Ashen is a death metal band hailing from Perth Western Australia. Funnily enough I actually know of Perth, one of Alex and I’s good friends comes from there, so I know that its a very very remote city (I think a 2 day drive to the next major city) and the next stop is Antarctic if you keep heading south. That said I wanna add in general The Australians have produced their own breed of Extreme Metal since the 80s with bands like Mortal Sin and Sadistik Exekution .
So with all that said how’s Ashen? Bitter Loss records have sent us the first track from their forthcoming Ep (to be released on August 6th) Yeah its good, solid death metal with a groove. If I was in Perth, sure I would go and see them, my only criticism of them at this stage in their career is they need to develop more of a signature sound – so that the moment you crank the tunes you know “Aha thats ASHEN!” these guys are without a doubt talented so I am sure this will come in time.
Here’s the track for you to check out:
Leave a comment below and let me know what you think – thanks
Its worth mentioning that the band features members previously from Vespers Descent, Darkenium, Chaos Divine, Burial Ground, and Nexus, Ashen‘s Godless Oath bears five tracks total coming in at a rip roaring 19 minutes, and was recorded at Overkill Studios in Perth and mixed & mastered by Marko Tervonen of The Crown fame at Studio MT in Sweden, bringing in a powerful & professional production for this first release – chainsaws included!
Artwork and tracklisting as follows:
Tracklisting for Ashen (Australia)’s Godless Oath 1. Godless Oath 2. Mass Cremation 3. Ruins 4. Asphyxiant 5. Inferno
Today, Nidrosian Black Metal progenitors Beyond Man stream the entirety of their long-awaited debut album, Beyond Man. Set for international release on June the 21st via The Sinister Flame, hear Beyond Man‘s Beyond Man in its entirety here:
Indeed, good things come to those who wait, but the best things are announced by a sulfurous stench, as in diabolic apparitions. Dormant for over a decade, Beyond Man has been awakened like an ancient curse from an old and sandy burial ground. In an epoch of records in which resounds the dull embellished atmosphere of a cozy bedroom, Beyond Man‘s self-titled album smells of old amplifiers drenched in rotten blood, ash and whisky, the reek of a cave I dare you to enter, where the frustrations of a group of Satanic cowboys take sonic form together with their zealot visions and nightmares, veiled by a truly ferocious and sinister aura.
Call it black metal if you wish, or envision Morbid Angel sitting down with Black Sabbath and listening to Norwegian black metal while sharing a bottle of red wine followed by straight shots of heavy smoked whisky. Nidrosian Black Metal at its very finest, straight from the source!
Cover and tracklisting are as follows:
Tracklisting for Beyond Man’s Beyond Man 1. Intro [1:26] 2. Helel Ben Sahar [5:46] 3. Art Beyond Man [6:06] 4. World Without End [6:25] 5. Ave Usera [6:08] 6. The World Encircler [7:18]
Today, Florida Death metal heads Hexorcist premier the new track “Denouncing the Immaculate” from their forthcoming debut album “Evil Reaping Death” which comes out July 26th on Memento Mori (CD) and Godz ov War (cassette) . LP version will follow a few months later due to the insane lead times at vinyl pressing plants these days – that release will be on Unholy Prophecies Records. You can check out the track “Denouncing the Immaculate” here:
What I like about these guys is they are a relativity young band (forming in 2019 I think) but have managed to successfully capture that old school death metal sound. For an old fart like me who lived thru the Death Metal scene since the very beginning its great to see the younger generation embracing the scene and showing us what they have got. If you love bands like Death, Morbid Angel, Sarcofago, Possessed etc then you’re gonna love Hexorcist
With utterly ripping mastering courtesy of Loïc Fontaine at Krucyator Studio, France and classically evil cover art courtesy of Art Militia, Hexorcist soundly erase 30 years of “progression” with Evil Reaping Death. Expel the flesh! Revere the sacrificial rites!
Begin expelling the flesh and revering the sacrificial rites with the previously revealed “Exulting the Adversary” HERE at Memento Mori‘s official YouTube channel. Aforementioned cover art and tracklisting are as follows:
Tracklisting for Hexorcist’s Evil Reaping Death 1. Exulting the Adversary 2. Sentry at the Seven Gates 3. Unblessing the Reverent 4. Proverbs of Pestilence 5. Denouncing the Immaculate 6. Evil Reaping Death 7. Unrighteous Ceremony 8. Accursed Affirmations 9. Praising the Most Foul 10. Crucifixion [Devastator cover]
Every day we get news updates from all of the metal labels around the world and imagine my interest today when I saw that Hour of 13 are coming out with a new album. I’ve been a fan since Earache Records put out some of their titles 15 years or so ago, but… I know that vocalist Phil was no longer in the band (last time I saw him he was fronting the epic band Sumerlands. Anyways even though its Chad’s band to me Phil was a very important part of HO13. Soooo I gotta, say I was kinda of nervous clicking the link and listening to this first track His Majesty of the Wood……well what do ya know? Its actually good… and who’s singing you ask? The riff meister himself Chad! Wow great. Check the track here to see what I am talking about:
Here’s the album cover and tracklisting
Tracklisting for Hour of 13’s Black Magick Rites 1. His Majesty Of The Wood 2. Return from the Grave 3. House of Death 4. Black Magick Rites 5. Within the Pentagram 6. Harvest Night 7. The Mystical Hall of Dreams
This record comes out on Shadow Kingdom records (links below) who if you remember released the Hour of 13 debut way back in 2007. This is the bands first full length album in at least 5 years (correction : Ok its been 8 years) So if you love doom in the vein of Black Sabbath, Altar and Witchfinder General then head over to Shadow Kingdom and preorder your copy today
The French have always a unique twist to their Black Metal, not sure what they put in the water there but if you have been in the scene for more than a moment you know that French Bands sound very very different to say Finnish or Norwegian Black Metal acts.
Archaeopteris are a collective made up of members of Croc Noir (black metal), Supertzar (doom / stoner), and Toward (folk) before I pressed play I kinda had an idea on what to expect but of course I was wrong. This track is crushing without any of the usual tropes you can expect from a brutal BM track. Just when you think the music is going to go “here” they subvert your expectations and send it “there” instead – check out the track Visions Chaotiques D´un Songe Halluciné here to see what I mean:
The band was born one evening when the “Green Fairy” appeared to them and highlighted their personal visions of Chaos, Nothingness, and Void. From then on, the composition and recording of their debut EP started and took a little over a year to complete.
This release is a split between Mexico’s Personal Records (cd) and Void Wanderer (cassette) links below. Its worth mentioning if you haven’t been keeping up with current events in the BM world these days Personal Records are killing it right now – definitely a label worth keeping your eyes on.
Cover and track listing for this EP as follows:
Tracklisting for Archaeopteris’ Vision Chaotiques D´un Songe Halluciné
Today, ancient black/death upstarts Hell Strike premiere the new track “Cadaveric Requiem“. The track is the second to be revealed from the band’s highly anticipated debut mini-album, Hellstrike, set for international release on July 17th via Chaos Records. Hear Hell Strike‘s “Cadaveric Requiem” in its entirety here:
Featuring members of Ascended Dead, Ritual Necromancy, and Bloodsoaked among others, Hell Strike is a new band with an old sound. The idea of Hell Strike started like most bands: it was at a metal show where Charlie Koryn, Johnatan Quintana, and José Luis Rodríguez met and talked about jamming some old songs. Even though the members are spread between Seattle and Portland, the distance wasn’t an issue, and rehearsals started at the end of 2017.
The next year, Hell Strike had a handful of practices, but every trek was always a productive one. Just around then, Jon Reiner joined the band, and a few more practices took place. Then, mid-2018 saw a long hiatus due to the schedules of the members’ other bands, and it wasn’t until December 2019 where the songs they’d been working on finally got recorded.
At last, that recording emerges as a six-song/24-minute mini-album: Hellstrike, essentially a self-titled record of sorts. Here, Hell Strike surge and crunch with eldritch energies, back when the cauldron of extremity was slowly stirred between death metal and black metal. More specifically, the mini-album stands firmly on a foundation of early 2000s black/death and early-to-mid ’90s death metal, recalling the likes of Sadistic Intent, Grotesque (Sweden), The Chasm, Necrophobic, Mortem (Peru), and Order From Chaos among others.
Familiar yet foreign at the same time, Hellstrike is indeed a gnarly first strike for Hell Strike!
. Also hear the previously revealed “Morbid Abnormality of the Ages” HERE at Chaos Records‘ Bandcamp, where the mini-album can also be preordered. Cover and tracklisting are as follows:
Tracklisting for Hell Strike’s Hellstrike
1. Cadaveric Requiem 2. Chains of Frost 3. First Born of Fire 4. Morbid Abnormality of the Ages 5. Re-Abortion 6. Transylvanian Funeral
HELL STRIKE is: Charlie Koryn: drums / background vocals Johnatan Quintana: lead guitar / background vocals José Luis Rodríguez: lead guitar / vocals Jon Reiner: bass / vocals
Today, Portuguese black metal antagonists Armnatt stream the entirety of their highly anticipated third album, Eternal Flame. Now set for international release on June 11th via Signal Rex, hear Armnatt‘s Eternal Flame in its entirety here:
Formed in days and times too clandestine to recall, Armnatt quickly became a touchstone for Portugal’s still-ascendant/descendent raw black metal scene. With their first split coming courtesy of the well-respected Black Gangrene in 2013 and then their debut album, Darkness Times, arriving a year later courtesy of the equally respected Altare, Armnatt‘s cachet was confirmed. And for good reason: the misty-yet-hateful surge the trio conjure speaks of a deeply held (and authentically created) understanding of black metal’s epochal second wave.
In 2020, Armnatt made a blood pact with Signal Rex, which resulted in their second album, Dense Fog, and a long-overdue reissue of Darkness Times. Considering Signal Rex‘s position as Portugal’s premier dispensary of dark & lawless goods, the alignment was fortuitous, to say the very least, and now results in another full-length assault on the meek and modest: Eternal Flame.
Ever aptly titled, Eternal Flame sees Armnatt sticking to their guns – no progression, no development, no compromise, no way. If you weren’t swayed by their spell of destruction the last time around, then nothing will change your mind with Eternal Flame. However, if you feel under their hypnosis and submitted to splendors too taboo to speak of, then Eternal Flame will stoke those same fires and just as potently. Just like its acclaimed predecessor, Armnatt here resurrect the spectres of 1994, the glare of burning churches lighting the way to the pagan megalith. And just like that predecessor, Eternal Flame‘s familiarity is almost deceptive, as if in fact a lost relic unearthed from a Bergen bunker decades later; again, this literally searing simplicity of design can be replicated endlessly, but never faked.
Black metal never needed to develop because it was perfect early on. Armnatt resist change and the ever-shifting sands of “good taste,” and deliver to the faithful a new torch in which to burn down one’s life: Eternal Flame.
Cover and tracklisting are as follows:
Tracklisting for Armnatt’s Eternal Flame 1. The Ancient Path 2. Darkness Embrace 3. All In Ruins 4. Black Moon 5. Magestic Shadows 6. Dark Moon Rising 7. Eternal Flame 8. Immortal Might 9. Hordeland 10. What Once Was
Blackened death metal band WITHERED are now premiering the third brand-new offering of their upcoming album ‘Verloren’, which is set for worldwide release on June 25, 2021! The new track ‘Dissolve’ can now be viewed along with an astonishing music video here:
‘Verloren’ can be pre-ordered in various formats HERE. The band’s previous singles can be streamed/downloaded here as well.
WITHERED vocalist/guitarist Mike Thompson and artist Paul Romano recently gave a behind-the-scenes look and in-depth interview on the creation of the unique album artwork. The detailed article, which is accompanied by an exclusive video clip and photos, can be viewed HERE. Further details for ‘Verloren’ can be found below.
Tracklist 1. By Tooth In Tongue (8:22) 2. The Predation (6:55) 3. Dissolve (4:33) 4. Casting In Wait (5:29) 5. Passing Through… (2:37) 6. …The Long Hurt (3:55) 7. Verloren (4:29) 8. From Ashen Shores (8:21) Total: 44:41
From its inception, WITHERED has been an outlier, a perplexing charge of extremity which the metal scene has never been able to put its finger on.
“We want to compound new elements into every album,” posits guitarist/vocalist Mike Thompson, “and we’re definitely a band for metal nerds. Our audience seems to be the old-schoolers who are absorbed by this stuff every day and jaded folks of a certain age. Industry types and peers tend to get it, but that’s about it.”
Thompson’s self deprecating assessment of his creative output might be part gentlemanly humility talking or a harshly realistic take on WITHERED’s cult status, or somewhere in between, but with an impressive body of work fanned out over the course of 18 years and five albums which have weathered as many trends, the Atlanta quartet continues to confound and refuses to compromise. New album, Verloren is the band’s most daring and iconoclastic work yet, one that spits in the eye of complacency and exists as a contrarian masterstroke.
Originally formed by Thompson and ex-guitarist/vocalist Chris Freeman in 2003 following a spell in local grind institution Social Infestation (alongside Mastodon’s Troy Sanders), WITHERED’s initial goal was to re-write black, doom and death metal modes and mores. To that end, the band has achieved that goal as their sound and aesthetic refuses to clearly state which subgenre they call home. Over the course of its history, WITHERED has generated more questions than answers about who they are and what they do. They’ve toured with the varied likes of Mastodon, High on Fire, Dismember, Grave, Vital Remains, Possessed, Watain, Mayhem, 1349, Krallice, Skeletonwitch and Danzig. Their live show provides an air of never-know-what-you’re-gonna-get mystery. See them on one occasion and it’s a DIY kick in the gut with stripped down, rehearsal room bareness appropriately complementing the lunacy. The next time they get in the van they’ll do so accompanied by rigged up columns of light cloaking the stage in bloody reds and searing whites. And with Verloren, the band’s forthcoming fifth album, Thompson and his band mates – drummer Beau Brandon, bassist Rafay Nabeel and fellow guitarist/vocalist Dan Caycedo – continue to nudge both thematic and sonic goalposts by providing relatable food for thought while retaining the adversarial fire that has powered the engine since the start.
“There’s a philosophical introspective approach to the subject matter that informs our writing style. We’re trying to create an atmosphere that complements the themes and that’s something we’re trying to circle back around to on Verloren.”
WITHERED’s first album, 2005’s Memento Mori, generally speaking, tackled the subject of mortality and the grieving process that follows significant loss, trauma and tragedy. Album number two, 2008’s Folie Circulaire was, as Thompson describes, “more existentialist, nihilistic and Nietzsche-ian” while 2010’s Dualities was an exploration of Jungian psychology and the shadow self. As alluded to in the title, 2016’s Grief Relic started into the U-turn back towards the exploration of the role and impact of grief as the men of WITHERED themselves entered that stage of life in which older family members, friends and childhood heroes were passing away, expectedly and otherwise. Five years on, Verloren rounds out the turn with a sinister sound and an area of study more akin to a deep therapy/counseling session instead of the usual gore and lore that often emboldens extreme music.
“Rafay wanted to use the theme of ‘missing’,” explains Thompson, “which was broad and abstract, so I dialed it down to be more about this outlook I’ve developed over the years about how each of us have a ‘Love Well.’ Every bit of love you get from your parents, your upbringing and your learning how to receive and experience love in relationships and through experiences contributes to the well. Your traumas counterbalance that and take away from it, especially when foundational core elements take a hit, like the untimely loss of a parent. That’s one of life’s unique puzzle pieces and when that piece is removed it’s never going to be replaced.
“We’re equipped with a certain capacity – our wells are filled to a certain level – and when you start getting smacked with traumas, whatever you have in that well – your defense mechanisms – can get worn down pretty quickly, especially for someone who has never really known love because of a broken home, difficult relationships or whatever. Each one of us in WITHERED carry unique traumas that we’ve focused this new record on. For me, most of my significant losses are from older wounds that I’ve dealt with through WITHERED from the very beginning, but with this being the first album with Dan and Rafay, it’s like a new exercise for them to really focus on the things they’ve been carrying around.”
Verloren translates to “missing” from German and relates not just to the friends, family and pieces of the member’s lives and hearts that have, and will go, missing as the time ticks on unfettered, but also, in the face of the global pandemic, just how much the activity of being in a band has been missed by everyone who took the write/record/tour cycle for granted. Verloren demonstrates a topical uniqueness; one that discusses the stuff everyone from the steeliest of black metal cape wearers to the gore-obsessed death metal crushers and everyone playing in a band or not has had to – or will have to – confront at some point. By leveling the elitist playing field so often found in extreme metal underground attitudes, Verloren offers a more holistic experience, elevating WITHERED by being unafraid to discuss topics that fly in the face of what most would connect to the sounds they make.
“About two years before I started WITHERED,” Thompson recalls, “I went through a series of traumas where I was forced to take stock of and define my foundational ‘puzzle pieces’ that could be taken away and what the trauma and grief is going to look like when I lose close family and/or friends I truly care about. Ironically, one I didn’t face until recently was WITHERED. No one ever thought that not being able to play shows or tour because of a pandemic was even feasible. I processed the idea of losing WITHERED and playing music and touring and everything else around the time of Grief Relic when two guys quit the band and I lost a lot of steam and inspiration. Luckily, Beau was there to kick my ass and shake me out of it. When it comes to this album, there was an initial suffering of anxiety because of the uncertainty in the world and the fear of losing this album because we put a lot into it, are super proud of it and it is the best WITHERED album yet. It’s important for my inspiration and motivation to go forward. It takes so much effort for us to create a record, the thought of it for it to all be for naught or potentially be wasted just destroys me.
“Surprisingly, we haven’t had a lot of push back on these themes, though I would love to take on that conflict!” he laughs. “For most people, metal is purely aesthetic, a grandstanding ‘f-you!’ to society and an adolescent rebellion kind of thing. But at the same time, we do get positive feedback from the people who have looked a bit deeper and done some research. We just want to be honest. We used to make the joke when we go out on tour, especially in the early days when deathcore was all the rage and we’d be on these weird package bills, that ‘Hey, we’re WITHERED and we’re here to bum you out.’ We’re not a party band or a shock band so you don’t get the fun aspect from us when going to a show. I’ve always been frustrated that we’ve never been able to communicate our super-realism and the different perspectives of life. If I want to sing about how much gratitude I have for my mother in a roundabout way, then whatever, we’ll do it!”
As WITHERED enters its third decade, they’ve drawn a more insular and conclusive line in the sand. The band has forged further forward with the process of eschewing typicality, including not utilizing any of the usual producer suspects to help sculpt Verloren. Instead, they flew the flag of independence by again going down the route of self-production with Thompson himself taking the bull by its horns.
“We get a little bit more deliberate every time around and starting with Grief Relic we decided not to hire anyone to help produce and filter it through a particular lens. We started self-producing and I kind of took the reins on that last time and more so this time and also when it came to selecting who was going to engineer [Raheen Amlani at Orange Peel Recordings], then mix [Greg Wilkinson at Earhammer Studios] and master it [Jarrett Pritchard]. The trick is to find someone who loves Times of Grace as much as they love Clandestine and His Hero is Gone, Napalm Death and all the way out to later Enslaved and can balance all those things. If it’s truly honest and truly communicating the intention of a song, then it’ll be powerful, heavy and generate emotion.”
Verloren also revisits WITHERED’s traditional methodological step of sitting down and looking at the present state of metal before consciously lashing out against what’s taking up most of the broader public’s attention.
“We’re constantly looking for something new to do. We love genre bending and putting D-beats next to funereal riffs next to black metal blasts and heavy doom riffs and figuring out how to make it all work and make sense with whatever vibe we’re trying to nail down. For this one, I wanted to lean back into the funereal doom world. I got burnt out when doom – especially southern doom, being a southern band – was the word of the day around the time of our first two records. We basically ran in the other direction and got away from doing any full-on doom parts for a while. I wanted to come back around to that, so we went back to bigger stuff like My Dying Bride for the couple of eight minute epics on the album [album opener “By Tooth in Tongue” and closer “From Ashen Shores”]. Also, for the first time in my life and against my better judgment, I decided to write clean vocals and I’m singing on two songs. They’re kind of buried in the mix a little bit because I’m still self-conscious about them, but they were the only things that made sense for the parts we wrote. I tried to fight it, but nothing extreme was accomplishing the goal. On top of that, we go the other way where three of the songs have some super crusty and grind elements. Part of why I asked Dan to join the band was because I knew he would get the sludgy, crusty side of things and help me cultivate that better in WITHERED. On the album, ‘The Predation,’ ‘Dissolve’ and ‘Casting in Wait’ are his. Those would be the twists on this album because we’re always trying to write what we think is missing and what we want to hear in heavy music after sitting down and looking at the landscape of what’s out there.”
And despite being deliberate oppositional in the subject matter they choose to explore and express, how much of their hearts and souls they choose to strip bare for fickle crowds and grind against whatever current musical grain the rest are cruising along, the determination, seriousness and importance of WITHERED in each member’s lives hasn’t ebbed. In fact, it’s only been magnified with time and circumstance. Having been forced into a year off from normal band life has made it clear how vital WITHERED is for everything from creative expression, social networking, wanderlust, overall personal sanity and moving forward.
“Personally, I’m very, very fortunate with regards to my family and others being supportive and taking what I do seriously. Looking back, I could be really selfish and headstrong about music. My family got so used to it that they would volunteer to schedule dinners and family events around rehearsals and practice because they were able to glean how important this was to me and how seriously I took it. Even moving out into the real world with the professional realm of things and the jobs that we have had in order to keep this going, I’d say it’s taken more seriously now than ever. We’re constantly challenging ourselves to progress and carve our own path. WITHERED is a permanent part of my life, it’s what I expect to be there. I’ve built so much on it and I’ve somehow been able to weave it into my life to where it’s a defining part of me as well. This isn’t rock star fantasy camp, although the other weekend I was bored, missing travelling and sitting around so I took the band van out and just drove out for three hours, turned around and came home!”
Today, ancient black metal activists Awaketh stream their forthcoming demos collection . Now set for international release on June 11th via Signal Rex on vinyl LP format, hear Awaketh‘s Awaketh in its entirety here:
Formed in 2019 by black/death metal activists of the Spanish underground, Awaketh is an entity formed against nowadays black metal’s relativism and open-minded “scene.” Inspired by the activism of the ’90s Nordic tradition, the Teutonic black metal fury, and the corrupted Les Légions Noires, Awaketh open wounds again, going to the core, without artifice. Just black metal in its purest and dirtiest integrity, Luziferian activism through distorted sonority against black metal’s democratization: NOT EVERYTHING GOES.
Compiling both of the band’s demos to date plus two extra tracks, Awaketh indeed awakens atavistic energies; Awaketh simply harnesses them, for they were always there. All songs here were recorded through a primitive process somewhere in the Galizian forests. Both demos were previously released on tape format by In Pulverem Mortis and Tour de Garde, respectively, during the cursed year of 2020. Adding the tracks “Nocturnal Lust” and “Burning Golgotha” recorded exclusively for this vinyl edition, Awaketh re-opens those wounds when life couldn’t get any worse.
Cover artwork, courtesy of Heresie Graphics, and tracklisting are as follows:
Experimental Sludge outfit ERDVE are now releasing the second brand-new track of their upcoming album! ‘Savigaila’ is scheduled for worldwide release on July 23, 2021. Listen to the new song ‘Sugretinimas’ here:
ERDVE comment: ‘The song name “Sugretinimas” translates as “Juxtaposition”. This song is about a tendency to juxtapose different points of view for the sole purpose of comparison while disregarding the actual result of an issue. The purpose of this video is to present different angles of the same subject and to raise the question whether the process of an argument of comparing is meaningful at all, if the result remains the same.’
Crushing insanity drips atmospherically out of every crack on ‘Savigaila’, experimenting with elements from hardcore, sludge, and black metal.
When ERDVE formed in the Lithuanian capital Vilnius in 2016, the band had a clear aesthetic vision of creating a unique heavy sound that experimented with elements from hardcore, sludge, and black metal – yet was not bound by any unwritten “rules” surrounding those genres. ERDVE’s members had already been active in their local scene and performed in various acts such as NYKSTA, SRAIGĖS EFEKTAS, and SPIRALE. A self-made tape version of their debut made its rounds in underground circles and the Lithuanians received the rare honour of being picked straight out of the dreaded demo pile by virtue of their musical strength and compelling quality.
The core ideas behind ERDVE are translated into lyrics, visuals, and sound by in-depth reflection on concepts such as domestic violence, utmost disgusting behaviour, crimes against humanity, and extremism. Their debut album ‘Vaitojimas’, released in 2018 by Season of Mist, delivered exactely that!
The new offering ‘Savigaila’, which translates as “self-pity”, revolves around overcoming the numbness within the great challenges of unsettling reality, and accepting them as they are. Regret, envy, self-regard, love, care and togetherness. From completely understandable to the most unreasonable sense. This idea is turned into melodies, rhythm, and sound by ERDVE on the bands upcoming sophomore album.
But make no mistake, ERDVE successfully transformed these melodies into a new unnerving experience on how THEY perceive life and with ‘Savigaila’, you may find that enjoying life, can be entirely implausible…
Join ERDVE on their next journey into the Baltic darkness!
