Today, Amor Fati Productions announces October 31st as the international release date for Netherdom‘s striking debut album, Forsaking, Forseeking, on vinyl LP format.
A bolt-from-the-blue debut from a veteran of the black metal underground, Netherdom is an entirely solo endeavor, but the sound across Forsaking, Forseeking is quite vast. Featuring a unique style of production – flat yet full, raw yet refined – Netherdom whip forth a spacious, spectral style of black metal that equally nods to the ancients and the palatable end of modernity. From touchstones like Ulver’s Bergtatt to Paysage d’Hiver’s Winterkälte to even Black Cilice’s Banished From Time and Voidsphere’s To Sense, To Perceive, the shadowy entity nevertheless explores his own visions, firmly within the pantheon of black metal but by no means exclusively tethered to it. The 41-minute album itself features three epic tracks, with the second side taken up by the monolithic, nearly-24-minute “To Forsake Remnants of an Existence Bereft of Meaning” – indeed, altogether the ideal length for maximum immersion in this alternately astral/wintry realm. To stand before each of these tracks is stultifying; to contemplate that each could reverberate infinitely within the darkest recesses of the soul – be it an “astral realm,” a “wintry realm,” or even some combination of the two – that riffs could be elongated and looped infinitely, mesmerizing into a vortex of splendorous impossibility, makes Forsaking, Forseeking all the more truly titled. Netherdom is the end, and the beginning. Cover and tracklisting are as follows:
Tracklisting for Netherdom’s Forsaking, Forseeking 1. Lured By All That Is Forsaken [9:27] 2. In The Depths Of The Fog [7:54] 3. To Forsake Remnants Of An Existence Bereft of Meaning [23:33]
Today, legendary black metallers Demoncy reveal the brand-new track “Diabolica Blasphemiae.” The track is the first to be revealed from the band’s forthcoming new mini-album, Diabolica Blasphemiae, which should see release later this year through Hells Headbangers. Hear Demoncy‘s title track “Diabolica Blasphemiae” in its entirety here:
For those who truly know black metal, Demoncy require no introduction: ever restless and always surprising, their name is legendary for stirring an infinitely deep cauldron of black magick that’s completely their own. One of the earliest black metal bands on American soil, Demoncy have gone through myriad lineups over the past 30-plus years, but they’ve always been guided by the vision of vocalist/multi-instrumentalist Ixithra. In their wake, they’ve left landmark recordings like Within the Sylvan Realms of Frost and Joined in Darkness, which were both originally recorded in the mid ’90s despite their eventual release year of 1999. Even latter-day records like 2015’s Empire of the Fallen Angel (Eternal Black Dominion), which saw Ixithra entirely revamp the band’s 2003 album in a manner most miasmic, prove the potency of Demoncy no matter when or how recordings crop up.
And so it goes with Diabolica Blasphemiae, Demoncy‘s first new recording in nearly a decade. With Ixithra currently handling vocals and bass, joining him here are the incredibly prolific VJS (Nightbringer, Sargeist, Adaestuo) on guitar and Vorthrus (Cerebral Rot, Crurifragium) on drums. Serpentine in its flow and mesmerizing in its effect, Demoncy‘s latest mini-album is a vile, virile display of the band’s eternal aesthetic, sounding very much like it could’ve come out during the mid ’90s yet retaining a freshness of approach that defies deja vu. Gutted in its low-end throb whilst exhibiting an ethereal aspect, Diabolica Blasphemiae explores above as it is below, sending forth sine waves of obsidian energy both punishing and pleasurable: primeval black metal magick harnessed with a true auteur’s touch. Same as it ever was, then, but still so surprising after all these years – there is only one Demoncy.
Release date, cover, tracklisting, and preorder info to be announced shortly. For more info, consult the links below.
Norwegian metal titans ABBATH are announcing the Dread Reaver Europe 2024 tour! This massive journey will kick off strong with a festival Meh suff! in Swiss on the 6th of January 2024, and will continue its path down 14 different countries, hitting 31 different stages and will end at Nordic Metal Cruise in Finland on the 10th of February, 2024. A full list of confirmed shows can be found below.
Special guests on the grandiose tour will be TOXIC HOLOCAUST and HELLRIPPER for all the shows!
ABBATH headline: 01/06/2024 CH Hüttikon Meh Suff! Winter-Festival 01/07/2024 IT Milan Slaughter Club 01/09/2024 ES Barcelona Sala Salamandra 01/10/2024 ES Madrid Mon Live 01/11/2024 ES Murcia Garaje Beat Club 01/12/2024 ES Sevilla Fanatic 1/13/2024 PT Lisbon RCA Club 1/14/2024 PT Porto Hard Club 1/16/2024 ES Bilbao Santana 27 1/17/2024 FR Montpellier Victoire 2 1/18/2024 FR Lyon La Rayonne 1/19/2024 FR Paris Trabendo 1/20/2024 DE Heidelberg Halle02 1/21/2024 NL Uden De Pul 1/23/2024 DE Dortmund Junkyard 1/24/2024 BE Sint-Niklaas De Casino 1/25/2024 NL Utrecht TivoliVredenburg 1/26/2024 NL Drachten Iduna 1/27/2024 DE Hamburg Kultur Palast 1/28/2024 DE Berlin Astra 1/30/2024 PL Gdansk Drizzly Grizzly 1/31/2024 PL Warsaw Proxima 02/01/2024 PL Krakow Kamienna 12 02/02/2024 DE Leipzig Hellraiser 02/03/2024 CZ Prague Palac Akropolis 02/04/2024 HU Budapest Barba Negra 02/05/2024 AT Vienna Szene 02/06/2024 DE Munich Backstage Halle 02/08/2024 DK Copenhagen Pumpehuset 02/09/2024 SE Gothenburg Trädgårn 02/10/2024 FI Metal Cruise Nordic Metal Cruise
ABBATH will be playing in support of their album ‘Dread Reaver’ which was released on March 25, 2022 and can be listened to in full HERE. The album is still available in the Season of Mist shop HERE. The cover artwork, which was created by Bjørn Stian Bjoarvik and Francisco Munoz, and further album details can be found below.
Tracklist: 1. Acid Haze (04:51) 2. Scarred Core (03:29) 3. Dream Cull (04:15) WATCH HERE 4. Myrmidon (04:33) 5. The Deep Unbound (04:05) 6. Septentrion (04:30) 7. Trapped Under Ice (03:59) 8. The Book of Breath (04:35) WATCH HERE 9. Dread Reaver (04:43) WATCH HERE 10. Make my day (04:16)
The ravens gaze ominously from above. The seas roar in anticipation. The mountains creak yet again. ABBATH’s remarkable new album, Dread Reaver, is upon us all. Two years in the making, ABBATH’s third full-length is the culmination of everything before it. A fusion of debut Abbath (2016) and follow-up Outstrider (2019), the aptly titled Dread Reaver extends its fantastical fangs outward and drives its cloven hooves onward. Indeed, there’s nothing like an ABBATH record. This is the darkest metal for epic journeys and ancient battles. Comprised of eight riveting tracks and a red-hot cover of METALLICA’s “Trapped Under Ice,” Dread Reaver shows ABBATH triumphing over all trials and tribulations, riding hard into merciless glory as the one and only “Lemmy of black metal.”
ABBATH was formed by Olve Eikemo (aka Abbath) in Bergen, Norway, in 2015. After splitting with vaunted extreme metallers IMMORTAL, the beguiling frontman and storied songwriter only had one path: ABBATH. Years before, he had proven that venturing out of the IMMORTAL constellation was not only plausible but doable with the I project, a short-lived, one-album (Between Two Worlds) band featuring notable musicians from IMMORTAL, ENSLAVED, and GORGOROTH. Indeed, once Eikemo was free of IMMORTAL’s ’s shackles, he was able to assemble a cadre of like-minded conspirators for his solo debut album, Abbath. So crucial was Abbath that the Norwegian Embassy in the UK ran a music/culture piece, while in Norway, the album was nominated for a Spellemannprisen (Norwegian Grammy). Metal Hammer Germany even gonged Abbath with its Best Debut award. Follow-up album, Outstrider, was equally lauded. Billboard’s coverage sent shockwaves through the rock/metal scenes, while Kerrang! labelled it “dominating and creative,” awarding it 4Ks. Decibel also heaped praise on Outstrider, giving it the Best New Noise trophy. The new album Dread Reaver will yet again lionize ABBATH as leader of the frost-bitten pack.
Powered by Abbath’s creative musical imagination, Dread Reaver runs riotously out of the gate. The album’s edifice affords tracks like “Acid Haze,” “Scarred Core,” “The Deep Unbound,” and the album’s closing title track ample room to champion the extremes of black metal, heavy metal, and hard rock. While there are nods to NWOBHM greats, thrash metal’s luminaries, and black metal icons, Dread Reaver is unmistakably ABBATH. There is no other fingerprint. Paired with thought-provoking lyrics based on the historical figure of Othryades, ABBATH’s third album not only shouts exultant but reads like an ancient pyrrhic tale steeped in violence, sorrow, and grit. The idea of a Dread Reaver—a fearless duelist—can also be read as a metaphor for life’s actions and subsequent struggles. Be warned: Dread Reaver is ABBATH at his most menacing and accomplished.
Dread Reaver was produced by Endre Kirkesola, ABBATH, and Dag Erik Nygaard at Dub Studio in Kristiansand and Bergen Lydstudio, respectively. Kirkesola and Nygaard also engineered. Mixing was performed by ABBATH and Kirkesola, while the mastering was done by maestro Maor Appelbaum (FAITH NO MORE, ROB HALFORD) at Maor Appelbaum Mastering in Los Angeles. The goal was to field a storming production that sat firmly at the crossroads of Abbath’s heroes KISS, MOTÖRHEAD, MANOWAR and BATHORY. From the anthemic thrust of opener “Acid Haze” and the epic pound of “Dream Cull” to the rampaging “The Book of Breath” and the wicked cover of METALLICA’s “Trapped Under Ice,” Dread Reaver sounds as massive as Norwegian mountain and as fiery as the depths of Hell. Truly, the recording line-up of Abbath (guitar, bass, vocals), Ukri Suvilehto (drums), Ole André Farstad (guitars), and Mia Wallace (bass) found their sonic muse.
If “Ace of Spades” catapulted MOTÖRHEAD to fame and notoriety, then Dread Reaver will find ABBATH atop the metal’s gigantic heap, the spoils of icy blood, scorching sweat, and steely tears at his feet. As “Myrmidon” states, “Die with a smile, stare glassy-eyed up / At boiling skies! / Valkyries descend to gore-caked fen / Fallen warriors arise!” Lightning strikes thrice with ABBATH’s incredible Dread Reaver!
Recording line-up: Abbath – Guitar, bass & vocals Ukri Suvilehto – Drums Ole André Farstad – Lead & acoustic guitars Mia Wallace – Bass on Acid Haze, Scarred Core, The Deep Unbound & Dread Reaver
Recording studio: Recorded in Dub Studio / Additional recordings: Bergen Lydstudio
Producer / sound engineer: Endre Kirkesola / Dag Erik Nygaard Mixing studio and engineer: Abbath and Endre Kirkesola
Mastering studio / engineer: Maor Appelbaum at Maor Appelbaum Mastering – California – U.S.A
Lyrics: Simon Dancaster
Biography: Chris Dick Cover art: Bjørn Stian Bjoarvik / Photos by Francisco Munoz
Today, Finnish black metal elite Aegrus reveal the new track “Invoking the Abysmal Night.” The track is the first to be revealed from the band’s highly anticipated fourth album, Invoking the Abysmal Night, set for international release on October 27th via Osmose Productions. Hear Aegrus’ title track “Invoking the Abysmal Night” in its entirety here:
Invoking the Abysmal Night, the fourth full-length of Aegrus, is finally here – and it’s going to be one of the highlights of 2023. The album contains seven infernal tracks of black metal supremacy in the name of Satan, Lucifer, and Death.
Says guitarist/bassist Lux Tenebris: “There is more variation than ever before on the album, and at the same time, it sounds 110% Aegrus, so I can guarantee that you will not be disappointed. I’m highly satisfied with the outcome, starting from the cover art and ending with the very last note of the album.”
The beautiful cover artwork is again made by the highly talented Helgorth from Babalon Graphics.
Preorder info can be found HERE. Presave link can be found HERE. Aforementioned cover artwork and tracklisting are as follows:
Tracklisting for Aegrus’ Invoking the Abysmal Night
1. Invoking the Abysmal Night [5:12] 2. Followers of the False Prophets [5:28] 3. Through Devil’s Breath [3:45] 4. Temple of Ardent Worship [5:39] 5. Nocturnal Rites of Faust [7:07] 6. Those Who Hide from Light [5:50] 7. Where the Forest Emanates Death [7:57]
Today, Iron Bonehead Productions announces November 3rd as the international release date for Tetragrammacide‘s highly anticipated second album, Typho-Tantric Aphorisms From The Arachneophidian Qur’an, on CD and vinyl LP formats.
Hailing from the ever-thriving and always-interesting Indian metal underground, Tetragrammacide have proven to transcend even such already-superlative boundaries. For over a decade now, the hydra-headed entity has created one of the most genuinely threatening and overwhelmingly violent sounds of modern times, and then they flip the script by becoming clearer and more focused and somehow even more feral. Allied with Iron Bonehead since 2015, Tetragrammacide‘s Typhonian Wormholes: Indecipherable Anti-Structural Formulæ mini-album was a modern classic of blown-out barbarism and in-the-red frequencies, betraying the fact that an accomplished black/death band were simply waiting for an opportune time to reveal a clearer portrait of their sonic holocaust. That then arrived with 2017’s Primal Incinerators of Moral Matrix debut album: an impossibly accomplished display of black/death intensity and density, sharpened to a such a degree that their sensory overload became all the more expansive.
Back to a power-duo – or “cosmic power-zones,” in the band’s own words, “entwined discreetly by unregistered topographical phenomena and invisible distortion of the subtle ontological matrices by a warping of occult space-time!” – Tetragrammacide unveil their sophomore revelation, inarguably their most devastating work from top to bottom: Typho-Tantric Aphorisms From The Arachneophidian Qur’an. Here, the Indian sonic temple expand the extremes latent to their aesthetic, and draw them closer and most distant simultaneously, playing into the head-spinning and ouroboros-eating vortex of the album’s themes itself. While the preceding full-length had its heart fixated on “Srishti Drishti Vada” – doctrine of perception through the creation – this new opus has sprouted itself under the Upanishadic tenets of “Drishti Srishti Vada”: doctrine of the creation through perception and “Ajata Vada” – the radical doctrine of non-creation. State the band, “This way, the phenomena is completely negated, eliminated and rightfully renunciated under all possible situations of any given philosophical, esoteric and religious narratives!”
Between sacred and profane! Between words and silence! Between purna and shunya! Between life and death! Beyond real and illusory! Beyond the being and the non-being!
Totaling 11 songs across 45 minutes and containing perhaps the longest (or at least densest) song titles in metal history, Typho-Tantric Aphorisms From The Arachneophidian Qur’an reaps a whirlwind of pistons-pumping martial death metal made flesh through geysers of kaleidoscopic blood. Riffs bend, bruise, and batter, but not necessarily in that order; they’re always moving, however, and that movement is mesmerizing in its linear-yet-divergent flow. Vocals storm from above and below, world-eating to the extreme. Drums are literally insane, playing with psychotic precision and also fuck-everything barbarity. The production is as powerful and “pro” as any big-league death metal record past or present, hereby underling the fact that Tetragrammacide could challenge (and summarily decimate) any throne-holder or -pretender. This is not strictly an “underground” band nor record, although the roots and authenticity are no doubt there. Casting a wider, more-accurate net, Typho-Tantric Aphorisms From The Arachneophidian Qur’an should be viewed alongside such cyclonic classics as Krisiun’s Conquerors of Armageddon, Angelcorpse’s Exterminate, and Centvrian’s Liber ZarZax. “War metal” ghettoization simply does not apply to Tetragrammacide, and hasn’t for years now.
These transmissions are true. These transmissions are false. These transmissions are both true and false. These transmissions are both not true and not false.
The Kalikshetra-Kairo Consciousness Revival is at hand with Tetragrammacide‘s Typho-Tantric Aphorisms From The Arachneophidian Qur’an!
In the meantime, hear the brand-new track “Nuit Arches Over The Neither-Neither City Of Cubes; Hadit Meditates While Hanging Upside Down Inside A Tesseract-Ka’aba” here:
Cover artwork, courtesy of Orryelle Defenestrate, and tracklisting are as follows:
Tracklisting for Tetragrammacide’s Typho-Tantric Aphorisms From The Arachneophidian Qur’an 1. Trans-linguistic Utterance Of A Sacred Orgasmal Cry Fills The Lemurian Sky (By The Same Mouth, One True God Crieth Hriliu) 2. Spectral Hyaenas Of Amenta Howl, The Vulture Of Ma’at Descends, And Tahuti Watches Without His Ape 3. Mandelbrot Scarab Of Fractal Manifestation Trapped In The Arachnid Webs, Spun Above The Hidden Pathways Into Non-Euclidean Interbetweenness 4. Fundamental Reconciliation Between Maya And Yama Through Perpetual Okbish-Ouroboric Cunnilingus 5. Nuit Arches Over The Neither-Neither City Of Cubes; Hadit Meditates While Hanging Upside Down Inside A Tesseract-Ka’aba 6. Kalikshetra-Kairo Consciousness Revival (Alogical Exegesis Of The Sandhipada-Sarisreepa Continuum Vigyaan) 7. Thanatos And Eros Wrestle Forever, Folding And Unfolding From The Substratum Of Supreme Voidness Of S’lba 8. Intoxicated Bees Of Sekhet-Aarhu Circumambulate The Abode Of Self Beheaded One Who Forever Danceth In Her Shaktisexual Ecstasy 9. One Who Weaves The Chthonic Garland Of 52 Skullphabets Severed By The Sword Of Neti-Neti 10. Golden Ontological Embroideries Of Pythagorean Meta-Geometries Sewn On The Blue Veil Surface Of Nought 11. Fifteen Streams of Lunar Kalas Secrete From The Quaking Yoni Of The Goddess Sixteen (Tantric Alchemy Of The Cascading Nectars Of Sodashi)
