Hailing from Charleston in West Virginia, the ‘Mountain State’, Altarheart began in early 2023 as a solo endeavour from multi-instrumentalist Anthony Conn. Anthony released an array of singles working alone, as well as Deny Thyself, a full-length album of his distinctive, melodic, progressively minded metalcore before he welcomed his brother and accomplished drummer, Alex Conn into the Altarheart […]
From the start, “Into Ours” reveals itself as an intense and refined journey. The use of synth pads creates an enveloping auditory space, transporting listeners far into their thoughts. The band’s sound stands out as intriguing, drawing parallels with the depth of vocals and melodic nuances reminiscent of Type O Negative, yet leaning towards a more atmospheric alternative rock than metal.
This piece provokes dreamlike visions, inviting listeners into a sonic exploration rich with emotional landscapes. The incorporation of arpeggiators and pads lends a futuristic edge while also evoking a sense of nostalgia and dystopia. This unique blend establishes a mesmerizing journey.
The Theos Variant, a rock duo hailing from Columbus, Ohio, comprises vocalist Dan Lentz and guitarist/producer Geoff Haught. Their experience is evident in the quality of the music they create. Lentz’s vocals soar high, rich with emotional depth, while Haught’s guitar work adds texture and complexity to their sound. This duo demonstrates a solid artistic vision that resonates through every note.
Into Ours – Sound and Atmosphere
“Into Ours” possesses an austere beauty that entertains without overwhelming. It allows listeners to engage with its subtleties, creating rich layers that unveil with each listen. The interplay between the lush instrumentation and the haunting vocals fosters an atmosphere of introspection and contemplation. This track compels its audience to immerse themselves fully.
The expansive nature of this song offers a perfect balance between technical skill and emotional resonance. There’s an undeniable chemistry between Lentz and Haught, as they layer their contributions to form a cohesive and immersive listening experience. Much of the appeal comes from their ability to remain grounded while reaching for ambitious sounds.
The lyrics, though delicate, carry a weight that pairs beautifully with the instrumental backdrop.
Into Ours – Performance and Production
The production quality of “Into Ours” further enhances this rich auditory experience. The thoughtful arrangement keeps the listener engaged, ensuring that the experience remains fresh and rewarding with every playthrough.
The Theos Variant invites their audience to settle in for a truly unique experience, characterized by depth and emotion. This band is one that every music lover should delve into.
With such a distinctive sound, they promise to carve out their niche in the contemporary music scene. The promise exhibited in this single leaves one eager to hear more from this dynamic duo.
Gothic cathedrals were never designed merely as religious buildings. They functioned as emotional structures intended to overwhelm the human senses, elevate spiritual anxiety, and transform architecture into psychological experience.
Towering spires, stained glass shadows, endless vertical lines, cavernous interiors, and dim candlelit corridors created spaces where fear, transcendence, awe, guilt, beauty, and mortality merged into a single emotional atmosphere. Long before cinema or psychological horror existed, Gothic architecture already understood how physical space could manipulate the human mind.
A cinematic Gothic illustration exploring cathedrals as emotional architecture shaped through darkness, light, scale, and psychological atmosphere.
The Gothic cathedral therefore became one of history’s earliest forms of emotional architecture because it transformed stone, light, scale, and darkness into psychological experience itself.
Unlike classical architecture, which emphasized harmony, proportion, and rational order, Gothic architecture pursued emotional intensity.
Cathedrals built during the High Gothic period intentionally destabilized ordinary human scale through immense verticality and spatial vastness.
Visitors entering these structures suddenly confronted ceilings disappearing into darkness, columns resembling endless stone forests, and colored light filtering through stained glass like supernatural vision.
Psychologically, this creates what philosophers later described as the sublime: the emotional collision between beauty and overwhelming magnitude.
The human mind simultaneously experiences attraction and vulnerability inside these environments.
Gothic cathedrals therefore generate emotional immersion not through comfort, but through awe mixed with existential smallness.
Verticality and the Psychology of Transcendence
One of the defining features of Gothic architecture is vertical movement.
Pointed arches, ribbed vaults, elongated windows, and towering spires all direct the eye upward.
This was not merely decorative engineering.
The architecture psychologically encouraged visitors to feel spiritually elevated while simultaneously becoming conscious of earthly limitation.
The body remains physically grounded while perception constantly ascends toward unreachable heights.
This creates emotional tension between mortality and transcendence, a tension central to Gothic aesthetics across literature, cinema, music, and visual art.
The cathedral therefore becomes both physical structure and symbolic representation of psychological longing itself.
Light, Darkness, and Emotional Atmosphere
Gothic cathedrals manipulate light with extraordinary psychological precision.
Rather than fully illuminating interiors, stained glass windows fragment and soften natural light into shifting colors and shadows.
Darkness remains present even during daytime.
This partial visibility produces emotional ambiguity because the mind instinctively reacts differently to obscured space than to fully visible environments.
Candles flickering against stone walls, distant echoes, shadowed corridors, and partially hidden architectural details all contribute to a feeling of mystery and symbolic depth.
Modern horror cinema still uses these same atmospheric principles.
The Gothic cathedral essentially established the visual grammar of emotional darkness centuries before film existed.
The Cathedral as Collective Emotional Experience
Unlike private homes or individual artistic spaces, cathedrals were designed for collective emotional participation.
Large groups entered the same immersive environment and experienced synchronized emotional reactions through ritual, architecture, sound, and symbolic imagery.
The echo of choirs, the smell of incense, the rhythm of prayer, and the overwhelming scale of the building itself created psychological immersion long before modern theories of environmental psychology existed.
Architecture became emotional choreography.
The cathedral shaped how people moved, looked upward, lowered their voices, experienced silence, confronted mortality, and imagined spiritual forces beyond ordinary perception.
This explains why Gothic cathedrals continue feeling emotionally powerful even for secular visitors today.
The psychological atmosphere survives independently from religious belief itself.
Gargoyles, Monsters, and the Exteriorization of Fear
The emotional complexity of Gothic cathedrals extends beyond their interiors.
Grotesque gargoyles, demons, skeletal imagery, and monstrous carvings cover many cathedral exteriors.
These figures served symbolic, religious, and psychological functions simultaneously.
Medieval societies externalized fear visually through architecture.
Sin, death, chaos, evil, and spiritual anxiety became physically carved into stone.
This transformed abstract fear into visible imagery that could be emotionally confronted and symbolically controlled.
Modern Gothic art continues repeating this mechanism.
Internal psychological tension frequently becomes external atmosphere, symbolic architecture, monstrous imagery, or noir environments reflecting emotional states.
Why Gothic Cathedrals Influenced Gothic Literature
The emotional logic of Gothic literature emerged directly from Gothic architecture.
Writers such as Horace Walpole, Ann Radcliffe, Edgar Allan Poe, and later Gothic authors transformed architectural atmosphere into psychological narrative.
Dark corridors, hidden chambers, ruined abbeys, candlelit interiors, labyrinthine spaces, and oppressive structures all originate from emotional responses created by Gothic cathedrals themselves.
Poe especially understood how architecture could reflect unstable mental states.
In The Fall of the House of Usher, the decaying mansion functions almost like psychological anatomy, externalizing fear, repression, memory, and emotional collapse through physical structure.
The Gothic cathedral therefore became the symbolic ancestor of nearly all modern psychological Gothic environments.
The Modern Fascination with Gothic Architecture
Modern audiences continue feeling emotionally drawn toward Gothic cathedrals because these structures satisfy psychological desires largely absent from contemporary architecture.
Many modern buildings prioritize efficiency, functionality, transparency, and minimalism.
People frequently describe Gothic cathedrals as haunting, spiritual, cinematic, melancholic, or emotionally alive.
These reactions reveal how architecture can still shape emotional perception on a subconscious level.
The fascination persists because Gothic cathedrals do not merely house emotion:
they physically embody it.
Why Gothic Architecture Still Feels Alive
Gothic cathedrals remain psychologically powerful because they transform emotional abstraction into physical experience, allowing stone to become atmosphere, light to become emotional tension, verticality to become spiritual longing, and darkness to become symbolic introspection.
Few architectural forms have ever fused aesthetics, psychology, ritual, fear, beauty, and transcendence with such emotional precision.
The Gothic cathedral therefore survives not simply as historical architecture, but as one of humanity’s greatest attempts to build emotion itself into physical space.
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Frequently Asked Questions
Why do Gothic cathedrals feel emotional?
Gothic cathedrals use immense scale, darkness, stained glass light, verticality, echoes, and symbolic imagery to create emotional immersion and psychological awe.
What is emotional architecture?
Emotional architecture refers to buildings designed to influence psychological experience through atmosphere, scale, light, sound, and spatial perception.
How did Gothic cathedrals influence Gothic literature?
Gothic literature borrowed emotional atmosphere, dark interiors, labyrinthine spaces, symbolic architecture, and psychological tension directly from Gothic cathedrals.
Why are Gothic cathedrals still fascinating today?
Modern audiences remain drawn to Gothic cathedrals because these structures combine mystery, beauty, emotional depth, transcendence, and psychological atmosphere in ways rarely found in contemporary architecture.
Bob Vylan, the London punk-rap duo whose members go by Bobby Vylan and Bobbie Vylan, were at the center of controversy last summer after leading a “Death to the IDF!” chant at the UK’s premier music festival, Glastonbury, in protest of Israel’s genocidal war crimes in Palestine. At the time, the BBC, which livestreamed the festival, described the chant as “deeply offensive” and refused to make Bob Vylan’s set viewable on demand.
(written by Islander) Somehow, in our 16+ years of existence, today is the first time we’ve featured the music of the Italian band Carcharodon. It’s especially mystifying because the band’s discography includes four albums and a slew of shorter releases, and because the band’s genre-crossing music hits dead-center in some of our favored wheelhouses. In […]
There are times in your life when you’re compelled to hop on a plane for an unreplicable experience, whether it’s the stars literally aligning for a solar eclipse, the South African Sardine Run, or the birth of a child that you forgot you had. I can’t claim that this year’s Fortress Festival is in the same category as those events, but what I can say is that it is one of the most unique and intentionally curated festivals that any black metal aficionado should not miss.
If you’re not familiar, Fortress Festival is the brainchild of Gary Stephenson and the team at Reaper Agency, and has now wrapped up its fourth year of bringing the best of both black metal vanguards and emergent underground acts to the picturesque Scarborough Spa in North Yorkshire, UK. This was my first year attending, but the general consensus from the numerous repeat attendees that I talked to is that every year seems to surpass the year prior. As a testament to the quality of this festival, next year’s edition is already 70% sold out, even though currently, only Emperor has been announced as a headliner for 2027. I can only hope that my report of this year’s edition captures even a bit of the idyllic insanity that Fortress provides.
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Credit: KAOS_Agent
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The Approach
As Scarborough, UK, is a relatively small and unknown town, I bookended the festival with some other metal matters of great importance, including seeing Thy Catafalque in Glasgow, Urgehal in Norway, and generally catching up with friends, all while nursing a sprained knee, a souvenir from Northwest Terror Fest in Seattle a few weeks prior. I won’t go into these sidequests, I’m not Rick Steves after all, but wanted to highlight one town that is worth visiting if you ever make the trek to Fortress–Whitby. Scarborough is nice, but Whitby is absolutely stunning, and if you’re flying in from somewhere that imparts some jetlag, I highly recommend spending a day or two there to either prep or reset from the festival. Every step and angle of the town is breathtaking, from the cornerstone ruined Abbey, to the nearby crowded graveyard, to the winding staircase that leads to a very interesting and solemn-feeling pier. In fact, Whitby is home to the “199 Steps,” which is referenced in Bram Stoker’s Dracula. I can see why this was a source of inspiration, there’s definitely a poignant feel to the place.
Scarborough is a short 30-40 minute drive from Whitby, and is a quintessential quaint British seaside town. It is here we start a weekend of world-class black metal.
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Credit: KAOS_Agent
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Pre-Show
The debate on whether to attend Fortress Festival for me started around eight months prior. The lineup was undeniably strong, but with any overseas festival there’s always a question on the logistics, especially since this year, there was some competition from another North American festival I was eyeballing. (I’m very glad that Prepare the Ground doesn’t clash next year.) The announcement that tipped things over the edge was the introduction of a festival pre-show this year, with Wode, Andracca and Blood Countess on the bill. I’ve been wanting to see Wode for quite some time; 2017’s Servants of the Countercosmos is one of the most complete black metal albums out there, in my opinion. Compared with the gauntlet of some of the mass market metal festivals out there, I also consider an ideal length for a fest to be three days, so the introduction of a pre-show was quite the cherry on top.
The inaugural pre-show took place at Cask & Keg, a pub somewhat near the main venue. Fortress already has a small festival intimate feel, and the pre-show took that further, with a limited capacity of 150 people. I got there early, perhaps too early, as the queueing critical mass started around two hours before doors opening. Venue capacity was quickly met, and the only thing hotter than the temperature were the bands. I wasn’t in the best spot for the opener, Blood Countess, but eventually got a great line of sight for Andracca and Wode, both of whom provided an excellent, riff-filled opening shot to the weekend. All three bands are fairly familiar to the UK metal scene and are actively touring, but haven’t quite made it across the pond yet, so I was glad to see a cross section of the local scene. Andracca will be securing some follow-up listens from me due to their enthusiastic energy and Wode ending with “Celestial Dagger,” was all that I could hope for.
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Credit: KAOS_Agent
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Day 1
With the venue and location being such an important aspect of Fortress’ identity, I arrived a bit early to scope out the area and gameplan how to get between stages. Scarborough Spa is prominently located on the coast, and is thankfully removed from the boardwalk busyness of the South Bay beach area. As it’s a bit isolated from the standard beach area, there’s not much to check out in the immediate vicinity beyond an interesting cliff funicular, which made elevated access to the afterparty bars a bit easier. Something to keep in mind is that although Scarborough has some quality places to eat, there aren’t that many interesting options near the venue itself. Thankfully, there were some solid food stand options onsite, and I recommend making use of them so as to not miss any bands between the 10-minute set transitions.
Groza
Opening up the festival was German quartet Groza, whose name and overall aesthetic is heavily inspired by the Polish black metal scene, drawing elements from Mgła, Furia and Odraza. Their performance was a sort of wailing, post-black metal easing introduction into the festival, which I can only describe as an awakening rather than an in-your-face blast. Fitting this atmosphere was their visuals on the background screen, which undulated with the music well, and emphasized the moment rather than the band itself, who of course were all enshrouded in hoodies. It was an appropriate contrast, introducing the audience to the spectacle of the venue, while maintaining a great stage presence.
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Credit: Jay Valena
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Black Cilice
I can now say that I’ve technically seen Black Cilice, although there was so much fog that it was probably the most audio-exclusive live performances that I’ve experienced. Seriously, I think the only other band I’ve seen with more manufactured haze is Sunn O))). This was an intentional decision, as the enigmatic one-band Portuguese band is known for their secrecy, refusing to even have any sort of personnel listings on Metal Archives. Despite this, they garnered a lot of anticipation and interest from people that I talked to, and I was personally curious on how the raw, lo-fi production of their albums would translate to a live stage. They were the opening act to the Ocean room stage, which reminded me of a modern ballroom with antique air circulation. I was surprised about the contrast between their studio albums and live show; the band was restrained and stoic, and the guitar had a fuzzy, grunge feel. I was glad to experience how different they are live, and appreciated the packed, sweaty frenzy of the Ocean room to showcase additional emergent acts that would follow.
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Credit: Andy Pountney
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Mesarthim
One of my favorite parts of Scarborough Spa as a venue is the connecting area between the Ocean room stage and the balcony area of the main hall, which provides a great aerial view of the stage. Fortress has a mostly no-overlap schedule, providing 10 minutes between sets, which I thought to be a perfect amount of buffer time. I elected to watch Australian-based cosmic metallers Mesarthim from overhead, since I had a feeling their space-influenced hypnotic style of metal would be accompanied by some interesting visuals. I was right, but not in the way I expected in terms of using the extensive stage screenery. The visual creativity was centered around the band’s get-up, particularly the anonymous frontman’s swirling electronic mask. I’m actually a bit surprised I haven’t seen anyone slap some LEDs on a mask before, considering how much metal seems to enjoy this particular costume choice. Evoking a collapsing star, their mixture of electronic, trance, and black metal was a crowd favorite. My only complaint is that I wish their keyboardist was better lit on stage, as he had a heroic performance!
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Credit: Jay Valena
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Aeon Winds
I can’t claim to know much about Bratislava, but if Aeon Winds is any representation of the metal scene there, I have much to learn. Prior to the festival, I spent some time checking out their back catalogue, which is a varied, well-rounded mix of melodic and folk black metal. Out of all the bands I saw at Fortress, I dare to say that they were the happiest to be there, profusely thanking the audience, making themselves available at the merch booth and taking the obligatory selfie at the end of their set. They played a special set in collaboration with Midnight Odyssey in the back half, and some of their songs, particularly their third, reminded me of Windir. Aeon Winds has been around for awhile, and I hope they continue to build off of the momentum of Fortress to showcase their extensive discography.
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Credit: KAOS_Agent
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Intermission & Fuel
It is at this point that I unfortunately had to make the hard decision to duck out of Ossaert a bit early, as the activities from the night before required a higher than usual amount of calories. There’s a varied mix of food vendors at Fortress, including the return on Goth Burger, a crowd favorite for obvious reasons. I actually first caught wind of them as a food truck that had to cancel attendance at Damnation Festival in 2025, so I was eager to give them a shot. A consolation prize for having skipped what undoubtedly will be a set that I’ll regret missing, whose frontman’s powerful vocals were still heard in the outside atrium area. One thing to note; a fair amount of vendors either run out of food or wrap up before the last one or two bands of the night, so plan accordingly or tie some granola bars to your bullet belts.
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Credit: KAOS_Agent
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Akercocke
Perhaps the most death metal inclined band at Fortress, London-based Akercocke didn’t have to travel far to perform a full rendition of their Satanic, seminal 2003 album, Choronzon. From the second they took the stage, they matched an all-business attitude with an impeccable wardrobe, and brought an incredible amount of focus to playing this influential album in its entirety. As with the album, the set started off with a captivating video clip from the “Guardian of the Abyss,” episode of the Hammer House of Horror series, which was an effective way to capture the audience’s attention right from the beginning. It was nice to break up the grim black metal bleakness of the night with some traditional brutality, and it was probably the most riffing and solo-heavy set of the night, which yielded the first proper mosh pit of the day as far as I was concerned.
Something that was acutely apparent with this set is how different the sound mix was depending on where you were in the audience. The overall sound was very drum forward, which I always appreciate, but I chose to run around from the wings of the floor, to the center, to the upstairs balcony, and got very different sound profiles depending on the location. The main hall has a very wide layout, and my suspicion is that the side fill monitors made it a bit hard to hear the intricacies of what is a fairly textured album. Frankly, I was too distracted by keyboardist Sam Loyne’s theatrics too much to care, who punctuated much of his playing with the gesticulations verging between a conductor and a preacher, which caused me to chuckle a few times. A very fun set in a sea of nihilism.
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Credit: Jay Valena
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Dødheimsgard/Vikotnik Theater Talk
Dødheimsgard, and specifically frontman Vikotnik/Yusaf Parvez, holds a special place in my heart as I’ve followed his many bands throughout the years, particularly his contributions to Code’s Nouveau Gloaming and Resplendent Grotesque albums, which singlehandedly ensnared me into the black metal genre. I also was lucky enough to see him contribute to a special commissioned Hexvessel set during Roadburn 2024, and immediately saw his abilities as not just a musician, but showman. Following Fortress, I also was to visit Oslo for the first time, so I made sure to attend his interview with CVLT Never Dies scribe and archivist Dayal Patterson to understand his views on the Norwegian scene and genre as a whole. This occurred on the third and smallest theater stage, an intimate seated room that facilitated some of the band interviews as well as the dungeon synth sets.
It’s certainly the case that Vikotnik’s musical output has gotten to be more esoteric through the years, and in the interview he attributes this to the fact that his view is that black metal has always been about contrarianism. It’s an interesting perspective, as the first wave of Norwegian black metal embraced anti-religious themes, whereas today, they are common as standard tropes, which is inevitable as the genre proliferates. Another quote that led insight into his psyche is that in the early days of the scene, there were heavy battle themes, and that at a certain point, “You have to take off the helmet, and understand what’s behind it.” It certainly gives some context to the cerebral nature of Dødheimsgard’s music, and a portion of the interview focused on his approach to writing and rewriting music, as well as the complex logistics of assembling nine stage members to pull off the Black Medium Current set.
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Credit: Cult Never Dies
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Later that night, they put on a performance that’s honestly hard to put into words. Vikotnik paced the stage like a shamanic wraith, demonstrating the full spectrum of human emotion that the Black Medium Current features, from the gentle crooning of “Tankespinnerens smerte,” to the jumbled screams of “Det tomme kalde mørke,” and everything in between. It felt tightly planned and yet effortlessly unrehearsed, much like the unexpected twists and turns of the album. I was struck by the casual oddities that Vikotnik exhibited, from doing a spit take of what appeared to be a smoke pellet, to crushing up a prayer bead bracelet as an unceremonious afterthought.
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Credit: Jay Valena
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Accompanying the on-stage theatrics was a carefully synced video backdrop, which was neither psychedelic or unsettling, but somewhere in between. Everyone on stage was dialed in for this spectacle, from the trio of backing vocalists, to the keys and electronics, to the driving force of the drums and guitars. Dødheimsgard left much of the crowd speechless, and the end result was a deluge of social media and forum posts declaring them the performance of the day.
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Credit: Jay Valena
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Whoredom Rife
It is at this point that I came across my biggest regret of Fortress, which was not being able to match the energy level and intensity that a Whoredom Rife performance demands. I was left emotionally and physically drained from the previous set, and have been a fan of V. Einride’s work for a while, so knew going in that this was going to be a fast, aggressive and technical black metal exhibition. Unlike Dødheimsgard, there was no beauty in this set, just uncompromising, high energy Norwegian rage. Vocalist K.R. in particular did a great job of working the crowd, almost daring the audience to rush the stage and it turn into a frenzy with his mannerisms and vocal performance alone. A couple of their songs that I particularly enjoy tend to be on the more melodic side, and I was glad to hear a good representation of their discography, spanning from “Beyond the Skies of God,” to “Den vrede makt,” from their first and latest albums. I had mentioned that Fortress started the day with a subtle awakening, and Whoredom Rife managed to close out the Ocean Room stage with a thunderous, volcanic performance. It’s a personal failing that I had to observe this inferno from the side tables, sipping a beer and recharging my knee.
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Credit: Acidolka
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Old Man’s Child
My universal question when discussing Old Man’s Child with attendees was what school grade they were in when they first heard them. I’ll admit, my CD-R copy In Defiance of Existence got a fair amount of spins back in the day. I have to give Galder a lot of credit for walking away from the commercially successful Dimmu Borgir to literally go back to his roots by resurrecting this project. Given the incestuous nature of Nordic metal bands, I never really followed what led to that departure, but my made-up narrative was that Galder, clearly skilled in composition, was itching to play and release even more music. This enthusiasm came across clearly with them closing out the night, playing a surprising amount from their albums released in the 1990’s and beyond. It was halfway through the set, when they played “Doom Maker,” when I realized that this was truly a resurrection of the project rather than an attempt to make the rounds on the tour circuit, as the band was in their element and clearly having fun. As the show progressed, waves and waves of nostalgia hit me, as I bobbed my head with imaginary Discman headphones on. A memorable end to a memorable first day.
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Credit: Jay Valena
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The last notes of “The Millenium King,” fade, and I step outside to see the last glimpses of twilight set on the North Sea. Black shirt silhouettes walk about on the sand, headed to the various afterparty bars, the Victorian funicular, or aimlessly allowing for the crashing sound of waves soothe a nervous system that has been bombarded throughout the day. Day 2 lay in wait, containing an even more packed schedule and a set of performance debuts that ended up yielding some surprise announcements. I got excited all over again, and opted to head to funicular.
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Special thanks to Jay Valena of Oskoreien for many of the pictures, whose work and music can be found here. At the time of publishing, Fortress Festival 2027 is already 70% at capacity, and information on lineup announcements and tickets can be found here. Day 2 will be published shortly!
Greek Black/Thrash Metal outfit brings Edgar Allan Poe’s gothic tale of decay, madness and doom to life, with artwork by Anthony Galatis Athens-based Black/Thrash Metal band SONS OF HADES has unveiled an animated lyric video for “The Fall of the House of Usher,” taken from the band’s debut full-length album “Tombs of the Blind Dead,” released in 2025 via […]
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