Today, Norwegian/Italian black metallers Funeral Harvest stream the entirety of their highly anticipated debut album, Redemptio. Set for international release on October 31st via Signal Rex, hear Funeral Harvest‘s Redemptio in its entirety here:
A pan-international quartet featuring members from Norway and Italy, Funeral Harvest formed in 2016 and unleashed their first public recording the very next year. Tellingly titled Bunker Ritual Rehearsal, this first strike was auspicious to say the very least, and quickly built a name for Funeral Harvest in the underground. Their raw ‘n’ robust black metal sound was rooted in the ancient ways but never regressive – in fact, its ghoulish hostility was perversely refreshing. An epic digital single followed in 2019, but it was 2020’s self-titled EP, released to widespread acclaim by Signal Rex, where Funeral Harvest indeed began to reap: a grim ‘n’ graven culmination of all that’s come before and all that lies ahead.
And now, “what lies ahead” is finally here with Funeral Harvest‘s first full-length. Elegantly titled Redemptio, the band’s debut album is grand and garish, ceremonial and seditious, in equal measure. With a rejuvenated lineup that features erstwhile Beyond Man guitarist alongside vocalist/guitarist Lord Nathas, bassist &alt;, and drummer Ond, Funeral Harvest‘s attack continues to be undeniably physical, but whereas a wobbly between hypnotic possession and demonic headbanging took hold prior, Redemptio races and rewinds from nearly chaotic violence to smoked-choked repose, creating a delirium that’s impossible to resist. That the exceptionally professional production seemingly amplifies this swarming sensation is only part of spellbinding potion; at every (crooked) turn, there exists a bestial impulse barely tamed, but the order in which they’re delivered is anything but random. Razor-sharp songwriting is at a premium, then, as Funeral Harvest judiciously keep their constructions taut and terrorizing: the nine-song album races to the finish in a swift-yet-satisfying 31 minutes.
Both more ghoulish and muscular than ever, Funeral Harvest revitalize elder expressions of Norwegian black metal with Redemptio. Kneel and receive their sacrament.
Cover artwork, courtesy of Artem Grigoryev, and tracklisting are as follows:
Tracklisting for Funeral Harvest’s Redemptio 1. Opus Cælestis 2. Fire Sermon 3. Antithesis 4. Principum et Finis 5. Soli Ego Gloria 6. Womb of Snakes 7. The Crimson Night Tide 8. Sorath 9. Libera per Ignem
Symphonic black metal formation …AND OCEANS are now unleashing a brand new music video and track; ‘The Collector and His Construct’! The song is taken from the band’s upcoming album “As in Gardens, so in Tombs”, which will be released on January 27, 2023 via Season of Mist.
Listen to ‘The Collector and His Construct’ here:
The album can be pre-ordered HERE, and pre-saved HERE.
…AND OCEANS comment on the track: “The Collector comes in many forms and faces. Some are whispers in the wind and water, some come with threats of eternal fire, others just have a craving for remains as a propellant for rebirth and some even claim that it will split you up one picture frame at the time.
This album also has many faces. Our second single from the upcoming album is a bit more in the style of our last album. Straight forward and in your face without too many twists and turns. Fits just about right for the pre-sales to start etc. before we can dive deeper into weirder stuff again in the material to follow.“
…AND OCEANS are furthermore revealing the cover artwork, which is created by Adrien Bousson, and can now be viewed below, together with the track list and further album details.
Tracklist: 1. As in Gardens, so in Tombs (4:17) 2. The Collector and His Construct (4:36) [WATCH] 3. Within Fire and Crystal (5:52) 4. Carried on Lead Wings (5:14) 5. Likt Törnen Genom Kött (5:10) 6. Cloud Heads (4:19) [WATCH] 7. Wine into Water (3:57) 8. Inverse Magnification Matrix (4:50) 9. The Earth Canvas (4:11) 10. Ambivalent God (7:44) Bonus: 11. Samlarens Valv (3:49) 12. Third Eye Catalyst (4:28) Total: 58:27
It’s rare for a band to commandingly return with their best effort to date, but Finland’s …And Oceans are here to prove that 2020’s Cosmic World Mother was the sound of creative floodgates bursting through into a new body of water, an ocean if you will. Well, that was their pinnacle up until their new album, As In Gardens, So In Tombs, is let out into the world. Everything that …And Oceans’ first full-length in 18 years did well – blistering symphonic black metal, heady themes that dealt with the connection between philosophy and psychics, and …And Oceans’ trademark adventurous songwriting – As In Gardens, So In Tombs manages to eclipse and recontextualize. It’s the sound of a band seizing every ounce of momentum and upping the ante in every way. While …And Oceans has never written the same album twice, in many ways, their latest sounds like an opportunity for the Finnish group to pick up and improve upon what they started. Symphonic black metal is never this fun, free, and fantastic.
Lead single “Cloud Heads” is a great introduction into the magic and serves as a statement of intent. Swirling melodies, blastbeats that sound like the rumbles after The Big Bang, and ethereal symphonic touches result in a song that’s equally fierce and pleasant to take in. A kinder, gentler (but not gentle) version of …And Oceans.
“’Cloud Heads’ is certainly one of my favorites!” vocalist Mathias Lillmåns shares. “It was sort of an icebreaker song. It was one of the first songs we wrote straight after Cosmic World Mother was finished, and the first lyrics I wrote for the album. It was the song that paved way (or broke the ice) for the rest of the album.”
Part of the reason the band even needed to “break the ice” with this record is the pace at which their last was written, as guitarist Timo Kontio acknowledges:
“Well for me starting to do Cosmic World Mother was more nerve wrecking and even in doubt whether we should make new music or not. In the end it was quite an easy project to do, to our relief. So when we started to make this album, it was more relaxed and more or less go with the flow mentality. We had the first ‘difficult comeback album’ done, and everything came quite easily! It was really refreshing to make this kind of music after so long.”
“I was only supposed to produce guitars for Cosmic World Mother,” Lillmåns adds, “but a month before the recordings were supposed to start, my phone suddenly rang. I could sense that this phone call was going to be important when I saw it was Timo calling. I was asked to join the band and also to write lyrics for the whole thing. Immediately when I saw the first version of the [album] cover, I got this vision of what the concept of the album would be, and I wrote most of the album in sort of a frenzy with the next few weeks.”
“It’s strange with the new album,” he continues, “because I have always been forced to use tight deadlines for myself when writing music or lyrics. It seems I need the pressure to create something I’m happy with. Also, for some reason I get most done when traveling, I used to take trains to nowhere just write sometimes back in the day! This time there were no pressure, no traveling, and I was not on the edge of a burn out, and it went smoother than ever before! The lyrics just kept on coming, not as fast and not in such a trancelike frenzy as the last album, but good stuff on a steady basis.”
So while Cosmic World Mother was the sort of ravishing fever dream of an album that poured out of …And Oceans in fits and starts, As In Gardens, So In Tombs was the result of the band taking the time to sweat the small stuff. The result can be found everywhere – melodies are brighter, the orchestral elements feel more essential, and Lillmåns’ vocals have swallowed a mushroom (in a garden or tomb?) as done a Mario-like levelling up. Even in the way the album sounds, As In Gardens, So In Tombs sounds warmer, the kind of record meant to be played while walking alone in nature. That sense of measured purpose was very intentional as Lillmåns notes:
“[The record] definitely feels grander and more melodic. I think stepping up the production also was something that helped in this sense! Having Juho Räihä at SoundSpiral Audio taking a bigger role in the recording and having it sent over to Tore Stjerna at NBS Production definitely made it sound more massive and took a load off our shoulders to focus on the music itself!”
Who could’ve guessed that leaving the musicians to focus on the music would have good results?
As noted earlier, musically and thematically, everything about Cosmic World Mother was rapidly birthed from its creators. The themes of that record weighed heavily on the band and carried over into this record. Cosmic World Mother was about how energy is eternal and how only changes form. This record doubles down on that notion by focusing on how humanity’s energies toward enlightenment are often the same path, even if we have different languages, religions, customs, etc. I have this vision of us all playing different levels of a video game but ending up at the same ending. Energy is the most efficient recycler in the universe. So where and how did Lillmåns find inspiration to write the lyrics for this album? Did he end up walking gardens and pacing graveyards?
“I went back to gardens, moved away from the city into the nature. I always felt like I needed to be in a dark place to create lyrics that came from the heart, ‘when the body suffers, the mind flowers,’ kind of state. This time I was at ease, and it was surprisingly efficient. I usually don’t want to spoil too much and having people to think for themselves, but yes, I had the time to sit down and read during the pandemic and came to some conclusions (as in nature, so in books). I think it’s a very calming thought, that whatever happens, whenever it happens, makes no difference. We have always and always will be a part of the circle of eternal energy; we have always existed and will always exist in some form. A notion that became ever so clear when reading up on different religions, worldviews, customs, and philosophies.”
Recording Studio: Drums & Bass at D-studio Guitars & Vocals at SoundSpiral Audio Keyboards & electronics at Ryijy’s cave.
Producer/Sound engineer: Juho Räihä Mix/Master: Necromorbus Studio / Tore Stjerna
Line-up: Timo Kontio – Guitar Mathias Lillmåns – Vocals Teemu Saari – Guitar Pyry Hanski – Bass Kauko Kuusisalo – Drums Antti Simonen – Keyboards
Cover artwork: Adrien Bousson Bio: Nick Senior Pictures: M.Laakso
Today, black metal mystics Mysteria Mystica Aeterna stream the entirety of their highly anticipated second album, The Temple of Eosphoro. Set for international release on October 28th via Iron Bonehead Productions, hear Mysteria Mystica Aeterna‘s The Temple of Eosphoros in its entirety here:
Formed in 2020 and emerging with their debut album a year later, Mysteria Mystica Aeterna is the work of supremely prolific duo Frater Noxathra (vocals, strings, keys) and Frater Odium Aeternum (drums), both of whom concurrently helm now-labelmates Lunar Chalice. As Mysteria Mystica Aeterna, they are aptly monikered, for their black metal is a very literally ancient and mystical one, harkening to the most cobwebbed dungeons of ’90s black metal, particularly in southern Europe
Now, just a year after their Into the Kingdom of Shadows debut, Mysteria Mystica Aeterna return to the darkest past with The Temple of Eosphoros. Immediately, the mysticism is a spellbinding and sumptuous one, the warm winds of old Hellas and Italy and even fantastical France (Osculum Infame’s classic Dor-Nu-Fauglith is close kin) blowing through the listener’s soul with power and poignancy. The duo’s surge is a grim but fully physical one; much like their Greek aesthetic forebears, Mysteria Mystica Aeterna do not forsake bass nor thickness of riff. Likewise, the alternately haunting/ceremonial synths are applied with aplomb, but never threaten to overshadow the central surge. Most of all, The Temple of Eosphoros features engaging songwriting that’s simple yet sublime, and thankfully stretched toward more epic lengths for maximum immersion. Enter that temple and be forever enthralled…
Cover and tracklisting are as follows:
Tracklisting for Mysteria Mystica Aeterna’s The Temple of Eosphoros 1. Temple Entrance [1:15] 2. The Holy Heaven Of Will [8:11] 3. Thou, Whose Mouth Is A Flame [6:19] 4. Thelema [2:06] 5. The Mysteries Of Death [7:35] 6. The Temple Of Eosphoros [10:01]
Today, Italian barbarians Necromutilator stream the entirety of their highly anticipated third album, Oath of Abhorrence here:
Set for international release on October 28th via Osmose Productions on CD format – the vinyl LP version will follow later this year.
Necromutilator exhume their axes and hammers, striking the third full-length album, this time by the claws of the mighty Osmose Productions. Ripping riffs, bursting artillery, blood-spilling bass pulsation, and vomit from the infernal pit for eight hymns of black death and damnation, all forged in Satanic power and hammering darkness throughout endless morbidity.
Preorder info can be found HERE. Cover artwork, courtesy of the legendary Chris Moyen, and tracklisting are as follows:
Tracklisting for Necromutilator’s Oath of Abhorrence
1. Raise The Necroapocalypse 2. Cremation Sorcery 3. Great Lord Of Desecration 4. Altar Of The Final Sodomy 5. Temple Of Execrating Death 6. Baphomet’s War Fire 7. Enthroned Upon Megiddo 8. Malevolent Blood
Today, Signal Rex announces December 23rd as the international release date for a special anniversary recording from Portugal’s legendary Irae, Assim na Terra como no Inferno, on CD, vinyl LP, and cassette tape formats.
By now, Irae should require little introduction. Since the dawn of this cursed millennium, mainman Vulturius has prolifically pursued a singular vision of RAW BLACK METAL that includes five full-lengths and countless split releases with likeminded comrades. As such, Irae have almost singlehandedly invigorated Portugal’s black metal scene, particularly the rawer iteration of it. And since the band’s blood pact with Signal Rex deepened in 2020 with the release of the landmark Lurking in the Depths LP last summer and followed the next year with the EPs Korona Winter Rehearsal of Darkness & Evil and Dangerovs Magick Zpells from the Mesziah of Death and a split LP with comrades Ordem Satânica and Wømb most recently, there’s no sign of Irae‘s black flame being extinguished anytime soon.
Of course, the black flame has been burning brightly since the very beginning, and 20 years after the cult’s formation, Irae present a special anniversary album titled Assim na Terra como no Inferno. Featuring seven exclusive songs across 40 minutes, Assim na Terra como no Inferno is both new and old: the ancient spirit revitalized in the putrid present, archaic energies reignited with a passion that simply refuses to relent – and, amazingly, only gets better with time. Truly, it is some strange magick that Irae manages to sound more vital than ever, both embodying the post-millennial Portuguese sound and pushing it to greater, more deranged lengths with that unquenchable flame. Utterly haunting and harrowing whilst exhibiting some of Vulturius’ most nuanced songwriting to date, Assim na Terra como no Inferno is as grim and splendorous as it gets. Those who were immersed in the black metal underground in the mid ’90s will find these sounds nostalgic; newcomers will thrill to the taboo sensations those sounds arouse. The past is truly alive…
As Vulturius explains, “It was in the fall of 2002, with experience brought from other bands and projects, the ideas that have followed me since ’95/’96 flow and quickly turn into lyrics, titles, and songs, when I wrote and immediately recorded it on tape in my room, the first four songs by Irae, which turned out to be the first demo Spreading the Wrath of Satan. I went through all the processes since a young age listening to rock and heavy metal on music videos and tapes to thrash metal, some death metal, until I heard those dark rumors and listened to the first black metal records from the second wave of black metal. It touched me instantly and became a purpose and something that I wanted to follow as a fan, as a musician. Now, after 20 years, I’m still doing it with the same devotion as ever. As time goes by, I thought about something special for this celebration, and nothing is better than a record with new songs glorifying and honoring the dark past of black metal, back when it was dangerous, magical, mystical, and exciting like in the mid ’90s era. Therefore, honoring those times, here’s my take, about what I’ve been following since.” Long may Irae reign!
In the meantime, hear the brand-new track “V Caminhv Primitiv” here:
Cover and tracklisting are as follows:
Tracklisting for Irae (Portugal)’s Assim na Terra como no Inferno 1. V Caminhv Primitiv 2. Pvr tempvz de Decadênzia 3. Relíqvia de Espinhvz 4. Zangrandv v Rebanhv… Uma Melodia de Loboz 5. Majestade de Sangue 6. Símbolos do Império 7. Enforcamento
Today, sonic iconoclasts Ofdrykkja reveal the new track “The Cleansing.” The track is the second single from the band’s highly anticipated fourth album, After the Storm, set for international release on November 25th via AOP Records . Featuring ColdWorld mainman Georg Börner, hear Ofdrykkja‘s “The Cleansing” here:
It is no secret that the music of Ofdrykkja has never sounded quite the same. As the Swedish trio strive to keep evolving on a personal level, this is naturally reflected in their music, as well. While 2019’s preceding Gryningsvisor was more of a traditional atmospheric/ambient black metal album, the aptly titled After the Storm ventures away, off the beaten path, and proceeds to distance itself from some of the more traditional elements that are usually prominent in metal music.
At once recognizably Ofdrykkja and something quite different altogether, the ever-solemn After the Storm plaintively emphasizes the band’s traditional Swedish folk side, along the way incorporating elements of post-rock, neofolk, and even dark pop. Mesmerizing and magical is this blend, but the band’s roots are never far away; in fact, Ofdrykkja argue the spirit of metal is still prominent across After the Storm. Naturally, the somber mood and atmosphere is one thing that has remained constant in their music throughout the years, and that is unlikely to change anytime soon, but never without the presence of hope. After the Storm gorgeously displays this presence, becoming a beam of light piercing through the darkness. Call Ofdrykkja what you will, but even at their quietest and most restrained, their power and poignancy is unchallenged.
Hear the previously revealed “The Mære” HERE, also at AOP Records‘ official YouTube channel. Cover artwork, courtesy of Maéna Paillet, and tracklisting are as follows:
Tracklisting for Ofdrykkja’s After the Storm 1. The Light 02. Hårgalåten 3. The Mære 4. After the Storm 5. The Cleansing 6. Själavandring 7. Beyond the Belt of Orion
Today, Purity ThroughFire announces December 21st as the international release date for Order of Nosferat‘s highly anticipated fourth album, Vampiric Wrath Unleashed, on CD, vinyl LP, A5 digipack, and cassette tape formats.
By now, those well versed in the crimes of Purity ThroughFire should be aware of Order of Nosferat. Emerging from the shadows in early 2021, the duo of Count Revenant and Anzillu released TWO full-lengths that year: Necuratul and Arrival of the Plague Bearer. And while both underground veterans are no strangers to black metal, the variety they unleashed with Order of Nosferat was most definitely OLD, in every sense of the word. Undead vampiric black metal had truly arisen!
Anzillu
Of course, the duo wasted no time spreading their infection further, as third album Nachtmusik arrived in March 2022 – and yet again do Order of Nosferat deliver another full-length, keeping their feverish activity to two albums a year…for now! Bearing the ever-apt title Vampiric Wrath Unleashed, this is the sound of Order of Nosferat at their most rabid and bloodthirsty, raging forward with a barely contained violence and fully vintage rawness that harkens to such late ’90s French gems as Osculum Infame’s debut album or especially Winter Funeral’s first demo. And yet, while the pace has quickened (just like the heartbeat of a vampire’s next victim), there’s another tasteful dusting of moonlit synths, and the melodicism has shifted from sad to nostalgic. Essentially, it’s more of Order of Nosferat, but proves that their plausibly idiosyncratic version of VAMPIRIC BLACK METAL is seemingly inexhaustible. Inexorable is their march, and it’s more triumphant than ever: this is Vampiric Wrath Unleashed! Begin marching with the brand-new title track “Vampiric Wrath Unleashed” here:
Cover artwork, courtesy of Vhan Artworks, and tracklisting are as follows:
Tracklisting for Order of Nosferat’s Vampiric Wrath Unleashed 1. Shadows over Wisborg 2. A Howl from the Forbidden Tower 3. Vampiric Wrath Unleashed 4. Fog Hides the Secrets of the Forlorn Kingdom 5. …of Treachery and Bloodshed 6. The Lone Lord 7. The Abyss of Thousand Nights 8. Whispers from the Master’s Tomb 9. Hunting Eyes of Fury 10. As the Sunrise Ends My Everlasting Sorrow
Today, Helter Skelter Productions (distributed & marketed by Regain Records) announces December 9th as the international release date for the highly anticipated third album of Italy’s Black Spell, Season of the Damned, on CD and cassette tape formats. The digital version will be available on November 11th while vinyl LP version is expected for release on January 20th, 2023.
Since their bolt-from-the-blue debut album in 2020, Italy’s Black Spell have swiftly caused a stir in the stoner doom scene. That the band honors the noble Italian roots and their homeland’s rich history of both doom and psychedelic rock is a given; that they then impart their own twisted personality into such is what gives them staying power. And after two full-lengths and an EP in just two years of existence, the saga of Black Spell is only beginning…
Now, that saga’s fit to become legend – and a seedy ‘n’ sordid one, of course – with the release of Black Spell‘s third full-length in nearly as many years. Appropriately titled Season of the Damned, the sonic warlocks’ third full-length sees them hitting of a fever pitch of their bewitching powers. At once strictly stoner doom and aiming for rowdier, more rockin’ territory, Season of the Damned is Good Times / Bad times writ large: the drugs hit harder, and so do the hooks. Black Spell thus slog through the dark, primordial muck with a more assured swagger, seeking dustier and more arid realms and rocking the rock out as they do. So, even when that primordial muck threatens to get really DARK (and really icky/sticky), a devilish sense of fun or least (black) celebration arises. How can life be Hell when you’ve got these dope jams as your soundtrack?! This ain’t no summer/winter of love: it’s the Season of the Damned!
In the meantime, hear the brand-new tracks “Black Abyss,” “We Drink Your Blood,” and “Dead Dawn” here:
Cover and tracklisting are as follows:
Tracklisting for Black Spell (Italy)’s Season of the Damned
1. Satanic Majesty 2. Black Abyss 3. We Drink Your Blood 4. Witches’ Brew 5. Season Of The Damned 6. Apparitions 7. Curse Of The Undead 8. Dead Dawn 9. Temple Of Drugged Sorceries
Emerging from the serpentine susurrus left in the wake of last year’s monstrous two-part epic Poison Palinopsia, Qrixkuor swiftly rise again to present a new EP titled Zoetrope – a single black arrow of death sent straight to the heart of the world – to be released on CD and tape formats on November 18th, joined in darkness again by Invictus Productions in Europe and Dark Descent Records in the USA, with the vinyl version to follow in mid-2023.
Returning to Priory Recording Studios in Birmingham, England, to record, mix, and master the track with the acclaimed Greg Chandler and with cover art this time contributed by the extraordinary Santiago Caruso, the textural approach of Zoetrope dilates the divine eye of death metal to unmapped dimensions, dispatching a boot to the face of the idea that its marriage with symphonic timbres must be synonymous with floral harmonies backed by sterile production and performed by lifeless sample libraries. Zoetrope is majestic, but any beauty has long since withered, and what remains is the discordant dirge of Qrixkuor‘s cacophonous duet with the Orchestra of the Eternal Return.
Zoetrope is an ode to the terror of the cyclic infinite – the endless, silent scream of a mind that has wandered so far that it cannot return. The soul that burns on everlasting, each thousand-year journey the mere blink of an eye. There is no escape…
In the meantime, hear an excerpt of Zoetrope here:
Aforementioned cover artwork and tracklisting are as follows:
Tracklisting for Qrixkuor’s Zoetrope 1. Zoetrope (Spiritual Sparagmos) [24:34]
Today, Hells Headbangers announces November 18th as the international release date for a brand-new mini-album from Australia’s Eskhaton, Horracle, on CD format. The 12″ vinyl version will follow next year.
Eskhaton is CYCLONIC DEATH METAL: absolute chaos and total death – psychotic, bestial, raw blistering ferocity and horror atmosphere – from Melbourne, Australia. Eskhaton means Total Death: the end of all things and time.
Formed by Invokocide (vocals/guitars) in 1999, with the addition of Whirwindead (guitars) in 2002, it was not until November 2008 when Hammerkill joined on drums that the lineup was able to record, with bass work done by Whirlwindead and Invokocide until a bassist could be found. Two albums and an EP were recorded and released between 2011 and 2014, with the EP being unreleased until 2018. The lineup changed in 2015 when Militiarkh was possessed to take hold of the drums, who later also did live shows for Hobbs Angel of Death.
Live shows for Eskhaton began 2014 after Abyssnil (Ignivomous) joined on bass 2014-16, and following live efforts of Telesmaniak 2016, Christfallen 2017, Keraborous (Inverloch/Ignivomous) 2018/19. In 2020, Sublimorkunt was possessed for the bass role and the coming Horracle recording plus future recordings.
To date, Eskhaton have released three albums, with 2018’s Omegalitheos being the most recent offering and which sent the band on a barrage of destruction in Australia, New Zealand, Mexico, and twice in Europe between 2018-2019, alongside such bands as Incantation, Cemetery Urn, Impetuous Ritual, Diocletian, Heresiarch, Sabbat (Japan), King Parrot, Nocturnal Graves, Watain, Cult Of Fire, Krisiun, Drawn And Quartered, Funebrarum, Krypts, Interment, Venenum, Mitochondrion, Force Of Darkness, Weregoat, Tombmold, Godless, Nocturnus AD, Full Of Hell, Mispyrming, Inverloch, Beheaded, Altarage, and many more, including two performances at the Brutal Assault fest in consecutive years plus the afterparty show in Prague.
All those years spent taking their Total Death metal madness across stages far and wide have finally culminated in Eskhaton‘s grandest statement to date, and yet also their shortest: the five-song/30-minute Horracle. However, lumber under no belief that this recording is lacking in any respect; in fact, any longer and Horracle might simply be too horrifying to endure. Decaying occultism and tortured extremity coalesce into a hammering whirlwind that showcases Eskhaton‘s most diverse songwriting, spanning both their fastest and slowest tracks. Chaos and epic evil are still at the forefront of their attack, but the band’s exceptional tightness – even when tempting those very corners of chaos – is a demonic delight to experience. That they take such serpentine material, impossibly murky and already palpitating at the very core, and deliver it with a katana-sharp clarity is even more demonic. Thus, Horracle is truly titled.
And Eskhaton are just getting started: a new full-length for Hells Headbangers is already in the works. Those borderlanders into both Psycroptic and Pseudogod, Cryptopsy and Conqueror, you MUST witness this Horracle!
In the meantime, hear the brand-new track “Vortexecution” here:
Preorder info can be found HERE. Cover and tracklisting are as follows:
