Today, Chilean black/death cult Invocation stream the entirety of their highly anticipated debut album, The Archaic Sanctuary (Ritual Body Postures). Set for international release on September 20th via Iron Bonehead Productions, hear Invocation‘s The Archaic Sanctuary (Ritual Body Postures) in its entirety here:
It was but the early autumn of 2018 when Invocation released The Mastery of the Unseen EP through Iron Bonehead. Although only two songs, The Mastery of the Unseen was presciently titled, for the Chilean power-trio made masterful strides since their debut CDR in 2016 and the extremely promising Seance Part. I demo released later that year. Exhibiting the same sulfurous energy as the first works but now displaying a uniquely feral poise, that two-song salvo set the stage for yet another presciently titled work in early 2020: Attunement to Death, again released by Iron Bonehead. Indeed with this mini-album did Invocation reach a hellish harmony with their classic South American diabolism, but on Attunement to Death did they imbue it with an ever-deeper – and ever-more-unique – aspect that bountifully displayed their authentic grounding in the occult.
At long last, nearly a decade after their formation, Invocation unleash their full-length debut: The Archaic Sanctuary (Ritual Body Postures). Upon first blush, thankfully, very little has changed in the Chileans’ sound; restless, roiling, and most definitely RIPPING, their teeth-gnashing gnarliness is squarely situated between black metal and death metal, with no compromise nor fence-sitting to be found. But, where the mini-length predecessor saw the trio exhibiting confidence to spare, The Archaic Sanctuary utterly EXPLODES with it. Tight yet loose, wild yet locked-in, primitive constructions played with flowing finesse – Invocation‘s songwriting and execution have mostly stayed the same but somehow grown to enviable proportions, punishing mind and body with oft-overwhelming and yet always-mesmerizing METAL brewed in the cauldrons of the ancient and occult. No more but definitely no less, this is exactly the sort of debut album Invocation needed to deliver: canvassing past, present, and future and fittingly framing it with another gritty analog recording rich with sulfurous fire and sepulchral echoes.
It was only a matter of time before Chile’s Invocation delivered a debut album to capitalize on the massive potential they displayed on their short-lengths. With The Archaic Sanctuary (Ritual Body Postures), they now can enter the hallowed ranks of fellow cult countrymen Unaussprechlichen Kulten, Force of Darkness, Slaughtbbath, and the sorely missed Hades Archer for standard-bearers of classic South American madness.
Cover and tracklisting are as follows:
Tracklisting for Invocation (Chile)’s The Archaic Sanctuary (Ritual Body Postures) 1. Ecstatic Trance 2. The Serpent of Faardal 3. Opium Thebiacum (Somniferum) 4. Metamorphosis 5. Horn of Colima 6. The Psicopompos 7. Venus of Laussel 8. Hypnosis
On November 1st internationally, Floga Records is proud to present Thyrathen‘s highly anticipated second album, Lakonic, on CD, vinyl LP, and cassette tape formats. In lieu of this announcement, the first track “Η Πόλις (the Philosophical Poem)” is premiered here:
Formed in 2011 but not making their public debut until ten years later, Thyrathen nevertheless are a vanguard for ancient Hellenic black METAL. That debut, the full-length ThanatOpsis, featured a godly lineup – drummer Corax S. (ex-Nocternity and Jackal’s Truth), guitarist A.Z. (ex-Kawir and Obsecration), and vocalists Stefan Necroabyssious (Varathron, Funeral Storm, Katavasia) and Alexandros (Macabre Omen, The One) – and the results were, unsurprisingly, godly. Here was that classic Greek sound, given deeper and darker drama through a framework of both fantasy and philosophy, but looking within for inspiration rather than without. Put another way, Thyrathen slotted well into the lineage its principal members helped shape, but ThanatOpsis was entirely its own creation. A Mount Olympus to eclipse, as it were…
Somehow, Thyrathen have scaled that mount once again, and indeed have eclipsed the feat with their second album. Titled Lakonic, the band’s sophomore full-length stays true to their noble foundation, but goes bigger and bigger and BIGGER. Thyrathen here create a vast and epic landscape that’s poetic and philosophical in equal measure, illuminated by the torch of That Classic Greek Sound but skillfully maximizing the METAL aspect of black metal. Once again, neither keys nor synths have been used. Instead, as on the debut, ancient lyre and choirs & voices constitute the lyrical part of Thyrathen‘s music, giving an impossibly rich texture to their heavy metal hymns that’s solemn, ceremonial, and simply stunning. The lineup sees the return of Corax S., Stefan Necroabyssious, and Alexandros, and also the arrival of Noch from Greece’s Black Winter on guitar, bass, and choirs and Thanasis Kleopas on ancient lyre and voices. Together, these men weave a tapestry of sound that engages upon first listen and then works an ever-more-entrancing spell as successive spins seduce the listener.
Both counterpart to and continuation of ThanatOpsis, Lakonic goes one step further and consolidates the unique character & music style of Thyrathen as “diachronic, lyrical black metal,” in their own words. With seven songs in 47 minutes, this second album is a coherent, poetic-epic, and theatrical journey: it creates images, it flows joyfully in its entirety, and it adds further to the brilliant canon Thyrathen are building.
Cover and tracklisting are as follows:
Tracklisting for Thyrathen’s Lakonic 1. The Throne of Micro-Cosmos (Foolishness) [5:45] 2. Religious Agonies [5:13] 3. Matter, Void, Sperm [6:29] 4. De Rerum Natura [5:51] 5. Η Πόλις (the Philosophical Poem) [7:49] 6. Void, Matter, Sperm [6:51] 7. Scales & Sword (the Fall of Justice) [7:16]
Today, legendary Finnish black metallers Barathrum reveal the new track “Dark Sorceress 3 (Spring Siege).” The track is the second to be revealed from the band’s highly anticipated tenth album, Überkill, set for international release on October 11th via Hammer of Hate. Hear Barathrum‘s “Dark Sorceress 3 (Spring Siege)” in its entirety here:
Barathrum should need no introduction. Formed in 1991, the band remain one of Finland’s very first black metal bands – and, more importantly, one of the longest-running. While Finland’s history of black metal often revolves around Beherit, Impaled Nazarene, and Archgoat during the ’90s and then Horna, Satanic Warmaster, and Behexen at the dawn of the millennium, during all this have Barathrum remained steadfast in their vision of bulldozing, bass-heavy black metal that indeed features TWO bass guitars. The band’s first two albums – Hailstorm and Eerie, both released in 1995 – remain absolute classics of dark & unsettling art, but thereafter did the band take on a rowdier, more concertedly METAL aspect that’s made that vision all the more unique and their legacy all the more enduring. And while they more or less went on hiatus following 2005’s Anno Aspera, Barathrum returned rougher and rowdier than ever with 2017’s gutted ‘n’ glorious Fanatiko.
Alas, seven years pass, but the Barathrum sound & vision are eternal, and they return to prove it once again with Überkill. Here, previous-bassist / now-guitarist Ruttokieli (also mainman of Sielunvihollinen and White Rune) composed all but one of the songs on this, amazingly the band’s tenth album; drummer Vendetta makes his composition debut with the telltale, scene-setting opener “Death by Steel.” As always, founding frontman Demonos Sova wrote all the lyrics, and his signature full-throated rasp leads with devilish glee these alternately stomping / surging anthems, all with equally telltale titles like “Mountain of Bones,” “Dark Sorceress 3 (Spring Siege),” “Black Magick Rites,” and perhaps best of all, “Spark Plugs of Purgatory.” And yet, for as much as Barathrum are very much (still) a pure & proud black metal band, Überkill proves that the Finns are, above all, a very great heavy metal band – just one that’s jet-black, asskicking, and bass-driven as fuck. Simple-yet-sublime pleasures, now and forever: again, Barathrum are eternal!
Hear the previously revealed title track “Überkill” HERE, also at KVLT‘s official YouTube channel. Cover and tracklisting are as follows:
Tracklisting for Barathrum’s Überkill 1. Death by Steel 2. Mountain of Bones 3. Spark Plugs of Purgatory 4. Black Magick Rites 5. Ritual Murder 6. White Red Black and Pale 7. Denial of God 8. Dark Sorceress 3 (Spring Siege) 9. Überkill
On October 21st internationally, Memento Mori in conspiracy with Fucking Kill Records will release Reckless Manslaughter‘s highly anticipated album, Sinking Into Filth, on CD and vinyl LP formats, respectively.
Summoned in North Rhine-Westphalia in November 2008, the walking corpse known as Reckless Manslaughter is living proof that death has many faces, covering all tempo variations and unaware of trends or conventions, all the while maintaining a core personality of their very own. To descend into the nether regions where these death metal acolytes dwell is to be left to fester in a desolate and fathomless realm whose landscape is filled to the brim with violent blasts, crushing mid-tempo sections, gloomy doom-ish parts, and atrocious growls, rounded off with a sprinkling of eerie Finnish melodies.
Reckless Manslaughter are nothing if not dependable, and across their three full-lengths to date – 2011’s Storm of Vengeance, 2013’s Blast Into Oblivion, and 2019’s Caverns of Perdition – the Germans have proudly upheld the banner of pure & total DEATH METAL. And thankfully, they show no signs of letting down that banner with their fourth full-length, Sinking Into Filth. Like its album predecessors, Sinking Into Filth is all too accurately titled, with wave after wave of world-eating riff & vocal swallowing the listener whole. Reckless Manslaughter here exude a uniquely “gloomy bounce” in their stridently surging songcraft; the energy is felt in full – usually, in the listener’s chest cavity – but a paradoxically sorrowful sensation is intertwined into these judiciously compact compositions. What results is something both hypnotizing and HEAVY, in all senses of the world…or, simply, this filth is fucking HUGE. The climax comes with the closing ten-minute epic “Risen From the Mass Grave,” which literally sounds like its title. Need more hints? Just check out the cover art, courtesy of Lucas Korte.
Maniacs of Bolt Thrower, Finland’s Demigod, Benediction, Asphyx, and Sinister should already be familiar with Reckless Manslaughter. Those who aren’t are encouraged to begin Sinking Into Filth: expect nothing but utter annihilation and uncompromising, underground-worshipping Metal of Death!
Begin worshipping with the brand-new track “Retreat Into Nothingness” here:
Aforementioned cover art and tracklisting are as follows:
Tracklisting for Reckless Manslaughter’s Sinking Into Filth 1. Caverns of Perdition 2. Befouled Commandments 3. Awaiting My Demise 4. Retreat into Nothingness 5. Aktion 1005 6. Ruf der Leere 7. The Sacred Lie [Diabolical Imperium cover] 8. Risen from the Mass Grave
Today, French black metallers Hyver reveal the new track “Terroir Terreur.” The track is the first to be revealed from the band’s highly anticipated new EP, Fonds de Terroir, set for international release on September 17th via Antiq. Hear Hyver‘s “Terroir Terreur” in its entirety here:
Hyver comes back this autumn with a new EP called Fonds de Terroir. After Sorcier Hibou (dungeon synth – 2023) and Noirceur Mystique d’Autrefois (sympho / dungeoned black metal – early 2024), Fonds de Terroir brings us to the deep countryside of France. Melodious synth meets energic riffs, heavily supported by a creative bass-guitar played by KK (Passéisme) and groovy drums by Summun Algor (Agnus Dei). Hyver‘s rough voice is joined by strong choirs and two guests: Sans Visage (Prieuré) and M (Krasseville). With cover artwork by Joanna Maeyens (Paysage d’Hiver, Ruynn), Fond de Terroir tells us about journeys through France between muddy fields, old stone villages, ancient abbeys, and haunted swamps, in a musical spirit close to Horn, Satanic Warmaster, early Finntroll, and Hanternoz. The focus here is the link between black metal spirit and road-trip adventures – being “en route” to the unknown.
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.
Aforementioned cover artwork and tracklisting are as follows:
Tracklisting for Hyver’s Fonds de Terroir 1. Lanterne des Morts [4:11] 2. La Vieille près du Lavoir [6:39] 3. Frère Jean-Théophane [4:18] 4. Terroir Terreur [4:47]
Today, mystical black metallers Magistraal stream the entirety of their highly anticipated debut EP, Fantoom van de Deemsterburcht. To be digitally self-released on April 16th – the EP will also be available through Zwaertgevegt on vinyl format as one half of a split release – hear Magistraal‘s Fantoom van de Deemsterburcht in its entirety here:
Magistraal: a jet-black concoction sprung from the depths of the Shadow Mountains, fashioned in the gruesome sight of the eight hateful eyes of Shelob and beautified by the enchanting fingers of Fëanor, maestro of architecture. Cultivated by two opposing, ancient powers: she is mistress of the cold, dark, drizzly existence and embittered by a lonely exile, cast into a darkness where her shrill voice was banished for an eternity; he was a powerful designer of splendor, an inventor of works of art and a superior preserver of light, a perfectionist whose work proved to be a refuge for the apostate.
In reality, the duo – originating from the Netherlands – do not want to reveal much about themselves, comparing a presence in the scene to an enigmatic and mystical existence of black metal in the ’90s, reawakened in 2023. Magistraal is an expression of fantasy, dreamscapes, the power of imagination, emotion and kinship, audible in hidden lyrics underpinned by an atmospheric-yet-raw approach to workings in dark music.
The duo’s first expression is the EP Fantoom van de Deemsterburcht, penned and crafted in 2023. Here, Magistraal cultivate a wide arsenal of tempo, rhythm, and instrumental styles for the listener – where the title track “Fantoom van de Deemsterburcht” and the eruption of “Waar leed zich eeuwig voedt” are presented with overwhelming violence, the centerpiece of this allotment of music is a constructive opus of 11 minutes of growing madness in the form of “Mijn branded licht.” Dutch evil produced in three depraved episodes, each embracing its own godless theme, but which merge into a creeping, lugubrious muck.
Cover and tracklisting are as follows:
Tracklisting for Magistraal’s Fantoom van de Deemsterburcht 1. Waar leed zich eeuwig voedt [5:21] 2. Mijn brandend licht [11:29] 3. Fantoom van de Deemsterburcht [4:37]
The Behaviour is excited to announce the release of the album, A Sin Dance. The album is available worldwide on all streaming platforms. Recorded throughout 2022, this album features seven new tracks entirely written, arranged, and performed by Der Baron M. Kilpatric.
These songs are the first to showcase Kilpatric’s unique songwriting style and wide ranging musical abilities. Culled from a wealth of material written over the past few years, these were specifically selected for their dynamic, eclectic, and diverse nature to give but a taste of what is to come. “A Sin Dance”: here
The Behaviour is a gothic inspired post-alternative rock group created by Der Baron M. Kilpatric in 2020. The album was entirely written, arranged, and performed by Kilpatric himself. While currently located in New England, this album culminated from his time residing in Colorado and the Midwest while marinating in the sounds of Jeff Buckley, Soundgarden, Slint, Killing Joke, Pink Floyd, Leonard Cohen, my bloody valentine, David Bowie, Black Rebel Motorcycle Club, and countless others.
The Behaviour as a perfect and effective representation of the sounds, melodies, and noises heard in his head and ringing in his ears for quite some time. While being a catharsis, purging, and execution of shadow work in its purest form of expression, this record is merely a prologue.
The music is dark and melancholic on the surface, yet underneath the richly textured layers are introspective messages of redemption, healing, and renewal found through experienced loss and traumas.
In this interview, we talked with The Behaviour about his musical influences, future plans, trajectory, among other curiosities. Check it out!
What can you say about this new release? This album was many years in the making. I started writing it in 2020, and began the recording process in 2022. It came about by a combination of things – separation, loneliness, the pandemic, loss, trauma, longing, sobriety, and became a healing process in doing so. Shadow work in its purest form. After being the drummer in a number of groups on many different levels over many, many years, I thought it was time to step up and out from behind the kit and take the reins completely. I wanted to prove, to myself more than anyone, that it could be done. To create something that was pure and organic, with many aural and lyrical textures, meanings, and layers. I aimed to utilize the universal language to truly exemplify what drives me, what makes me who I am, for all to see and hear out on display in sheer vulnerability. It is definitely introspective and emotional, as well as giving glimpses of perspectives faced outwards. I hope that is conveyed.
How was the recording process of the album? Since being written while residing in the shadow of the majestic Rocky Mountains of Colorado, I chose to record it in the Midwest with the invaluable assistance and expertise of a very talented recording engineer, Scott Mackey, who has been a dear friend of mine for decades. Due to logistical reasons, we recorded over the weekends for several months throughout the summer and fall of 2022. It was very laid back, allowing us to spend more time than what would be normally allowed in a formal recording studio under limited budget and time constraints. This opened up many more possibilities to explore, such as the deep layering and textures that make this album so unique, and try different experimental techniques and approaches. There were some additional things I did at home and in various locations to add some touches that make this album best listened to loud and/or on a very good stereo system or headphones, which is the way I like to hear my favorite records that have influenced me.
If you had to pick one song, which one would you pick? “Strangelic”.
What’s your favourite band? It is always very difficult to pick just one, but in the scope and totality of the vastness of their catalogue, I would choose Pink Floyd.
Who or what inspires you to write songs? I am inspired by personal experiences, things I have endured, reflections on things occurring around me, thoughts toward the future. Hoping to find healing and transformation into a better human being by and through the notes, frequencies, rhythms, and melodies I hear in my head and hopefully thereby transmitting and transmutating them to and for the listener as well. It is an innate natural occurrence to do these things, not really having a conscious choice in the matter. It is who I am.
Whom would you like to feature with? Like your dream collaboration? For those still living, it would be a dream to collaborate with David Gilmour, Nick Cave, Jaz Coleman (Killing Joke), Michael Gira (Swans), David Eugene Edwards (Wovenhand), Ken Andrews (Failure), Hope Sandoval (Mazzy Star), Diamond Galas. For those now passed, it would have been Jeff Buckley, David Bowie, Chris Cornell, Leonard Cohen, Mark Lanegan.
How is the independent and underground scene in your country? From what I can tell, here in the US it is very much thriving and possible to be an independent and/or underground artist now more than ever, with so many resources and tools widely available to do so. Touring can be difficult, as traveling across the US entails large fuel, lodging, and food costs, and if you are trying to do so on your own, starting from scratch to build a fanbase, your guarantees can be smaller and make this difficult. There are also “buy-on” options for opening slots with more established acts, and this can even further your expenses. Another caveat for independent artists is that the more equal playing field of streaming and exposure has created a flooding of the “market,” making it inundated with so many artists that it has become more difficult to stand out and be heard above or even as much as others. It comes down to how well your resources are, and the usual typical “right place/right time”, with regards to your music being heard by and resonating with the right person to help spread your art/message. I think this is not just limited to my country. Certain algorithms in this streaming age should help make this more possible as well, but again you are always up against the major labels and artists
with a far more vast amount of influence and resources.
What are your plans for the future? Writing and releasing more music! As I said, there is an arsenal of songs waiting to be more explored, as well as a few covers I want to interpret to put out there. Continuing to reach a new audience in any way is never ending, and perhaps I would like to bring The Behaviour to a new dynamic by presenting it live at some point. I do not desire to tour as I once did, being on the road for months at a time. The climate of that environment has changed drastically since I last did it, and it is far more difficult to make a living at it now with costs and expenses, while also being away from your loved ones and trying to have stability and security. But we’ll see. I am definitely not opposed to doing one-off dates, like festivals or something of that nature.
Today, Me Saco Un Ojo Records and Dark Descent Records announce August 31st as the international release date for Reverence to Paroxysm‘s highly anticipated debut album, Lux Morte, on vinyl LP and CD formats, respectively.
Forming in 2020 and with a split and live album already under their belts, Mexico City’s Reverence to Paroxysm are now unveiling their debut album, Lux Morte. Taking a viciously old-school approach with disgusting riffs contorting upon pulverizing drums, this macabre descent into decay shall grip you from the very earliest moments. Gurgling vocals spew eldritch slime upon the meaty instrumentals, with thick bass-lines giving a chunky low end to the sound. Taking all of the most morbidly revolting elements of underground death metal, Reverence to Paroxysm bludgeon their way into your skull with fleshy hammer blows. The talents of frontman Antimo Buonnano, previously from death/grind legends Disgorge among many others, brings a veteran element to the band, injecting their abhorrent legacy into his latest involvements. The slower moments will drag you through the sepulchral dirt while more upbeat assaults thrash the meat from the bone like a bladed whip of sonic poison. The gloomy dynamics, visceral hooks, and brutal execution will mercilessly execute all in their path, and you would be a fool not to submit to Reverence to Paroxysm…
Eerie soundscapes entwine with putrescent primitive pounding, giving a rancid and yet atmospheric listen. The more you delve into this record, the more subtle nuances you will find scattered throughout, which add texture and detail while falling into the monstrously cataclysmic feel of the entire piece very naturally. Although an odiously primal energy is draped across this entire record, there are some very cleverly placed and unusual riffs that give a very unique and interesting feel to things as they cut through thundering bass or the razor-sharp cymbal work. The sparse vocals perfectly play off of the instrumental parts to give the band this dense, foggy, and oppressive sound. If you are of the school of death metal lover who needs subterranean riffing, crackling bass, bone-splintering drums, and disgusting -but-varied vocals, then waste no time in checking out Lux Morte. So proceed with caution and succumb to the fetid, decaying world that is presented and be soaked in the rotten tapestry Reverence to Paroxysm have woven for you and prepare to be crushed by it. [text by Jørgen Sven Kirby, Nattskog webzine]
In the meantime, hear the brand-new track “Necropacity” here:
Cover and tracklisting are as follows:
Tracklisting for Reverence to Paroxysm’s Lux Morte 1. Astray Descent [8:20] 2. AD Putrefactio [5:55] 3. Burial Absolute [7:07] 4. Necropacity [7:20] 5. Portals To Dark Misery [6:46] 6. Care Data Vermibus [9:22]
Today, Osmose Productions announces March 10th as the international release date for Minenwerfer‘s highly anticipated fourth album, Feuerwalze, on CD, vinyl LP, and cassette tape formats.
A campaign started on July 1st, 1916. A campaign of muddy, rat-infested trenches, endless artillery barrages, and cracks of rifles in the distance. A campaign of unsettling night raids, close-quarters combat, and suffocating fumes of chlorine gas.
The sound of the treads of the first tanks grinding the bones of those long dead on the battlefield to dust and of the screams from no man’s land of men bleeding out in the night from the previous day’s failed offensive.
This is the soundtrack for that campaign. Welcome to the Somme.
First track premiere to be revealed shortly. Preorder link can be found HERE. Cover and tracklisting are as follows:
Today, Finnish black metallers Rienaus stream the entirety of their highly anticipated third album, Luciferille. Set for international release on November 25th via KVLT. Hear Rienaus‘ Luciferille in its entirety here:
Formed in 2009 and led by the iron fist of erstwhile Azazel member Mavrofos, Rienaus have quietly built a sizable catalog of paradigmatic Finnish black metal. With two albums, three demos, an EP, a split album, and even a live record to their blasphemous name, Rienaus have dependably and doggedly pursued their vision with nary a misstep: so pure, so cold, traditional Finnish hunger – no more, but definitely less. An idiom doesn’t “need” anything when it is already in its perfect state.
And so it goes with Rienaus‘ third album, Luciferille. Immediately, those chill winds of melodic mysticism blow across this tight ‘n’ concise 35-minute record: freezing fire fueled by unfiltered emotion and inner darkness, performed with a conviction one can truly FEEL. As ever, Mavrofos finds that ever-elusive production style that’s both clear ‘n’ shimmering and just a bit roughed-up and raw, allowing the subtly spiraling guitar parts to take hold of the listener’s soul and whip him into a hypnosis of transcendental proportions. However, whereas the hallmarks of the classic Finnish black metal sound are present – both pulsing gallop and hateful headbang, shifting with ease and when the album’s seven central songs call for it – Rienaus manage to explore (subtly, effortlessly) a number of dynamics not often found alongside such tropes, like downtempo clang and almost-motorik grind. But, of course, Luciferille sounds and feels BLACK METAL above all.
To restate the obvious, Finnish black metal doesn’t need to “be” anything more than it already is, and Rienaus deeply understand this intrinsic truth. Discover that truth – again, or for the first time – with Luciferille.
Cover and tracklisting are as follows:
Tracklisting for Rienaus’ Luciferille 1. Alkusoitto 2. Uhrattavaksi Siunattu 3. Luciferille 4. Saatanan Valtakunnassa 5. Äärellä viimeisen portin 6. Pedon Merkki 7. Kuilu 8. Äänet yössä
