“Bacht’n de Vulle Moane” translates to “Behind the Full Moon” or “At the backside of the full moon”.
This duo from Kortrijk, Belgium produce undiluted raw Black Metal fused with harsh Darkwave/EBM electronics, exploring liminal, occult, and surreal spaces.
The heavy Beherit influences, murky electronics, subterranean ambience on the debut ‘Klaagrituelen’ (2024) have mutated into an over the top Black Metal/Industrial hybrid with a clearer structure, more electronic propulsion, and sharpened tension arcs, with a more defined rhythmic backbone and EBM‑like pulse structures.
The result is quite alienating and post-apocalyptic, the typical Black Metal riffing becomes more angular and less murky. The martial electronics are no longer background texture; they drive momentum. Vocals shift between raw Black Metal delivery and distorted industrial chanting. Thematically expands the lunar‑occult metaphor into madness, delusion, and ritual disorientation.
Bacht’n de Vulle Moane operate in a liminal zone where Black Metal, industrial ritualism, and archaic Flemish occultism fuse into a single aesthetic. Their style is not a blend but a collision, a deliberate friction between primitive Black Metal violence and mechanized electronic pulse.
Their core identity is built on dialect occultism, the archaic Flemish name frames their music as a ritual performed in a hidden, lunar shadow‑realm. Black Metal primitivism, raw riff loops, abrasive textures, and vocals that feel more like emanations than performances. Industrial pulse‑logic, drum machines, EBM/Darkwave‑like rhythms, and electronic noise used not as decoration but as structural backbone.
From the opening seconds, the album establishes a mechanical trance: beats that throb with EBM‑like precision, guitars that scrape like rusted metal, and vocals that echo as if trapped in a subterranean chamber. The band’s signature dialect mystique, that archaic Flemish aura, hangs over everything like a fog. It doesn’t decorate the music; it haunts it. This is not Black Metal with electronics. It’s not industrial with Black Metal seasoning.
It’s a single organism, pulsing, grinding, muttering.
The result is a kind of occult Black Metal/EBM, but stripped of danceability, stripped of warmth, stripped of human intention. It feels like a ritual performed by a machine that has learned the concept of madness.
‘Verdwazing der Dwazen’ is a breakthrough: a fully coherent, fully realized Black Metal/Industrial ritual that merges dialect occultism, mechanical pulse, and primitive Black Metal violence into a single delirious vision. It’s harsher, clearer, and more hypnotic than its predecessor, a rare example of a band discovering its true form on its second release. Don’t think Intolitarian, think a darker Godflesh, Aborym, some Red Harvest or Neo Inferno 262 for any comparison.
It also strongly reminds me of The Beast of the Apocalypse, the projects of Mories (Maurice de Jong), Gnaw Their Tongues, De Magia Veterum, Dodenbezweerder and others. Most people will find this music too extreme for their conventional taste. They are blind, deaf and wrong!
For collectors, archivists, and connoisseurs of the underground, this is a release that marks a new node in the Belgian occult‑industrial lineage.
