On October 8th internationally, Antiq is proud to present Paydretz‘s striking debut album, Chroniques de l’Insurrection, on digipack CD format.
Hailing from the western part of France, Paydretz is a black/folk metal project focusing on the War in the Vendée and the Chouannerie (a French rebellion against the Revolution). Through epic, violent, and melodic black metal, with vehement and sometimes traditional music, they try to depict the context of civil war at the dawn of the modern era. Atmospheric and epic guitars supported by pounding powerful drums, their music sometimes alternates with blackened folk metal in the tradition of the great French great forebears of the style.
The first album of Paydretz, Chroniques de l’Insurrection is an echo to the Vendée epic story, explaining the great moments of the War in the Vendée between 1793 and 1796. It’s a dive into the fire of troubled times, through a long musical journey, powerful and authentic, with many traditional music influences. With 14 songs, this first opus is a complete narration of this war. Atmospheric and brutal for its genre of black folk, it lets some space through to melodies and choirs.
Antiq is a label dedicated to the fully coherent concept of making music through sound, image, video, and attitude. They have been putting their entire existence into it since 2009. Over the years, Antiq have been identified as producers of not only perfectly coherent lyrics and themes through music, but also conceptual art and, of course, the manufacturing of beautiful objects. The label tries as much as it can to work with French creators, and if possible, with the smallest and most serious structures.
In the meantime, hear the brand-new track “Le Tocsin nous Appelle” here:
Cover artwork, courtesy of Joanna Maeyens, and tracklisting are as follows:
Tracklisting for Paydretz’s Chroniques de l’Insurrection 1. Premier sang (1793) 2. Le tocsin nous appelle 3. Le serment des chefs 4. La chasse aux loups (interlude) 5. Le cantique des moulins 6. Sous la bannière blanche 7. À la Loire! 8. Vengé (interlude) 9. Colonnes Infernales 10. Les Bleus sont là 11. Par les chemins creux 12. Au cœur de la forêt (interlude) 13. La fin du rêve 14. Le pardon n’est pas l’oubli (outro)
Today, Edged Circle Productions announces October 22nd as the international release date for Phantom Fire‘s highly anticipated debut album, The Bust of Beelzebub, on CD and vinyl LP formats.
It was but May 2021 when a brand-new entity burst from Bergen, Norway, bearing the all-too-apropos moniker Phantom Fire. With members hailing from such bands as Gaahls Wyrd and Krakow, the duo surprisingly went a different route with their debut EP, Return of the Goat. Hard-rocking, hard-charging, reeking of rust and diesel, Phantom Fire proved they were their own band removed from any sort of lineal references. Better yet, perhaps, they were just getting started and already promised a debut full-length…
Before the dust of Return of the Goat even had a chance to clear, that debut album is finally here: The Bust of Beelzebub! Flexing the same chops and some new ones, Phantom Fire‘s first full-length salaciously spans pitch-black speed metal and moody epic metal alike, all of it in (evil) obeisance to timeless HEAVY METAL magick. At once decades old and years ahead of the game, The Bust of Beelzebub bears an ageless wisdom across its succinct seven-song/29-minute runtime, like Aura Noir jamming out on some Cirith Ungol covers or early Omen getting turned onto the Swedish Cranium, and vice versa – on and on, ad infinitum, excelsior! Nevertheless, some interesting twists crop up in the most unselfconscious ways, like the spattering of spiraling psychedelic guitar or solemn Viking-dirge acoustics, altogether making for a wild ride across the hinterlands of the frozen Norwegian tundra…all before it’s lit afire!
With stout and richly analog recording courtesy of Iver Sandøy (Enslaved) at Solslottet Studio in Bergen and deliciously warped cover art by Nifelheim’s Hellbutcher, Phantom Fire‘s The Bust of Beelzebub is an exceptionally unique take on the traditional. The band will be making their live debut at this year’s Beyond the Gates: Uprising festival in Bergen on August 6th.
First track premiere and preorder info to be revealed shortly. Aforementioned cover art and tracklisting are as follows:
Tracklisting for Phantom Fire’s The Bust of Beelzebub 1 Return Of The Goat [2:26] 2 Bust Of Beelzebub [2:21] 3 Sweet Jezebel [3:22] 4. Pihsrow [5:26] 5. Shut Eye [5:10] 6. Feed On Fire [4:26] 7. The Ninth Gate [5:46]
Today, epic doom upstarts Flame, Dear Flame stream the entirety of their highly anticipated debut album, Aegis. Set for North American release on August 6th via Eisenwald, hear Flame, Dear Flame‘s Aegis in its entirety here:
In the year 2017 in the north-central German city of Brunswick, the covenant of Flame, Dear Flame was invoked. Providing a staggering take on the most epic form of what can loosely be categorized as doom metal, Flame, Dear Flame manage to fuse a sonic palette that features delicate, melancholy sections of clean guitars and restrained percussion with monumental, crushing epic doom. On their debut album, Aegis, Flame, Dear Flame have erected a truly distinct sound, characterized by the stirring performance of vocalist Maren Lemke, whose simultaneously airy-yet-powerful voice fuses with the memorable riff-craft on display to create seven towering tracks that are sure to capture the ears of listeners eager to hear an innovative take on a genre that too often conforms to stereotypes.
Aegis is a work thematically divided into two parts. The first part, entitled “The Millennial Heartbeat,” details the genesis of the ocean and the thanatography of the land, a testimony of the forces of nature and its frailty alike, performed in three movements and featuring a classical epic doom approach, rife with gargantuan riffs and percussion as well as soaring clean vocals, yet interspersed with thoughtfully placed and paced clean sections. Serving as a contrasting and complementary second part of the album, “The Wolves and the Prioress” consists of four movements focusing more on acoustic folk elements, further enriching Flame, Dear Flame‘s engrossing sound, and details the story of a feral child that falls into the custody of a sage prioress.
All of these elements result in a unique combination of righteous doom and subtle-yet-noble acoustic folk. Each track is accompanied by a visual representation composed by Karmazid. The culmination of the album’s visuals is its stark cover artwork, laden with elegant symbolism in rich detail, created by Kodex Barbaricus. According to the band, Aegis will be presented in full at Storm Crusher Festival as soon as rescheduling due to the pandemic permits.
Aforementioned cover art and tracklisting are as follows:
Tracklisting for Flame, Dear Flame’s Aegis 1. The Millennial Heartbeat Part I 2. The Millennial Heartbeat Part II 3. The Millennial Heartbeat Part III 4. The Wolves and the Prioress Part I 5. The Wolves and the Prioress Part II 6. The Wolves and the Prioress Part III 7. The Wolves and the Prioress Part IV
The tech death-metal shootings stars of DEVIANT PROCESS are now releasing the first brand new track of their second full length ‘Nurture‘. The album is scheduled for worldwide release on October 15, 2021 via Season of Mist. The first track stomping track ‘Asynchronous‘ can be listened to here:
The band comments on the track, “‘Asynchronous’ embodies the new direction of songwriting for the band, showing how we managed to carefully assemble the more eclectic elements of our music in a coherent way. It is a song that is without compromise, laying bare the soul of the band and really setting up the stage for the whole album.”
DEVIANT PROCESS have furthermore unveiled the artwork of ‘Nurture’, which is created by Sien-Sébastien. The cover can be viewed together with further album details below.
Tracklist: 1. In Worship, In Blood (07:32) 2. Emergence (05:20) 3. Asynchronous (05:42) 4. The Hammer Of Dogma (05:50) 5. Syrtis Magna (05:57) 6. Homo Homini Deus (04:37) 7. The Blessings Of Annihilation Infinite (07:49) 8. Cybervoid (Obliveon cover) (03:56) Total playing time: 46:43
Too often in metal, limits and boundaries are pushed at the expense of taste. Bands and fans alike can be found showering bursts of attention onto the latest hotshots redlining along at the fastest BPMs, at whose got the most unintelligibly guttural vocals, at who can generate the most indistinguishably chaotic guitar tone and/or how picture-perfect and sanitized rhythm sections can deliver their click-tracked wares. More often than not, all this comes at the expense of clarity, soul, groove and, most importantly, good songs. For Québec City’s Deviant Process, this sort of thing has been happening too much and for too long. And while the progressive tech-death quartet are tuned in to their surroundings, the band have made a conscious decision to drop out, but not before turning on those obsessed with the likes of classic Death, Cynic and Pestilence as well as contemporaries Obscura, Beyond Creation and Fractal Universe with Nurture, their second full-length and first for Season of Mist.
“We aren’t the kind of band where it’s ‘showing off first, music second,’” exclaims guitarist/vocalist Jean-Daniel Villeneuve. “We want to have great compositions with solid ideas and structures. We want the listener to be able to sing the song, to be able to remember every passage and every riff, not just thinking, ‘Oh my god, I’m surrounded by 11,000 notes a second.’ We didn’t want to check tech-death boxes about what BPM we needed to have blast beats at, using the same amps this big band used or how much shredding we needed to include. We don’t want to be a band that’s only about achievements in technical ability. We want great music and that’s been our goal since the beginning.”
“The container is more important than the contents,” guitarist Stéphane Simard sums up. “We take time to have really good structures first before adding all the harmonies, melodies and musicianship stuff.”
Deviant Process’ history goes back to 2008 with Villeneuve kicking out the one-man symphonic black metal jams under the guise of Psychic Pain. A self-produced demo caught the attention of fellow axe-swinger and musical soul mate, Simard, who together with bassist Pierre-Luc Beaulieu and drummer Olivier Genest, completed the band’s original lineup. In 2011, the foursome recorded two-track debut EP Narcissistic Rage after a common bond led to a shift in musical direction.
“Psychic Pain was a solo project,” remembers Villeneuve, “and when Steph and I came together, more brutal and technical death metal was the common ground between the two of us. So, we decided to go that way because that’s more how we thought about music together and it fit better.”
Following the release of Narcissistic Rage, Deviant Process honed their chops on local stages, opening for the likes of Cryptopsy and Revocation, and in rehearsal rooms, delving deeper into the ways and means of expanding technical death metal beyond jaw-dropping tempos and flashy fretboard finger gymnastics. Replacing Genest with drummer Antoine Baril (who produced and engineered Narcissistic Rage) introduced broader rhythmic elements to the new material, everything from rock-solid four-on-the-floor heavy metal pounding to side-winding jazz and hi-brow classical percussion. In the summer of 2013, the band entered Baril’s Hemisphere Studio with the help of Chris Donaldson (Cryptopsy, Beneath the Massacre, Ingested, Ophidian I) to capture what would become debut album, Paroxysm. To say their first full-length endeavor was a challenge is an understatement. During what ended up being a three-year operation, François Fortin took over both production and drumming duties, production work shifted studio locations from Hemisphere to La Boîte Noire, and the insanely busy Baril (who also plays in Augury, From Dying Suns and Contemplator and owns the studio in which Paroxysm was recorded) made the decision to leave the band during the mixing process. By the production had been completed, bassist/lyricist Philippe Cimon replaced Beaulieu.
Deviant Process may have been bruised and battered by the end of the process, but they emerged stronger, more intent and focused, with a new lease on life, a solid lineup (drummer Francois C. Fortin replaced Michel Bélanger, who had stepped up after Baril left) and Paroxysm which was initially released by recently shuttered Canadian label, PRC Music. Paroxysm was supported by slots opening for the likes of Archspire, First Fragment, Beyond Creation and Gorod. But it was a mini-tour in the band’s home province opening for Gorguts and Dysrhythmia in 2017 that brought them to the attention of Season of Mist. The band and label felt each other out, went into negotiations and finalized a deal in 2018.
“We were a really small band with an album released on a really small label when [SoM label boss] Michael [Berberian] approached us…” begins Simard.
“…He said that some people in the US office told him about the band and the album,” finishes Villeneuve. “He liked it, made a proposal for the next album and then sent a contract. I still don’t know who told him about us, but that’s the story, as dull as it is!”
This brings us to the present and forthcoming second album, Nurture. Its seven songs (and one cover, of Obliveon’s “Cybervoid”) are an expansive marvel of not just technical death metal maturity, but the seamless inclusion of foreign elements like the tribal fusion middle-eight in “In Worship, In Blood,” the almost free-jazz chaos that introduces and drives “Emergence,” the Latin-folk-meets-British-prog acoustic flourishes in “Syrtis Magna” and tinges of ‘90s Rush weaved into the complex firestorm of “Asynchronous.” It’s a record that the guitar-slinging duo said they officially started working on in the autumn of 2017, so as to take advantage of the opportunity afforded to them by their new label, but one in which the material harkens back to 2008 as the band has been unafraid to dip into its extensive riff bank for the meticulously perfect idea that’ll connect this and that, old with new, brutal and delicate, and balls out with brains out.
“We know when it’s too much and are always thinking about what’s best for the song,” Villeneuve explains. “Some people might want to hear a million notes in a song, but sometimes all you need is a riff with two power chords that will stick in your head. But, we’ve also been known to spend a complete week working on a three-second transition…”
“…Or throwing out a couple minutes of music we’ve worked on because it doesn’t fit with the parts before or after it,” says Simard.
Nurture bobs and weaves like the sonic manifestation of a worryingly tall and fantastically ripped mathematics/quantum physics double-major who spends nights crunching noses and ear cartilage after spending days crunching numbers and calculating the size of the universe. Tidal layers of barbarous guitars engage in a baroque convergence/divergence dance and are bounced off prominent, fusion-inspired bass playing. The drumming stops and spins on a dime from ambient sparseness to clogging every artery of space while Villeneuve unleashes an insanely unholy barrage of black metal screams, death metal growls and full-throated, muscular bellowing, everything being put on display throughout dizzying album centerpiece “The Blessings of Annihilation Infinite.”
“On Nurture, we took a different direction during the writing,” the vocalist says, “to make it more articulate and instrumental. Death metal wasn’t our only guideline for writing music or even what we enjoy; we like jazz, old prog from the ‘70s, classical and we want to play the well-crafted music that we want to hear.”
Thematically, Nurture uses veiled lyrical references and far-reaching metaphors in the exploration of human experience commonalities. What’s being referenced may not be blatantly or entirely revealed, but spend enough time parsing and decoding Philippe Cimon’s lyrics and it’s clear that even if the dude is living in a perpetual game of 3-D chess, he empathizes with what we’re all dealing with and understands where we’re all coming from and where we’re all going.
Says the bassist: “There isn’t a central theme for the lyrics on Nurture. The songs were written over a certain period of time and different themes are explored. A common aspect to every song is the use of esoteric or mythological references to express a relation to a certain theme, be it substance abuse, trauma and its consequences, faith, solitude, or man’s lust for power. However, the themes are sometimes brought up in a way that is very unclear and lets the reader make up his own explanation of the text.”
“There’s no gory stuff or anything typically death metal in our lyrics,” adds Villeneuve. “Our goal is to have the listener be able to associate a lyrical idea to a song. We want the listener to create their own feeling and meaning for the songs. It’s an album where people can really feel the vibe throughout the whole thing, not just from listening to one song. There’s an energy you can feel from our effort and there’s a flow that goes from beginning to the end, a journey that’s speaking in the music.”
With Season of Mist having their backs, Deviant Process has quickly been thrust into an unfamiliar world of having to select and settle on variant vinyl colors, conjure up multiple t-shirt designs, tend to contractual and legal matters, PR responsibilities, out-of-province and international communication and all that fun behind-the-scenes business stuff. The band is still adjusting to industry demands and encountering stressful situations they hadn’t thought of, assumed they’d ever have to consider or even know existed. Ironically, what’s brought them to this point is their own boundless and borderless take on extreme metal. They may be “a small band that wants to be not small,” and Nurture has helped them get their collective foot in the door to a world populated by the stable of bands they blasted while growing up and still blast today when time away from rewriting the rules of technical death metal permit.
“All of my favorite bands since I was young seemed to be signed to Season of Mist,” laughs Simard, “so we are very appreciative of having the opportunity to be on the same label as our idols. We’re still getting used to what we have to do when we’re not playing our instruments…”
“…But we want to go against the grain,” says Villeneuve, again finishing his counterpart’s thought. “We don’t want to just fit in the tech-death box; we want to include anything that opens more possibilities, even if we’re just boring people from a small city in Québec that like and want to play really good music!”
Today, Iron Bonehead Productions announces October 1st as the international release date for Malgöth‘s highly anticipated debut album, Glory Through Savagery, on CD and vinyl LP formats.
Although Malgöth burst from the void in late 2020 with their debut EP, Primordial Dawn, on Bandcamp, it wasn’t until Iron Bonehead‘s physical release of it in June 2021 when the name began to take hold and strike fear and confusion in those who heard the Canadian trio’s righteous abomination of war metal aesthetics. Both incredibly uncompromising and unorthodox in equal measure, Primordial Dawn presented audial chaos that had one steel-toed boot planted in strident traditionalism and other in fuck-off-eternally rule-breaking, bringing to mind Canada’s long tradition of war metal savants like Lust, Rites of Thy Degringolade, Ouroboros, Necroholocaust, and Tumult and, of course, the pioneers themselves – fucking Blasphemy.
Not content to assault the listener with “only” 17 minutes of sonic decimation that was their first EP, Malgöth return with an even-more-flagrant disregard for comfort and acclimation in their aptly titled debut full-length, Glory Through Savagery. The title really says it all: Glory Through Savagery is an infinitely bursting fount of feral frequencies and distorted delirium, ravaging body and mind, sanity and safety, through 10 attacking hymns of desolation. Where that debut EP utilized two vocalists to thrilling effect, here in full-length form, Malgöth mangle expectations by sending those vocalists screaming and bellowing from nearly every direction; truly, with the impossibly doubled low-end rumble and cutting-concrete riffing, Glory Through Savagery becomes a kaleidoscopic experience, a fever dream of war metal turned absolutely inside out. Within, vomits of blackgrind or even goregrind are minced and muscled up, shat out with an ultraviolence that’s simply stunning. Because there’s really no other option when facing the album’s 41 minutes: be stunned, or face whiteout/blackout oblivion.
So many bands flex that they’re “war metal kommand” bros, but few have the vitriolic resolve to go all in and beyond the subgenre’s neutering conservatism. Malgöth stand cold and alone, authentically hailing Glory Through Savagery: HOW FAR WILL YOU GÖ?
Test your limits with the brand-new track “Throne of Infinite Power here:
Tracklisting for Malgöth’s Glory Through Savagery 1. Throne of Infinite Power 2. Barbaric Onslaught 3. Clubbed Into Pulp 4. Unrelenting Force 5. Immortal Torment 6. Executing the Weak 7. Destroyed by Savages 8. Spiritual Contamination 9. Cauldron of Pus 10. The Eternal Age of Iron
On October 22nd internationally, Dying Victims Productions will release SexMag’s striking debut mini-album, Sex Metal, on CD and 12” vinyl formats. And today, they drop the new track “Sex Metal.” Hear SexMag’s title track “Sex Metal” in its entirety here:
From the abyss of the filthy Silesian Streets emerges the Nasty Beast, just like in St. John’s Apocalypse. Three sixes branded at the top of his head, and the prophecy predicts eternal tribulation and condemnation to those who betrayed and wear shackles. Seven chaplets and 11 horns encrust his neck, and his hand holds the key to the world unblemished by the lie. The sign of Hell worships the beast in black and his servant…SexMag!
Drawing their moniker from Poland’s legendary Kat, SexMag arrive from the darkest past with a seven-track expurse of sodomy bearing the call-to-arms title of Sex Metal. Across the five primary curses and bookending intro and outro, the mysterious entity create a caustic and careening sound drawing equal strength from ‘80s proto-black metal and the vilest thrash. Names invoked include earliest Destruction, Sepultura, Venom, Tormentor, Sarcófago, Master’s Hammer, and Violent Force, but with a fear-for-their-safety identity all their own. Or, put another way, think of the most garaged old New Renaissance release left rotting in the sun and covered in black-candle wax…that is Sex Metal!
No more and no less, no trends and no compromise, posers leave the hall when SexMag fuck you with their Sex Metal!
Cover and tracklisting are as follows:
Tracklisting for SexMag’s Sex Metal 1. Intro 2. Zapomniany Czarci Kult 3. Sex Metal 4. Wysłannik Hadesu 5. Nagrobek Kurtyzany 6. Nałożnice Hrabiny 7. Outro
BENIGHTED is back with a brand new track ‘A Personified Evil’, containing special guest Francesco Paoli from FLESHGOD APOCALYPSE. The track can now be viewed here:
Vocalist Julien Truchan comments: “Here we go with “A Personified Evil”, our brand new single featuring none but our amazing brother Francesco Paoli from Fleshgod Apocalypse !! 2’53 of pure violence available in this lyrics video released by our friend Guilherme who did a great job! Tell us what you think about this new piece of insanity and please spread it everywhere you can, not only on the beach !! 🤣 Thank you for your support and let’s dance! We want to thank Francesco, Remy Headsplit Design who released this beautiful artwork, Frek from La Forme du Son who recorded my vocals and of course Kohle from the Kohlekeller Studio who made the mix and master of this track! SHARE SHARE SHARE!“
BENIGHTED have previously announced new European tourdates for September and October 2021! The band will be supporting ABORTED during the first run of the ‘Hell Over Europe 4’ tour. A full list of confirmed shows can be found below. Vocalist Julien Truchan comments: “Huge news! With fingers crossed that this pandemic will be over soon, we are so proud and insanely happy to announce this amazing European Tour with our brothers Aborted: Hell Over Europe 4! With this killer line-up, we will hit the road again to bring brutality back on stage and show you how the tracks of our new album ‘Obscene Repressed’ sound live. Every night will be the occasion to party with friends and fans to celebrate the return of what we are all made for : FUCKING BRUTAL LIVE MUSIC! Can’t wait to see you all, guys!“
BENIGHTED +Aborted +The Acacia Strain +Fleddy Melculy 24/09/2021 Dynamo, Eindhoven (NL) 25/09/2021 De Kreun, Kortrijk (BE) 26/09/2021 MS Connexion Complex, Mannheim (DE) 28/09/2021 TivoliVredenburg, Utrecht (NL) 29/09/2021 The Dome, London (UK) 30/09/2021 Trabendo, Paris (FR) 01/10/2021 Musadeath Festival, Nantes (FR) 02/10/2021 John Lennon, Limoges (FR) 03/10/2021 Le Rex, Toulouse (FR) 05/10/2021 Totem, Pamplona (ES) 06/10/2021 Hard Club, Porto (PT) 07/10/2021 RCA Club, Lisbon (PT) 08/10/2021 Shoko, Madrid (ES) 09/10/2021 Salamandra, Barcelona (ES) 10/10/2021 CCO Villeurbanne, Lyon (FR) 11/10/2021 Kiff, Aarau (CH) 12/10/2021 Slaughter Club, Milano (IT) 13/10/2021 Orto Bar, Ljubljana (SI) 14/10/2021 Barba Negra, Budapest (HU) 15/10/2021 Szene, Vienna (AT) 16/10/2021 Feierwerk, Munich (DE) 17/10/2021 Meet factory, Prague (CZ) 18/10/2021 Randal club, Bratislava (SK) 20/10/2021 Zbau, Nuremberg (DE) 21/10/2021 Kulttempel, Oberhausen (DE)
More info on BENIGHTED and their latest album ‘Obscene Repressed, like bio and bandpictures, can be found HERE! For more BENIGHTED updates, check their Facebook, Website or Instagram
Today, Hells Headbangers announcesAugust 27th as the international release date for Nunslaughter‘s long-awaited sixth studio album, Red is the Color of Ripping Death, on CD and cassette tape formats. The vinyl LP version will follow later this year.
Nunslaughter require no introduction. Since 1987, these Ohio natives have prolifically perfected their own brand of Devil Metal: an evil blend of classic death metal and hardcore punk. And by “prolifically,” Nunslaughter are likewise serious; their catalog of records released rivals that of Japan’s Sabbat and Agathocles, both of whom the band have done splits with. Through it all, Hells Headbangers have been diehard fans, and have released countless Nunslaughter records going all the way back to the label’s earliest days in 2003.
And while Nunslaughter are largely renown for being an EP band, any chance to welcome a new full-length from them is cause for (devil metallish) celebration: at long last, Red is the Color of Ripping Death, the band’s first album in seven years. Many are still mourning the loss of legendary drummer Jim Sadist (RIP), and while Red is the Color of Ripping Death is their first full-length without him playing on it, some of the 14 songs contained herein are unfinished / unrealized music that Jim and founding frontman Don of the Dead wrote years ago. Just as importantly, this album comprises material newly written with Nunslaughter‘s current lineup, which is arguably the band’s best to date. And hearing is believing: over the course of the album’s 35 minutes, it becomes immediately apparent that Nunslaughter are a really good – and really ripping – DEATH METAL band above all. Largely gone (or least sublimated) is the hardcore punk influence, and in its place is an absolutely furious onslaught of catchiness and causticness. Armed with the best-sounding production on a Nunslaughter record ever as well as Don of the Dead reaching new heights/depths of maniacal perversity, Red is the Color Ripping Death truly brings the band to a different level of Devil Metal.
“As Sadist says, RED IS THE COLOR OF RIPPING DEATH!!” Long live Jim Sadist, and long live Nunslaughter!
Live long with the brand-new video for “Below the Cloven Hoof” here:
Preorder info can be found HERE. Cover and tracklisting are as follows:
Tracklisting for Nunslaughter’s Red is the Color of Ripping Death 1. Murmur 2. Broken and Alone 3. To A Whore 4. Banished 5. Red is the Color of Ripping Death 6. Eat Your Heart 7. Annihilate the Kingdom of God 8. Beware of God 9. Black Cat Hanging 10. Dead in Ten 11. The Devil Will Not Stray 12. The Temptress 13. Casket Lid Creaks 14. Below the Cloven Hoof
Today, Hells Headbangers announcesAugust 20th as the international release date for Sacrifixion‘s striking debut EP, Shower Me in Death, on 7″ vinyl format.
Although brand-new in name, Sacrifixion feature veterans of the German metal underground – among them, ex-Cruel Force vocalist Carnivore and the ever-prolific Avenger (Nocturnal, Front Beast, Szarlem et. al.). As expected, the power-trio’s first recording is a vicious, uncompromising nuclear warhead of ancient deathrash energies. Bearing the all-too-fitting title Shower Me in Death, Sacrifixion‘s attack bristles with the billowing violence of ’80s South America and Germany alike and even earliest Exodus, Death, and Dark Angel. Still, the four songs comprising Shower Me in Death show their own unique shades of exquisite Metal of Death, raw and nearly out of control and somehow supremely haunting. It’s a sound that’s lurking in the dungeons of the mid-’80s and the present simultaneously, for Sacrifixion are very much here and NOW – and this is but the start, for a full-length is already in the works. BEWARE!
In the meantime, hear the brand-new track “Unmarked Shallow Graves” here:
Preorder info can be found HERE. Cover and tracklisting are as follows:
Tracklisting for Sacrifixion’s Shower Me in Death 1. The Bloodied Pits of Savagery 2. Unmarked Shallow Graves 3. Drowning In A Nightmare 4. Shower Me In Death
Today, Chaos Records announces September 10th as the international release date for a special split album between Grim Fate and The Sombre, From Ancient Slumber / The Horrid Silence Thus Began, on CD format. Featuring two still-young titans of doomed-out death metal, this split album features three exclusive tracks from both bands, with Grim Fate‘s half titled From Ancient Slumber and The Sombre‘s The Horrid Silence Thus Began.
Hailing from the Netherlands, Grim Fate was formed in 2017 by Wim and Pier to create some dark, brutal, and doomy death metal. The both of them started spreading their ideas and composing full force. Influenced by the old Finnish scene and bands like Incantation, they tried to create their own brand of dark death metal. After the release of the Emerging From the Crypt EP, Philippus joined the band. The first result of this new lineup was a split 7″ with Putrevore and, soon after that, the debut full-length Perished in Torment in 2020. With more momentum and growing compositional prowess, the power-trio here deliver three gutted & gargantuan tracks, their doom vibes less catatonic and more like slow-rolling dread. Then again, given their native land’s proud lineage of doomy death, this growing supremacy should not be surprising…
The Sombre is the work of Maurice de Jong, insanely prolific mainman of Gnaw Their Tongues, De Magia Veterum, Cloak of Altering, Hagetisse, Golden Ashes, and countless others. With The Sombre, however, de Jong returns to his roots. Having spent his formative musical years in doom and doom-death metal bands (1989-1996: Atrocious, Cauteror, and Soulwound), de Jong now reimagines the sound of his youth: doom-death metal inspired by the “Peaceville Three” and other early ’90s doom/death pioneers. As The Sombre, he released two super-limited albums – Into the Beckoning Wilderness in 2019 (which Chaos Records reissued in a much-wider edition in March 2021) and 2020’s Shapeless Misery – and now delivers his first new tracks since then. Just as cathartic as ever, this trifecta of tracks is wide open, in every sense of the word: space, atmosphere, paradoxically crushing heaviness, and indeed most of all, heart-torn-open emotion. Truly, The Sombre‘s more traditional death-doom sound is a perfect complement to Grim Fate‘s slo-mo bulldozing.
Totaling 43 minutes, From Ancient Slumber / The Horrid Silence Thus Began is a crucial work for fans of both Grim Fate and The Sombre as well as any maniacs into death metal’s most doomed landscapes.
In the meantime, hear two brand-new tracks from the split – Grim Fate‘s “Corpse Eater” and The Sombre‘s “The Horrid Silence Thus Began” – here:
Preorder info can be found HERE. Cover and tracklisting are as follows:
Tracklisting for Grim Fate and The Sombre’s From Ancient Slumber / The Horrid Silence Thus Began
1. GRIM FATE – Corpse Eater [6:38] 2. GRIM FATE – Smoarige Fine [10:46] 3. GRIM FATE – From Ancient Slumber [5:53] 4. THE SOMBRE – Above th’ Aonian Mount [6:23] 5. THE SOMBRE – His Pride Had Cast Him Out From Heav’n [7:23] 5. THE SOMBRE -The Horrid Silence Thus Began [5:40]
