Black Metal

Black Metal Legends ENTHRONED sign to Season of Mist

Season of Mist are proud to announce the first signing of the new year; ENTHRONED! The legendary Belgian black metal formation will release their new album later this year.

The band comments: “ENTHRONED hordes worldwide, the time has come to break the silence. So it is with great pleasure that we can finally announce the new label with whom The Blackened Horde of ENTHRONED will work as from now on. We will be working with the Season of Mist clan for our next releases and further cooperations. We are looking forward to this new partnership, to work with a label that will be able to give us the support, freedom and the right tools to bring our dark art in it’s right place.
ENTHRONED – Confirmed live shows 2019
16 Feb 19 Arnhem (NL) Doc’s Blackfest, Willemeen
02 Jun 19 Kharkiv (UA) Art Plant Mechanica
20 Jul 19 Volyne (CZ) ETEF
ENTHRONED, a name Black Metal fans are no strangers to. Over the course of the last 25 years, they have pushed the boundaries of black metal and the deepness of the Left Hand Path philosophy further within. The quintet has channeled that dedication into their newest record; a dark and crushing black metal album where cold riffing, blood chilling atmospheres and ritualistic drumming are keys to forging their most mature and accomplished opus to date.

The band, who crawled out of the black lands of Belgium in 1993, inked their first contract less than a year after its formation, and recorded their revered debut album ‘Prophecies of Pagan Fire’, an album which became an all-time classic within the genre.

By then known as The Blackened Horde to fans and the scene at large, ENTHRONED recruited guitarist Nornagest and within 2 years entered Hautregard Studios to give birth to their second album. After the recording, tragedy struck and founding member and drummer Cernunnos (1997) took his own life.

The band went on to record the album using Cernunnos’s drum tracks from rehearsal recordings which were recorded by long time friend Da Cardoen, from the Belgian band ASPHYXIA. ‘Towards the Skullthrone of Satan’ was thus born.

ENTHRONED went on touring the world and releasing albums such as ‘Regie Sathanas’, ‘The Apocalypse Manifesto’ and ‘Armoured Bestial Hell’, the first album to feature core member Neraath on guitars. Then followed ‘Carnage in Worlds Beyond’, a brutal piece of black metal recorded by Harris Johns.

Ten years after their very first release, ENTHRONED recorded ‘XES Haereticum’, their last studio album with original vocalist and founding member Sabathan. The band then recruited Phorgath from the Belgian veterans EMPTINESS on bass and backing vocals, with Nornagest assuming the main vocal duties.

ENTHRONED recorded their seventh album ‘Tetra Karcist’ (first with this line-up) in 2007, which was hailed at the time as one of the best releases of the band. ‘Tetra Karcist’ also was the first opus out of a conceptual quadrilogy including ‘Pentagrammaton’, ‘Obsidium’ and last but not least ‘Sovereigns’.

The 2014 record ‘Sovereigns’ saw the debut of Menthor on drums, as well as extensive touring over the next four years. In 2016, Phorgath and guitarist ZarZax departed the band on amicable terms, and were replaced by Norgaath and Shagal (from cult Argentinian act VIBRION) respectively.

The band have started to work on their 11th and most anticipated album so far, which will be released in 2019 by Season of Mist.
 Line-up:
Nornagest: Vocals
Neraath: Guitars, noise and effects
Shāgāl: Guitars
Norgaath: Bass
Menthor: Drums

Links:
https://www.facebook.com/Frater.Silurian
https://www.instagram.com/enthronedofficial
https://enthroned.bandcamp.com/

KATECHON: Norwegian black/death quartet announces the details of the third album 

KATECHON has already found a notable place in the underground upon churning out two albums. Trondheim, Norway based black/death metallers are now ready to take the wraps of their forthcoming third opus, Sanger Fra Auschwitz. The album is anti-totalitarian in form and a view into the events of the second world war and how it affected the people on both sides. 

This third album also marks a new era for the band as they are now signed to Finnish label SATURNAL RECORDS. This album is slated for worldwide release on CD and digitally on March 01, 2019. 

KATECHON started up in 2011 in Trondheim, Norway, with 5 members from different local metal and punk bands who were fed up by doing music by the numbers. They recorded an eponymous demo in 2012 which gained a strong amount of positive feedback from the underground and this demo paved their way to get signed to Nuclear War Now! Productions. During their tenure in Nuclear War Now!, KATECHON spawned two acclaimed albums — the debut “Man God Giant” in 2013 and  the sophomore album “Coronation” in 2015.

After the second album, the band decided to go on without their guitarist PGS and the drummer MD for personal reasons. Shortly thereafter Kråbøl (from Thorns and Sarke) took over on drums and CB became the sole guitar architect of the band. With this line-up they spent almost one and a half year in the studio recording the third opus “Sanger Fra Auschwitz”. During the studio sessions, Nuclear War Now! and KATECHON decided to part ways, and soon they found a new label, SATURNAL RECORDS, with whom they feel they can pursue their musical goals even further.

With the album “Sanger Fra Auschwitz”, KATECHON takes a deep dive into the darkest places of the collective human psyche. Here Auschwitz is not just the physical, but also the meta-physical manifestation of evil on earth. The record is a view into the events of the second world war and how it affected the people on both sides. It is anti-totalitarian in form, drawing textually from Paul Celan, T.S. Eliot and beat poetry. The music is cold and bleak, which is ironic considering they spent over one year recording it, utilizing a lot of guitar effects, synthesizers and mellotrons to achieve the full and rich sound it conjures. With this album KATECHON kills off the esoteric child diseases they had in their early years and head straightforward into the entropy of collective madness. The band has also weakened the magnitude of death metal attachment in this record and brought forth a more harrowing black metal commanded approach. “Sanger Fra Auschwitz” is 37 minutes of pure darkness!

Recorded: NORDSTERN studios in 2017-2018 
Music and Lyrics: KATECHON
Mastered, Mixed and Engineered: Christian Broholt
Cover Artwork: Martin SchreinerTRACK-LIST: 
1. Fotspor
2. Eloi
3. Renselsen
4. Ankomst
5. Mørkets Hjerte
6. Tre Hoder
7. Davids Skjold
8. Unheimlich
 MORE INFO:
https://www.facebook.com/Katechonband
https://katechon.bandcamp.com 
https://open.spotify.com/artist/3CGYWVrKWCgmrpTaJ2vQ3f
www.saturnalrecords.com
www.facebook.com/saturnalrecords  

DEPARTURE CHANDELIER set release date for NUCLEAR WAR NOW! debut, reveal first track

Today, Nuclear War Now! Productions sets February 15th, 2019 as the international release date for Departure Chandelier‘s highly anticipated debut album, Antichrist Rise to Power, on vinyl LP format.

Antichrist Rise to Power is a violent declaration of allegiance to the Emperor’s dominion, from the mud-covered skeletons of Marengo to the jagged cliffs of St. Helena. The noble acceptance of forced exile, the inescapable chill of the prison cell, and the cruel rush of combat all fill the aristocrat’s appetite for his boundless quest for honor. Napoleon’s coronation—the Anti-Christ’s ascent—left the earth damp with the crimson blood of elitism. The soldier becomes the Emperor, deified and worshipped, then confined, and cast out from nobility to imprisonment, the dim light of Europe lost against the impenetrable cascade of invasion. In his cold, damp room at Longwood House, the candles surrounding him extinguished; the last traces of light dispersed into the smoke as Napoleon’s regal remains expired in mystery. The demigod’s defiant transformation embraced through the talons of the Accipitridae! In December 1840, the ashen remains of his body, exhumed and defiled during autopsy from St. Helena, arrived in a black coffin shrouded in white silk by the charter La Belle Poule to the Hôtel des Invalides in Paris. Despite his exile and the trophy-like display of his intestine at The Royal College of Surgeons in London, his legacy of tyranny disguised as reform (Napoleonic Code) remains forever sewn into the fabric of Europe and the West Indies. 

Departure Chandelier’s music shimmers with the aesthetic ardor of apotheosis. It is a communion with the deceased, tracing the pathway of life transmuted into death over dishonor. Although comprised of members of Akitsa and Ash Pool, Departure Chandelier is wholly unique in style and substance and bears little overt resemblance to either of those projects. Recorded nearly a decade ago, Departure Chandelier’s debut album, Antichrist Rise to Power, actually preceded the band’s demo, The Black Crest of Death, The Gold Wreath of War, which was released in 2011 on Tour De Garde. Recorded in a basement at grave-level behind the New York City Marble Cemetery (the oldest cemetery in New York City), established as a repository for the dead in 1831, just a decade after Napoleon’s death. Within the gates of the small graveyard (where photography for the album was taken during a rare snowstorm), each plot is commemorated with a marble tomb. 

Compositionally, one hears the heavy influence of Bathory and other seminal acts overwritten by the sound of classic French black metal, such as Osculum Infame, Bekhira, Chemin de Haine, Cantus Bestiae, and Machiavel. The tracks are rich in melody interspersed with an air of intransigent pride and adorned in the opulent ornamentalism of aristocracy and empire. Keyboard stabs and swells outline the riffs, accentuating the guitar’s stately thrust. Rising out of the music, the vocals seethe, the commingled expression of scorn for life and spiritual dissent. The recording manages to capture the best elements of raw black metal, leaving the guitars brittle and charged, while simultaneously supplying depth and balance. The juxtaposition between the lean, stripped-down essence of the recording with the ornate and complex melodies and florid compositional accents is a perfect complement to the album’s boldly unique detail of the Napoleonic era.

In the meantime, hear the new track “Forever Faithful to the Emperor” here :
 Cover and tracklisting are as follows:
Tracklisting for Departure Chandelier’s Antichrist Rise to Power
1. Intro (Napoleon’s Sword)
2. Life Escaping through the Candle’s
3. Forever Faithful to the Emperor
4. Catacombs Beneath the Castle of the Marquis
5. Departure Chandelier
6. A Sacrifice to the Corsica Antichrist
7. Re-Establish the Black Rule of France
8. Outro (Exile on the Jagged Cliffs of Saint Helena

more info:

www.nwnprod.com
www.facebook.com/pages/Nuclear-War-Now-Productions/114864651994141

WAN: Mini-album “Gammal är äldst” of Swede black metal force streaming full EP

Swedish old school black metal brutes WAN return with a five track mini-album, Gammal är äldst,the followup of their last year’s lauded full length “Wan Way to Hell”. CD is available via Carnal Records from December 21, 2018.

Swedish black metal force WAN came on the scene as a triad of aggression in 2009 to glorify Satan, chaos and the mighty northern darkness. Their debut, Wolves of the North, promptly saw its release in 2010. In 2013, the stalwart offered their second attack, Enjoy the Filth, fetching a more no holds barred and uglier song-writing approach. Two years later, Wan appeared in a split release called “Necroholic” alongside their countrymen Styggelse and Icelandic mystics Curse.
 
WAN encountered lineup changes in the next two years, but that could not disintegrate the tenebrous mightiness of the Swede horde. WAN unleashed the third album, Wan Way to Hell, via Carnal Records at the dawn of 2017. This album marks a new era for WAN and it confirmed the sustainability of their raw-energy, which is ever flowing and ever dark.
 
WAN are currently stronger than ever as a four-headed beast and they channeled violence through the latest mini CD “Gammal är äldst” (English: Old is the Oldest). Anyone au fait with the ‘80s and early ‘90s Scandinavian black metal knows what the five tracks of this EP convey. Indeed, they conjure nothing but relentless slabs of caustic riffs, maliciously intended raucous snarls and holocaustic drum-assaults. “Gammal är äldst” is available on CD format from this December 21 via CARNAL RECORDS.
 
To celebrate their glorious 10 years as a band, WAN will be embarking upon a European tour in May 2019 together with Nekrokraft and The Generations Army.

Treat your ears with the intensity of filthy ancient black metal.

For More Info:https://www.facebook.com/pg/TheUnholyWAN
http://www.carnalrecords.com
https://www.facebook.com/Carnalrecords.sweden

ORDEM SATANICA set release date for new SIGNAL REX album, reveal first track

On December 25th, Signal Rex is proud to present Ordem Satânica‘s highly anticipated third album, Ordem Satânica, on cassette tape format – strictly limited to 166 copies, never to be repressed again on any format.
 
Ordem Satânica truly live in the moment, that intoxicating fury of total and utter immersion. They’re possessed by a hideous grimness that’s utterly hypnotizing, and not surprisingly are at the forefront of Portugal’s prolific and thriving raw black metal scene. Linchpins of the elite Aldebaran Circle – which currently includes Trono Além Morte, Occelenbriig, Voëmmr, and Degredo – Ordem Satânica‘s sound is comparably chaotic and necrotic, bleary and blown-out. And yet, the trio possess a deceptive sense of melody, malformed and miasmic, dissonant and distressed, that favorably reminds of France’s immortal Black Legions from the dark days of the 1990s. For verily, this BLACK METAL from an ancient time – AGAINST the modern world, and against the modern “black metal” scene.
 
To date, Ordem Satânica have built a coveted canon of thoroughly underground works, each more challenging and cantankerous than the last. Just earlier this year, they released their second full-length, Demónios dos Primeiros Mundos, and now strike back with their crudest ‘n’ rudest gesture: fittingly, self-titled Ordem Satânica. Mesmerizing in the malodorous depths it plumbs whilst exhibiting an acutely cultivated aspect despite its crudeness, Ordem Satânica strips the band’s aesthetic bare but builds it back up, blown out and nearly brittle, ever to debase the listener during this transformation/transfixion: a windswept travail across desolation and disgust, ever inwards and maybe even backwards, shot upward/outward from the darkest dungeons of the soul. Modernity doesn’t exist here; there is only the past, which passed before it began. Time stands still here, and the listener is powerless against Ordem Satânica‘s evocations of a better/worse world.
 
When there are still revisionist reveries for the early ’90s boom of black metal, which inevitably died a slow death, there are bands in this millennium who harness that very real, very primordial power, and the raw Portuguese scene is currently at the forefront. Ordem Satânica continue to carry the torch – have you been burned yet? Feel the first burn with the new track “Senhor Dos Gelos”

Tracklisting for Ordem Satânica‘s Ordem Satânica
-Side A-
1. Bellum Est
2. Senhor dos Gelos
3. Possuídos pelo Tirano
4. In Aeterna Crudelitate II

-Side B-
1. O Black Metal é o Frio que traz a Maldição
2. Ordem Satânica
3. Obra do Diabo

More Info:

www.signalrex.com www.facebook.com/signalrex
www.signalrex.bandcamp.com  

Nuclear War Now! Productions release Australian Deathrash pioneers Nomenclature Diablerie demo from 1988

Occasionally, amid the deluge of new music and the endless procession of reissues, some truly remarkable, nearly forgotten recording rises to the surface. Such is the case with Nomenclature Diablerie’s 888 demo. 

Formed in Sydney, Australia in 1988, Nomenclature Diablerie was a short-lived project based on songs written by guitarist Matty Boomsticks. The scene in Sydney at the time was potent. Deathrash pioneers Slaughter Lord spearheaded the extreme metal movement, and Sadistik Exekution’s emergence a couple years later set the trajectory for the frenetic and chaotic style that would eventually dominate the Australian scene.

Inspired by the aforementioned local acts, as well as Bathory, Slayer, and the other extreme metal bands that were active at the time, Matty began writing songs on his own. He mentioned to his friend Dave Slave, bassist for Sadistik Exekution, that he was looking for a drummer, and Dave passed the information along to Sloth, also a member of Sadistik Exekution. The band was unnamed until Matty showed Dave one of the songs he’d written, and Dave suggested scrapping the song, but keeping the title, “Nomenclature Diablerie,” and using it as a band name instead.

Matty and Sloth rehearsed together off and on for several months and eventually booked time in a local studio to record a demo. Before recording, Matty recruited another friend, Toneye (Chaotic Impurity, Infinite Black), to handle the vocals. Although they only recorded two songs, the demo, simply called 888, offered a distinguished approach to metal that was incredibly advanced for the time. Matty’s mission with Nomenclature Diablerie was to expand the boundaries of metal, laying waste to the conventional approaches of the day, while still maintaining a sense of purity in the music.

When listening to 888, it is clear that Matty was drawing influence from other styles of music. The songs on the demo are a dizzying spectacle of warped time signatures and clashing chords, but delivered with stunning precision. The second side in particular, featuring the song “Premature Cremation,” shifts with mathematical accuracy, the riffs lurching and bending, mutating as the song evolves. The same innovative spirit that drove so much of the early Australian underground permeates the 888 demo. Of course, one can only speculate about what the band might have accomplished had Matty persisted, but the existence of this demo offers at least a glimpse of Nomenclature Diablerie’s fleeting brilliance.

Originally released in 1988 in an edition of around 500 tapes, and pressed again in 1999 as a very poor-sounding 7” limited to 200, these tracks have never been given a proper release until now. Presented here as a 45 RPM 12” with full-size cover art, this definitive reissue is intended to restore Nomenclature Diablerie to its proper place in the canon of Australian extreme metal.  
MORE INFO:
www.nwnprod.com
www.facebook.com/pages/Nuclear-War-Now-Productions/114864651994141  

Der Weg Einer Freiheit announce 10-year anniversary tour

DER WEG EINER FREIHEIT have announced a 10-year anniversary tour in  March and April 2019. On this special occasion, the band will perform their  self titled debut album in its entirety. Special guests on this tour are AU-DESSUS (28.3. – 6.4), CELESTE  (7. – 12.4) and THE DEVIL’S TRADE (all dates). A full list of tour dates can be found below.
 
Vocalist Nikita Kamprad comments: “2019 will be a special year for us! It marks the 10 year anniversary of the release of our first album “Der Weg einer Freiheit” and therewith the start of a long and exciting journey in our lives. In tribute to this album and everyone ever involved in this band, as a member or in the background, we’re playing it from start to finish each day on this special tour. The only time for the next… maybe 100 years? Don’t miss it, we’re bringing some great guests with us, namely CELESTE, AU-DESSUS and THE DEVIL’S TRADE! On top we will celebrate the release of our upcoming live album on this run and will be equipped with a limited tour edition that will only be available on live shows during 2019. Get your tickets and see you soon!”

DER WEG EINER FREIHEIT tour
with AU-DESSUS and CELESTE and THE DEVIL’S TRADE
28 Mar 19 Paris (FR) Le Petit Bain *
30 Mar 19 Toulouse (FR) Le Metronum *
31 Mar 19 Barcelona (ES) Bóveda *
01 Apr 19 Lyon (FR) Rock n Eat *
02 Apr 19 Esch/Alzette (LU) Kulturfabrik *
03 Apr 19 Cologne (DE) Luxor *
04 Apr 19 Tilburg (NL) Little Devil *
05 Apr 19 Dresden (DE) Beatclub *
06 Apr 19 Hamburg (DE) Knust *
07 Apr 19 Nuremburg (DE) Hirsch **
08 Apr 19 Prague (CZ) Futurum  **
09 Apr 19 Vienna (AT) Arena **
10 Apr 19 Munich (DE) Backstage **
11 Apr 19 Stuttgart (DE) Universum **
12 Apr 19 Berlin (DE) Lido **
13 Apr 19 Wiesbaden (DE) Schlachthof **

CELESTE (7. – 12.4.) *
AU-DESSUS (28.3. – 6.4.) **
THE DEVIL’S TRADE (all dates)

DER WEG EINER FREIHEIT festivals
28 Apr 19 Oslo (NO) Inferno Metal Festival

The cover artwork and track-list of ‘Finisterre’ can be found below.

1. Aufbruch (9:49)
2. Ein letzter Tanz (13:49)
3. Skepsis Part I (5:05)
4. Skepsis Part II (5:36)
5. Finisterre (11:13)
The musical puzzle that adds up to become DER WEG EINER FREIHEIT turns into something more complex – yet also clearer defined on the band’s fourth studio album, ‘Finisterre’. The original pieces are still in play: the aggressive German directness akin to ENDSTILLE and a penchant for brooding melancholy as embodied by IMPERIUM DEKADENZ. Spiralling psychedelic moments comparable to DEAFHEAVEN and WOLVES IN THE THRONE ROOM also find their place – as well as a knack for majestic melodies that shows parallels in Swedish black metal spearheaded by MARDUK and DARK FUNERAL.

Yet while DER WEG EINER FREIHEIT are clearly progressing along the lines laid out by their previous acclaimed effort, ‘Stellar’, the band has found a way to make these pieces fit more seamlessly. ‘Finisterre’ flows together into a coherent picture that stresses the Germans’ unique approach and sound. This album marks the point where DER WEG EINER FREIHEIT turn their various influences into a work entirely of their own expression despite never trying to cover up their roots. This impressive maturity has been reached through several stages.

Founded in 2009 by guitarist Nikita Kamprad and vocalist Tobias Jaschinsky, DER WEG EINER FREIHEIT garnered early attention with their self-released debut ‘Der Weg einer Freiheit’ (2009), which quickly sold out and was re-issued with new drum tracks a year later. Following the ‘Agonie’ EP (2011), their second album ‘Unstille’ (2012) already cored international acclaim. In the aftermath of this record, co-founding member Tobias left and main songwriter Nikita Kamprad took over his vocal duties. 

The frontman was first heard on third full-length ‘Stellar’ (2015), which saw DER WEG EINER FREIHEIT gaining traction across the pond as well as expanding their European base. Having performed along such diverse acts as WOLVES IN THE THRONE ROOM, NEAERA, THE BLACK DAHLIA MURDER, AMENRA, CRIPPLED BLACK PHOENIX, and DOWNFALL OF GAIA as well as playing prestigious festivals such as Graspop, Hellfest, Resurrection, Roadburn, Summer Breeze, and Wacken has honed the band’s songwriting skills to razor-sharp precision.

‘Finisterre’ clearly stands at the apex (for now) of the steep climb that DER WEG EINER FREIHEIT have taken. This German star is finally shining in full black.

www.derwegeinerfreiheit.de
www.facebook.com/derwegeinerfreiheit

Current line-up
Nikita Kamprad: guitars, vocals
Tobias Schuler: drums
Nico Rausch: guitars
Nico Ziska: bass

Recording line-up
Nikita Kamprad: guitars, bass, vocals
Tobias Schuler: drums

BLACK/DEATH POWERHOUSE, HISS FROM THE MOAT, UNVEILS VIDEO FOR TITLE TRACK OFF NEW ALBUM “THE HARRIER”

December 14, 2018 – Los Angeles, CA – HISS FROM THE MOAT, the transcontinental black/death metal band founded by acclaimed drummer James Payne (Vital Remains, Hour of Penance), have unveiled a video for the title track of their sophomore album “The Harrier,” due out via M-Theory Audio on February 22, 2019

The song can also be streamed on Spotify, Apple Music and other digital platforms. In addition, the M-Theory webshop has launched the pre-order for “The Harrier,” which is available on CD and limited-edition moat-black vinyl (200 copies). Digital pre-orders via Bandcamp include an instant download of the title track.  “The song, ‘The Harrier,’ represents the identity of the album both for the instrumental part and the lyrics.

The instrumental part is composed by many dynamic parts that create crescendos that then explode into more opened and epic parts, which is also how we composed the album itself — powerful, but not only fast,” explains drummer James Payne. “The lyrics, instead, are composed from extracts of sacred and political texts (as it’s indicated from the inscription in brackets) that, isolated and used in a more direct way, express and show how violent and brutal these books are, and sums up a good part of what the album itself talks about. 

The video is composed from the lyrics that are supported from some illustrations that represent what the lyrics are saying. We chose to do this as a reference to how the illustrations were used in the past, to explain to whoever couldn’t read, what was written in the sacred texts. We wanted to do the same thing here since, nowadays, almost everybody can read, but everyone have their own interpretation of whatever is written, instead, since we have a specific and clear message to deliver, we’ve used the images to kind of have the same role that they had in the past — to explain to whoever gets our message, the meaning of it, to avoid misinterpretations.” 

“The Harrier” – which features cover artwork by Stefano Bonora – was recorded, mixed and mastered at Milan’s SPVN Studio with Stefano Orkid Santi, who produced the latest Cripple Bastards album and previously worked as live engineer for bands such as Origin, Suffocation and Cattle Decapitation. 

The U.S.-based Payne formed HISS FROM THE MOAT with two Italian friends – bassist/vocalist Carlo Cremascoli and guitarist Giacomo Poli – when he was just 18 years old. In 2009, the group self-released their debut EP, “The Carved Flesh Message,” which they supported by performing alongside the likes of Psycroptic, Skeletonwitch and The Black Dahlia Murder. 

Four years later, HISS FROM THE MOAT released their debut full-length, “Misanthropy,” via Lacerated Enemy/Nuclear Blast. The band’s intense use of both extremes of death and black metal produced an album that stood alongside the delivery of acts such as Behemoth, Belphegor and Rotting Christ.  

Following the release of the album, HISS FROM THE MOAT embarked on an extensive tour across Russia, Europe and Asia, delivering aggressive and visually engaging performances backed by the blackened intensity of the band’s new material. During this period, Payne left the legendary death metal act Vital Remains – a group he joined following a two-year stint with Italian death metal powerhouse Hour of Penance – to focus full-time on HISS FROM THE MOAT, and the band extended from a three-piece to a quartet with the addition of Max Cirelli (guitar/vocals). 

Over the past two years, the band has toured extensively worldwide while working between the U.S. and Italy to write “The Harrier.” Now, HISS FROM THE MOAT aim to unleash another sonic onslaught that captures the band’s range of death and black metal inspiration while creating a unique and intense presence in the world of extreme music. 

Pre-order HISS FROM THE MOAT’s “The Harrier” on CD or limited-edition Vinyl at www.m-theoryaudio.com/store

HISS FROM THE MOAT are: 

Massimilano Cirelli – Guitar/Vocals

James Payne – Drums

Carlo Cremascoli – Bass/Vocals

Giacomo Poli – Guitar 

www.facebook.com/hissfromthemoat

www.twitter.com/hissfromthemoat

www.instagram.com/hissfromthemoat

www.m-theoryaudio.com

Swedish black metal force WAN to release new album

Swedish black metal force WAN came on the scene as a triad of aggression in 2009 to glorify Satan, chaos and the mighty northern darkness. Their debut, Wolves of the North, promptly saw its release in 2010. In 2013, the stalwart offered their second attack, Enjoy the Filth, fetching a more no holds barred and uglier song-writing approach. Two years later, Wan appeared in a split release called “Necroholic” alongside their countrymen Styggelse and Icelandic mystics Curse.

WAN encountered lineup changes in the next two years, but that could not disintegrate the tenebrous mightiness of the Swede horde. WAN unleashed the third album, Wan Way to Hell, via Carnal Records at the dawn of 2017. This album marks a new era for WAN and it confirmed the sustainability of their raw-energy, which is ever flowing and ever dark.

WAN are currently stronger than ever as a four-headed beast and they are ready to channel violence through the forthcoming mini CD “Gammal är äldst” (English: Old is the Oldest). Anyone au fait with the ‘80s and early ‘90s Scandinavian black metal knows what the five tracks of this EP convey. Indeed, they conjure nothing but relentless slabs of caustic riffs, maliciously intended raucous snarls and holocaustic drum-assaults. “Gammal är äldst” comes on CD format this December 21 via CARNAL RECORDS.

To celebrate their glorious 10 years as a band, WAN will be embarking upon a European tour in May 2019 together with Nekrokraft and The Generations Army.

Treat your ears with the intensity of filthy ancient black metal.

Lineup:

Tsjud – Vocals
Isengrim – Guitars
Drægg – Drums
Skoll – Bass

Track-list:
1. Gammal är äldst
2. Out of Your league
3. Fistful of Metal
4. Strong as a Bear
5. Till maskarna slängd

For More Info:
https://wansweden.bandcamp.com/album/gammal-r-ldst
https://www.facebook.com/pg/TheUnholyWAN
http://www.carnalrecords.com
https://www.facebook.com/Carnalrecords.sweden

Portugal’s GRAVES set release date for IRON BONEHEAD debut, reveal first track

Today, Iron Bonehead Productions sets February 1st, 2019 as the international release date for the striking debut album of Portugal’s Graves, Liturgia da Blasfemia, on CD and vinyl LP formats.

Hailing from the current black metal hotbed of Portugal, Graves are a relatively new entity featuring members of Flagellum Dei and Summon. The band made their public debut during the summer of 2018 with Unholy Desecration demo. Containing the same foul ‘n’ filthy rudiments as that demo, Liturgia da Blasfemia will be Graves’ crude ‘n’ rude introduction to the world stage.

Put simply, Graves’ sound is grim and miserable black metal brewed in the darkest dungeons of the underground, reverent of the ancient ways but by no means tethered to the past. References to be made include the French Black Legions and of course the Portuguese Black Circle, but also raw Finnish black metal from the past couple decades, such is Graves’ emphasis on hypnotic, lashing melody. And compared to the demo’s more antisocial sound, here on Liturgia da Blasfemia do the power-trio reveal a considerably more feral physicality, no less ribald in its trance-inducing recesses but perhaps more apt to rise up from those depths and lash the listener with utmost cruelty. Similarly, the band utilizing their native tongue almost exclusively here lends an eerier, more otherworldly aspect.

Kneel and prostrate thyself before Graves’ Liturgia da Blasfemia. The first genuflection can be found with the new track “Sangrando em Golgota” HERE

. Cover and tracklisting are as follows:

Tracklisting for Graves (Portugal)’s Liturgia da Blasfemia
1. Do demiurge..Ultraje de viver
2. I am Fire I am Death
3. Sangrando em Golgota
4. Sangrando em Golgota… parte 2
5. Impregnado p` la Foice
6. Do teu Ventre a Maldade saiu
7. Minha Alma imolei em Golgota
8. Graves Hold Your Name
9. Via Dolorosa até Golgota

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