Metal Music fans and visitors forum .
You are not logged in.
This profoundly evocative images plunges the viewer into a realm of quiet despair and ethereal beauty, perfectly suited for the Dark Visual Arts & Imagery gallery.

At its core stands a solitary female figure, enveloped and almost consumed by a dense, all-encompassing mist. Her long, dark, wavy hair, appearing slightly damp, frames a face etched with a profound and world-weary sorrow. Her eyes, heavy-lidded and distant, gaze off to the side, hinting at an internal struggle or a deep, unspoken melancholy. There's a delicate, almost thread-like earring visible on her right ear, a subtle detail in an otherwise stark composition.
She is dressed in a simple, unadorned gown of a muted, cool grey or dusty blue hue. The fabric hangs loosely, with long sleeves and a gentle V-neckline, gathering softly at the waist. The plainness of her attire enhances her vulnerability, making her appear almost spectral against the pervasive fog.
The background is a blurred tapestry of indistinguishable shapes, hinting at the ghostly silhouettes of trees or an ancient forest swallowed by the thick, atmospheric haze. The mist itself is a dominant force, creating a sense of isolation and timelessness, obscuring the world beyond and leaving the figure suspended in a liminal space between reality and dream. The diffused light adds to the melancholic ambiance, casting no harsh shadows, only soft, muted tones that deepen the feeling of introspection and quiet desolation.
This piece speaks volumes through its stark simplicity and powerful mood. It captures a moment of profound solitude, a soul adrift in a world veiled by sorrow and mystery, making it a compelling addition to any collection of dark and evocative art.
This striking image presents a profoundly atmospheric tableau, steeped in an almost tangible sense of mystery and melancholia, perfectly suited for the Dark Visual Arts & Imagery gallery.
At its heart is a solitary female figure, kneeling or crouching amidst a dense, swirling mist that seems to emanate from the very earth. Her long, dark, wildly flowing hair frames a face imbued with an unyielding solemnity. Her eyes, direct and profound, gaze out with an enigmatic depth, hinting at ancient sorrows or unspoken truths.
She is clad in a magnificent, flowing black gown. The bodice features a delicate V-neckline, while the long sleeves are adorned with intricate, ethereal black lace patterns that suggest both fragility and a dark, elegant power. The voluminous skirt of her dress pools around her, its dark fabric seemingly dissolving into the tendrils of fog that cling to the ground, blurring the line between her form and the ethereal environment.
The background is a blurred tapestry of muted greys and dark forms, hinting at a deep, perhaps forgotten forest, swallowed by the pervasive gloom. The mist isn't merely a backdrop; it is an active character, weaving around her, lending a spectral, otherworldly quality to the entire scene. It creates a liminal space – a place between worlds, where shadows dance and secrets reside.
This piece evokes themes of solitude, gothic beauty, and the profound connection to a wild, untamed darkness. It's a haunting portrait that invites contemplation, drawing the viewer into the enigmatic narrative of a figure seemingly lost, yet utterly at home, within her own ethereal realm. A true embodiment of dark romance and spectral grace.
Welcome to the official creative corner for AI-generated art on DarkPort!
This sub-forum is dedicated to all fans of dark aesthetics, gothic culture, and metal music who love experimenting with neural networks (Nanobanana, Flux, Qwen, Chatgpt, Midjourney, Stable Diffusion, Leonardo, etc.). Whether you create realistic dark model photography, gothic fantasy landscapes, or metal album covers — you are welcome here!
? QUICK RULES FOR THIS SECTION:
1. Theme: Content must strictly follow the dark/gothic/metal aesthetics.
2. Formats: Please post your images by uploading them to external hosts like imgbb or imgur (use forum image tags).
3. Respect: Be supportive, share tips, or discuss prompt ideas in a friendly manner.
To kick things off, I'll be sharing some of my own realistic and stylized gothic/metal photography concepts right below.
Feel free to reply, drop your favorite images, or create your own new topics! Let's build a great dark gallery together. ?
This blackened Funeral Doom debut from Polish solo project Thorns Of Grief is a great mix of brutality and forlornness.

'Anthems To My Remains' is the debut release of Polish one-man band Thorns Of Grief, formed by Nebiros. A decade or so back, you couldn't move in the Doom scene for stumbling over one-man Funeral Doom bands but that seems to have dissipated somewhat now, based solely on my own experience. Therefore, it's with a delightful irony that I say that having the opportunity to listen to one now makes a lovely change for me!
Yes, that's right - Thorns Of Grief is 100% Funeral Doom, and if that's not your thing to begin with, then this release won't change your mind. Nebiros sticks to the core principles of Funeral Doom rather rigidly, as all must to an extent I suppose, given the vast number of sub-genres of Doom Metal now. Still, some bands push it and attempt to fuse new elements, but that's not the case on 'Anthems To My Remains'.
Some of you might find this release boring for that reason; I can't deny that. Personally speaking, however, I'm a fan. I like all forms of Funeral Doom with the proviso that it's done well, and I'm pleased to say that Nebiros ticks each box on that front here.
What I found interesting about this album is that he opted to switch between a very forlorn yet longing atmosphere and an altogether more brutal sound with pained harsh vocals and some early '90s raw fuzz to accompany it. I like both but to see them together isn't all that common, in my experience, because it's hard to pull off. The more 'longing' feel fused with some beautiful piano interludes and acoustic guitar makes for natural bedfellows - but not always the aggression that Nebiros has utilised here. It works, though - I could listen to this album whether in a more angry mood or relaxed mood because of it.
In terms of production, I think it could be considerably better than it is, especially when I heard how the fading screams sounded on 'Till Our Rebirth'. Having said that, I believe that having a poorer production aids music of this nature because of the atmosphere it generates so although I mention such, I do so in more of an observational manner than as a criticism. The only real criticism I have of this album is that I found it to be quite short, at least by Doom standards. The growled vocals convey the desired emotion well enough, the guitarwork is good, and none of the instruments are overbearing/too low in the mix often enough to be annoying.
If I had to compare Thorns Of Grief, I'd say that you'd find similarities to the music produced on 'Anthems To My Remains' on early Funeral releases, Ornamentos Del Miedo's 'Este No Es Tu Hogar', and littered throughout the career of Mistress Of The Dead, to name but a few that come to mind. Obviously I could by no means could I call 'Anthems To My Remains' original, but I enjoyed it a lot for what it was. No complaints here!
To summarise, this is a hauntingly beautiful piece of Funeral Doom that we've all heard before, but one I personally will never tire of hearing.
Tracklist :
1. Thorns Of Grief
2. A Longing
3. Till Our Rebirth
4. The Deceit Of Materiality
5. Illusions
Duration : Approx. 48 minutes
The latest full-length from Our Survival Depends On Us is a fascinating, sweeping, cinematic Post-Metal opus.

'Melting The Ice In The Hearts Of Men' is the fourth album by Austria's Our Survival Depends On Us. Generally, I consider myself well versed in the ways of Metal. I am usually quite comfortable at evaluating and reviewing Metal albums from a myriad of genres. This album was a bit of a new challenge for me. It made me feel like an outsider looking in, usually I'm in the deep end of Heavy Metal swimming happily. 'Melting The Ice In The Hearts Of Men' put me on the pool deck, wearing water wings, trying to find a safe place to hang my towel. That is not to say the album was unwelcoming or harbored a pretentious eliteness, I think this album just operates on a different scale than I am used to. Think of combat; there are MMA fighters and boxers who specialize in one on one combat, there are security forces such as SWAT that are a small, elite, skirmish units, then there are full blown armies. I feel that this album operates like full scale invasion of a continent, while I'm a guy getting punched in the gut by a ham-and-egger in some dank, musty, boxing ring somewhere. 'Melting The Ice In The Hearts Of Men' operates on a huge scale and occupies a much larger space and breadth then I am used to Metal doing. It is a little intimidating and not my usual listening wheelhouse, but those feelings come from my own shortcomings, not a lack of accessibility by Our Survival Depends On Us.
To craft something on the level of 'Melting The Ice In The Hearts Of Men' it takes talent, artistic vision and first rate production capabilities. Typically, I prefer distorted, stripped down and bluesy over the orchestral, eerie, and atmospheric this album serves up. Our Survival Depends On Us has a way of seamlessly blending dashes of Black Metal rawness, Doom riffage, progressive drums, sports arena organs, and an array of percussion. They whirl all those components into something new and fresh. There is a lot packaged in there, it creates a haunting, dark, piece of art that is breathtaking, they just used way more colors then I am accustomed to.
At times this album feels like it could almost fall into the "soundtrack" category but it has some inexplicable elements that make it seem a bit more multifaceted then what would generally be construed as its peers. It does however beg to be overlaid with visuals.
The second track 'Gold And Silver', my favorite track, is an amalgamation of many different genres. It takes a cheap, tin-can, circular Black Metal guitar opening and quickly shifts lanes into Candlemassian beefy riffs and a huge crying guitar solo. Although the song clocks in at over 10 minutes, tempo changes and elemental genre fluidity that are all beholden to a driving percussion make the song worthy of its length. The run time allows the band to find little pockets and corners within the song to jam out, exploring different sounds yet all under the same banner. It is like riding a train, each town or stop along the way is different and diverse but still lies on a single track. There are many different vistas here but they are all connected.
In some ways this album has left me trying to define the undefinable. 'Melting The Ice In The Hearts Of Men' is an incredibly unique, massive, opus style piece. If I had to categorize it into a genre I would lump it into "Post-Metal". It was interesting and enlightening to listen to, I'm still not sure I fully understand what message it's trying to convey, but it was inspired and entertaining nonetheless.
Tracklist :
1. Galahad
2. Gold And Silver
3. Song Of The Lower Classes
4. Sky Burial
Duration : Approx. 47 minutes
thank you! 
The facility to create new topics in the forum is available to all logged on all members. Before starting a new topic though, please check to see whether there might already be a thread on the same topic. If there is, it is usually better to continue the discussion there. The forum has a powerful search facility which will assist you in your search.

Defision were created in Alexandroupolis, Greece somewhere in 2013 as the evolution of a jam project already counting about two years of existence. Armed with our experiences from previous bands in which we participated and after some experimentation, we settled on the musical style we wanted to go. Our influences derive from different styles of metal (heavy, thrash, melodic death, progressive) as each of us has a completely different musical background.
On January 2016 we released the EP "A Thousand Bullets", which is our first album, and a couple of months later our first video clip for the song "World In Chains". At this time we are preparing for live shows in northern Greece, while working in a more complete presentation of work by releasing a full length album.
The Band Members Are:
George Keivanidis - Vocals
Stratos Vrachiolias - Guitar
John Kaltsidis - Guitar
Periklis Epitropou - Bass Guitar
Chris Panagis - Drums
Links:
Youtube video links:
www.youtube.com/watch?v=gtl0sN2E274
www.youtube.com/watch?v=3gu1zKDkbFc
A good, solid Death/Doom debut from the mixed French and Colombian Ceremonia.

Ceremonia's album 'La Existencia Humana Debe Ser Un Error' is a great example of Death and Doom metal music to come from Colombian/French musicians. The opening track 'Amanever Fallido' is a blend of cold darkened passages. It haunts your mind. Tempos change, and you never really know what to expect. I love the feel of this and it's balanced really well. The changes are quite dramatic and interesting to listen to.
An energetically melodic Gothic Doom debut from 2013 by Анклав Снов aka Enclave Of Dreams.

Opening with the sounds of running water and desperate breathing, 'Дорога в неизбежность' (Russian: 'Doroga V Neizbezhnost', meaning 'road to the inevitable') quickly exposes itself as a melodic piece of Gothic Doom once the first song hits, one that is mixed well and accompanied by catchy vocals. The cover art is a little misleading, as the Анклав Снов (the band also use the translation Enclave Of Dreams) logo looks like it belongs more so in the world of Slam and Death Metal, but the imagery itself is quite accurate, and it evokes the same feelings as the music does. The album overall is an energetic, but Doom filled lamentation that only falls short because of a few poor melodies and uninspired songs.
Extremely competent, but a bit too familiar-sounding: Verdun's debut full-length.

France's Verdun have been going for around half a decade, in that time releasing a single EP/Demo before the subject of today's review 'The Eternal Drift's Canticles'. They seem to share their name with at least two other bands, so be wary when hunting them down on Spotify – I was stumped how they had gone from Black Metal to Oriental-tinged Gothic Metal (covering Classic Rock tracks no less!) to their current form before I realised that I wasn't listening to the same band.
As for their current form this Verdun are a thick 'n' heavy Sludge/Doom band. Whilst possibly lazy to describe a band in such a way, I think if you took YOB, deleted the high pitched wails, and mixed with one of Neurosis's more recent efforts, say 'Given to the Rising', you would have a pretty clear picture in mind of how this sounds.
More modern-day Anathema atmospherics than Doom, Iran's The Unknown deliver a polished debut.

Want a serious challlenge in life? Well, consider being an Iranian Doom band - currently, the only one - where you're not even allowed to distribute your own CDs, but need to go through an Italian intermediary to get them to the outside world (I'm still waiting for my 'real' copy to trans-ship via that route, as it happens). Hard to imagine those kinds of restrictions? Well, welcome to Aria Moghaddam's world. Kudos, quite frankly, for making any effort at all to transgress those boundaries. And double kudos for making a pretty decent fist of it, musically, in the process.
Whilst I would normally wait for sight of the full product, as that may still be some way in the future, for now I'll stick with the more simply-obtained digital download of what The Unknown describe as "a post atmospheric doom dark symphony". It may come as no surprise, with that sort of intention, that one of their major influences - and, in fact, previous collaborators - is Anathema, whilst Danny Cavanagh appears as one of the several guest musicians on this album.
You do have to wait for the closing track for that to become especially relevant, however, with its 'We're Here Because We're Here'-era proggy guitar and piano workout. To begin with, if you were going to pick a musical comparator for the almost-Funeral opening instrumental, it'd be something more like The Howling Void's more ethereal and melodic moments. In between, it travels a logical enough progression that passes through a similar, longer, track with vocals, and into one dominated by more-or-less Dark Ambient textures. Perhaps the most concise summary would be that it's an album which gets steadily lighter and more hopeful as it unfolds. It makes sense, given that the underlying concept is one of humanity striking out to explore the possibilities of existence, to discover purpose beyond immediate gratification, and to become more enlightened and understanding of its place in the cosmos and the future.
It does, however, mean that the doomiest moments are front-loaded, in the descriptions of the world as it is now, which fairly comfortably fits into a label of Atmospheric Doom, while the second half of the album is perhaps better classed as Post-Rock. It's a transition that's handled well enough: there's no obvious break to the flow, or contrived change of direction to the music to get it there. Impeccably orchestrated and mellifluous as it the music is, it simply drifts with an easy, airy familiarity through the various phases, the 'symphony' of the description reflecting that there is no real hard division between any of the four movements.
Vocals only make two significant appearances, in parts 2 and 3. Both are clean male recitations, the first setting out the sorry state of earthbound history, the second more of an exhortation towards the stars. To give them credit where it's due: the clear intonation of the lyrics is almost spot-on, with effectively emotive use of inflection in their delivery. On the downside, they do fall on the verbose side, to the point where it's easy to lose track of the lengthy sentences, and - to a native English speaker, at least - some of the actual constructs and pronunciations - particularly in the longer 'part 2' speech - veer between quirkily odd and just plain wrong. Still, that's not something I'd consider a serious detraction from the listening experience: more of a feature than an issue.
On that subject, I'd only have one real complaint - in both the choice and extent of sampled effects, used extensively to link the tracks together. And whilst I get how they fit into the narrative, such sounds as 'heart monitor', 'baby crying' and 'man weeping in rain' are all, by definition, not only intrusive and attention-demanding, but largely compel a response of wanting them to stop. Unfortunately, they're all dragged out way too long - well over a minute, in most cases - to the point where they simply becoming tedious as well as aggravating.
I don't want to be too harsh on 'In Search Of The Unknown', recognising its unique origins and the struggle to get it made at all. And in many ways, there's very little to criticise it for, assuming that you want a short, accessibly light, and often quite optimistic, keyboard-led piece to chill out with. In that, it succeeds admirably, and were I writing from anything other than a Doom perspective, I'd score it more highly. But, at the end of the day, it never delves much deeper than a lugubrious sorrow, emotionally, nor does it musically bring on any of the threatened heaviness from the opening few minutes. There are still plenty of Doom fans who've stuck with Anathema throughout their career, and The Unknown should find some favour amongst that cohort: for everyone else, it's unlikely to be a particular head-turner. Still, now that the precedent has been set, perhaps that will open the way for some welcome darker explorations, and I do have to especially commend the band for that particular achievement.
Suffer In Paradise offer a melodic but somewhat pedestrian Funeral Doom debut.

With this release, Suffer In Paradise gives a therapeutic glimpse into the world of slow, crawling Doom, one whose home lies in longevity. The songs are tragic and woeful pieces, only half of which make it under the ten-minute mark. 'This Dead Is World' is full of crunching, or roaring guitar chords, synth interludes and accompaniments, and deep, growling vocals, which mesh nicely with the open, but forbearing sound of the album. While most of the songs are drawn out, crawling pieces of Doom, the track 'Suffer In Paradise' picks up the pace a bit - its approach reminiscent of My Dying Bride, at least as far as the riffs are concerned. All these efforts across 'This Dead Is World' are mostly successful, but some are muddled by the abuse of a few melodic themes, and what I would call the tasteless use of keyboard in some spots.
The sophomore from Wolf Counsel reaffirms their commitment to old-school Trad Doom/Heavy Metal thunder.

Sometimes, it's nice to just set everything else aside, drop a no-frills, back-to-basics, rock-'til-you-drop kind of release into the CD tray, and wind the volume up. Which makes it quite convenient that Wolf Counsel's sophomore release 'Ironclad' is sitting on my desk at the moment. It's something I've been keeping a casual eye out for since reviewing last year's self-titled debut: an enjoyable and enthusiastic take on classic footprints-of-Sabbath anthemic riffing.

A little lacking in unique identity, Fading Waves compensate with excellent Post-metal compositions and production.
The clue is in the name, and the title come to think of it. There's also another one on their Bandcamp page where it says 'atmospheric post-metal' in the tag line. Despite all this I still wasn't all that prepared for just how 'delicate' some of the music played by Russian entity Fading Waves really is. It doesn't start out that way, but it isn't very long before the realisation dawns; this one is going to be emotional.
album: "Glory To The Brave" (1997)
The Dragon Lies Bleeding
The Metal Age
Hammerfall
I Believe
Child Of The Damned
Steel Meets Steel
Stone Cold
Unchained
Glory To The Brave
Ravenlord

Genre: Atmospheric Black Metal
Country: United Kingdom
Tracklist:
1. Forever Disconsolate 5:31
2. Reminiscence 9:26
3. Engulfed In Apathy 7:26

Genre: Atmospheric Black Metal
Country: France
Tracklist:
1. I 23:08
2. II 22:03

Genre: Atmospheric Black / Post-Black Metal
Country: USA
Tracklist:
1. Guilt Had Ambushed Me Once Again 04:42
2. Being Is Desire/Desire Is Suffering 04:36
3. My Purest Heart for You 10:25

Genre: Atmospheric / Depressive Black Metal
Country: Brazil
Tracklist:
1. Indeterminado 07:22
2. Réquiem 05:46
3. A Vida é Uma Doença Eterna 06:42
4. Children Orphans 10:19
5. Cinzas 07:06

Genre: Atmospheric Black Metal
Country: Russian Federation
Tracklist:
01. November Days I 09:26
02. November Days II 08:46

Genre: Atmospheric Black Metal
Country: USA
Tracklist:
01. Gestaltung (Part. I) 09:35
02. Gestaltung (Part. II) 09:52

Genre: Atmospheric / Depressive Black Metal
Country: Spain
Tracklist:
1, Confessions Of A Man In Fear (Part I)
2. Confessions Of A Man In Fear (Part II)