Today, French black metallers Hats Barn reveal the new track “L’Enfant Doit Mourir.“ The track is the first to be revealed from the band’s highly anticipated sixth album, Y.a.HW.e.H, set for international release on June 24th via Osmose Productions on CD format; the vinyl LP version will follow later this year. Hear Hats Barn‘s “L’Enfant Doit Mourir” in its entirety here:
Hats Barn plays True Black Metal!!! Created by Psycho in the north of France in 2005, it became an entire entity dedicated to praising the greatness of the Devil!
Now composed of three official members – Psycho (vocals), Soggoth (guitar), and Kryos (drums), with Ruine (bass) for live session – the new album is about the origin of a superior nature that we call divine and the cradle of worship that we give him. The bloody hand of the Devil brings down 10 plagues to open the way to the abyss, inspired by such bands as Marduk and Watain, mainly, and the Black Legions, too!
Preorder info can be found HERE. Cover and tracklisting are as follows:
Tracklisting for Hats Barn’s Y.a.HW.e.H
1. Opening – Ten Psalms Of Death And Khaos [2:37] 2. BAAL-ZEBUB [4:53] 3. Y.H.W.H [2:10] 4. In Nomine Leprosy [4:06] 5. Under The Pillars Of Daath [4:09] 6. Total Death Kult [5:47] 7. L’Enfant Doit Mourir [3:13] 8. Walpurgis Of Seth [3:12] 9. Absence Of Faith [4:36] 10. Que Le Sang Coule Dans Les Fleuves [4:16] 11. The Man Returns To Dust [6:44]
Today, rising German black metallers Lunar Chalice stream the entirety of their highly anticipated debut album, Transcendentia: The Shadow Pilgrimage. Set for international release on June 1st via Iron Bonehead Productions, hear Lunar Chalice‘s Transcendentia: The Shadow Pilgrimage in its entirety here:
Formed in 2019, Lunar Chalice comprise prolific veterans of the German metal underground. Under the alluring moniker Lunar Chalice, the band quickly set upon a slew of releases, first with the Walpurgis Dance demo in 2019 and the Night Poetry EP right after, exhibiting a subtly refreshing approach to classics-minded black metal. The next year came the even-stronger Medieval Cults of Heresy EP, thus setting the stage for the band’s debut full-length.
Taking a relatively longer time given their feverish creativity, Lunar Chalice now deliver the grand statement of their so-far-undiscovered powers, Transcendentia: The Shadow Pilgrimage. With one steel-toed boot planted under a funeral moon and the other in a world without end, Lunar Chalice give a masterclass in stripped-down songwriting rich in nuance and dynamics. Their black metal is like a boulder gathering momentum down a mountain and rumbling across valleys; the movement is inexorable, and portends doom, and simply cannot be stopped. Lunar Chalice, in effect, extend a spectrum of black metal sonics that’s feral and unhinged on one hand and mercilessly martial on the other; that their almost-overwhelmingly physical onslaught is deliberately (and eerily) clipped betrays both a depth of vision and a rare grace in a landscape usually laden with filth. Which isn’t to say that Transcendentia doesn’t sound “dirty” (it does), but rather that that’s not the overarching thematic – that there’s a sense of ceremony or even regality at play here. Credit due to the absolutely madman vocals of bassist E.I.-M., who more often than not channels a clean tenor that’s more disturbing than most “black metal” vocals.
Past, present, and future: Lunar Chalice‘s vision encompasses all on Transcendentia: The Shadow Pilgrimage.
Cover and tracklisting are as follows:
Tracklisting for Lunar Chalice: Transcendentia: The Shadow Pilgrimage 1. The Accusation 2. Calix Cum Velum 3. Immortuae 4. Descending Shadows 5. The Saturn Rite 6. The Astral Stargate 7. Flagellationis Diaboli 8. Nocturnalia
On May 27th internationally, Iron Bonehead Productions will release two simultaneous debut albums of Trolldom, I Nattens Sken and Av Gudars Ätt, on CD and vinyl LP formats. Hear Trolldom‘s I Nattens Sken in its entirety here:
Trolldom is a name that goes back many years. While the band’s date of origin is unknown, the first demo, Av gudablod röd…, was released in 2016. That Trolldom played authentically vintage second-wave black metal should hardly be surprising considering it came under the banner of Ancient Records linchpin Swartadauþuz (Azelisassath, Bekëth Nexëhmü, Muvitium, Greve, Musmahhu, Digerdöden, Gnipahålan, Mystik, Summum, Daudadagr). Back then, his rabidly prolific nature was just starting to blossom, and Trolldom was yet another new-yet-old creation that contributed to his wider cosmology whilst standing on its own.
Alas, tireless as he was with his myriad bands, Swartadauþuz didn’t publicly revisit Trolldom…until now, with the simultaneous release of TWO albums. Of them, I Nattens Sken is the more overtly cosmic creation of his second-wave sensibilities. The album’s music was written between 2004 and 2008, with the recording taking place in 2018 and the mixing/mastering in 2021. While Trolldom‘s spectral ‘n’ stargazing style of black metal mysticism remains firm between the two full-lengths, I Nattens Sken retains a ceaselessly roiling drama steeped in classic definitions of symphonic black metal – meaning, when the idiom was at its peak, roughly around 1996 or ’97 – and the clarity conveyed within does nothing to damper Swartadauþuz ‘s pitch-black fire. Taken another way, I Nattens Sken‘s cover art perfectly illustrates its contents just as its counterpart’s does. If any doubt ever lingered about the power and poignancy of Swartadauþuz’s projects despite their prolific nature, Trolldom trounces all doubters with the twin-attack of I Nattens Sken and Av Gudars Ätt. Purer expressions of ’90s black metal classicism one will not find nowadays, and both effortlessly transport the listener to forgotten realms and glorious times.
Further transport thyself with the full stream of Av Gudars Ätt exclusively HERE, also courtesy of Black Metal Promotion. Aforementioned cover art and tracklistings are as follows:
Tracklisting for Trolldom’s I Nattens Sken 1. Under Vinternattens Dystra Fullmane [5:16] 2. Ondskans Svarta Broderskap [6:53] 3. Nattens Furste [4:29] 4. Inom Nattens Eviga Rit [7:07] 5. Nattmorkrets Svarta Skugga [6:41] 6. Vid Hans Tron Morkret Vilar [6:52] 7. Draparen av Livets Veke [5:32] 8. Till Ruinens Svarta Rike [8:05]
On July 22nd internationally, Eisenwald is proud to present the highly anticipated sixth album of Canada’s Panzerfaust, The Astral Drain, forming the third chapter of The Suns of Perdition tetralogy. The album is set to be released on digipack CD and vinyl LP formats.
Throughout the Suns of Perdition tetralogy, Panzerfaust have managed to expand upon their distinct sound and infuse it with a clear vision and intensity. In the third act of the tetralogy, the band take listeners on an incredibly immersive yet harrowing journey to an outer darkness, documenting mankind’s descent into collective madness and forcing listeners to face the mirror of a hideous reality, in all of its glorious terror, horror, and disgust.
The music contained on The Astral Drain is incredibly captivating and immediate, whilst retaining a strong sense of atmosphere. In particular, the intensity of the performances is truly something to behold. While many contemporaries may drift toward increased tempos in order to artificially create a sense of intensity, Panzerfaust have achieved songwriting brilliance in ensuring that every moment on The Astral Drain is filled with passion and purpose. This is all the more impressive as much of the material seems purposefully composed at a more mid-tempo, allowing for these songs to be embellished with stunning details in melody, primarily provided by guitars, vocal arrangements, effective ambient sections, as well as incredibly precise and deep percussion work. Specifically, the drums manage to provide a solid foundation to these monolithic tracks, while offering stunning compositional diversity and creativity. Furthermore, the band’s boldness in vocal performance and delivery enhances what would already be a captivating listening experience. As such, it is the fantastic compositional detail placed on each element throughout this record that elevates The Astral Drain to stand as Panzerfaust‘s most accomplished and ambitious work to this date, certainly warranting repeated listens.
The band’s ability as songwriters is on full display here, as each song refuses to fall back on genre conventions, instead of allowing the music to develop organically, with movements in each song seeming to convulse and develop into new sections that drive the music forward. This is an impressive compositional achievement, as the shifts in musical form occur naturally, belying the fact that great effort was placed in the fluidity of the music, something that is often ignored in more “progressive” extreme metal.
As pertains to production, the band has managed to infuse these songs with depth and a strong sense of atmospherics that never drains out the main instruments. Produced by Greg Dawson at BWC Studios in Kingston, Ontario, and mastered by Sergei Lazar at CDM Records, Moscow, the sound of The Astral Drain is stunningly organic, whilst retaining clarity in all instrumental elements: an impressive accomplishment when considering the audible layers on display throughout the album. The production is warm and entrancing, perfectly fitting the compositions of the record.
First track premiere and preorder info to be announced shortly. Cover and tracklisting are as follows:
Tracklisting for Panzerfaust (Canada)’s The Suns of Perdition, Chapter III: The Astral Drain 1. Death-Drive Projections 2. B22: The Hive and the Hole 3. Bonfire of the Insanities 4. The Far Bank at the River Styx 5. Tabula Rasa
Sharing the myths and tales of the Scottish highlands, Caledonian metal band SAOR are now releasing the second single from their upcoming album ‘Origins‘. The song can be found on the official Season of Mist Youtube channel accompanied by a stunning music video here:
Frontman Andy Marshall comments: “Beyond the Wall refers to the Antonine Wall which ran across the central belt of Scotland to keep the Caledonians/Picts at bay. The song is about their freedom, as they were not under Roman rule and the beauty and mystery of the lands beyond the wall.”
The album will be released on June 24 via Season of Mist. Pre-orders for ‘Origins’ are live in the shop HERE. Pre-save the record HERE.
The cover artwork ‘Origins’ was created by Anaïs Mulgrew and can be found below together with the tracklist.
Tracklist: 1. Call of the Carnyx (06:58) 2. Fallen (05:04) 3. The Ancient Ones (07:54) 4. Aurora (08:24) 5. Beyond the Wall (06:13) 6. Origins (06:44) Total: 0:41:17
SAOR will be heading out on tour with label mates GAAHLS WYRD and GAEREA in September / October. Find a full list of shows below.
SAOR + GAAHLS WYRD + GAEREA 30.09.2022 – Haarlem (NL) – Patronaat 01.10.2022 – Arlon (BE) – Léntrepot 02.10.2022 – Cologne – DE – Club Volta 03.10.2022 – Berlin (DE) – Holle 44 05.10.2022 – Poznań (PL) – U Bazyla 06.10.2022 – Krakow (PL) – Hol 07.10.2022 – Prague (CZ) – Futurum 08.10.2022 – Vienna (AT) – Vienna Metal Meeting 09.10.2022 – Budapest (HU) – Instant 11.10.2022 – Milan (IT) – Slaughter Club 12.10.2022 – Martigny (CH) – Les Caves Du Manoir 13.10.2022 – Lyon (FR) – CCO Villeurbanne 14.10.2022 – Barcelona (ES) – Boveda 15.10.2022 – Madrid (ES) – Caracol 16.10.2022 – Toulouse (FR) – Le Rex 17.10.2022 – Paris (FR) – Petit Bain 19.10.2022 – London (UK) – The Garage 20.10.2022 – Antwerp (BE) – Zappa 22.10.2022 – Essen (DE) – Turock
24.10.2022 – Munich (DE) – Backstage Halle 25.10.2022 – Frankfurt (DE) – Das Bett 26.10.2022 – Leipzig (DE) – Hellraiser 27.10.2022 – Hamburg (DE) – Logo 28.10.2022 – Copenhagen (DK) – Vega 29.10.2022 – Gothenburg (SE) – Pustervik 30.10.2022 – Stockholm (SE) – Slaktkyrkan SAOR means free, without obligations, unconstrained. All of these characteristics are intrinsic to the music of SAOR, the musical entity spearheaded by sole member Andy Marshall. As a lone wanderer proudly shouting the tales and myths of his people, his culture and his region from the tops of misty Caledonian mountains for the wind to carry, Andy has carved a solitary, yet strikingly inspiring path with SAOR ever since Roots, his first album laid deep… roots, indeed!, way back in 2013.
A decade about to be completed which is now about to witness the release of a fifth full-length, a decade in which Andy and SAOR have almost single-handedly made us all feel a little bit like Scots at heart, regardless of our own individual origins, such is the passionate and almost visual way that this musician delivers his profoundly atmospheric hybrid of black and folk metal, peculiarly described as Caledonian metal. “I used to play in some local bands, but I never really liked writing music with other people,” Andy recalls of his initial, formative times as a musician, beginnings that already hinted at the future road that would be taken. “There were too many opinions and arguments about the direction of the music. I have always preferred writing music alone.” As such, his musical and conceptual vision could be developed steadily, undiluted and unrestrained. Free, without obligations, unconstrained. “I was really into black metal and folk metal at the time I wrote Roots,” the Scot reveals, somewhat unsurprisingly. The components for his musical edifice are clear – it’s in the personality of their seamless mix, and in the Scottish fog that surrounds it, that the unique magic lies.
“There were plenty of Scandinavian bands singing about their history, culture, roots… but there were no Scottish bands. I thought this was kind of weird because we have such an interesting history, and quite gloomy and epic landscapes, much like the Scandinavians. Since I grew up around traditional Scottish music and was a huge fan of film soundtracks, I used those influences and tried to merge them with atmospheric black metal, folk metal and other sounds. It was quite a natural fit for me. I live very close to mountains, beautiful forests and lochs, and I spend a lot of time on the Isle of Skye, so you can guess where my inspiration comes from. I’ve also been interested in Scottish history from a young age. I’m no expert, but I take inspiration from reading about the past and always feel connected to it.”
Established as a singular voice and presence in the metal and folk underground with Roots (“it might sound corny, but it’s the ‘roots’ of SAOR and the Caledonian metal sound,” Andy jokes. “You can hear some of the typically Scottish melodies on it that would become more prominent in future albums.”), Andy Marshall forged on, and follow-up Aura appeared less than a year later. Though it contains some of the most appreciated hymns in his entire discography, the Scottish musician, ever a perfectionist, has mixed feelings about it. “I was never a huge fan of the production and performances on this one,” he shrugs. “It felt rushed. Funnily enough, it became one of the most popular and well received SAOR albums. People seem to love the somewhat ‘muddied production’ because it gives the album character. We still play songs from this live and they go down really well. ‘Pillars of the Earth’ is one of my favourite SAOR songs.” With apologies to Andy, we do side with the masses on this one – and would even throw the hallowed name of Bathory as an example of how “muddied production” and “character” are two concepts that can indeed go hand in hand, treading a fine but clear line throughout the history of metal.
Perhaps avoiding another rushed effort, Guardians took two years to appear as the third chapter in the ongoing saga that is the SAOR discography. Definitely leaning even more to the side of folk, it’s a work of rare emotional depth within the genres it touches, even if our man is, once more, rather unfazed and focused on the technical aspects of the recording. “I think it’s a natural progression from Aura, but with a slightly improved sound. It focuses more on my folk/Celtic influences. Some would say the folk metal element is more prominent due to the amount of bagpipes, tin whistles and other folk instrumentation used on this album,” he muses. However, not even his author can deny the power of this album’s highest moments. “’Hearth’ is one of the most popular SAOR songs and ‘Tears of a Nation’ always goes down well in a live setting.” Sound considerations aside, it was clear by then, circa 2016, that SAOR was a living, breathing entity, evolving and exploring. Like that recurring metaphor of the lone wanderer that seems so perfect we cannot let go of it. Free, without obligations, unconstrained.
The period between albums ever-lengthening, as if each step into the world of SAOR requires a bigger period of reflection and maturing to take the next one, Forgotten Paths would only appear in 2019. A worthy wait, however, as the evolutionary step was by far the boldest, bravely defying imaginary style constraints and showcasing an atypical and engaging approach to the overall “folk” super-genre. “My most open and accessible album,” Andy admits without hesitation. “There’s definitely a hint of post-metal creeping in on this one and a little less black metal. Neige from Alcest provided guest vocals on the title-track, which was an honour. This is around the time I started using the term Caledonian metal to describe my sound. I think it sums up my music and the themes perfectly.”
As live appearances were beginning to be much more frequent and SAOR a constantly demanded name on more notable events, the world decided to throw us all a pandemic curveball, which halted the victorious march of Andy and his stage cohorts for a while. However, you wouldn’t expect a period of isolation to ever hold back a musician and a project that are, by definition, and even by many of the feelings by them evoked, isolated, would you? And it most certainly did not. “From 2019-early 2020 we had a pretty hectic time touring and playing festivals, so I actually really liked the first few months of lockdown. I got a chance to relax,” Andy says. “But when the government decided to stop us from travelling, even leaving our local area, it was horrible.” Also, the end of 2020 brought an unexpected gift of recognition, as SAOR won the “Best Metal” Category at the Scottish Alternative Music Awards (SAMAs). Humble as ever, Andy thanked the band’s manager Joe, his stage comrades and Season of Mist, and added that “it’s been a tough year, so this award means a lot.”
Even better than recognition and accolades, from these difficult times, the new album, Origins, appeared. And for their first album in three years, and their premiere for Season of Mist, we wouldn’t expect anything other than… the unexpected. A counter reaction of sorts to the more meandering and even “accessible” direction of the previous records, perhaps inspired by its main theme of the Picts (a group of peoples who lived in what is now northern and eastern Scotland during Late Antiquity and the Early Middle Ages) and their fierce battles, Origins comes across as a more raging, black metal-infused effort, copiously evocative in its imagery and even melancholic in places, but decisively strong and abrasive at the same time. “This album is a lot more guitar driven,” Andy confirms.
“During the pandemic I listened to a lot of classic heavy metal and I think you’ll hear the influences on the dual lead guitars and solos. I also wanted this to be my heaviest album with emphasis on the riffs. My harsh vocals have changed from deep growls to more of a black metal style. Since the subject of the album is the Picts, I wanted a pagan theme throughout, and so that aspect is a lot more prominent than in the previous albums. I also used instruments such as the Carnyx and tribal drumming to convey that feeling.” One of the strongest songs on offer, the opener in fact, “Call of the Carnyx”, is in fact about the Carnyx itself, the ancient Celtic war horn, and it conveys like never before the feeling that it must have been to hear its resounding bellow, calling the Pictish warriors to battle. A moving homage to the legacy of the Picts, Origins guides us through their gods, their fallen heroes who died protecting their families and land, and what still remains of their identity in the Scottish people of today.
As much as we have food for thought, assured and guaranteed entertainment and inspiration for the months to come as we listen to and explore Origins and its themes, its creator is naturally already moving on. Andy doesn’t need much to create the worlds SAOR albums inhabit, and his most powerful tool is always with him. “I don’t need to be in one particular place to write or be inspired,” he explains. “I do have my own little office/studio in my home where I write music and lyrics, but it’s nothing special. My imagination is the most powerful tool for SAOR.” Not only do we vehemently agree, we would even say that imagination is the most powerful tool, always, for everyone. The one untamed weapon we all possess and can use at all times. Free. Without obligations. Unconstrained
Cover art: Anaïs Mulgrew
Line-up: Andy Marshall – Songwriter, Vocals & All Instruments
Recording line-up: Andy Marshall – Songwriter, Vocals & All Instruments Dylan Watson – Session Drums Sophie Marshall – Female Backing Vocals
Vocals, Guitars, Bass, Folk Instruments: recorded by Andy Marshall at Fortriu Studio, Scotland.
Drums: recorded by Vladmir Cochet at Conatus Studios, Switzerland.
Guitars reamped: LSD-Studio, Germany.
Mixed & Mastered: Lasse Lammert at LSD-Studio, Germany
Experimental metal group Imperial Triumphant have just announced their new full-length album Spirit of Ecstasy out via Century Media Records on 22nd July. The album will be released as Ltd. CD Edition (Mini-Gatefold), Gatefold 2LP & LP-Booklet and on all digital platforms. Pre orders are available here.
To celebrate the album announcement, Imperial Triumphant have also just shared their new track/video for “Maximalist Scream (feat. Snake/Voivod)” today.
“Atmospheres awash with mysterious origins. Sacred rites of passage and formidable knowledge lead to marvels of engineering,” states Imperial Triumphant. “Funnelling the mass into a finite horizon all roads travel in duality. Blurred is the line between real and illusion as the last scream of truth is destroyed by evil so grotesque. It transforms into a lone rider traveling into the forbidden darkness…”
Spirit of Ecstasy follows the band’s previous LPs 2020’s Alphaville, 2018’s Vile Luxury and most recently their 2021 live record, An Evening With Imperial Triumphant, which was was recorded at the infamous Slipper Room in New York City. Just like its predecessors, the album features a handful of special guests including Kenny G on soprano saxophone, Max Gorelick on lead guitar, Snake on vocals, Alex Skolnick on lead guitar, Trey Spruance on lead guitar, Andromeda Anarchia with choirs, Sarai Woods with choirs, Yoshiko Ohara on vocals, J. Walter Hawkes on the trombone, Ben Hankle on the trumpet, Percy Jones on bass, SEVEN)SUNS on strings, Colin Marston on Simmons drums and Youtube, and Jonas Rolef on vocals.
Stay tuned for more details about the highly anticipated release by following the band on socials.
Spirit of Ecstasy track listing:
Chump Change
Metrovertigo
Tower of Glory, City of Shame
Merkurius Gilded
Death on a Highway
In The Pleasure of Their Company
Bezumnaya Maximalist Scream
Imperial Triumphant is Zachary Ilya Ezrin (vocals, guitars), Steve Blanco (bass, vocals, keys, theremin) and Kenny Grohowski (drums).
IMPERIAL TRUMPHANT TOUR DATES:
May 25 – Brooklyn, NY – Elsewhere
May 30 – Helsinki, Finland – On The Rocks
May 31 – Tallinn, Estonia – Sveta Baar
June 1 – Riga, Latvia – NOASS
June 2 – Vilnius, Lithuania – XI20
June 4 – Gdansk, Poland – Mystic Festival
June dates w/Nero Di Marte
June 6 – Bratislava, Slovakia – Kulturak klub
June 7 – Budapest, Hungary – Robot
June 8 – Cluj Napoca, Romania – Form Space
June 9 – Bucharest, Romania – Quantic
June 10 – Sofia, Bulgaria – Live & Loud
June 11 – Skopje, North Macedonia – KC
June 12 – Belgrade, Serbia – KC Grad
June 14 – Zagreb, Croatia – Klub Mocvara
June 15 – Ljubljana, Slovenia – Klub Gromka
16 – Vienna, Austria – Viper Room Vienna
July 9 – Baltimore, MD – Ottobar
July 30 – Youngstown, OH – In the Darkness Fest
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August 10 – Jaroměř, Czechia – Brutal Assault
August 12 – Oxfordshire, England – SUPERNORMAL FEST
August 13 – Manchester, England – The White Hotel
August 14 – Glasgow, Scotland – Stereo
August 15 – Belfast, England – Voodoo
August 16 – Dublin, Ireland – The Grand Social
August 18 – Somerset, England – ArcTanGent Festival
Today, American black metallers Vaamatar stream the entirety of their highly anticipated debut album, Medievalgeist. Set for international release on May 20th via Iron Bonehead Productions, hear Vaamatar‘s Medievalgeist in its entirety here:
Formed in 2020, out of the ashes of two projects coming to an end, Los Angeles’ Vaamatar was born with one intention: to play black metal in its purest form. Raw and fast and free of frills, the full-length Medievalgeist is the follow-up to their debut EP, Evil Witching Black Metal. Immediately, old sensations are awakened and recast anew. The spectre of the second wave of black metal during the 1990s drapes its wings across Medievalgeist, but Vaamatar‘s strong songwriting eludes easy categorization. Instead of early Darkthrone, one can hear here contemporaneously early Dødheimsgard; instead of early Enslaved, the ’90s work of Norway’s Hades; instead of prime Marduk, comparably prime Arckanum, and so on. Which is all to underline that the duo of Vaamatar are old souls to the bitter end, having imbibed ancient wisdoms and now spilling them freely across their own teachings in the form of Medievalgeist.
Recorded, mixed, and mastered by Greg Wilkinson (Autopsy, Necrot, Vastum) during the turbulent unrelenting pandemic, Medievalgeist conveys a cold, apocalyptic atmosphere fit for the ages. Its six-song/41-minute runtime is exceptionally immersive, working on spiritual/transcendental levels as well as ones rooted in good, old-fashioned headbanging. But mark these words: Vaamatar do not play “party” black metal. This is serious, sophisticatedly unsophisticated Black Art brewed in archaic splendor – old catacombs open and spectral shades escape to the velvety embrace of the night. This is Medievalgeist!
Fully embrace the night exclusively HERE. Cover and tracklisting are as follows:
Today, Greek black metallers Wampyrinacht stream the entirety of their highly anticipated second album, Night of the Desecration. Set for international release on May 20th via Iron Bonehead Productions, hear Wampyrinacht‘s Night of the Desecration in its entirety here:
One of the deepest gems of the always-vital Greek black metal scene, Wampyrinacht began unholy life back in 1995. Their first demo arrived the next year, followed two years later by an EP released by Melancholy Promotion, the precursor to the infamous ISO666 label. Thereafter, Wampyrinacht more or less returned to the crypt, as members drifted off and mainman Necrolord sought to establish a new lineup. Mind you, Necrolord kept busy in myriad bands in the meantime – truly, he is one of the most prolific veterans of the Greek underground – but it was not until 2017 when Wampyrinacht would return with a new recording. Thankfully, that record bore fruit in full-length form, under the title We Will Be Watching: Les cultes de Satan et les mystères de la mort. A dynamic and dazzling display of canonic Hellenic black metal but infused with a melancholy that was indeed vampyric, We Will Be Watching became a late-days essential of Greek classicism.
Patient but still present, Wampyrinacht arrive when the time is right with their second album, Night of the Desecration. Immediately, an uptick in energy and clarity is felt; the oft-otherworldly rawness of its predecessor is replaced by a stout ‘n’ surging sound brimming with a newfound professionalism that pays off in spades. For Night of the Desecration burns with a fire that flickers in myriad directions – rising, falling, cresting, flowing, all-consuming at every turn across the album’s deceptively epic 43-minute runtime – but always focused, always finessed. Leading the charge is Necrolord’s guitar work here, ably balancing stout ‘n’ strident riffing with emotive ‘n’ bone-chilling leads; the heavy metal spirit at the core of classic Greek black metal pulses proudly, but Wampyrinacht doubtlessly put their own shadowy twist on it. Night of the Desecration is thus a work steeped in the ancients whilst retaining a freshness of approach that should span generations of black metallers: actual songwriting is king, now more than ever.
Maudlin yet malevolent, old and new, Wampyrinacht‘s timely return with Night of the Desecration is just cause for celebration. Let the cries of ecstasy resound in the medieval deep!
Cover and tracklisting are as follows:
Tracklisting for Wampyrinacht’s Night of the Desecration 1. The Fountain of All Sorrows and Wrath [0:36] 2. Thorns for my Damnation [6:09] 3. Night of the Desecration [11:15] 4. My Angel [1:08] 5. The Church of Thorns [8:30] 6. A Wanderer’s Journey… [1:58] 7. Hammer of the Angels [7:59] 8. …Towards the Glimmering Star [3:52] 9. Of Statues Wrecked and Ruined [0:58]
“That is because only a real artist knows the actual anatomy of the terrible or the physiology of fear – the exact sort of lines and proportions that connect up with latent instincts or hereditary memories of fright, and the proper colour contrasts and lighting effects to stir the dormant sense of strangeness.” (H.P. Lovecraft)
The 15th album of the legendary French Black Metal innovators is officially streaming here.
Comparable to naught except BLUT AUS NORD, the inimitable leads, eroded melodies and uncanny vocal textures of “Disharmonium” ooze and uncoil, leeching into vast hyper-skilled rhythmic structures which traverse sea-mountains of madness towards lightless echelons far beyond comprehension. Check the seven dreadful and fearsome hymns below:
“Disharmonium – Undreamable Abysses” is available on CD, tape, vinyl and digitally. Additionally, various merch designs as well as two new patches accompany the release. Everything is available via the label’s EU, US (no merch apart from the white print t-shirt) and Bandcamp shops.
Originating in 1994 from the ashes of VLAD (who released two demos), BLUT AUS NORD are undisputable French Black Metal pioneers, always managing to progress and move forward, evolving in perpetual mutation, developing their own vision of Black Metal.
Choosing, from the start, the total opposite path of regressive bands (who copy what others have done ten years earlier and ten times better), BLUT AUS NORD eschews all the inherent clichés belonging to the genre. BLUT AUS NORD‘s Black Metal approach is a fist in the face of mainstream mediocrity, becoming more macabre and sinister through a blend of innovative musical research, subliminal mental manipulation, and an incredible haunted, nightmarish feeling based on disharmony.BLUT AUS NORD are creators of a hallucinogenic universe, erasing all preconceived ideas of Black Metal – and extreme music in general. They redefine the rules…
Today, Burning World Records announces June 30th as the international release date for Am Himmel‘s striking debut album, As Eternal As The Starless Kingdom Of Sorrow.
Am Himmel is an ecclesiastical nightmare formed by emanations from the metaphysical voids trapped in the eternal light. A starless kingdom bereft of celestial pureness. Strange rituals in the gothic catacombs of Christianity and insanity.
Translated as “In The Sky” in German, Am Himmel is a new project from an old soul from the Netherlands, whose inspiration lies between doomy synth-based drone, raw black metal, and shoegaze. Created by JMKP, Am Himmel channels ancient and metaphysical energies through the combination of droning, eerie soundscapes with raw and buzzing black metal. There’s a sinister and unearthly atmosphere surrounding the whole record – not just from the devilish growls and shrieks, but also from the hypnotic mystical synth layers.
For those into Urfaust, Lurker of Chalice, and Xasthur, Am Himmel‘s As Eternal As The Starless Kingdom Of Sorrow should prove as essential listening.
In the meantime, hear the brand-new track “The Fumes Of Thy Preposterous Torment” here:
Additional preorder info for the US can be found HERE while preorder for the rest of the world can be found HERE. Cover and tracklisting are as follows:
Tracklisting for Am Himmel’s As Eternal As The Starless Kingdom Of Sorrow 1. Bleared By The Infinite Wings [6:56] 2. The Patience And Silence Of A Saint’s Death [5:12] 3. The Virgin Wages Celestial War In The Seraphim Courts [7:22] 4. The Fumes Of Thy Preposterous Torment [6:31] 5. The Bewildered Firstling Thrusts The Knife Into Her Brother [6:25] 6. As Eternal As The Starless Kingdom Of Sorrow [5:23]
