TSJUDER releases full album ahead of release date!

Black Metal legends TSJUDER is now releasing their newest vigorous album “Helvegr” in advance of the release date! Their gem will be released onto this desolate planet via Season of Mist on the 23rd of June, 2023, but can already be listened to here:

TSJUDER comments: “Helvegr is raw Norwegian Black Metal. No synthesizers, no wimpy vocals, NO FUCKING COMPROMISES!” 

But there’s more!
The bonus album “Scandinavian Black Metal Attack” (an special ode to BATHORY) will also be available on all digital platforms HERE and can be viewed on the official Season of Mist Youtube today at 5PM CEST HERE

TSJUDER comments to this special release:
“It’s so great to be back to bring you five new evil recordings with Tsjuder, from some of the gruesome material Quorthon, Jonas, and I played when we started Bathory in our dark cold cellar rehearsal room back in 1983.”

Shop for “Helvegr” are available HERE, while the album can be streamed HERE. (Some vinyl’s are already sold out)

The cover artwork for “Helvegr” can be viewed together with the track-list and further album details below.

Artwork: Jonas Svensson and Laura Nardelli
Track-list:
1. Iron Beast (3:37) [WATCH HERE]
2. Prestehammeren (4:01) [WATCH HERE]
3. Surtr (6:59)
4. Gamle-Erik (3:46)
5. Chaos Fiend (4:02)
6. Gods of Black Blood (5:19) [WATCH HERE]
7. Helvegr (7:36)
8. Faenskap og Død (3:08)
9. Hvit Død (2:52)

Since their inception in 1993, Oslo’s TSJUDER have been responsible for some of the most hate-filled ferocity perpetrated under the banner of TRUE NORWEGIAN BLACK METAL.
 
The band’s unholy fire was initially lit when founding members NAG (vocals/bass), BERSERK (guitar) and DRAUGLUIN (guitar) grew weary of playing death metal and sought out engorged levels of extremity to sate their increasingly profane ambitions. The time was ripe to inaugurate a ceaseless campaign committed to an uncompromising strain of brutally raw black metal, influenced by the primal thrash blasts of Sodom, Kreator, Destruction, Sarcófago and early Sepultura; black metal first wave trailblazers such as Bathory and Hellhammer; and, most vitally, Mayhem’s seminal Deathcrush, and Darkthrone’s game-changer, A Blaze in the Northern Sky.

Assuming the TSJUDER name, a moniker plundered from a mythical, murderous Northern tribe, various embryonic line-ups gathered around the all-conquering core of Nag and Draugluin, laying the fearsome foundations for what was to follow with two demos – Ved Ferdens Ende and Possessed – recorded between 1995-96. But it was with 1997’s EP, Throne of the Goat, that the black metal underground really began to sit up and take notice, the release establishing TSJUDER’s reputation as a blasphemous bulldozer hellbent on crushing the insipid and nostalgic in relentless blizzards of sub-zero riffage, punitive blast beats and blood-curdling screams.

Recordings for an inaugural full-length in 1999 were lost to a computer virus, but from the scavenged remnants of these sessions would emerge the Atum Nocturnem demo, an obnoxious foretaste of the group’s debut album, Kill For Satan, an international breakthrough slathered in slime-encrusted sacrilege. That damnable release saw the aptly-named ANTI-CHRISTIAN open his TSJUDER account, the drummer blasting a succession of gateways though the underworld, pulverising a punitive march to the band’s malevolent maelstroms.

Demonic Possession (2002) and Desert Northern Hell (2004) sustained the band’s focus on death, devils and destruction, while ratcheting up the production levels on a barbaric brace of flesh-strippers conjuring a landscape of frost-bitten wastes and foul abyssal realms. With the music press busy dishing out plaudits, the band’s burgeoning confederacy of fanatics were becoming desperate for some TSJUDER live action. Heeding the clarion, the band embarked on a full European tour with fellow countrymen Carpathian Forest. They also recorded a pair of gloriously powerful live performances in 2005, in Norway, which would subsequently be documented on the group’s Norwegian Apocalypse DVD.

TSJUDER would take a deserved hiatus in 2006, with members finding other musical outlets for their creativity; Nag launching heretical black metal outfit KRYPT; Draugluin and Anti-Christian doing time with the thrashier TYRANN.

But it wouldn’t be long before the irresistible call of TSJUDER would exert itself once more. The band reconvened, reenergised and eager to make up for lost time, returning to live performances in 2010 before finally unleashing the mighty Legion Helvete (2011), a typically uncompromising comeback interspersed with pronounced Motörhead influences on punkish hyper-blasters such as ‘Slakt’.
It would be another four years before TSJUDER issued the merciless Antiliv (2015), a snarling lycanthropic howl of a record, heavy-loaded with vindictive black’n’roll swagger and lashings of buzzsaw guitar.   
 
TSJUDER quickly set about creating the follow-up to Antiliv, but musical differences and protracted disputes led to a parting of the ways, with Anti-Christian bowing out after an impressive 20-year tenure with the group. Undaunted, Nag and Draughluin enlisted doyen tub-thumper JON RICE to provide the requisite drum artillery and continued to work on new recordings – fine-tuning guitar tones and sharpening mixes.

Then COVID-19 struck, the pandemic further stymieing the album’s release as the world tumbled from its fragile axis. But humanity is now benignly settling into its most chronic phase of perpetual abnormality and TSJUDER are steeled again to hoist their inverted cross above the barricades of conciliation. Their latest opus, Helvegr, is a devastatingly savage offering, one which fully adheres to the band’s eternal credo of “NO FUCKING COMPROMISE”.     
Recording Line-up:
Nag – Bass & Vocals
Draugluin – Guitars & Vocals
Jon Rice – Drums

Guest musicians:
Guitar solo on ‘Gamle Erik’ by Pål Emanuelsen
Guest vocals on ‘Gods of Black Blood’ by Seidemann (1349)

After the departure of Anti-Christian, Jon Rice and Eivin Brye has shared the drum duties on TSJUDER ‘s live performances.

Links:
https://www.facebook.com/tsjuderofficial
https://www.instagram.com/officialtsjuder

Mixing + Mastering: North Waves Studios by Pål Emanuelsen
Artwork: Jonas Svensson and Laura Nardelli

TSJUDER live
27 May 2023 Thronefest (BE) 2023
16-19 Aug 2023 Midgardsblot (NO) 2023

Management + booking: Photograve Management – Håkon Grave www.photograve.net

Shop: https://redirect.season-of-mist.com/Tsjuder-HEL
Pre-save: https://shop.season-of-mist.com/list/tsjuder-helvegr


SACRENOIR stream SEPULCHRAL debut – features members of FORTERESSE, MONARQUE, BRUME D’AUTOMNE+++

Today, Québec black metal “supergroup” Sacrenoir stream the entirety of their highly anticipated debut album, Comme des Revenants Parmi les Ruines. Set for international release on June 24th via Sepulchral Productions, hear Sacrenoir‘s Comme des Revenants Parmi les Ruines in its entirety here:

Two pioneers of the Québec black metal scene, Athros (Brume d’Automne, Forteresse) and Monarque (Monarque, Forteresse) revisit the very early days of black metal on Sacrenoir’s raging debut album. Falling in somewhere their respective bands and old Darkthrone and Gorgoroth or even Bathory, Comme des Revenants Parmi les Ruines is cold, raw, classic black metal, the likes of which has seldom been heard within the Québécois scene. For fans who will never get enough of that early ’90s sound, this is an album you cannot afford to miss!

Preorder info can be found HERE. Cover and tracklisting are as follows:

Tracklisting for Sacrenoir’s Comme des Revenants Parmi les Ruines
1. Mille nuits ont passé
2. Portail vampirique
3. Étouffés par les flammes
4. The blade of Satan
5. Épuration
6. Le puits du diable
7. Aux portes de l’enfer
8. Vers d’autres mondes
9. Parmi les ruines

MORE INFO:
www.facebook.com/profile.php?id=100065311967575

www.sepulchralproductions.com

Malaysia’s TOMB stream new IRON BONEHEAD mini-album

On June 23rd internationally, Iron Bonehead Productions will release a brand-new mini-album from Malaysia’s Tomb, The Dark Subconscious, on CD and 12″ vinyl formats. Hear Tomb‘s The Dark Subconscious in its entirety here:

Formed in 2014, Kuala Lumpur’s Tomb hail from the small-yet-lethal Malaysian black/death underground that features such stalwarts as Mantak and Thorns of Hate. And just like those two contemporaries, Tomb exhibit a frightening feralness that can only come from South East Asia. And while many/most bands wimp out or slick up as they go along, the reverse is actually true for Tomb, as proven by their latest The Dark Subconscious mini-album. 

While their earlier EPs are hardly “refined,” the throbbing mysticism compared favorably to earliest Samael, Root, and Black Funeral. Here on The Dark Subconscious do Tomb go even more primitive – “bestial,” yes, but a form of bestiality birthed by the likes of Abhorer. Indeed, it’s no accident that Tomb‘s logo change is not unlike that of those cult Singaporeans: a swirling, sulfurous mass of gutter frequencies soon assault the listener on The Dark Subconscious, occasionally colored by no-less-primitive synths left over from their earlier days. In that regard, one could liken the 16-minute miasma to Beherit’s Drawing Down the Moon, the ’90s work of Greece’s Disharmony, or especially Mystifier’s paradigmatic duo of Wicca and Goetia…but there’s still that sense of strange, of scene-unbound lawlessness, across Tomb‘s latest short-length. Short but VERY sweet, long may they obey that lawlessness!

Cover and tracklisting are as follows:

Tracklisting for Tomb (Malaysia)’s The Dark Subconscious
1. Abomination Spells
2. Cursed Angel Of Doom
3. Black Conjuration Of Beleth
4. Occult Eternal Mysteries
5. Black Altar Of Sathanas
6. Nocturnal Rites Of Blasphemy

Sólstafir extend European tour with AMORPHIS

Icelandic post metal band SÓLSTAFIR have previously announced their European tour dates as special guests to AMORPHIS, but the band has now extended the tour with more dates!

The trek will start at the Carlswerk Victoria venue in Köln (DE) on the 27th of October 2023, and sees the band performing in 15 more countries until the final curtain in Vilnius (LT) on December 2nd 2023.

But there is more! Label mates THE ABBEY will join 9 dates in support of the tour! A full list of tour dates can be found below.

SÓLSTAFIR
+Amorphis
27 Oct 23 Köln (DE) Carlswerk Victoria
28 Oct 23 Geiselwind (DE) Music Hall
29 Oct 23 Utrecht (NL) Tivoli Vredenburg
30 Oct 23Karlsruhe (DE) Substage
31 Oct 23 Wörgl (AT) Komma VZ
01 Nov 23 Zagreb (HR) Boogaloo Club
02 Nov 23 Belgrade (RS) Dom Aladine *
03 Nov 23 Thessaloniki (GR) Principal Club Theater
04 Nov 23 Athens (GR) Fuzz Live Music Club
05 Nov 23 Sofia (BG) Hristo Botev Hall *
06 Nov 23 Bucharest (RO) Arenele Romane *
07 Nov 23 Cluj-Napoca (RO) Form Space *
09 Nov 23 Kosice (SK) Collosseum
10 Nov 23 Bratislava (SK) Majestic Music Club
11 Nov 23 Linz (AT) Posthof
12 Nov 23 Zlin-Cepkov (CZ) Masters of Rock Cafe
14 Nov 23 Gdansk (PL) B90

15 Nov 23 Kraków (PL) Kamienna12
16 Nov 23 Dresden (DE) Stromwerk
17 Nov 23 Weissenhauser Strand (DE) Metal Hammer Paradise
18 Nov 23 Hannover (DE) Capitol *
19 Nov 23 Hamburg (DE) Uebel & Gefährlich **
21 Nov 23 Aarhus (DK) Train **
22 Nov 23 Stavanger (NO) Folken **
23 Nov 23 Bergen (NO) Hulen **
24 Nov 23 Oslo (NO) John Dee **
25 Nov 23 Gothenburg (SE) Brewhouse **
26 Nov 23 Stockholm (SE) Debaser Strand  **
01 Dec 23 Riga (LV) Melna Piektdiena **
02 Dec 23 Vilnius (LT) Loftas **

* Special guest to AMORPHIS
** Support by THE ABBEY

SÓLSTAFIR will be touring in support of their latest album ‘Endless Twilight of Codependent Love’ which was released in 2020 via Season of Mist. A bloody new music video for the track ‘Dionysus’ was released last week, which can still be seen via the official Season of Mist YouTube channel HERE. 

The cover artwork and track-list can be found below, together with the album info. The painting is a watercolour of the Lady of the Mountain, 1864, by Johann Baptist Zwecker.

Tracklist:
1. Akkeri (10:10)
2. Drýsill (08:52)
3. Rökkur (07:06)
4. Her Fall From Grace (06:36)
5. Dionysus (05:31)
6. Til Moldar (04:29)
7. Alda Syndanna (04:30)
8. Or (06:58)
9. Úlfur (08:49)

A quarter of a century after singer/guitarist Aðalbjörn “Addi” Tryggvason co-founded atmospheric Icelandic metal quartet Sólstafir, they continue to follow their cardinal rule – that there are no rules. For them, writing an epic 10-minute song without a traditional verse/chorus trade-off feels natural. While they have done two albums in English, he mainly sings in their native tongue and his vocals are as much an instrument as a vessel for words. Their videos equally showcase the band and their Icelandic world that they commune with.

And their music flows however it pleases. “Having been a metal band for a long time and gone through shoegaze, atmospheric black metal, and post rock, I just feel privileged being able to mix all my favorite genres and get away with it,” says Tryggvason.

In the world of Sólstafir, artists as varied as The Beatles, Kraftwerk, Darkthrone, Ennio Morricone, and Billy Corgan swirl inside their heads, and such influences seep into their musical ether. Funnily enough, the cover for the group’s latest album Endless Twilight of Codependent Love might remind one of a famous Smashing Pumpkins album cover.

Painted in watercolor by Johann Baptist Zwecker in 1864, The Lady of the Mountain is the female personification of Iceland. It was first published in a book of Icelandic folk tales but was never shown in public. A black and white woodblock replica by the artist is what Icelanders have known until recently when two citizens found the original hidden in a Welsh museum gallery where it had been in storage for a century. Now it is back home and adorning the cover of the new Sólstafir album.

“Everybody knows the image of the Lady of the Mountain,” declares Tryggvason. All of a sudden, the original pops up and it’s like, ‘Oh my god, these are the most beautiful colors I’ve ever seen. And why does it remind me of Mellon Collie and the Infinite Sadness?’ So that’s purely accidental. When we saw this photo, we had to use it. It’s too beautiful.”

While early Sólstafir lyrics delved into Nordic mythology and critiques of organized religion, more recent songs explore their spiritual connection with nature, and lately, mental disorders ranging from depression to alcoholism and the taboo behind men in particular discussing those things for fear of being perceived weak.

“That’s the real darkness that you can’t see, but you can feel it and people around you can feel it,” explains Tryggvason. “Of course, there are serial killers and plagues and whatever through history. But in modern day life, that’s the true darkness around you. People kill themselves every day, and often people close to you who have been feeling so bad.”

He says the most personal song on Endless Twilight of Codependent Love is “Her Fall From Grace,” the lone track in English. It chronicles the pain of watching a loved one succumb to mental illness.

“It’s very sad when you love someone and you see them get sick,” muses Tryggvason. “Like Layne Staley said, ‘Slow suicide is no way to go.’ But you’re just watching on the audience bench, preparing for the phone call. ‘Hey man, Johnny’s dead.’ ‘All right, I knew Johnny was gonna die. I’ve been watching him in slow motion.’” He likens the experience to seeing a relative or parent be consumed by Alzheimer’s and turn into a different person than one remembers.

Although the band’s lyrics are predominately in Icelandic, that does not prevent outside listeners from appreciating the emotional power of their music. It has been said that many fans can feel his pain even if they do not overtly understand what he is singing about.

A beautiful moment in that regard occurred when Sólstafir played Bogota, Colombia in September 2017. It was the smallest show on their South American tour, and they presumed it would not be as lively. The 300 strong throng proved them wrong. “It felt like I was in Queen at Wembley Stadium,” Tryggvason recollects fondly. “They sang every goddamn word in Icelandic. How can you explain that?”

Such passionate reactions have not gone unnoticed in their homeland. Iceland picked Sólstafir to play a total of six events New York City, Seattle, and Toronto last fall called “Taste Of Iceland.” Tryggvason says the band enjoyed the event and their intimate industry showcases at Pianos (NYC) and Livenation (Toronto) during that same trip.

Counter-intuitive thinking has helped Sólstafir evolve and mature. The new track “Or” opens with a languid, bluesy feeling but gradually transforms into an angst-ridden, guitar-driven dirge. When they conjured their breakthrough song “Fjara” in 2011, the group feared its mellow nature might put off their longtime metal followers. Instead, they embraced it. That tune, along with the ambient, banjo-laden track “Ótta,” allowed the group to play both the Brutal Assault festival in the Czech Republic five years ago and then a family-friendly music event in the Netherlands the next weekend. The new rager “Dionysus” even features a return to their black metal roots that was not planned; the song just turned out that way over a year-long span.

“Our audience grew bigger and more diverse by us just being ourselves and doing nothing different really,” notes Tryggvason.

One of the joys for him and his bandmates – bassist Svavar “Svabbi” Austmann, guitarist Sæþór Maríus “Pjúddi” Sæþórsson, and newer drummer Hallgrímur Jón “Grimsi” Hallgrímsson, who contributed some lyrics this time out – is that their perception of how their new music will turn out never corresponds with reality. It is that unknown factor that keeps things exciting.

“You can never foresee band magic,” declares Tryggvason. “The whole purpose of this is cooking up magic. And if you’re cooking up magic with four or five weirdos, you can never foresee what’s going to happen. You can’t buy that. You have to live it or grow it.”

Recording line-up:
Aðalbjörn Tryggvason – Vocals, uitar
Sæþór M Sæþórsson – Guitar
Svavar Austmann – Bass
Hallgrímur Bárðdal – Drums

Recording: Sundlaugin Studio, Grótta
 
Mixing and mastering: Birgir Jón Birgirsson
 
www.solstafir.net
www.facebook.com/solstafirice
www.instagram.com/solstafir_official

DARKENED set release date for new EDGED CIRCLE EP, reveal first track

Today,  Edged Circle Productions announces July 21st as the international release date for Lord of Sickness and Bile, a brand-new EP from international death metal elite Darkened, on 7″ vinyl format.

By now, the name Darkened should require no introduction. From their formation in 2018 featuring a veritable “who’s who” of death metal royalty and the auspicious Into the Blackness debut EP on to their even-more-widely-celebrated debut album, Kingdom of Darkness, that royalty – drummer Andy Whale (Memoriam, ex-Bolt Thrower), vocalist Gord Olson (Ye Goat-Herd Gods / Demisery), guitarists Linus Nirbrant (A Canorous Quintet / This Ending) and Hempa Brynolfsson (Excruciate / Ordo Infernus), and new bassist Tobias Cristiansson (Grave / ex-Dismember) – proved that they weren’t ready to rest on their all-too-considerable laurels. 

While doubtlessly a summation of their combined histories in death metal, Darkened continued to finesse that sound into something all their own last year, first with the Mourn the Dying Light EP and then successive second album The Black Winter. World-eating all-caps DEATH METAL with atmosphere to spare? You bet!

And so the tank rolls on with Darkened‘s new two-song EP, Lord of Sickness and Bile, with Whale departing and veteran Perra Karlsson (AngelBlast, In Aeternum, Nominom) coming in to the drum-throne. Featuring two exclusive songs and an 11-minute runtime, Lord of Sickness and Bile gets the job done with startling, throttling efficiency. Both songs carry forward the evolutionary steps made last year – spaciousness and suffocation in equal measure, a seamless integration of haunting melody, an utterly dense onslaught of sound either way – and again does everything sound HUGE, even when racing forward with palpitating propulsion. Drums were recorded and engineered by Pontus Ekwall at Studio Cave, and Gord Olson handled the mixing & mastering: more DIY this time, but an utterly massive result given the EP’s brevity. Capped by characteristic artwork by Juanjo Castellano, Lord of Sickness and Bile is another gem in the Darkened discography!

In the meantime, hear the brand-new track “Archaic Wounds” here:

Preorder info can be found HERE. Aforementioned cover art and tracklisting are as follows:

Tracklisting for Darkened (International)’s Lord of Sickness and Bile
1. Steal-Kill-Destroy
2. Archaic Wounds

MORE INFO:
www.facebook.com/darkeneddeathmetal

www.edgedcircleproductions.com

NECRONY’s entire discography to be reissued as a boxset via HELTER SKELTER – precursor to NASUM

Today, Helter Skelter Productions (distributed & marketed by Regain Records) announces August 25th as the international release date for the entire discography of Necrony in a five-LP vinyl boxset, titled Corrupted Crescendos.

One of the most cult bands in an already-cult scene, Necrony hail from the mythical Swedish death metal scene of the early ’90s. Formed in 1990 in Örebro, during their four years together, Necrony left behind a small-but-scathing body of work that included an album, a mini-album, a 7″ EP, and two demos as well as a handful of unreleased rehearsals. The band also had the unique distinction of releasing three of those recordings on the super-cult Poserslaughter Records label. Necrony posthumously further earned their cult status with their connection to successive grindcore legends Nasum: vocalist / bassist / guitarist Anders Jakobson would play with the latter during the entirety of their career, while drummer Rikard Alriksson would play with them during their first three years of existence. Both men would also have distinct musical careers with the likes of Coldworker and Genocide Superstars, respectively.

Necrony would make their public debut with 1991’s eight-song Severe Malignant Pustule. As colorfully suggested by its title, the band’s first demo doubtlessly was indebted to Carcass – as were hundreds of bands back then, or arguably more! – but Necrony nevertheless had a clear grasp of twisted songwriting and uniquely relied on slimy downtempo segments instead of the usual ultra-grinding tropes of the time. They’d further perfect this sound later that year on the two-track Mucu-Purulent Miscarriage EP, one of the very first records released by the aforementioned Poserslaughter. 

Following those two recordings, guitarist Dan Wall would depart the band, and it wouldn’t be until 1993 when Necrony released their next recording. However, when they did, it was quite literally titanic: Pathological Performances, the band’s debut album. Pared down to a duo of Jakobson and Alriksson did little to hamper the band’s creativity, as Pathological Performances saw Necrony hit their peak: the songwriting was supremely twisted yet somehow catchy, the recording was their clearest yet without losing their original crushing sliminess, and like their heroes Carcass, the lyrics were witty in their gore. Nevertheless, they’d release a promo tape the next year that featured two songs of even sharper and more crushing creativity, suggesting that Necrony were only getting started. 

And so it seemed, as their next recording, Necronycism: Distorting the Originals – recorded prior to the promo tape, but released after it – was a mini-album of covers which included the likes of Carcass (of course!), Napalm Death, Repulsion, Impetigo, Bolt Thrower, and Carnage, all done the Necrony way. Generally, such covers records served as a stopgap between album releases, and such was the hope for Necrony. But another studio recording never came, and the duo’s focus seemingly shifted to the then-young Nasum. Necrony, ultimately, was RIP by 1994. 

Thankfully, time has done nothing to dull the pus-filled power of Necrony‘s body of work – in fact, it sounds more powerful (and pus-filled!) than ever. While an unauthorized “collection” surfaced in 2005, with the band’s full approval does Helter Skelter hereby collect all those recordings plus bonus tracks from the covers record as well as unreleased rehearsal sessions and one live track. Titled Corrupted Crescendos, this nearly-three-hour boxset is the definitive word on one of Swedish death metal’s great “What Ifs” and a unique-yet-unsung entry into that hallowed canon. This boxset will include an extensive 24-page booklet, three stickers, and a patch, making it the ultimate Necrony statement: long live Necronycism!

See & hear a special trailer video HERE at Regain Records‘ official YouTube channel. Also stream almost the entire boxset HERE at Regain‘s Bandcamp, where the vinyl box can also be preordered. Cover and detailed tracklisting are as follows:

Tracklisting for Necrony’s Corrupted Crescendos *LP 1*
Side A features debut demo Severe Malignant Pustule
Side B features 1992 7” Mucu-Purulent Miscarriage

Tracklisting:
Side A
1. Intro: Ortuo
2. Masticator of a Swollen Carcass
3. Hill of Cadavers
4. Consuming Cartilage
5. Decomposed Genitals
6. Pus-bonum-et-lauda-bile
7. Severe Malignant Pustule
8. Outro: Ortni

Side B
1. Mucu-purulent Miscarriage
2. Multilocular Morphea-Sarkoblasters

*LP 2*
Side C & D: Includes the 1993 album on both side C & D Pathological Performances

Tracklisting:
Side C
1. Rigor Mortis Sets In
2. Dexterous Embryectomy
3. Submassive Necrosis Disgorgement
4. Gynopathological Excav-Eater

Side D
1. Accumulation of Exudate
2. Ocular Obliteration
3. Pro-Rectal Carnage
4. Excavated, Eviscerated and Emaciated


*LP 3*
Side E features the 4 last songs from album Pathological Performances
Side F features ’93/’94 cassette promo tape

Tracklisting:
Side E
1. Effervescing Discharge of Putrescent Corpulence
2. The Squirming Worms
3. Acute Pyencephalus and Cerebral Decomposure
4. Funeral Ferocity

Side F
1. Under the Black Soil
2. Forensickness


*LP 4*
Features the 1994 cover mini-album Necronycism plus unreleased bonus tracks on both side G & H

Tracklisting:
Side G
1. Fermenting Innards
2. Swarming Vulgar Mass of Infected Virulency
3. Die in Pain
4. Mucupurulence Excretor
5. Dis-Organ-Ized
6. Bodily Dismemberment
7. Festering Boils

Side H
1. Cenotaph
2. Lucid Fairytale
3. The Kill
4. Deceiver
5. The Day Man Lost
6. Protest and Survive
7. Pungent Excruciation

*LP 5*
Side I: includes unreleased rehearsals and live

NOTE: NO DIGITALS for side I, only available on physical format.

Tracklisting:
Side I
1. Under the Black Soil
2. Spawn of the Infested
3. Forensickness
4. In the Dark Closets of Secrecy
5. Torn Apart

Side J:
No audio, silk-screen printed motive by Ola Larsson!

www.helterskelterproductions.se
www.facebook.com/helterskelterproductions 

Destroyer 666 Announce ‘To The Devil His Due’

DESTROYER 666 won’t slow down. K.K. and his band of black thrash bullies rose out of Australia back in the early ’90s with the triumphant, blistering speed of a phoenix. Despite several lineup changes, they’ve been hammering out lean, mean blackened thrash metal ever since. Their last album came out just at the end of 2022 and it served as yet another ass-kicking reminder that these burly Aussies will never surrender to anyone’s bullshit.

This year, DESTROYER 666 have been celebrating their upcoming 30th anniversary by bulking up their already impressive body of work. On June 23, the band are re-issuing their very first demo, which you can get your hands on at the Season of Mist store HERE.

But before that happens, today, DESTROYER 666 are announcing another new release. ‘To The Devil His Due’ compiles four long out-of-print 7″ EPs that originally came out between 1998 and 2010. This compilation only hint at the venom that would come at the hands of these bare-knuckle brawlers. But songs like “Satanic Speed Metal” and the spirited “Ghost Dance”  already burn with maximum fury.

‘To the Devil His Due’ is out on August 25, 2023 via Season of Mist. Pre-order the compilation HERE. 

Tracklist:
01: Satanic Speed Metal (03:50)
02: The Sirens Call (03:56)
03: King of Kings (4:00)
04: Lord of the Wild (05:43)
05: Ghost Dance (4:09)
06: Taste The Poison (03:01)
07: Levens Bloed (02:26)
08: Through the Broken Pentagram (04:47)
09: See You in Hell (04:14)
Total Running Time: 00:34:46

DESTRÖYER 666 continue to do what they are best at: kicking ass and hammering out heavy metal that is slamming straight into the face. No compromise, no sell out, no bullshit!DESTRÖYER 666 don’t do whiny nostalgia but simply stick to their old school roots, which are reaching straight down into the golden age of metal while allowing themselves to sound fresh and remain relevant. The band originally started out as a solo project of BESTIAL WARLUST guitarist KK in Australia in 1994. As early as with debut album ‘Unchain the Wolves’ (1997), fast-tracked towards international acclaim.

The even stronger second full-length, ‘Phoenix Rising’ (2000) had the Australians relocating to Europe to be able to satisfy the soaring demand for touring and festival shows. After a round of line-up changes, third full length ‘Cold Steel… For an Iron Age’ (2002) cemented the band’s excellent reputation

After a hiatus caused among other issues by disenchantment with the business, DESTRÖYER 666 returned with ‘Defiance’ in 2009 and followed up on this success with the rough and gritty ‘Wildfire’ (2016) seven years later that saw them touring and performing at all the relevant metal festivals worldwide on a regular basis again. The Australians filled the gap between the latest albums with the hard-hitting EP, ‘Call of the Wild’ (2018) that comes with a distinct taste of an unrepentant classic flavour.

The outlaws from down under deliver another pummeling and relentless lesson in aggression with full length number 6(66). ‘Never Surrender’ is a furious assault of black thrash, chainsaw riffs, and warlike drums, offering no moment of reprisal as it rages on for 40 unyielding minutes.

DESTRÖYER 666 takes no prisoners!

Current lineup:
K.K.: Vocals, guitar
Ro: Guitar, vocals
Felipe: Bass
Kev Desecrator: Drums

Links:
https://www.facebook.com/destroyer666page
https://www.instagram.com/destroyer666_official/


Shop:
https://shop.season-of-mist.com/list/destroyer-666-to-the-devil-his-due

HEILUNG Announce US Tour

HEILUNG are bringing their acclaimed live performance to 10 U.S. cities this fall.

The tour will commence in Greensboro, NC, on 17 October. The pounding, rhythmic, Nordic collective will perform the final night of their spellbinding ritual on 5 November in Denver, Colorado. 

HEILUNG have a tradition of donating one dollar for each ticket sold to planting trees. The proceeds from this tour will also support reforestation efforts. More details coming soon.

The band will be playing songs from their entire discography, including ‘Drif’, which came out last fall. The album is available on vinyl, CD, cassette and as a digital download through the Season of Mist store

TOUR DATES
10/17:  Greensboro, NC @ Steven Tanger Center for the Performing Arts [TICKETS]
10/19:  Baltimore, MD @ Hippodrome Theatre [TICKETS]
10/21:  Columbia, SC @ Township Auditorium [TICKETS]
10/23:  Clearwater, FL @ Ruth Eckerd Hall [TICKETS]
10/25:  Huntsville, AL @ VBC Mark C. Smith Concert Hall [TICKETS]
10/27:  New Orleans, LA @ Saenger Theatre [TICKETS]
10/30:  Austin, TX @ ACL Live at The Moody Theater [TICKETS]
11/01:  St. Louis, MO @ The Factory [TICKETS]
11/03:  Kansas City, MO @ The Midland Theatre [TICKETS]
11/05:  Denver, CO @ Mission Ballroom [TICKETS]

Tracklist:
01: Asja (05:17)
02: Anoana (04:57) [WATCH]
03: Tenet (13:05)
04: Urbani (02:55)
05: Keltentrauer (08:26)
06: Nesso (07:54)
07: Buslas Bann (05:03)
08: Nikkal (03:04)
09: Marduk (08:34)
Total Running Time: 00:57:55

Since its inception in 2015, the enigmatic ritual collective HEILUNG has been paving melodic paths to the past with their unique and mystifying sound. Evading all conventional genre tags and the confines of any specific labels, the group aptly self-describes their sound as “amplified history,” emphasizing their ability to connect modern society with the rudiments of humanity’s beginnings through music. HEILUNG once again journeys back in time with its new chapter, ‘Drif;’ however, unlike previous offerings that centered around prehistoric northern Europe, album number three will explore other great rudimentary civilizations outside of Europe.

“All the songs on ‘Drif’ have their own stories,” adds HEILUNG throat singer and one of the band’s three composers, Kai Uwe Faust. Each has its place and sense of belonging, with inspiration not only from Northern Europe, but from the ancient great civilizations,” explains the band. “We took the ancient surrounding advanced civilizations in account, because our ancestral Nordic civilizations did not just pop up, exist and disappear in isolation. Already in the Bronze Age, we found silk on German land that was imported already from the far, far East 3000 years ago. From the Viking age, we found beads that were brought there from present-day Syria high up in the Northern mountains.

“Centrally important concepts, still in extensive use today, like the number Zero and all the mathematical universes deriving from it, the use of iron and the general concept of settling all originate from traditional high civilizations outside the north and still fundamentally changing our ancestor’s world.

“With singing these primordial songs we want to give tribute to these cultures, reconnect to the beginnings and remember that we all, from East to West, from past to present, are connected through the exchange of ideas and inspiring each other.”
Meaning “gathering,” ‘Drif’ serves as more than merely a gateway that bridges history with modern day society, but is also a statement of the strength in unity and togetherness, which will come as no surprise to those who have experienced HEILUNG’s live ritual, in which every ceremony starts with a reminder that “we are all brothers.” “‘Drif’ means ‘gathering,’’ explains HEILUNG. “A throng of people, a horde, a crowd, a pack. In symbiosis with the album title, ‘Drif’ consists of a flock, a collection, a gathering, a collage of songs, that much like little flames were seeking towards each other, to join, to bond, to create, and be greater together.”

While HEILUNG features authentic and archaic instrumentation that ranges from rattles and ritual bells to human bones and throat singing, their captivating brand of music is far from primitive. Producer and founding member Christopher Juul implements subtle electronic elements that elevates the musical atmosphere and provides a more in-depth and layered soundscape.

“This album has very clearly dictated its own path. Our attempts to tame it were repeatedly fruitless, and once we came to this realization, the creative flow surged forward with immense force. So much so that sometimes it felt like the songs wrote themselves,” the band adds.

HEILUNG’s success has been unprecedented, achieving milestones in its few short years of existence that many do not see in a lifetime. The collective already had rapidly been growing a buzz upon the self-release of their first full-length, ‘Ofnir,’ in 2015, but their dizzying upward trajectory really took off from the moment they set foot on the stage at Castlefest in 2017 for the now-legendary debut of their live ritual. Luckily for those who were not fortunate enough to bare witness to this magical event, the full ceremony was captured on film, having since been viewed by tens of millions of fans across the globe.

As HEILUNG trekked across Europe and brought their mystifying experience to new audiences, talk of this new band and their stunning ceremony made way to Season of Mist label owner Michael Berberian, who quickly offered the band a record contract after seeing their undeniable musical impact for himself.

By 2019, HEILUNG launched their second full-length record, ‘Futha,’ which contrasted the masculine and battle-heavy themes of their debut with a feminine counterpart that celebrated fertility and female energy. Upon the first week of the record’s release, it graced the Billboard charts with coveted numbers, debuting at #3 on the Heatseekers Charts and #4 on the Billboard World Music Chart, placing on a total of seven Billboard charts while meeting critical-acclaim from the press on a global scale.

Having already made its way around Europe, HEILUNG announced its first ever North American tour for the start of 2020, which sold out entirely within 72 hours of ticket on-sale. The band later returned to the United States and performed their live ritual for a sold out audience of 10,000 people at the historic Red Rocks Amphitheater in Denver, CO (USA), further solidifying their early legacy status.

By this time, the band’s music started to appear in places outside the confines of music venues, videos, and vinyl. From hit television series like ‘Game of Thrones’ and ‘Vikings’ to video game giants like ‘Conqueror’s Blade VII: “Wolves of Ragnarök’ and ‘Senua’s Saga: Hellblade II’ to the blockbuster Robert Eggers film ‘The Northman,’ HEILUNG’s music has risen far above the underground and has transcended into a greater world. Even a global pandemic couldn’t slow down HEILUNG’s success; it only strengthened them and gave them the gift of time to complete work on album number three, ‘Drif.’

According to Greek philosopher Pythagoras, three is a divine number, signifying harmony, wisdom, and understanding. He also believed it to be the number of time – past, present, future; birth, life, death; beginning, middle, end. Purposefully or not, ‘Drif’ embodies this philosophy, putting forth a divine work of art that ties together the beginning of civilization with the modern world today. Make no mistake, HEILUNG still does not represent any modern political or religious ideology, but rather delivers a humbling reminder of where we came from. “Remember, we are all brothers. All people, beasts, tree and stone and wind, we all descend from the one great being that was always there, before people lived and named it, before the first seed sprouted.”

Lineup:
Kai Uwe Faust
Christopher Juul
Maria Franz

Links:
www.facebook.com/amplifiedhistory

Shop: https://heilung-usa.travelling-merchant.com/

BLODULV to have trilogy of albums reissued & remastered by OPHIDIAN SUN – out of print for nearly 20 years

On July 14th internationally, Ophidian Sun is proud to reissue the three cult-classic albums of Blodulv – 2003’s Blodulv, 2004’s II, and 2005’s III – Burial – in remastered form on CD and vinyl LP formats. Titled the “Black Diamond Remasters Series,” this will be the first time each of these three albums will be available in nearly two decades.

Blodulv hail from an era of black metal physically and spiritually long ago. Their country of origin was Sweden and their first public recording – the Kristkrossare demo, on a then-young Total Holocaust Records – came in 2003, but their psychic center could’ve been the late ’90s or even earlier, when black metal still posed a threat to normcore metallers and was otherwise verboten to all but the most depraved. Put another way, “you had to work for it” back then, as the maxim goes, and here did Blodulv reside in a gutter of sound and thought. Their actual lifespan was incredibly brief – conservatively, they existed between 2002 and 2005 – but their body of work was incredibly prolific. Driven by drugs and madness, the duo of Grendel and Orcus burned brightly until that black flame consumed them entirely. And then they were gone, leaving behind a singular discography and shadowy apocrypha about their extracurricular deeds. Truly “Bad Music for Bad People,” to paraphrase the Cramps, but more importantly BY Bad People…a feat far too rare these days, which is all the more opportune that Blodulv‘s central trio of albums is exhumed for a new generation of black metallers seeking true danger and taboo. 

Originally released in August 2003 on CD only, Blodulv‘s self-titled debut album introduced the Swedes with utmost crudeness and rudeness. Immediately, the quickly-characteristic Blodulv aesthetic is established: hypnotic riffing teetering between triumph and tragedy, inhumanly howled/hissed vocals, everything coated in a strange sort of “clear static,” and the guiding lifelessness of their undisguised drum-machine, here charmingly monikered “the one and only Sir Electro.” On paper, these foundational stones may seem underwhelming or at least par for the black-metal-underground course, but in execution, there was little to nothing like Blodulv back then. Even for ears well attuned to that underground, from the most minimalist Ildjarn recording to contemporaneously-young Bone Awl, Blodulv‘s cooly cruising attack was exceptionally alien. 

The Devil was truly in the details here. “Street black metal” before there ever was a thing, Blodulv reveled in its staunchly Spartan contours: the songwriting moved at a sprightly pace, whether it was polka-fast or stomping-slow, either way excising any sort of aggression for something dead in its energy; the component riffs were few, but expertly threaded together in a weirdly hummable manner; even drowning in said static, the vocals were articulated to the extent that key phrases could blanch even the hardiest listener; and the secret star of the show, Sir Electro made drum-machines cool for the first time since the classic Greek recordings at Storm Studio. Dingey and dungeonic, absurdly simple but sinfully sublime, Blodulv‘s first full-length party-crashed a black metal underground that was soon about to have a second renaissance. 

At the time of its release – November 2005, this time through the short-lived Eerie Art Records – Blodulv‘s III – Burial didn’t necessarily signal an end for the band. The year prior to that third album, the Swedes had released a steady stream of EPs and splits, as well as the Diatribe EP (through the always-cult Forgotten Wisdom Productions) earlier in 2005. But, with hindsight, the appellation Burial should’ve said everything: this was the end of Blodulv. In most perverse fashion, they finally revealed photos of themselves in the liner, including vocalist Morn (longtime lyricist Aeifur was never revealed). Three photos of three official members…third album. The tombstone was there.

But what a way to end such a beautifully belligerent career! III opens (and closes) with a barrage of noise, suggestive of Morn’s successive work in Deadwood, Keplers Odd, and Culted; he would be the only member of the band to (publicly) continue musically. From there, the K-hole opens wider and devours the listener whole, revealing something that splits the difference between Blodulv‘s two albums – the cooly cruising attack of I, the hypnotic near-Oi of II – but brings forth an intensification of both poles. “Street black metal” to the very end, again before there was ever a thing, Blodulv upped the hooliganism here, incorporating both more thug-life stomp and running-from-the-law speed to the unsettlingly metronomic pulse. One need only listen to the arrogant-and-proud stride of “Imperium Sanctum (Bleeding Mercury)” to understand the fertile fields of filth that the trio were beginning to trample…if only one was unaware that this was also the end. Nevertheless, at 47 minutes, III – Burial marked the album as Blodulv‘s longest recording: their epitaph written in the boldest and most brazen strokes, the coffin lid closed with deafening punctuation.
 

All out of print since the mid-2000s, the trilogy of Blodulv, II, and III – Burial will now be reissued on both CD and vinyl as part of Ophidian Sun‘s campaign to bring the noble Blodulv catalog to a new generation starved for authentic mystery & mysticism in black metal. Each of the band’s three albums will feature remastered sound courtesy of Temple of Disharmony – bringing Blodulv‘s necrotic & narcotic sound to 3D “unlife,” as it were – and new layout inspired by the old. This is the sound of glorious times! Preorder info can be found HERE.

CYSTIC set release date for CHAOS RECORDS debut, reveal first track

Today, Chaos Records announces August 11th as the international release date for Cystic‘s highly anticipated debut album, Palace of Shadows, on CD format.

Formed in 2018, Seattle’s Cystic have remained an underground fixture in the contemporary death metal scene. In only a five-year span, the band have produced a great deal – from their debut demo, The Last Days, in 2018 to two EPs, Sworn Enemy of Life and Incineration Rites, in 2020 as well as tours and festival appearances. Now in 2023, the band is set to release their first full-length, Palace of Shadows.

For those who’ve been following Cystic so far, Palace of Shadows unmistakably sounds like the same band, but there’s a distinct evolution in their songwriting and style here. Effortlessly and unselfconsciously, Cystic stay true to their punk roots and retain their characteristic murkiness, but wade deeper into the murk of Palace of Shadows and one will hear clear and palpable growth from their no-less-considerable past. The album comprises nine songs in 36 minutes and actually feels far vaster than that, largely in part to its fully cohesive concept. But even so, Cystic keep proceedings urgent, displaying energy even when these songs start feeling “epic.” Likewise, their melodicism has taken on a darker and more emotional edge, supported by nuanced rhythms and flowing grooves, altogether combining for a battering (and mildly blackened) death metal assault that feels classic and fresh in equal measure. To celebrate the release of Palace of Shadows, Cystic will perform at this year’s Killtown Deathfest in Copenhagen in September.

In the meantime, hear the brand-new track “Core of the Maelstrom” here:

Preorder info can be found HERE. Cover and tracklisting are as follows:

Tracklisting for Cystic’s Palace of Shadows

1. Vista
2. Pestilential Throne
3. Palace of Shadows and Blood
4. Duly Drowned
5. Stygian Deeps
6. XIII (A Reprise in Blood)
7. Core of the Maelstrom
9. Afterglow
8. Nebulous Legion (of the Sombre Sea)

MORE INFO:
www.cystic666.bandcamp.com

www.chaos-records.com
www.facebook.com/chaosrecords