broader release. While you can argue all you want about the necessity of such thing because "digital this and digital that", the fact is that the music world is full of enthusiastic people that want the well-made, eye-pleasing physical copies of albums and that is perfectly fine. The key in having the tracks remastered is to boost up the atmosphere/clarity department and make the old work stand in line with the bands current one, and that's exactly what MØL has done with these EP's. It also has to be kept in mind that regardless of the additional polishing, the tracks themselves are still the old ones. So, the worst thing you should do is to expect any groundbreaking "wow" factors to appear anywhere, if you are already familiar with the old releases.

But the songs, they are good and have stood time better than most. The band also of course knows that, because they aren't exactly in a cash grab position that would "justify" digging up old demos and throwing them to their audience like scraps, which is something that bigger, bland and unimaginative acts tend do ever so often. Side A opens with "Sundrowned", the bands ignition. I personally wasn't aware of MØL before their full-lengths release, but it's easy to say in hindsight that their signature output was already present when they started out. The driving drum beat and painting distant guitars weave a beautiful web for you to coil. A lot of this bands essence has to do with creating mental landscapes through sound, and they excel in it. Similar patterns are vivid through the second track, "Airy". By similar, I mean by aesthetic. Both of these tracks you have to listen to multiple times until you get a grasp of what's happening, since they are overall as the second track suggests, very airy compositionally. The third song "Makhachkala" then again is where it's at. Starting with more black metal oriented feeling and blast beats until proceeding to clean passages, the track is the first longer one and goes to show how MØL thrives in a more ample setting, bouncing between the extremes.

Side B commences with "Kathexis", and early on it's clear that their songwriting somewhat matured between the creation of the second EP. The tracks still carry similar instrumentation, but all of them are more varied and structurally more interesting. Taking both releases into account, the following track "Atacama" shines the brightest. Taking a bit unexpected turns along its way, you'll also notice the aforementioned growth in their writing. The black metal-esque, high pitched howling vocals also have more raw emotion and feeling on this second half. You will get shivers from them, which only adds to the sense of completion you'll get from listening to this. The final track "Rush" doesn't offer any new angles to their output, but acts as a fitting closure for the release.

It's clear that these two releases are meant to be listened to as one entity, which is why this re-release is really fitting. Even if you heard "Jord" before these, you will still enjoy the tracks and won't get the "demo" feeling from them at any point. My only problem with "I/II" is the fact that it gets monotonous on times, which is something they managed to avoid better on their debut LP. Still, it's not a surprise that MØL caught Holy Roar's attention. Music like this doesn't come around that often, especially when speaking about the production side of things. Purists will whine and complain, but let them do that. In the end they're the ones missing out on everything.

I/II” is available HERE




Band info: facebook || bandcamp

Thursday, 3 May 2018

ALBUM REVIEW: Møl, "Jord"

By: Daniel Jackson

Album Type: Full Length
Date Released: 13/04/2018
Label: Holy Roar Records



the basic feel of the music is going to be very familiar, but it’s done so well, and with such conviction that virtually no one else, including the biggest names in the style, have the chops to match what Møl does here.


‘Jord’ CD//DD//LP track listing:

1. Storm
2. Penumbra
3. Bruma
4. Vakuum
5. Lambda
6. Ligament
7. Virga
8. Jord


The Review:

I’ve always imagined it being rough, being a band involved in a niche subgenre on the decline after its initial peak. It must have been rough to have been an American-style death metal band in the late 90s. It probably would have been similarly challenging to have been symphonic black metal band in the mid 2000s. And it also seems like it would be difficult to be a post black metal/blackgaze band in 2018. This is all anecdotal on my part, but it feels like if you were to go onto social media and talk up a band using terms like blackgaze or post metal, or post black metal; you’re likely going to be met with some apprehension from friends or followers.

There’s a burnout that follows the gargantuan wave and eventual collapse of a hot new subgenre, almost like at a certain point, there’s an unspoken moratorium on new bands in that style. But the truth is that none of that shit should matter. Good albums are good albums. And Møl’s debut full length, ‘Jord’, is a damn good album. Sure you can point to similarities the band shares with certain tentpole bands in the style, but you could also say that Møl is doing more with that style, and in a more compelling way than any other band occupying this space.

The hallmarks are all here: the soaring, effects-drenched leads, the rock-laced drumming choices intertwined with blast beat sections, and of course the harsh, higher-pitched shrieking. And yet Møl is putting these elements in their own unique context by infusing a northern European influence in their riff writing style you don’t run across often in this niche. “Vakuum”, as an example, features a main riff that feels like a Norse take on the rhythm-centric approach of Cobalt’sGin’. There’s more of a melodic sensibility to it, but it captures a similar energy.

Even the stuff that fits into the genre’s longstanding tropes are performed better on “Jord” than on any album of a similar style in years. “Lambda” is steeped in the sort of airy, wistful clean guitar work that’s been one of the genre’s calling cards since day one. But thanks to some slick, fluid drumming choices from Ken Klejs, and the brilliant craftsmanship of the rest of the band, the song never feels like a lazy rehash of old ideas. Yes, the basic feel of the music is going to be very familiar, but it’s done so well, and with such conviction that virtually no one else, including the biggest names in the style, have the chops to match what Møl does here.

And that’s what the story of ‘Jord’ as a whole. It’s familiar, but brilliant in its own right. Gorgeous in the ways you’d expect, but brilliant in subtler ways you might not expect. Whatever the status of your burnout level is with shoegazy black metal: if you loved the style once, you owe it to yourself to give this album a committed listen. You might just remember what you enjoyed so much about this kind of music to begin with. I have. 


‘Jord’ is available here



Band info: Facebook