Appearing like a bolt from the blue in 2016 via W.T.C., ADAESTUO’s debut EP, Tacent Semitae, was a startling and profound introduction to this otherwise-unknown band. ADAESTUO was formed as a covenant between three wandering souls at the unhallowed crossroads where the darkest elements of ambient, black metal, and spiritual praxis conjoin. Being a series of audial sigils cast by VJS and P.E.Packain and led in evocation by Hekte Zaren, with Tacent Semitae did ADAESTUO transcend the modern homogeny found among the lower caste of musical initiates. Amazingly, the pan-continental trio eclipsed that feat with a towering full-length monument titled Krew Za Krew. Released by W.T.C. in 2018, Krew Za Krew reaped widespread acclaim and positioned themselves as purveyors of a very special kind of black metal by going BLACKER.
In the cursed year of 2020 came another full-length monument from ADAESTUO bearing the title Manalan virrat, and now they return to the auspices of W.T.C. with a swift-yet-satisfying mini-album presciently titled Purge of the Night Cloak. Indeed, that title forms a sensational foundation for the seared sort of frequencies ADAESTUO are exploring here: a casting-off of the old, a revilement of the new, vulgar shapes made beautiful and vice versa. Woven together like one continuous fever dream, the four tracks comprising this 23-minute mini-album assault the listener with a near-overload of information, only to strip it bare, hauntingly and uncomfortably so, building it back up into a hydra-headed abomination from both above and below. Put into more concrete terms, here ADAESTUO fuse classics-minded mystical black metal with dark soundtrack scores, shimmering obsidian racing through the night sky before a (dark) meeting with literally-otherworldly walls of choral atmosphere. It’s something of a “blink and you’ll miss it” experience, or one too frightening(ly expansive) to open one’s eyes to…
More massive than most bands’ regular “albums,” ADAESTUO make most black metal look conservative and small with their Purge of the Night Cloak.
Tracklist 1.Act I 2.Act II 3.The Hydra 4.Act III ADAESTUO lineup Hekte Zaren + VJS + P.E.Packain
Notes Captured at Dirge Forge Between MMXVI-MMXX Merged and governed by VJS Music by Adaestuo Maledictions and script by Horidus Visuals by Packain, Hekte Zaren, and Amanita Noir
Today, AOP Records announces September 30th as the international release date for Firtan‘s highly anticipated third album, Marter, on CD and vinyl LP formats. To coincide with the announcement, a brand-new video for the first single “Amor Fati” is revealed here:
Since their fortuitous formation in 2010, Firtan have been dedicated to a unique strain of extreme metal and have steadily built an enraptured audience across countless shows in their native Germany and abroad. Granted, the band’s roots lay in black metal, particularly those pivotal days of the 1990s, but over the course of two acclaimed albums – 2014’s Niedergang and especially 2018’s Okeanos – Firtan have effortlessly integrated an eclecticism that has become more self-contained and increasingly kaleidoscopic. Now, they arguably deliver their masterwork: Marter.
Immediately, the trademark Firtan sound is felt – riffing that’s raging yet gorgeous, atmosphere that’s autumnal yet cliche-free, compositions that span epic lengths yet remain judiciously compact – and Marter stuns after first listen. However, delve deeper and you’ll find that Firtan have become more daring in their soundfield, incorporating more acoustics, synths, and strings to flesh out that always-poignant atmosphere. Amazingly, the band never busy up that soundfield; everything sounds rich and robust but in its proper place, every tone resounding endlessly through the soul. That Firtan take Marter in sometimes diametrically opposed directions – violent vs. restrained, explosive vs. placid, righteously black metal vs. something approaching neoclassical – often all during the course of a song, speaks to the band’s masterful approach to songwriting. Some might even liken Marter to “post-black metal,” which is okay with them: Firtan are simply performing their own interpretation of black metal.
Fittingly, the theme of Marter deals with the isolation of the modern individual who finds himself torn between spiritual hope and existential failure – and Firtan vividly paint this panorama in their most dazzling hues yet. And just like its massive predecessor, Marter was recorded at the esteemed studio Klangschmiede E with Markus Stock of The Vision Bleak/Empyrium. Completed by grandiose cover art courtesy of Władysław Podkowiński, Marter is a milestone of the dynamic German black metal scene – and Firtan have arrived as reigning kings.
Aforementioned cover art and tracklisting are as follows:
Tracklisting for Firtan’s Marter 1. Faðir 2. Amor Fati 3. Labsal 4. Lethe 5. Parhelia 6. Odem 7. Menetekel 8. Peraht 9. Medomai (bonus track*) *available on vinyl and CD boxset
Today, Hells Headbangers announces September 16th as the international release date for Medieval Demon‘s highly anticipated fourth album, Black Coven, on CD format. The vinyl LP version will follow later this year.
By now, Medieval Demon should require little introduction. Formed in that fateful year of 1993, Medieval Demon remained one of the cultest entities of the immortal Greek black metal scene, releasing a handful of demos during the mid ’90s and then their lost-classic debut album, Demonolatria, in 1998. Not long after, the band receded into the shadows, in vampiric slumber, until awakening from the crypt in 2018 with the majestic comeback album, Medieval Necromancy, through longtime fans Hells Headbangers, followed two years later by the equally acclaimed Arcadian Witchcraft.
Continuing that enviable momentum compared to most “old” bands who tiredly rehash long-faded glories, Medieval Demon light another new full-length torch with Black Coven. Just as its esteemed predecessors sounded like those glorious ’90s never ended, so, too, does Black Coven burn with an authentically eldritch fire by those who truly LIVED IT. Much as canonical Hellenic black metal always prized heavy metal classicism at the heart of black METAL, Medieval Demon once again synthesize such with equally-classic horror and high drama, making Black Coven arguably their most widescreen record yet. The production, in kind, gives robust crunch to that heavy metalized songwriting, along with highlighting the band’s always-captivating synth work. Indeed, the album sounds EXACTLY as it should for something titled Black Coven: the ancient spirits are legion, and unbound!
As founding drummer/keyboardist/composer Lord Apollyon explains, “For the composition of Black Coven, there were used methods and practices of the ancient Greek theory of music, which were also used to the Middle Ages – in the name of Satan. Composition in black metal presupposes to live in real time the process that includes all the elements involved in this kind of black art. We moved into an isolated village inside the forest, a place where ancient Greek sorcery and death magic was born. Ritualism and ancient black metal are parts of our eternally black souls.”
Specifically, opening track “Where Witches Dwell and Labyrinths Confuse” was written as tribute to the deceased Andrea Meyer of Norway’s cult Aghast. Likewise, the unabashed use of saxophone was in tribute to founding Greek forebears Necromantia, who entered the crypt of time eternal last year. And of course, the influence of Italian gods Goblin is never far away from Medieval Demon, even if that influence is more spiritual rather than literal. Any way you cut it (and try not getting mesmerized by the choirs here!), Black Coven is cinematic black art at its very finest. Last word, then, to Lord Apollyon: DEATH TO THOSE WHO BETRAY THE SECRET CULT!”
In the meantime, hear the previously revealed title track “Black Coven” here:
Preorder info can be found HERE. Cover and tracklisting are as follows:
Tracklisting for Medieval Demon’s Black Coven 1. Where Witches Dwell and Labyrinths Confuse [5:48] 2. Black Coven [8:21] 3. Nocturnal Sacrilege [5:49] 4. Sylvestris Deus (Protector of the Forests) [4:01] 5. Baptismal Blood [5:27] 6. Katavythisis [5:00] 7. The Grave Dwellers [6:38]
Today, modern vampiric black metal kings Wampyric Rites premiere the new track “Captive in a Desolate Castle”. The track is the second to be revealed from the band’s highly anticipated second album, The Wolves Howl to the Moon, set for international release on August 26th via Signal Rex on CD and cassette tape formats; the vinyl LP version will follow later this year. Hear Wampyric Rites‘ Captive in a Desolate Castle” in its entirety here:
Wampyric Rites hail from the ever-rising Ecuadorian black metal underground, and have had a major hand in shaping its prominence and notoriety across countless short-length releases since 2019. However, it was last year’s full-length The Eternal Melancholy of the Wampyre where Wampyric Rites displayed the full gait of their potential: classic (and unapologetic) vampiric black metal deeply rooted in the idiom’s earliest days whilst evincing a spectral aura all their own. The duo may belong to the Pure Raw Underground Black Metal Plague, which includes now-labelmates Winterstorm and Ründgard, but Wampyric Rites truly had found the cosmic keys to their creations and times.
Eclipsing that feat is their brand-new second album, The Wolves Howl to the Moon. Immediately, the record sounds like Wampyric Rites – shimmering surge, velvety synths, hysteric shrieks across a dungeon deep – but the attack soon takes on deft dynamics, skillfully balancing robust physicality (often, headbangingly straightforward) and stained-glass sensitivity. The latter element is perhaps the boldest move here, as a variety of synth sounds – medieval organ, stargazing swirl, or even just the faintest daubing upon ripped-raw guitar – often play a prominent role in each of the album’s five component songs. Yet, it’s never done in a gaudy or gimmicky manner; it’s but another layer to lose oneself in, as the songwriting itself allows the mind to wander and palpably experience the landscape as The Wolves Howl to the Moon. What’s more, Wampyric Rites incorporate shockingly beautiful acoustics, albeit sparingly, making their seemingly strictured canvas far vaster than otherwise suggested by vampiric BM standards.
All told, The Wolves Howl to the Moon sets new standards for (true) vampiric black metal. Wampyric Rites stoke the fires of the imagination, and seemingly are only getting started.
Begin getting started with the previously revealed “The Ancient Tyrant Returns from the Deep Forgotten Crypts” HERE at Signal Rex‘s official YouTube channel. Cover artwork, courtesy of Ainul Iblis, and tracklisting are as follows:
Tracklisting for Wampyric Rites’ The Wolves Howl to the Moon 1. The Ancient Tyrant Returns from the Deep Forgotten Crypts [8:10] 2. Rites Under the Fullmoon [6:06] 3. Amidst the Fog of Eternity [2:47] 4. The Wolves Howl to the Moon [9:58] 5. Captive in a Desolate Castle [8:25]
Today, Werewolf Records sets September 9th as the international release date for the highly anticipated second album of Finland’s Blood Chalice, The Blasphemous Psalms of Cannibalism, on CD and cassette tape formats. The vinyl LP version will follow later this year.
Formed in 2015, Blood Chalice feature among their ranks a number of Finnish metal veterans, spanning a slew of extreme styles. However, in Blood Chalice, the goal has always remained firm: uncompromising, closeminded BLACK/DEATH savagery. The first strike as such came in 2016 with a self-titled demo, followed the next year by the gutsfucking debut album Sepulchral Chants of Self-Destruction. Diehards hailed the album; the rest recoiled in horror. Typical “Finnish black metal” this was not…
And Blood Chalice further drive home that point, five years later, with their second full-length, The Blasphemous Psalms of Cannibalism. Indeed, they honor ancient Finnish roots by (gutsfuckingly) leaning on the noble foundation laid forth by early Impaled Nazarene, Archgoat, Belial, and even Mythos, so muscular and still-death-metalled is Blood Chalice‘s thrust. And, just like those scene legends did so long ago, Blood Chalice keep memorability at a maximum – nearly as much as the savagery itself, which reaches critical mass on The Blasphemous Psalms of Cannibalism – and evince a short/sharp/shocked style of songwriting gleaned from those pillars’ grounding in early grindcore. No more but certainly no less, this is trend-free OLD black metal brewed with disdain for the nowadays scene.
Take it or leave it, Blood Chalice don’t care. Drink deeply of The Blasphemous Psalms of Cannibalism.
Begin drinking deeply of the brand-new track “From the Grave of Livyatan” here:
Preorder info can be found HERE. Cover and tracklisting are as follows:
Tracklisting for Blood Chalice (Finland)’s The Blasphemous Psalms of Cannibalism 1. The Black Mass 2. The Last Supper of Insects 3. Antichristian War Declaration 4. Matanbuchus 5. Burned Faith 6. Celestial Destroyer 7. The Blasphemous Psalms of Cannibalism 8. Blood Worship 9. Hate Meditation 10. Temet Nosce 11. From the Grave of Livyatan 12. The Rise of Iconoclast
Today, Hells Headbangers announces September 9th as the international release date for the highly anticipated second album of America’s Perversion, Dies Irae, on CD and cassette tape formats. The vinyl LP version will follow later this year.
Perversion initiated rehearsal sessions in a basement of Detroit around the fall of 2008, originally formed by Fernando Conde (guitars), Alan Hoover (bass), Neil Spencer (vocals), and James Haley (drums). In February 2009, the Metal is Death demo was released and several shows were played locally (Detroit, Lansing, and Cleveland). In the summer of 2009, the original drummer left the band and Peter Gibbs was recruited. A split 7″ with Anguish was recorded and released by Black Shit Noise Productions from Texas. Neil stepped out of the band, and Fernando started doing vocals in addition to lead/rhythm guitars. A new demo was recorded, and several shows were played in the Midwest and Detroit.
In 2012, Perversion took part in the Filthiest of Apocalyptic Detroit four-way split. Shortly after, the first full-length, Storm of Evil, was recorded and released by Bitchy Witch Records. After several dates all over the U.S. and South America, Perversion started writing again and released several rehearsal tapes and a demo titled Archaic Death Metal, which is an advance of the upcoming album.
At long last, two years later, arrives that album: Dies Irae. If “archaic death metal” indeed aptly described Perversion previously, here they shatter that definition with an utterly ultraviolent assault on the senses. Swirling malevolently in a cauldron brewed from the darkest depths of old Brazilian proto-death, earliest German thrash, bestial detonations at the dawn of the ’90s, and even ’80s grindcore, Perversion proceed to lay waste across the album’s seven central tracks, plus ominous intro and an album-closing cover of Bathory’s “Possessed.” That the power-trio prize songwriting amidst their barbaric onslaught puts Perversion in a unique realm, and one truly within that of the archaic. With chaotic-yet-composed solos flying fast and free and rough-yet-robust production heightening that sense of the diabolical, Dies Irae is maniacal black/death for true black/death maniacs.
“Perversion have always had an orthodox and purist ideology in regards to how black and death metal are meant to sound,” the band state in conclusion. “Gathering inspiration from the degeneration of civilization, the decay in morality, and the Iron Age/Kali Yuga itself, we captured an archaic structure in our latest recordings. Our principles and convictions have remained unchanged through the years. We have forged an alliance with Hells Headbangers to release our second full-length, which is definitely not for people looking for refined, modern-sounding music, but for fanatics of barbaric and punishing cacophony.”
In the meantime, hear the previously revealed track “Axioms of Domination” here:
Preorder info can be found HERE. Cover and tracklisting are as follows:
Tracklisting for Perversion (America)’s Dies Irae 1. Dies Irae (Intro) 2. Baghavad Genocide 3. Decapitator 4. Axioms of Domination 5. Fathomless Cruelty 6. Unveiling the Primordial Revelation 7. Barbaric Execution 8. Migration into Darkness 9. Possessed [Bathory cover]
Blackened Death Doom outfit STRIGOI are now proudly releasing their brand new single ‘Hollow’, which is taken from the band’s upcoming album “Viscera”. The track, which comes in the form of an official music video, can now be viewed here:
The album is set for worldwide release on September 30, 2022 via Season of Mist and can already be pre-saved HERE.
STRIGOI comment: We chose HOLLOW as the first video single as it lends itself perfectly to giving the listener a broad overview of VISCERA. It’s dark, brooding yet violent cinematic qualities allude to the delightful misery contained within the new album. A scathing commentary on human weakness, we feel HOLLOW typifies the evolution of STRIGOI, as a band and as a concept. It was also a perfect fit for the amazing videography work of Dehn Sora, who has presented a remarkable visual interpretation of the track.
The cover artwork for ‘Viscera’, which has been created by Brian Sheehan of Legerdemain Art, can be found below along with the track-list and further album details.
Track-list 1. United in Viscera (6:44) 2. King of All Terror (2:38) 3. An Ocean of Blood (4:13) 4. Napalm Frost (2:26) 5. Hollow (6:20) [WATCH] 6. A Begotten Son (3:51) 7. Bathed in a Black Sun (4:19) 8. Byzantine Tragedy (5:28) 9. Redeemer (2:38) 10. Iron Lung (7:55) Total: 46:32
Unsettling: it’s a word which can be used to describe a good swathe of the music which has come from the mind of Greg Mackintosh over the years, but in the context of Strigoi, it feels particularly apt.
Formed immediately after previous side project Vallenfyre had run its course, Strigoi found Greg and Vallenfyre bassist Chris Casket reconfiguring the aesthetics of that band. Their 2019 debut, Abandon All Faith, was a notable transition, taking the crust punk, death metal and grind influences which had defined Vallenfyre and deriving from those an extreme music amalgam which was altogether more…well, unsettling.
But if Abandon All Faith was a record where the memory of Vallenfyre exerted an inevitable, but important, influence, then second album Viscera is where Strigoi define and express themselves on their own terms.
“It’s the second album and we’re pushing those limits,” says Chris Casket. “The longer songs are longer; the shorter songs are shorter. It’s fully realising the concept. When we did the first album, there were certain expectations as we were coming from Vallenfyre. I felt that it was a really good transition from one to the other. But I feel that with this record, it’s more of a fully fleshed out concept. It’s pushing the light and shade further out.”
“The first album was us giving it its own identity separate from Vallenfyre, even though it’s kind of an obvious continuation, in a way,” adds Greg. “But with Viscera, it’s a combination of pushing the envelope a little bit, making it a bit less raw. Because, we had done that to the Nth degree with Vallenfyre. I’d also say there’s a bit of sound design in there, too, to make it very creepy and, yes, unsettling, sound wise.”
With Covid thwarting Strigoi’s plans to do shows to promote Abandon All Faith, Greg and Chris used the down-time to work on what would eventually become Viscera.
“We have a strange way of working,” says Chris. “I will send words, prose, whatever it may be to Greg. He likes that process, because he reads what I’ve written and it inspires the music he comes up with. I’ve never worked that way before. But that and the added time we had, the space away from things, is what I think has made Viscera what it is.”
Greg adds, “If it’s a song where Chris’ lyrics sound angry, I’ll do a song that’s more, I guess, grounded in the essence of early grindcore. Something that expresses that mood. But if it’s something more sombre or unnerving, then I’ll start with a bit of sound design and work towards riffs. I’ve always thought of music in terms of visuals, and that might come from the lyrics. The last song on the album, ‘Iron Lung’, for example: I actually said to Chris that I had an idea for a song where it feels that you can’t breathe, that it feels like you’ve got a weight on your chest. And the result is probably the toughest going song on the record to get through. But I think it does get that across.”
Viscera, then, clearly defines the Strigoi sound and vision – as Chris says, it’s a “mix tape of misery” and points at ways in which the band may develop in the years ahead.
“I get bored easily,” Greg laughs. “I’ve got a very short attention span. I love doom metal, I love funeral doom, crust punk, grindcore…all these things. But usually after two songs of each I’m thinking, ‘Right, what’s next?’ And that’s my problem, but it does determine what this band and this music is like.”
“There’s not much light on this record at all. If there’s any, it’s there just to emphasise how dark the shade is, really. And what I loved about early death metal, which is when I got into it, is that everything had its own feel back then. That was at the back of my mind the whole time when making Viscera – that I wanted to give it its own feel. But the listeners are going to have to decide whether that was successful or not.”
Today, Iron Bonehead Productions announces September 23rd as the international release date for a brand-new mini-album from Black Grail, VIIII, on CD and 12″ vinyl formats.
Formed in 2005, Black Grail are one of the great gems of the oft-overlooked Chilean black metal underground. While much of the focus (rightfully) on the country’s long-running/reigning blackthrash idiom, there’s existed a parallel paradigm less populous but no less potent, and there Black Grail have dug their evil trench with dogged resolve.
Naturally, their ascent/descent from that trench has been extremely patient – to date, two full-lengths have arrived, in 2015 and 2021, respectively – as well as a lauded split with France’s well-respected Ysengrin, but this latest VIIII mini-album marks a shift toward (hopefully) more prolific days for Black Grail. Creepy and creeped-out, the five-track/26-minute work maintains all the magick and mysticism of their earlier work, but is now cast in a clearer (black)light that does nothing to diminish their sulfurous intensity. Alternately ritualistic, regal, and rowdy, Black Grail wind their way through a wealth of treacherous and terrorizing corridors here, establishing foggy atmosphere one minute and then bloody headbanging the other, keeping the listener engaged and on their toes with where the Chileans will lead them next. It’s a distinctly Chilean style of black metal still, but VIIII could equally sit comfortably alongside the cult likes of Funereal Presence, Cultes des Ghoules or, further back, Germany’s mythical Martyrium.
Black Grail have revealed the number of your doom: VIIII!
Begin counting down to that doom with the brand-new track “Transmigración del Alma” here:
Tracklisting for Black Grail’s VIIII 1. Encarcelado y Condenado [7:43] 2. Reflexiones en Cicuta [5:54] 3. La Separación, vista como Muerte [2:47] 4. Transmigración del Alma [5:54] 5. La Disolución, Consumación de la Ascesis [3:23]
Today, Scandinavian black metal classicists Mimorium premiere the new NSFW video “Mirror Dimension”. The track is the first to be revealed from the band’s highly anticipated third album, The Route of Haeresis, set for international release on August 12th via Spread Evil Productions. See & hear Mimorium‘s “Mirror Dimension” video in its entirety here:
Since their formation in 2016, Mimorium have staunchly stuck to their guns as purveyors of classic cryogenic black metal forever frozen in the glorious ’90s. Although they hail from Finland, Mimorium‘s sound more properly could be categorized as Scandinavian black metal, as they are rooted deeply in the ’90s Swedish and also Norwegian black metal scenes. One can one hear echoes of old Dissection, Mörk Gryning, and Dark Funeral in Mimorium‘s fast-paced and melodic black metal as a successful tribute brought to the new millennium, still sounding very much their own and something different simultaneously.
In 2020, the Spread Evil-released Blood of Qayin rightfully brought Mimorium to many new ears, proving that the past is alive but arguably fresher than ever. Not ones to rest on their all-too-considerable laurels, the quintet return with a record perhaps more melodic, dramatic, AND aggressive than ever: The Route of Haeresis. Suitably built upon a theme of old-school witchcraft and esoteric teachings, The Route of Haeresis sees Mimorium firing on all cylinders, their (literal) execution just as sharp as ever but rendered in rippingly clear-yet-analog tones. That more organic production takes nothing away from the band’s inherent ultraviolence – indeed, their OTT speed is challenged by few – but the melodies here breathe fire instead of frost, and the well-timed dips into down-tempo convey a grandeur only previously hinted at.
For those into the scrappier, culter names of ’90s melodic black metal – Cirith Gorgor, Thy Primordial, Raise Hell, or even the too-often-overlooked Setherial – over the more obvious ones, you shall meet your unholy saviors with Mimorium as they travel The Route of Haeresis!
Cover and tracklisting are as follows:
Tracklisting for Mimorium’s The Route of Haeresis 1. Invocation of the Nameless One 2. Mirror Dimension 3. Liberate the Transcendent Essence 4. Succumb to Nightmares 5. Hand of the Heretic 6. Her Place in Shade 7. The Route of Haeresis 8. Circle of Serpents
Today, Iron Bonehead Productions announces September 23rd as the international release date for the highly anticipated eighth album of Italy’s Abhor, Sex Sex Sex (Ceremonia Daemonis Antichristi), on CD, vinyl LP, and cassette tape formats.
Abhor are a veritable institution of Italian black metal. Formed in 1995 in the northeast of Italy, the band began with a passion for black metal music and the study of esoteric arts. Less like a band and more like a congregation, Abhor represent a form of global art that embraces musical art, visual art, and literal art. Their first musical manifestation came in 1998, with the first demo tape In Tuo Honori Preparatum. From there, Abhor were off and running, subsequently releasing six albums with a variety of labels, doing honorable underground work. Within their ranks came many musicians, including members of compatriots Evol. But, arguably, Abhor reached their apotheosis with their seventh album (and first for current label home Iron Bonehead), Occulta religiO. Released in 2018, this veritable blazing-purple torch conveyed a bewitching mysticism and beyond-the-veil secrecy that showed the band at their most masterful, even at this mature stage.
And, although four years have passed since that momentous event – and a split mini-album with fellow Italian occultists Abysmal Grief in 2019, also courtesy of Iron Bonehead – Abhor continue their deeper-into-the-catacombs ascent with the devilish Sex Sex Sex (Ceremonia Daemonis Antichristi). Truly titled, Sex Sex Sex brings a spooky sensuality to Abhor‘s trademark style of olde-worlde black metal. With both Hammer Horror organs to the fore and a macho headbanging stomp, the Italians create a canvas of arcane mysteries and ancient metal might, foregoing so much of the fluff that’s characterized post-“second wave” black metal and striking true(r) to the sound of the Old Gods: Celtic Frost, Mortuary Drape, Varathron, Samael, and even very earliest Mayhem. It’s more of “no more, but no less” Esoteric Horror Black Metal, but still suffused with an undeniable energy and electricity, even when creeping slowly through those catacombs. It’s an immediately recognizable sound that’s neither regressive nor progressive, and Abhor conjure it with enviously effortless zeal.
Unshackle thyself from the morals and mores of the modern world and return to more sinister and sinful times with Abhor‘s Sex Sex Sex (Ceremonia Daemonis Antichristi)!
The first sin can be found with the brand-new track “Evil Mentor” here:
Tracklisting for Abhor (Italy)’s Sex Sex Sex (Ceremonia Daemonis Antichristi) 1. The Curse of the Twins 2. Ceremonia Daemonis Anticristi 3. At the Edge of the Circle 4. Ode to the Snake 5. Ritual Satanism 6. Evil Mentor 7. Beelzebuth [Mystifier cover] 8. October 31st, 2010 9. The Call 10. Violet Coven
