One-man Tunisian Progressive Death Metal band BROOD OF HATRED is streaming a new song from forthcoming album Identity Disorder. Check out “Ritual of Sacrifice”
Crime Records will release Identity Disorder on May 4. Another new song, “Feeding the Hunger,” is also streaming
After a four-year hiatus subsequent to release of debut album Skinless Agony, BROOD OF HATRED returns with a sophomore album in Identity Disorder that deftly balances progressive structure with downright catchy songwriting. Featuring sole member Muhammed Mêlki, the album is “a gift of chaos and disorder, songs of life and death.” It is “the heart and soul of my identity, given to those who believe.”
Identity Disorder Album Credits
Musician : Muhammed Mêlki on all tracks.
All Songs written by : Muhammed Mêlki.
Recorded by : Muhammed Mêlki in Tunisia/North Africa at Tagma studios.
Mixed & Mastered by : Maciej Dawidek in Gdansk (Poland) at Nova Studios.
Art & Layout by : Mounir Soussi.
Photography by : Omar Sfayhi.
Artist management by : zougari Management.
Brood Of Hatred is a Tunisian one-man concept, Death Metal Act founded in 2010 by Muhammed Mêlki. It is music with no specific genre boundaries or philosophies, but some haunting atmospheres guiding you through progressive journeys, as well as some unconventional writing inspired by the strange state of mind that characterises the concept.
Today, Swedish black metal horde GRÁ unchains their highly anticipated third album “Väsen” through Carnal Records on CD and digitally. LP will be out this fall.
GRÁ was founded in 2010 by Heljarmadr (Dark Funeral, Cursed 13, Domgård) and Dimman in Stockholm. In a time where many bands want to be compared with their idols, GRÁ walks a different path where exploration and breaking new grounds are the keystones. That is the greatest tribute to the past, to walk your own path and be a leader, not a follower of trends.
Upon two albums and numerous short releases, it is now time for the third album, “Väsen”. It is also time to follow up on the previously successful tours around Europe, starting with the Eradication Festival in Cardiff, Wales in May 2018.
“Väsen” marks a new era for GRÁ. Free from the concept of the previous releases, GRÁ returns with an album more varied than ever and with the will to explore outside the borders of the narrow-minded so called black metal scene where most seem to have forgotten to include the part that makes it BLACK. Shepherded by the inhumane, raspy voice, the opus “Väsen” offers the co-existence of momentous harmonies and horrisonant riffs, spasmodic appearances of ghastly keyboard textures, penetrating mid-paced drumming and vein vibrating basslines. Sustaining the ethos of the classic black metal forces, the Swedish entity plumps for unworldly songwriting structures, full of vim and vigor, at the same time unadulteratedly malignant.
“Väsen” is out through Swedish label Carnal Records on CD & digital formats from April 27, LP will be out this Fall 2018.
Upcoming Event:
JUNE 01, 2018, Belsepub, Gothenburg, Sweden
Väsen was recorded during 2017 and 2018 at “The Grey Studios”, Stockholm.
Produced, recorded, mixed and mastered by Heljarmadr Productions.
Cover artwork by Axel Torvenius (Art director of Machine Games, recently most known for the award winning video game Wolfenstein II: The New Colossus).
Band photos by Soile Siirtola.
Logo by Luciana Nedelea.
Rune symbol by AirikR.
Sleeve photo by Heljarmadr.
This week I spoke with Damon from Mournful Congregation, probably one of the best bands doing Funeral Dirge in the world today. Damon comes from South Australia and we spoke about the isolation of being a doom band based in Australia, what it takes to be in a band for so long (since 1993!) and the misconceptions of Americans you get from watching TV – read on.
•First off Congrats on the new album – it certainly feels like you guys were doing something to move doom into a more accessible position- Was this a conscious decision or did it just happen naturally?
I actually didn’t come away from this album thinking we had made a more accessible album than any albums previous. I actually thought, this album will not necessarily gain new fans, or turn new people onto our style, but will perhaps appease fans who already know our style. I mainly thought this because I think this album is a bit of a hard listen overall, because of its length and because of its intensity and somewhat unrelenting nature. We did intend to create some sort of intoxicating sound though, that fulfills all the right frequency cravings from listeners. So, if we did happen to make a more accessible album, then I guess it was a consequence of two strains of thought from us. But it wasn’t high on our list of things to achieve, no.
•How do you guys find splitting up your releases with 20 Buck Spin in the USA and Osmose for Europe?
It has so far worked really well for all of us. We started this way of working with “The Book of Kings” album back in 2011, and have continued working this way since. Also not to forget Weird Truth taking care of Asia too. It seems to make sense in this era, having labels to take care of each continent rather than one label taking care of world distribution.
•Australia has always had a pretty great underground metal scene – what factors do you think contribute to this?
Isolation, cultural identity (stemming from a mixing pot of cultural identities), certain climactic features, certain attitude (that is uniquely Australian) and certain features that are unique to this land itself must all contribute I guess.
We didn’t need to be connected to any particular cities’ “live scene”
•Being based in South Australia must be pretty isolating. What would you say are the best pros and cons to being based in SA?
Being based in Australia in general is not a great thing for bands who want to tour. So being in SA doesn’t really seem any worse to us than being based anywhere else within Australia. In fact I would prefer to be here than in any bigger cities like Melbourne or Sydney. Up until 2009, we were strictly a studio band, so everything we did was through the underground networks of letter writing, fanzines and tape trading etc. So it didn’t really matter where you were from in this case. We didn’t need to be connected to any particular cities’ “live scene” or anything like that. And still don’t need to be.
•After being in a band for what 25+ years now? what keeps you going?
There has never been a consideration to stop. We have plenty of new material written to work on for the next album. It is a compulsion to keep exploring this style, and trying to better and further explore this style. I do not really question it, if the inspiration keeps coming, which it does, then I will keep being the prepared vessel for which it may come through.
At this point I think the strongest bands have survived
•How would you say the Aussie metal scene has changed in those years?
It’s had its ebbs and flows. It’s not free from trends, and I’ve seen trends come and go. At this point I think the strongest bands have survived and you probably know them by now. In the last few years I have seen very few new bands offering anything interesting. So you could say we are in the ebb rather than the flow right now.
•What about the scene worldwide?
Perhaps the same could be said for the scene worldwide. Although I do hear new and interesting things emerge from different parts of the globe sporadically. So I must deduce that “scenes” don’t seem to emerge so much from one place anymore. Things are spread out alot more. Certain cities or even countries might produce one good band nowadays rather than ten good bands like they used to.
•What metal bands do you rate in 2018?
Hooded Menace, Phrenelith, Acephalix, Bell Witch, Illimitable Dolor, Malokarpatan to name a few. Not necessarily new bands, but good ones by my reckoning.
•Whats the one thing you miss from the old days of the underground scene in the early 90s?
Although I could not be fucked writing letters anymore, I do miss receiving letters full of flyers and maybe a demo tape or two.
This is the beauty of travel though, myths and stereo-types are often busted wide open
•You did your first US tour in 2011 if I am correct? What was it like to finally visit America? Did you have many misconceptions that were laid to rest (I know many Scandinavian bands expect everyone in NYC to be like an episode of Friends or Seinfeld)
Yeah, it was 2011 touring with Aldebaran and Anhedonist. Oh yeah, many myths were put to rest haha!
I didn’t see one incidence of gun violence or gang violence – that’s what the media would have us believe the US is all about . And alot of Americans are very humble, quiet and welcoming – not loud mouth tourists or Hollywood-type extroverts. Really, it exposes our own ignorance for believing such stereo-types. This is the beauty of travel though, myths and stereo-types are often busted wide open.
Playing in the Californian mountains at Stella Natura Fest was a very fond experience
•What were your favorite places to play in the USA?
I have a fondness for the Pacific Northwest overall. But Texas was also very interesting and cool, and of course playing in the Californian mountains at Stella Natura Fest was a very fond experience.
•One of the biggest challenges I have found for Australian bands is the cost of flights to get to America or Europe – have you made much inroads into the various metal scenes in Asia (China. Japan etc) since they seem much closer to Australia and therefore more affordable to travel to.
We have toured in Japan once, back in 2010. But really it is not much cheaper to fly to than Europe or the US. It is cheaper for us to fly to South East Asia – like Indonesia, Thailand etc, but they tend to have less promoters willing to pay the flight funds. So we have never had the right offers come through to actually perform there, even though it might seem logical.
•In the past you have talked about the occult history of humanity – is this something that still interests you?
Yes of course. But I would say it becomes harder and harder to find valid and fulfilling works towards this interest. There is a point where you realize you must integrate practical knowledge over theoretical knowledge, and actually add to the pool rather than just swim in the pool. The framework of such ideas can be laid down through reading and research, but you must be willing for such framework to be shattered and expanded upon through experience. It is an ongoing process and actually part of being human – the very thing you are trying to unravel.
I am very fascinated by the psychedelic resurgence in the last few years
•Have you followed any occult paths yourself? if so which ones and what experiences do you care to share with us?
Yoga and meditation have been a solid foundation over the years. And I am very fascinated by the psychedelic resurgence in the last few years, of which I have delved into a little, and which I feel is harmonious with other spiritual/ occult practices. This is about as far as my ongoing discipline lies.
•What do you have lined up for the rest of 2018?
We are performing a few shows in the US in July, finishing at Migration Fest. And we are doing a 10-date European tour in November, finishing at Madrid is the Dark Fest.
In between these live sojourns, we will be working on our next album.
HATE ETERNAL are announcing new European tour dates this summer. The US death metal giants will kick off their rampage at the Backstage in München, Germany on July 23 and continue to devastate three more European countries until a final onslaught at the French Sylak Open Air in Saint-Maurice-de-Gourdans on the 4th of August.
A list of all currently confirmed dates, presented by Deaf Forever, can be viewed below.
HATE ETERNAL
23 July 18 München (DE) Backstage (Free & Easy)
25 July 18 Tolmin (SI) Metal Days 2018
26 July 18 Wien (AT) Viper Room
27 July 18 Würzburg (DE) Posthalle
28 July 18 Steenwijk (NL) Stonehenge Festival 2018
29 July 18 Utrecht (NL) De Helling
04 Aug 18 Saint-Maurice-de-Gourdans (FR) Sylak Open Air 2018
HATE ETERNAL are touring in support if their latest album ‘Infernus’ (2015). The album is still available from the Season of Mist shop and streaming in here.
The spectacular artwork for ‘Infernus’ has been created by renowned artist Eliran Kantor (TESTAMENT, ICED EARTH, SODOM). His cover painting can be viewed below.
Tracklist
01. Locust Swarm
02. The Stygian Deep
03. Pathogenic Apathy
04. La Tempestad
05. Infernus
06. The Chosen One
07. Zealot, Crusader of War
08. Order of the Arcane Scripture
09. Chaos Theory
10. O’ Majestic Being, Hear My Call
HATE ETERNAL is the brainchild of extreme metal luminary Erik Rutan, who created a charging death metal juggernaut. In the United States this style has been virtually synonymous with Florida and especially the Tampa Bay Area for a long time. More aggressive and technically complex than its Swedish counterpart, Floridian death metal grew out of thrash during the mid-1980’s and was founded by such as the legendary DEATH, OBITUARY, and MORBID ANGEL. While many of its early protagonists went on experimental paths, HATE ETERNAL remains true to the original formula, while continuously pushing the boundaries of this extreme style.
Founded in St. Petersburg, Florida in the year 1997, the band faithfully keeps the death metal spirit alive as their long-awaited sixth studio album ‘Infernus’ now uncompromisingly demonstrates. HATE ETERNAL’s first new full-length in four years doubles down on their patented, high-velocity assault of dizzying ferocity combined with wide-range dynamics, outstanding songwriting and skull-crushing brutality. HATE ETERNAL delivers extreme music at the highest level. There can be no doubt that ‘Infernus’ ranks among the very best death metal records of 2015!
Line-up
Erik Rutan: vocals, guitars
J.J. Hrubovcak: bass, backing vocals
Chason Westmoreland: drums (album recording)
Hannes Grossmann: drums (live, session)
RAVEN THRONE’s sixth album “I Miortvym Snicca Zolak” is only a week away from its release date. Dutch Label Non Serviam Records will be releasing the CDs in digipak format (first 50 orders come with a patch). The album is based on poems from the beginning of the 20th century.
PopMatters premieres the final track “Žyvoj kryvi žyvyja cielcy” (English: Living blood of living bodies) of the opus.
Remarked by the band : “Musically track “Žyvoj kryvi žyvyja cielcy” turned out to be quite uncharacteristic for the band. It contains progressive elements in combination with more traditional metal forms. The mood of music and full of tragedy images of Uladzimir Dudzitski’s poem create a complete and harmonious union.”
Emerged from the ancient city Polotsk in 2004, Belarusian band RAVEN THRONE is having a couple of LPs and an EP in its amassment. The short lived first line-up collapsed after a few shows, the guitarist Chernotur (aka Dzianis Lukianovich, Thy Wings) kept the flame alive with War Head, who joined the band as a bass player in 2005. Encountering several lineup changes, the main core of the band had been formed in the person of Chernotur and War Head since then. During 2005 and 2006 RAVEN THRONE was a studio project, until Ingwar Winterheart (aka Galdor) joined the band. The first records were made at that time.
RAVEN THRONE had no drummer until 2011 and played under drum machine, but they released 03 magnificent albums till then. The band has become more active since 2014, started playing small and big festivals/gigs on regular basis. The current drummer Green Skin joined the band in 2015. The band shared stages with some prestigious local and international bands, including legendary Polish death metal troop VADER.
05th album “By the Path of the Forgotten” was released in 2016 via Possession Productions. The record was made by Chernotur and War Head as usual. In April 2016, the new line-up was renewed. Zergved Hellersatan (ex-KAIRA) became new vocalist. RAVEN THRONE supported ROTTING CHRIST on their Minsk gig during the world tour in December 2017.
Upcoming album “I Miortvym Snicca Zolak” will be out May 02nd via Non Serviam Records on digipak format. RAVEN THRONE invites you to an odyssey in the splendor of the Slavic nature, which is based on poems from the beginning of the 20th century. The bands from the east Slavic countries can invent the supreme atmosphere that darkens the music with deep melancholy and Raven Throne is the perfect example to illustrate this tendency. The 06 splendid tracks of the album are occupied with deep melodies, but powerful rhythms, exploring the darkest side of human emotions. Without sacrificing melodic and dynamic proficiency, their musical technicality comes out on top through the composition.
Magnificent visual artistry in the form of cover art was executed by the band’s vocalist War Head. RAVEN THRONE will be embarking on an European tour this year to promote this album.
Today, the enigmatic & nightmarish Vanhelga reveal a new lyric video for the track “Relationship in Pieces.” The song is the first track to be revealed from the band’s highly anticipated fifth album, Fredagsmys, which is set for international release on June 29th via Osmose Productions.
See & hear the lyric video for Vanhelga’s “Relationship in Pieces” HERE.
Vanhelga are constantly expanding their creativity without losing the classic melancholic sound from Sweden that makes them unique. The last few years, they’ve written and recorded 11 tracks that fully live up to their artistic vision. Fredagsmys is the most elaborate album from Vanhelga so far.
True to their own words, their fifth full-length – and first for Osmose – is the continuing exploration of the darker sides of reality and another experiment in how to find its purest expression: using sarcasm combined with overall schizophrenic mood changes between pitch-black hopelessness and cheerful euphoria, but still keeping a level of seriousness Vanhelga has come to be a force to be reckoned with.
Vanhelga was formed in Linköping, Sweden, in 2001 by 145188, who got together with likeminded musicians in order to finally breathe life into his vision, something he had not been able to do with any previous bands and musicians he had worked with. Since then, they are known for their atmospheric and captivating live performances, sharing the stage with, Psychonaut 4, Forgotten Tomb, Harakiri for the Sky, and Kall, among others.
Through music and lyrics, Vanhelga – which, translated from Swedish, means “Profane” – explores the darker side of humanity: the one that few will admit exists, but which nevertheless is a huge part of every individual’s existence.
Vanhelga’s music can doubtlessly be classed as black metal, but that would be too restrictive a definition. Their music is cold and sinister, but with melodies and melancholic moments that can draw you in and lull you into a false sense of security before you realize, too late, that you have been caught in an ominous web of sound that sends shivers down your spine.
Cover and tracklisting are as follows:
Tracklisting for Vanhelga’s Fredagsmys
1. Sömnparalys
2. Psykotisk självinsikt
3. Varde mörker
4. Ensam mot alla
5. Förpassad till misär
6. Två blir ett
7. Keep the window closed
8. RIP (Relationship in pieces)
9. Feels like breathing in sulfur
10. You are temporary
11. Fredagsmys
VANHELGA lineup 2018
145188 – vocals and guitars
J. Ejnarsson – lead guitars and backing vocals
R. Jönsson – bass
D. Franzén – drums
This week I spoke with influential bands in the Brazilian Black metal scene Carpatus – read this and learn something new.
* You guys are from Sao Paulo Brazil correct? How is the black metal scene down there these days?
We are from Santo André, in the region of São Paulo. My view is that the scene has already been very strong and expressive in the past. It has been somewhat weakened some time ago, but it has strengthened again over the last years.
We have some good local bands from different variants of Black Metal. More and more we have international shows, all year round. Many of them have great audiences, and we continue to do our best to strengthen the scene even more.
Sepultura was of enormous importance
* Do you think bands like Sepultura did much to help progress the metal scene in Brazil or did they just do there thing without much impact on the rest of the scene?
Of course, Sepultura was of enormous importance. I lived the metal scene in Brazil in the early 90’s, and we know that the world was different than it is today. Sepultura in a way brought the metal culture to the national media, many people in Brazil, and around the world, came to listen to metal music because of them. There are even more expressive names in the Black Metal scene itself, such as the great Sarcófago, for example – among many other Brazilian bands of that era.
Carpatus is an essential part of my life, and always will be.
* You formed the band in the late 90s correct? Whats kept you going after all this time?
In a way I see myself as responsible for doing something for the whole. For what the scene represents to me for my story. When we started in the late 90s, we were not sure where to go, I never thought Carpatus would have an end. Although much has changed since then in all aspects of our lives, our essence remains the same. The same for Carpatus’, it will always keep this way. I have a huge passion for what I do, and I have no doubt that this makes all the difference. Carpatus is an essential part of my life, and always will be.
* Even though you guys are only a duo – do you do many live shows? If so how do you manage? Backing tracks or hired hands?
Yes, we perform live shows. Officially, the band’s current line-up counts only with me. But we have session members for the other instruments. Answering your question, we do a bit of both: backing tracks for corals, acoustic guitars and stuff like that, while all the rest is done live, by myself with the support of the session musicians.
* How has the black metal scene changed in Brazil since the late 90s?
The see a huge development and expansion in the scene from these times to nowadays. Despite this, I do not see the same aura, the same spirit that existed at that time. Black Metal was once a kinf of “forbidden” subject, a taboo, a cult. Today, a part of that has been lost. With the popularization of access to information, mainly due to the facilities brought by the advent of the internet, I see somehow a banalization of the cult. In the 1990s, metalheads around the globe used to exchange information and materials by mail, recording K7 tapes, buying vinyl records or CDs. None of this is necessary today, everything is relatively easy, anyone has access to it. The best we can do is try to take advantage of the good side of all of this, and make things happen in the world we live now.
* How do you feel the bands sound has progress since the last album?
I think Malus Ascendant is our best album so far. We had some development as musicians, which led us to enrich the musical structure with arrangements and adding corals, keyboard and acoustic guitars. The atmosphere also refers back to the past, perhaps this is our strongest work, conceptually. This long pause brought the band some benefit, after all.
Cold, intense, true Black Metal. Melodic, though raw and authentic
* What can we expect from the new album?
Cold, intense, true Black Metal. Melodic, though raw and authentic. The graphic material is in perfect sync with the entire lyric and musical concept. Black Metal as an art, in several ways.
* What is the song writing process like for you? Do you create everything yourself or does Animus Atra have much sonic input in the final results?
I do everything by myself. I usually create the drum rhythm for each peace of music too, but the drummer is free to add some new ideas and somehow give some contribution to the composition process. (Note: Animus Atra is no longer a band member. Drums on Malus Ascendant was recorded by Morbus Deimos, currently playing at Justabeli)
Evil and darkness surmounting the light is the content that brings reality to the surface.
* Lyrically what subjects does Carpatus cover?
The lyrical concept varies between each song, always on subjects related to the Cult to the Darkness, analogies to occultism and suffering in real life, as part of a ritual of purification. Many of the events we live in could be used to understand our journey, through analogies and stories. Evil and darkness surmounting the light is the content that brings reality to the surface.
* How do you guys record? Like many bands do you work at home from computers or do you choose to go to a professional recording studio?
We went through the ancient ways. Most of the record has been done at Marcos Cerutti Studio, and the mixing and production at Eiffel Studios, which is a huge professional place for audio recording work.
* How do you think the digital age has effected the Black metal scene – to me it feels like it is easier to get the message out there and easier to find new bands but at the same time there are many bands who should not be releasing their music so easily
I agree, absolutely. The more easy is to take every step in the process, the more common is to face crappy artists which should never released anything. Of course, in the other hand, really professional bands also has more room to develop their work and to reach out to even more people.
The main event that drive us to such a long break was the death of our guitarist
* What happened between 2010 to 2015? Why the 5 year break? Family and work commitments? or?
The main event that drive us to such a long break was the death of our guitarist, my best friend Lucas Mandelli. He died at the age of 27 by car accident in October 2010. We were working on the stuff that furtherly would became the Malus Ascendant album at that time, and I had no condition to continue working after that facts. 5 years later, I finally got my head up again and went back to the job.
* How did the deal with Black Lion come about?
Our producer (and bass guitar session member when playing alive) Marcos Cerutti works for Black Lion Productions. He introduced the band to the label representatives, and their impression about us was pretty good. I presented the album concept and the project itself, and shortly after we got the deal done.
* Are there plans at all to play shows in Europe?
Not in 2018. But maybe in 2019. We are still working on some local gigs with session members. But surely a mini tour in Europe would be definitely awesome.
* What can we expect from Carpatus in 2018?
We have been working on our first official video clip, for the song “Flames to Eternity”. It is now at the end stage of preparation, we will realize it in early May 2018. After that, we should play alive in some few metal festivals. We will also play alive in Sao Paulo – Brazil as opening act for Bölzer, in May 2018. We will then start to work on the new album stuff, we expect to have some news by the end of 2018.
* Any final words?
Very glad to have this opportunity. Thank you so much for all your collaboration! Keep on supporting the underground darkness! Hail Bruder Des Licht!
Atlanta (GA) – Boris Records has made its forthcoming vinyl reissue of Sealed Shut from influential Atlanta Death Dealers HAUNTING available for streaming on Bandcamp. The album is now available for pre-order as well. It is recommended that you dive right in at the following link: borisrecords.bandcamp.com/album/sealed-shut-pre-order
Sealed Shut will be released on May 8. Originally self-released by the band in a small run of cassettes in 2014, the vinyl version includes an added “Intro” track that never made it onto the original tape release. While HAUNTING is now disbanded, Scott Taysom has moved on to front CLOAK and Charlie Southern is kicking ass in SADISTIC RITUAL, VIMUR and ECTOVOID, while Blake and David are active in new projects.
HAUNTING appeared during an exciting period of maturation in the Atlanta metal scene. The band’s brief existence afforded only the sole offering of Sealed Shut. Though only four songs, it stands in the forefront among a small group of other highly-esteemed records that have been released within the last 35 years or so of Atlanta’s metal timeline.
HAUNTING’s very existence owes much to the once monstrously thriving warehouse and DIY scene in the city. HAUNTING is undeniably tied to its members’ earliest musical endeavors in other local favorites such as the now legendary death-dealers Living Decay, hardcore punks Paradox, and the still-active thrashers Sadistic Ritual. Sealed Shut is easily recognizable as an amalgamation, intentional or not, of that fevered adolescent energy and relentless drive with which those earlier bands had enthralled, what was at the time, a fatigued local scene. They helped cultivate new young devotees in droves and reenergized a previous generation of weary metalheads.
“A highly esteemed recording of true USDM.”
– Riff Relevant
“Short, sweet and especially savage, Sealed Shut remains an energised slab of prime death metal from a band whose members are still plying their particularly nasty trade via the thrash of Sadistic Ritual and via death-dealers, Living Decay.”
– Worship Metal
“Carving out four unique and relentless tracks, Haunting really had something going for it while trying to make their own style in death metal.”
– Metal Machine
Haunting is:
David Prae – Drums
Scott Taysom – Vocals, Guitar
Charlie Southern – Guitar
Blake Packard – Bass
IRON BONEHEAD PRODUCTIONS is proud to present EMBRACE OF THORNS’ highly anticipated fifth album, Scorn Aesthetics, on CD and vinyl LP format.
For nearly 20 years now, EMBRACE OF THORNS have built a prolific-yet-patient catalog that defies easy categorization. Deeply rooted in ancient black metal and death metal to be sure, these Greek iconoclasts’ sound nevertheless has often been “too black metal” for most death metallers and “too death metal” for most black metallers – likewise, they preempted the bestial metal by at least four years, and later on solidified songwriting finesse far “too clean” for most bestial worshipers – and sadly, wider acclaim in the underground has eluded them. For those KNOW, though, the name EMBRACE OF THORNS has come to mean a gold standard in black/death METAL, and while “acclaim” has never been in their lexicon, longtime supporters IRON BONEHEAD welcomes the band with the riveting Scorn Aesthetics.
Whereas earlier EMBRACE OF THORNS recordings – particularly their cult earliest albums, 2007’s …for I See Death in Their Eyes… and 2009’s classic Atonement Ritual – melded the swarming, gibbering chaos of bestial black metal with the molten muscle of the most sepulchral death metal, with 2014’s largely overlooked Darkness Impenetrable did the band cross a Rubicon, of sorts, into more streamlined and martial territory. It’s a move that might’ve alienated the more underground-dwelling of EMBRACE OF THORNS’ potential fanbase, but one that made their name ever more unique, and they continue that upward/onward trajectory with Scorn Aesthetics.
Encased in their most powerful and punishing production to date, which amplifies the band’s growing clarity without sacrificing an ounce of grit, Scorn Aesthetics sees EMBRACE OF THORNS firing on all cylinders…and then crushing them underfoot. Across the album’s generous-yet-concise 43 minutes, each of these seven tracks builds with patience and poise, but somehow elusively convey a sense of explosion, detonation, immolation. The effect is one of vortextural churn ‘n’ spun, slipstreaming the listener into a roiling, ceaselessly humid mass but offering no hope nor reprieve. More generally, Scorn Aesthetics is built upon walls of RIFFS – be they “death metal,” “black metal,” or just pure METAL – all coalescing into an occult fury, immediately engaging every step of the way and memorable to the very end.
Iron-willed and resolute, EMBRACE OF THORNS challenge convention and stagnation with Scorn Aesthetics. Prepare to be flattened, or step aside like a coward.
Today, Vrasubatlat cult Serum Dreg stream the entirety of their highly anticipated debut album, Lustful Vengeance. The album is set for international release today via Invictus Productions in conspiracy with Vrasubatlat: Invictus will be handling the CD version while Vrasubatlat will be handling the vinyl and cassette versions. Hear Serum Dreg’s Lustful Vengeance in its entirety exclusively HERE.
BLASPHEMIC. BLACK. HATEFUL. DEATH NOISE.
The debut LP of Serum Dreg focuses on worship of sex, hedonism, and ritualistic chaos executed through the most traditional means possible. Lustful Vengeance carries the torch of primitive black/death metal, once again pushing the boundaries of Vrasubatlat’s grasp but this time out of the unorthodox and into the realm of ancestral aural hate. Serum Dreg’s debut LP carries with it the demented fixation of the Vrasubatlat philosophy while managing to dredge in familiar waters of primeval warfare.
FORNICATE. ASPHYXIATE. DEATH TO TRINITY.
Cover and tracklisting are as follows:
Tracklisting for Serum Dreg’s Lustful Vengeance
1. Rotten Pillar / Lustful Vengeance
2. Edifice of Hatred
3. Holy Disease
4. Death Ritual
5. Impure Ceremony
6. Blasphemic Black Death Noise
