Today, Greek black metal vanguard Funeral Storm reveal the new track “The Void.” The track is the first to be revealed from the band’s highly anticipated second album, Chthonic Invocations, which will see release through Hells Headbangers later this year. Hear Funeral Storm‘s “The Void” in its entirety here:
The song is to commemorate the passing of H.P. Lovecraft, with the lyrics inspired by “The Viridian Verses” from The Bible Of Cthulhu. As the band explain of the forthcoming Chthonic Invocations, “Inspired by these hard times the world is going through, this album came out a lot darker and aggressive than its predecessor, Arcane Mysteries. This song is dedicated to a very special someone who, under the gaze of the Gods, entered the Void. May They Rise.”
Release date, cover, tracklisting, and preorder info for Chthonic Invocations to be announced shortly. For more info, consult the links below.
Today, Edged Circle Productions announces May 20th as the international release date for the highly anticipated debut album of Chile’s Sign of Evil, Psychodelic Death, on CD and vinyl LP formats.
It was but early 2020 when Sign of Evil burst forth from some Lovecraftian fever dream to release their debut EP, Psychodelic Horror. Hailing from the cult-metal hotbed of Chile, it was no surprise that this then-one-man project of Witchfucker (also of the well-regarded Invocation Spells and Dekapited) bore some semblance of classic South American madness, but there was just as equally as sorts of other madness bubbling in Sign of Evil‘s cauldron. Black speed metal but with elements of early GISM, strange Eastern Bloc metal from the ’80s, and ancient Italian occult rock? Maybe, but however you wished to describe it, Edged Circle was absolutely smitten and released Psychodelic Horror on 7″ vinyl not long after, and saw fit to sign the band for their debut album.
And now it’s here, bearing the continuing-the-tale title of Psychodelic Death. Witchfucker’s joined by new drummer Thoth, and the duo’s chemistry is immediate and mesmerizing. Everything about its short-length predecessor is not only taken up a notch, it’s nearly maximized to overkill-type levels, but that’s the only kind of madness for Sign of Evil! More chorus pedal on everything, more guitar solos everywhere, more anthems and more hypnosis and more EVIL and more ARGH!!! In fact, that chorus-pedal abuse puts Psychodelic Death in a realm almost removed from metal and into old deathrock – so sinister yet also so sexy. But rest assured that the duo have their noses planted deeply in an ancient ugliness redolent of early Bathory, Venom, Warfare, and even the Plasmatics: Witchfucker’s now got two vocal styles warring with each other – one a thirsty ‘n’ miserable blackrasp, the other a sewer vomit warped by a harmonizer ala very early Carcass, Impetigo, or Carnage – and Thoth’s snare sound is straight outta Sarcofago’s INRI. The cultest metal album of the year? YOU FUCKING BET!
It’s almost alarming that Sign of Evil trounce the massive potential they showed on their first EP, but those are the facts: Psychodelic Death never stops the madness!!!
Begin never stopping the madness with the brand-new video “Bad Trip” here:
Preorder info can be found HERE. Cover and tracklisting are as follows:
Tracklisting for Sign of Evil (Chile)’s Psychodelic Death 1. Bad Trip 2. The Consequence Of Your Actions 3. Psychodelic Death 4. Serpent Poison 5. When The Day Arrives 6. Anonymous 7. The War Is Now 8. August 8th MMIX 9. The Underground 10. Die 11. Rusted Nailed 12. Slow Death 13. Into The Unknown
Today, Osmose Productions announces April 29th as the international release date for former Mütiilation founder Meyhnach‘s highly anticipated second album, Miseria de profundis, on CD format. The vinyl version will be released later this year.
Five years after Non omnis moriar, Meyhnach is back with a second opus called Miseria de profundis, a full-length piece of black metal with some weird elements. The album contains the seven prophecies of a visionary digging into the depths of human misery.
Miseria de profundis, lamentum in fine saeculi predicts the world’s downfall through the eyes of a mad man that travels through feelings like paranoia, pandemics, terrorism, and other faces of Evil of the third millennium.
First track premiere to be revealed on April 15th. Cover and tracklisting are as follows:
Tracklisting for Meyhnach’s Miseria de profundis
1. Virus [7:52] 2. To Exterminate the World [8:37] 3. Into the Weird [6:04] 4. Grim Omen [7:48] 5. Relapse [6:09] 6. In Search of Wasted Time [7:22] 7. Tentacles of Anguish [7:34]
Today, Thuringian folklorists Mosaic premiere the new track “Nordwaldrauch”. The track is the second to be revealed from the band’s highly anticipated new album, Heimatspuk, set for international release on April 22nd via Eisenwald. After their highly acclaimed avant-garde debut album Secret Ambrosian Fire, released by Eisenwald in 2019, Mosaic return to their black metal roots with Heimatspuk, delivering a primal symbiosis of atmospheric metal, mystical soundscapes, and traditional primal folk elements. Hear Mosaic‘s “Nordwaldrauch” in its entirety here:
The album continues where its predecessor Secret Ambrosian Fire left off. The modern world lies in ruins and has consumed itself. Lyrically, it is permeated by various leitmotifs, such as darkness, sanguine, and forest mysticism – as well as the central elements of earth and air – whose attributes and symbolism characterize the album.
Reflection, contemplation, inner catharsis, and world escape are driven by heart and soul interwoven with moments of bittersweet melancholy and nostalgia. Once again, it is about old Thuringian traditions, poetry, and customs; about ghosts and demons; about the devil; and about the simple man who must not lose himself in the wild world. Likewise, it is about the power of nature as the ultimate shelter; about winter customs and ghostly witches. In addition, the album is strongly inspired by the works of Johann Wolfgang von Goethe, Georg Heym, Georg Trakl, and many other regional Thuringian poets. Dark primal folk melodies, sung in the regional dialect, lead up to wild atmospheric black metal anthems.
Unlike previous Mosaic releases, there are no guest appearances on this album. The album was written and recorded entirely by Martin van Valkenstijn at his House of Inkantation in Gotha, with musical assistance from Danijel Zambo (Walden, Skognatt) and mastered by Markus Stock (Empyrium, Sun of the Sleepless) at Klangschmiede Studio E in Mellrichstadt.
Also see & hear the previously revealed video for “Wir Sind Geister” HERE at Eisenwald‘s official YouTube channel. Preorder info can be found HERE. Aforementioned cover art and tracklisting are as follows:
Tracklisting for Mosaic (Germany)’s Heimatspuk 1. Wir sind Geister 2. Die alte Straße 3. Teufelsberg 4. Hullefraansnacht 5. Blutnelke 6. Der Köhlerknecht 7. Nordwaldrauch 8. Heilstatt 9. Unterhulz Zoubar 10. Tief verschneit die ganze Welt (bonus track CD/tape/digital)
Today, Osmose Productions announces April 29th as the international release date for the third and final provocation by Abhomine, Demonize Destroy Delete, on CD and 12″ vinyl formats. Hells Headbangers will be releasing the record on both formats in North America.
Demonize Destroy Delete consists of dissident lyrical narratives of irrational realism and metaphors.
Pete Helmkamp unleashes prophetic vocalizations, a sewage of filthy guitars and ferocious bass. The Black Lourde of Crucifixion (Cazz Grant) discharges an outbreak of cacophonous drums and roars of decrepitude and horror.
Demonize Destroy Delete is a declaration of dissonant antithetic neurological errorism.
As humanity squats with a mouth full of flies… Command Control Comply! Cover and tracklisting are as follows:
Tracklisting for Abhomine’s Demonize Destroy Delete
Today, Shadow Kingdom Records announces June 24th as the international release date for Savage Master‘s highly anticipated fourth album, Those Who Hunt at Night, on CD, vinyl LP, and cassette tape formats.
One of the most exciting and electrifying bands in today’s occult heavy metal scene, during the first six years, Savage Master swiftly built an impressive canon of work over the course of two cult albums, one EP, one single, and especially their over-the-top live shows. The band was founded in 2013 by guitarist Adam Neal and vocalist Stacey Savage, so inspired by their love of heavy metal and horror. Soon enough, a mysterious spectacle was created, and it bore the name Savage Master. From there, the band began their assured ascent through the underground, touring non-stop across North America and Europe, playing such festivals such as Keep It True, Hell Over Hammaburg, Legions of Metal, Frost and Fire, Ragnarokkr, Hells Heroes and many more, and then landing themselves an album deal with longtime fans Shadow Kingdom.
The first fruit borne was 2019’s massively critically acclaimed Myth, Magic and Steel, which brought the band to many new listeners as well as solidified their position atop the throne of true heavy metal might. Now Savage Master stands taller than ever and surveys those they leave in the dust with their fourth full-length, Those Who Hunt at Night. All too perfectly titled, Those Who Hunt at Night sees Savage Master going in for the kill, keeping their unyielding-as-steel sound whilst sharpening it yet further with their clearest and most powerful production to date. In fact, that palpable professionalism profoundly impacts that sound – timeless electricity, eternal glory, boundless energy, authentically ancient but no tired “retro” retread, with the immediately recognizable vocals of Stacey Savage leading the charge – so much so, one could put the album alongside such early/mid ’80s stunners as Judas Priest’s Point of Entry (moody and dynamic) or Jag Panzer’s Ample Destruction (locomotion and drama). Which is to say nothing of the subtle-but-crucial placement of vintage synths across the 36-minute album, giving all nine songs a unique twist that altogether make the record a unified experience. Still, from the impeccably constructed hooks to the broader range of tempos they explore, Savage Master‘s creativity here seems to know no bounds whilst keeping their core intact.
Speed metallers, occult rockers, thrashers, NWOBHM fanatics, everyone in between and especially beyond – all have been entranced by Savage Master‘s mysteries of steel. Now, the wider world will feel the blade of Those Who Hunt at Night!
Cover, tracklisting, and preorder info to be announced shortly. For more info, consult the links further below.
Today, American black/death cult Perversion reveal the new track “Axioms of Domination.“ The track is the first to be revealed from the band’s highly anticipated second album, Dies Irae, which will see release via Hells Headbangers later this spring. Hear Perversion‘s “Axioms of Domination” in its entirety here:
Perversion initiated rehearsal sessions in a basement of Detroit around the fall of 2008, originally formed by Fernando Conde (guitars), Alan Hoover (bass), Neil Spencer (vocals), and James Haley (drums). In February 2009, the Metal is Death demo was released and several shows were played locally (Detroit, Lansing, and Cleveland). In the summer of 2009, the original drummer left the band and Peter Gibbs was recruited. A split 7″ with Anguish was recorded and released by Black Shit Noise Productions from Texas. Neil stepped out of the band, and Fernando started doing vocals in addition to lead/rhythm guitars. A new demo was recorded, and several shows were played in the Midwest and Detroit.
In 2012, Perversion took part in the Filthiest of Apocalyptic Detroit four-way split. Shortly after, the first full-length, Storm of Evil, was recorded and released by Bitchy Witch Records. After several dates all over the U.S. and South America, Perversion started writing again and released several rehearsal tapes and a demo titled Archaic Death Metal, which is an advance of the upcoming album.
At long last, two years later, arrives that album: Dies Irae. If “archaic death metal” indeed aptly described Perversion previously, here they shatter that definition with an utterly ultraviolent assault on the senses. Swirling malevolently in a cauldron brewed from the darkest depths of old Brazilian proto-death, earliest German thrash, bestial detonations at the dawn of the ’90s, and even ’80s grindcore, Perversion proceed to lay waste across the album’s seven central tracks, plus ominous intro and an album-closing cover of Bathory’s “Possessed.” That the power-trio prize songwriting amidst their barbaric onslaught puts Perversion in a unique realm, and one truly within that of the archaic. With chaotic-yet-composed solos flying fast and free and rough-yet-robust production heightening that sense of the diabolical, Dies Irae is maniacal black/death for true black/death maniacs.
“Perversion have always had an orthodox and purist ideology in regards to how black and death metal are meant to sound,” the band state in conclusion. “Gathering inspiration from the degeneration of civilization, the decay in morality, and the Iron Age/Kali Yuga itself, we captured an archaic structure in our latest recordings. Our principles and convictions have remained unchanged through the years. We have forged an alliance with Hells Headbangers to release our second full-length, which is definitely not for people looking for refined, modern-sounding music, but for fanatics of barbaric and punishing cacophony.”
Release date, cover, tracklisting, and preorder info for Dies Irae to be announced shortly. For more info, consult the links below.
Today, ΑΧΕΡΟΝΤΑΣ – the rebirth of Acherontas – stream the entirety of their highly anticipated new album, The Seven Tongues of ΔΑΗΜΩΝ. Set for international release on March 14th via Zazen Sounds, hear ΑΧΕΡΟΝΤΑΣ‘s The Seven Tongues of ΔΑΗΜΩΝ in its entirety here:
Mysticism, magic, occult arts and rituals, all of which are driving factors behind ΑΧΕΡΟΝΤΑΣ, are also the most adequate words that can be used to describe the band’s image, sound, and lyrics. The band is considered as one of the leading representatives of the second wave of Greek black metal, heavily influenced by the original Hellenic metal scene, retro rock (especially ’70s rock), and occult/spiritual philosophy & activism.
ΑΧΕΡΟΝΤΑΣ was brought to life in 1996 by V.P.Sorcerer and was ever since true to its internal tenets and traditions, which deemed the band as a “Magickal Coven, dedicated to the Ancient Sumerian Mysteries of Drakonian Blood.” According to the band, “Many traditions embrace these ancient sources as footprints and take form in our Void as Astral Vampirism, Hermeticism, Kabbalah, Dream Workings, and Luciferian Magic.” V. P.Sorcerer continues: “True sorcery is not an art, it’s science… in order to dare, we must know; in order to will, we must dare. We must will to possess empire, and to reign, we must be silent. We are real to those with eyes to see…”
Their Magickal Coven commences the Third and ultimate cycle of its manifestations, embodying its final reincarnation in the novel external form of ΑΧΕΡΟΝΤΑΣ. After a 15-year-long second period of esoteric culmination, the Coven of ΑΧΕΡΟΝΤΑΣ now enters the next alchemical stage of its existence. Transforming and shapeshifting into a yet-unexplored aspect of the same Entity, a new Seal is unveiled, channeling the hidden forces into the future of our Great Work: ΑΧΕΡΟΝΤΑΣ is revealed.
A compass of feverish devotion unto the omnipotent and everlasting, the Gateway to the Sinister Arts that glorify the Other. Seven rays conjoined within a seal of apparition, whereupon all weak aspects of the Self fall into disarray, surfacing the Iron facet of spiritual survival across the planes of the uncharted Netherworlds. A map, a weapon, and ceremonial ornament of the Seven Archons, molded and reforged to signify the Eternal Hunt of blood-ridden Aeons.
ΑΧΕΡΟΝΤΑΣ commented on the new album: “The new Opus, bearing the fiery symbolic crown of The Seven Tongues of ΔΑΗΜΩΝ, unto the realms of matter. The sands of creation shall shift once again, as the new album of the Coven signifies the sail towards new horizons, fertilizing the grounds with blessed sonic resources to bear fruits on spiritual levels. Seven pacts with powers unknown to mortal men, yet to be known to the elevated individual that chooses to follow the thread beyond mortality. Seven pathways to the Inner Sanctum, grasping a harsh lesson, a taunt of spirit and soul, benign and glorifying.
“The Coven places this newborn Opus upon the altars of the Seven Gods, paying tribute to the forces of the Other that have inspired its course over the decades. The listener is set to be reached by this reverence, since this reverence is set to extend within the listener and let him become one with the multidimensional becoming that is assigned, this Mission of Seven Hells and Seven Destinations. This is a new era of continuity, forging all the bestial aspects of the Past to a shining athame that shapes the Future.”
Cover artwork, by Maximilian Pirner (1854-1929), and tracklisting are as follows:
Tracklisting for ΑΧΕΡΟΝΤΑΣ’s The Seven Tongues of ΔΑΗΜΩΝ I. Lucifer – Breath of Fire II. Leviathan – The Fervent Scales In Reverence III. Belial – The Enn of Beliya’al IV. Satan – Exaltation of Unbeing V. Choronzon – Webs of Alienation VI. Hecate – Queen of the Crossroads VII. ΔΡΑΚΩΝ – ΑPOTHEOSIS
Today, mind-bending death metallers Inanna premiere the new track “The Key to Alpha Centauri”. The track is the second to be revealed from the band’s highly anticipated third album, Void of Unending Depths, set for international release on April 25th via Memento Mori. Hear Inanna‘s “The Key to Alpha Centauri” in its entirety here:
In a weird and horrific hallucination, guitarist/songwriter Diego Ilabaca received the revelation to create new music. Still in his teen years, he came up with the idea of fusing his favorite albums, Sepultura’s Morbid Visions and Morbid Angel’s Altars of Madness, with the mysticism and transcendence of the long and amazingly structured compositions of his ’70s prog-rock heroes. It took a long time to find the right musicians to realize that vision. Once he did, and like the powerful gods of the Sumerian pantheon, Inanna came to life from the netherworld in 2000, obsessed the early technical death metal acts such as Atheist, Cynic, Death, and Pestilence and plagued with the evil brutality of Suffocation, Deicide, Morbid Angel, Immolation, and Gorguts.
Even though inspired by those acts, this four-piece entity walk a path of uniqueness through their own spheres and interdimensional portals. Unlike other ridiculously over-the-top, ultra-complex, soulless bands, Inanna seek inspiration in the outer worlds and the obscure abysses of the unknown, via demented growls, the nightmarish writings of H.P. Lovecraft, mythology, and ancient lore. Malice, death, and insanity, the human mind, and Cthulhu spells also lurk deep within the band’s concept, like eerie sea tales from a distant century that one can only whisper in fear.
After two albums and many a stage hit by Diego Ilabaca (guitars), Max Neira (bass/vocals), Carlos Fuentes (drums/guitars), and Cristobal Gonzalez (guitars) over the band’s years of existence, Inanna are now ready to unleash their third full-length opus, Void of Unending Depths. Immediately upon pressing “play,” it is crystal clear: Inanna have delivered a masterwork in Void of Unending Depths. While not betraying their core sound they’ve patiently perfected all these years – a swirling maelstrom of bent riff logic, angular speed, world-eating vocal dementia, and otherworldly atmosphere – on this third album do the Chileans convey a confidence of vision and execution that puts them in the upper echelons of death metal’s elite. Indeed, it is still proudly DEATH METAL in name and deed – and same goes for the album’s production and mix/mastering, all courtesy of Fuentes – but Inanna imaginatively weave wonderous, horrifying sensations into the nearly hour-long work that verily transport the listener to dread landscapes on the very thresholds of the imagination…or, at its very depths, a certain “lunar ocean” if you will. For these waves are wayward and turbulent, twisting with a madness only known to their creators; we are simply helpless to fight against that terrible tide. Respite comes, albeit briefly (and beautifully), in spiraling clean-toned fusion breaks, painting yet more rich hues onto that death metal titan… Hearing is believing, but Void of Unending Depths is guaranteed to be one of death metal’s mightiest records this year.
Perhaps one need only to peer deeply into the vivid cover artwork courtesy of Daniel Hermosilla to get a visual clue into Void of Unending Depths‘ madness/mastery. No other words necessary: Inanna have delivered a modern classic!
Further hear for yourself with the previously revealed “Among Subaqueous Spectres” HERE at Memento Mori‘s official YouTube channel. Aforementioned cover art and tracklisting are as follows:
Tracklisting for Inanna’s Void of Unending Depths
1. Evolutionary Inversion [6:08] 2. Among Subaqueous Spectres [6:46] 3. Far Away in Other Spheres [7:02] 4. Underdimensional [10:43] 5. The Key to Alpha Centauri [6:35] 6. Mind Surgery [7:19] 7. Cabo de Hornos [13:40]
Today, Iron Bonehead Productions announces May 20th as the international release date for Vaamatar‘s striking debut album, Medievalgeist, on CD and vinyl LP formats.
Formed in 2020, out of the ashes of two projects coming to an end, Los Angeles’ Vaamatar was born with one intention: to play black metal in its purest form. Raw and fast and free of frills, the full-length Medievalgeist is the follow-up to their debut EP, Evil Witching Black Metal. Immediately, old sensations are awakened and recast anew. The spectre of the second wave of black metal during the 1990s drapes its wings across Medievalgeist, but Vaamatar‘s strong songwriting eludes easy categorization. Instead of early Darkthrone, one can hear here contemporaneously early Dødheimsgard; instead of early Enslaved, the ’90s work of Norway’s Hades; instead of prime Marduk, comparably prime Arckanum, and so on. Which is all to underline that the duo of Vaamatar are old souls to the bitter end, having imbibed ancient wisdoms and now spilling them freely across their own teachings in the form of Medievalgeist.
Recorded, mixed, and mastered by Greg Wilkinson (Autopsy, Necrot, Vastum) during the turbulent unrelenting pandemic, Medievalgeist conveys a cold, apocalyptic atmosphere fit for the ages. Its six-song/41-minute runtime is exceptionally immersive, working on spiritual/transcendental levels as well as ones rooted in good, old-fashioned headbanging. But mark these words: Vaamatar do not play “party” black metal. This is serious, sophisticatedly unsophisticated Black Art brewed in archaic splendor – old catacombs open and spectral shades escape to the velvety embrace of the night. This is Medievalgeist!
Embrace the night with the brand-new track “Hallowed Flesh” here:
