On November 10th internationally, Antiq is proud to present Grylle‘s highly anticipated second album, Egrotants, Souffreteux, Cacochymes, Covidards.
Grylle is a band formed in 2013 in France. As soon as the first songs were published on the mesmerizing demo Monstres et Merveilles in 2014, the band claimed a radical style: medieval music (flutes, lute, medieval drums) with black metal vocals.
No use of synthesizers nor samples, neither any guitar: modern instruments are all banned. The lyrical theme of Grylle finds inspiration in the current social and political situation to write chronicles of our time through a medieval approach and a satirical point of view.
Following the demo came an album literally making the consensus: Les Grandes Compagnies in 2019. Black metal howled in French, played on lute and drummed with a metal drumkit. After a couple of years working with talented musicians and traditional artists, Grylle finally reveals its long-awaited new album: Egrotants, Souffreteux, Cacochymes, Covidards.
Here on Egrotants, Souffreteux, Cacochymes, Covidards, we talk about plague, diseases, and strange afflictions: themes that still nowadays sow panic through their constant walk of death, depicted through the medieval point of view that made Grylle one of a kind. Expect nothing less than black metal as it would have been made in the Middle Ages after the Great Plague fear: brutal, inventive, and without compromise. Nevertheless, elegance and majesty shine on this album, as depicted by the beautiful illumination of the cover created by the medievalist painter Miho Kuroyanagi. The musicians and guests take medieval black metal to the highest level of authenticity and creativity.
Musically, the base is that of a power-trio: fast and bizarre lute melodies by Hyver (Véhémence, Hanternoz), swinging and inventive bass with a ’70s prog approach by KK (Passéisme, Paroxysm Unit), and flamboyant and luxurious drums led by Cadavre (Cantique Lépreux, Mêlée des Aurores, Forteresse live). Above it, some strange and uncommon instruments are psalterions, flutes and pipes, Sarrazin guitar (or citole), and brass sections. And then, harsh vocals as you know Grylle‘s Hyver and La Griesche are capable of, enhanced by rare-but-angelic choirs.
Antiq is a label dedicated to the fully coherent concept of making music through sound, image, video, and attitude. They have been putting their entire existence into it since 2009. Over the years, Antiq have been identified as producers of not only perfectly coherent lyrics and themes through music, but also conceptual art and, of course, the manufacturing of beautiful objects. The label tries as much as it can to work with French creators, and if possible, with the smallest and most serious structures.
In the meantime, hear the brand-new tracks “Grande Marche des Covidards” and “Mauvais Sang” here:
Aforementioned cover artwork and tracklisting are as follows:
Tracklisting for Grylle’s Egrotants, Souffreteux, Cacorhymes, Covidards 1. Grande Marche des Covidards 2. Mauvais Sang [3:27] 3. Moribon Flétri d’Orgueil [4:59] 4. Réservement de Confortale Présence [7:00] 5. Le Tropique du Cancer [3:58] 6. Queresle des Diables sur la Savance du Mort [7:16] 7. Le Triomphe de la Mort [6:16]
Today, AOP Records announces November 8th as the international release date for Chaos Invocation‘s highly anticipated fifth album, Wherever We Roam….
The journey of Chaos Invocation started in the fourth year of this millennium. Ever since the beginning, it has been the intention to manifest the members’ beliefs and experiences in Satanic music. As a trident lineup, Chaos Invocation released three full-length records: In Bloodline With The Snake (2009), Black Mirror Hours (2013), and Reaping Season, Bloodshed Beyond (2018). Shortly before the release of the latter, Omega (drums) and Tumulash (bass guitar) joined the founding members A. (guitars) and M. (vocals) and enriched the band with another spearhead. As a four-piece, Chaos Invocation recorded Devil, Stone & Man (2022): a wild, fierce, and challenging ride into the more sepulchral and dangerous realms of the black metal genre and a sonic monument of Satanic worship and sheer metallic fury. Devil, Stone & Man also marked the first collaboration with V. Santura at Woodshed Studio, with whom they also recorded their latest output.
Titled Wherever We Roam…, Chaos Invocation‘s fifth full-length looks to the past to see the trails to blaze ahead. Where Devil, Stone & Man maintained an incredibly direct aspect – arguably, the German’s most straightforwardly aggressive material to date, all grime and gnarl suiting the dark times in which it was birthed – Wherever We Roam… sees Chaos Invocation bringing back their burning-black melodicism, which heightens the authentically second-wave vibes intrinsic to their enduring aesthetic. Still serpentine and sinuous, their songwriting has continued to focus on expressions of a direct nature rather than busy themselves with overbearing complexity. Put another way, the quintet have focused on the more dynamic currents of Reaping Season, Bloodshed Beyond and simply sharpened them to a judicious degree, all given nightsky flight through the crisp & clean production – wholly organic, wholly powerful – as well as the oft-soaring leads.
As such, Wherever We Roam… feels anthemic, boundless, and wholly tailor-made for the stage, where Chaos Invocation have considerable experience; since their first live appearance in 2009, they’ve embarked upon several European tours as well as playing several smaller tours and festivals all over the European continent. “Our journey is far from being over,” state the band, and “we cannot wait to raise our banners at places we have yet not visited.” If there’s a record to slay that way forward, then surely it’s Wherever We Roam…
In the meantime, hear the brand-new track “Ideal Sodom” here:
Cover artwork, courtesy of Khaos Diktator, and tracklisting are as follows:
Tracklisting for Chaos Invocation’s Wherever We Roam… 1. Wherever We Roam 2. Ideal Sodom 3. Golden Gates And Terrene Light 4. Bridges Aflame 5. No Throne Withstands 6. This World Wants Us Dead 7. Only In Darkness 8. Engravings Of The Quivering Pedestal
Lineup A. – lead guitar, vocals* M. – vocals LS – rhythm guitars RK – bass guitar Omega – drums
*lead vocals on “Ideal Sodom” and “Bridges Aflame,” all clean vocals
On October 18th internationally, De Tenebrarum Principio – a division of ATMF – is proud to present the highly anticipated fifth album of Sweden’s Seid, Hymns to the Norse.
Hymns to the Norse – the new album from Seid, active since 2009 and purveyors of proud pagan black metal in the ancient tradition – takes great inspiration from the old folk music of the Scandinavian region. In many ways, this album is more of a concept album than 2022’s preceding Svart Sól was. The sejd drum intro “Hymn To Ivar” opens it up in an even-more-traditional fashion, but then you get brass sections and the sound develops more and more throughout the album towards something more recognizably black metal. “Hymn to the North” closes the album, referring to the fact that all the songs you just heard were hymns: previously untold but, in our common ancestry, deeply buried.
With Seid‘s raw, lo-fi sound, eerie vocals, sejd drum, Hammond organs, and haunting atmospheres, this album pushes the boundaries of black metal while exploring the Norse roots. Hymns to the Norse takes you to the past…and brings the past into you.
In the meantime, hear the brand-new track “My Kingdom Rise” here:
North American preorder info can be found HERE; European preorder info can be found HERE. Cover artwork, courtesy of Frank Dicksee (1873), and tracklisting are as follows:
Tracklisting for Seid (Sweden)’s Hymns to the Norse 1. Hymn To Ivar 2. The End Of Days 3. My Kingdom Rise 4. White Beast From Hel 5. Nordmænnens Raseri 6. Light Up The Sky 7. Allfadir 8. Hymns To The North
On September 13th internationally, Werewolf Records will release the debut demo of Japan’s Immortal Death, self-titled Immortal Death, on CD and cassette tape formats. And today, they stream the demo in its entirety. Hear Immortal Death‘s Immortal Death in its entirety here:
Emitting the sick stench of the ancients, Immortal Death play savage, Satanic DEATH METAL as if the last couple decades of “death metal” didn’t exist. A mysterious entity, it is known that at least one member hails from the esteemed Sex Messiah, but that is where the parallels end: one listen to Immortal Death‘s eponymous debut demo is enough to convince the diehard – or offend those of delicate sensibilities. Howling and harrowing and hulking in its ragged, rabid physicality, Immortal Death mangles both mind and body with its sulfurous rehearsal-room intensity, skillfully moving between primitive blasting and ominous trudge, with UNGODLY riffs being bullet-belted out right and left. And after a mere 14 minutes, you’re left with absolute devastation.
So impressed by its sheer audacity and merciless battery, Werewolf steps forward to release Immortal Death on a worldwide scale, on all formats. Maniacs of Necrovore, the pre-Deicide Amon, America’s Infester, Pissgrave, or the late / great Deathchurch, prepare for reckoning with Immortal Death.
Preorder info can be found HERE. Cover and tracklisting are as follows:
Tracklisting for Immortal Death (Japan)’s Immortal Death 1. Intro 2. Impaled by Horn 3. Stigmatized 4. Romance Of Corpse 5. Death of the Immortality 6. Outro
Prepare yourselves, mortals––as 1349 unleashes Inferior Pathways, the latest onslaught from their forthcoming album, The Wolf and The King. This infernal hymn channels the quintessence of 1349: unrelenting, blast-heavy, and furious. Inferior Pathways is a seething maelstrom of chaos and carnage, and it’s the perfect example of why 1349 are the ultimate masters of black metal.
Wreak havoc with the virulent guitars and manifold blasts of this third single that ties an iron spine of classic headbanging riffs to an inexorable groove – a flawless execution of raw, blackened power. 1349 continues to stretch the boundaries of the genre, infusing their relentless blast beats and searing guitars with an atmosphere of apocalyptic elegance.
Recorded at Amper Tone in Oslo, Norway, and New Constellation R.M.P. in Orlando, Florida, The Wolf and The King was produced and mixed by Ravn and Jarrett Pritchard (Eulogy, Pulchra Morte). The album promises a tempestuous journey through eight tracks of pure, unadulterated black metal, from the voracious onslaught of the previously release single The God Devourer to the sinister depths of Shadow Point. The Wolf and The King is out October 4th on Season of Mist.
Tracklist 1. The God Devourer (5:10) [WATCH] 2. Ash of Ages (5:27) [LISTEN] 3. Shadow Point (3:40) [WATCH] 4. Inferior Pathways (4:28) [LISTEN] 5. Inner Portal (5:08) 6. The Vessel and The Storm (5:15) 7. Obscura (3:44) 8. Fatalist (5:51) Total runtime: 39:01
1349 is not like other bands. It’s not a group of friends who decided to make music together. 1349 is a band formed with a unified vision and specific purpose: To maintain the legacy of black metal.
“I didn’t like the direction that black metal took in the mid part of the ’90s,” 1349 vocalist and mastermind Ravn recalls. “It started losing everything that I liked about black metal—the grimness, the eeriness, the primal emotions that captivated me and brought me into that sphere. You had all these synthesizer-based bands dressing up in pirate shirts and looking like goths. It ruined something that I truly hold close to my heart.”
In 1997, Ravn formed 1349 and recruited bassist Seidemann and, now former, guitarist Tjalve to help him pursue the vision of recapturing the original spirit of black metal. The longstanding lineup of Ravn, Seidemann, guitarist Archaon, and drummer Frost (also of Satyricon) has been in place since 2001. “I found people that felt the same way as me,” Ravn says of his bandmates. “We wanted to bring back the trademark of Norwegian black metal, as it was presented in the early 90s. Every time we release an album, that’s the inspiration and the backdrop.”
The Wolf and the King is the latest sortie in that crusade.1349’s eighth album sees the Oslo-based band harnessing the primordial energy of black metal’s decade-defining second wave and channeling it through ancient mysteries and the relentless global chaos of the 2020s.
The album title comes from a classic alchemical allegory: A wolf devours a king. Then the wolf is devoured by flames, and a new king rises from the ashes. “When I first heard about alchemy when I was young, it was people turning metal into gold,” Ravn says. “Further down the road, through various literatures and magical practices, I realized that what you’re turning into gold is metaphorical. It’s about personal development, basically. You want to be the best you can be, and that’s what we try to do as well. We try to top ourselves, to kill our egos in order to grow as persons. If you don’t do that, you will die. You will not rise from the ashes.”
Lead single “Ash of Ages” combines thrash with extreme metal flourishes and a proper doomsday theme. “The song is based on a story I read about a layer of ash that covered the Earth 12,000 years ago,” Ravn explains. “This layer of ash comes from a meteorite that struck the Earth during the Ice Age. It melted a lot of the ice, which is where the Great Flood came from. The Great Flood is in the Bible, but it was written about in every ancient culture. The theory is that it washed away a lot of other ancient cultures that held a higher intelligence level than those that were found after the flood. So, it possibly set human civilization back many thousands of years.”
Released as a one-sided maxi-12” with a flipside etching by Jordan Barlow—who did all the artwork for The Wolf and the King (as well as the band’s 2019 album, The Infernal Pathway)—“Ash of Ages” is also a warning to check your ego. “To think that you’re important, that you’re anything but an ant down there, is futile,” Ravn points out. “In the end, everything will be washed away, and nothing will be left.”
“Shadow Point” comes complete with a video and revisits the sonic domain of The Infernal Pathway with a classic headbanger groove. “This one references the Star of Algol, or ‘the Demon Star,’” Ravn offers. “It’s actually two stars that revolve around each other, and the small one is devouring the big one. Human beings have seen this star from early ages, and it has had many names over the years. It’s a known part of the magical world, so I wanted to include it in a song.”
Shot through with menace and a snaky groove, album opener “The God Devourer” will also have a video. “The lyrics are based on the alchemical principle of devouring all that you feel is in your way of becoming a better human,” Ravn says. “It sets the ominous tone for the whole album.”
Recorded at Amper Tone in Oslo, Norway, and New Constellation R.M.P. in Orlando, Florida, The Wolf and the King was produced and mixed by Ravn and Jarrett Pritchard (Eulogy, Pulchra Morte), the band’s long-standing sonic wizard who also worked on their previous two albums. The lyrics were written by the band’s longtime wordsmith, Svartalv, who has been working with 1349 for twenty years.
Jordan Barlow’s elaborate artwork for The Wolf and the King reflects the album’s chronological position in 1349’s discography. “This is our eighth album, and the artwork and lyrics are filled with references to this number of infinity,” Ravn explains. “You can basically go on a quest finding references to the number in the artwork.”
All told, The Wolf and the King is the exalted output of the joint force that is 1349. “We all work together to make the best black metal possible every time we release an album,” Ravn says. “This is our common goal. We’re a band on a mission.” Line-up Archaon – Guitars Frost – Drums Ravn – Vocals Seidemann – Bass
Recording Studio Amper Tone (Oslo, Norway) & NEW CONSTELLATION R.M.P. (Orlando, USA)
Production Credits Produced by Jarrett Prichard & Ravn Mixed by Jaerrett Prichard & Ravn at NEW CONSTELLATION R.M.P. Mastered by Jaerrett Prichard at NEW CONSTELLATION R.M.P.
On October 31st internationally, W.T.C.Productions is proud to present Shaarimoth‘s highly anticipated third album, Devildom, on CD and vinyl LP formats.
Formed in 2004 but tracing its origins back to 1998, Shaarimoth emerged from the then-barren Norwegian death metal underground, and along with it, so did new incantations of darkness, death, and destruction. Both dark and ecstatic, furious and violent, defying genres, but at the same time paying tribute to its predecessors of the black arts, Shaarimoth‘s goals were firm from the very beginning.
To date, Shaarimoth have released two albums, a full 12 years apart: 2005’s Current 11 and 2017’s Temple of the Adversarial Fire. Indeed not ones to rush things, the Norwegians maximize “delayed gratification” and embrace bold & brazen reinvention. Such was the case for the universally celebrated Temple of the Adversarial Fire, which saw Shaarimoth evoking the album’s namesake: a wholesale stripping-down their aesthetic to its barest essentials, only to be rebuilt into an incendiary, black-smoke-billowing monolith of blackened death metal majesty. Rarely in the nowadays metal underground will one hear a death metal record this pure and reverential in its intent whilst being so suffused with the blackest of blood…that is, until the arrival of Devildom.
Almost elegantly simple in its title, Devildom nevertheless reveals the fullest depth(s) of Shaarimoth‘s ever-entrancing vision. The template remains unyielding and limitless – technical Morbid Angel-esque death metal given unique twists in texture, ambience, and authentically occult lyrical content – but the execution of such is taken, impossibly, up to yet another level. Devildom delves into themes of darkness, death, rebellion, and the acosmic forces of the infernal, guiding the listener on a journey through the boundless abyss, beyond the illusions of creation. It reveals a path to transcendence, returning to the true darkness from which all things arise and to which they will eventually return. Grounded in esoteric philosophies and dark spiritual doctrines, the music acts as a conduit to an otherworldly domain where reality’s limitations are cast aside to embrace the forbidden light of the dark gods. More than just a collection of songs, Devildom offers a ritualistic experience meant to invoke the Devil’s presence and power, immersing the listener in a realm of liberating madness. This journey celebrates the sinister and the spiritual, inviting exploration of the shadow self and crossing the boundaries between the mundane and the mystical to confront the darker aspects of existence.
Thankfully, a dozen years were not necessary for Shaarimoth to continue the glorious new epoch they ushered in with Temple of the Adversarial Fire. Patiently and painstakingly crafted all the same, Devildom soundly cements Shaarimoth‘s status as the Devil’s Death Metal ELITE.
In the meantime, hear the brand-new track “The Midnight Sentinel” here:
Cover artwork, courtesy of Vamperess Imperium, and tracklisting are as follows:
Tracklisting for Shaarimoth’s Devildom 1. Call To Prayer 2. The Midnight Sentinel 3. Blood Covenant 4. Into Everlasting Darkness 5. The Voiceless Call 6. Apotheosis 7. Blade Of Malediction 8. The Impulse Of Rebellion 9. When Blood Becomes Fire 10. For His Eyes Of Judgement Are Forever Upon You
Today, French black metallers Tour d’Ivoire stream the entirety of their highly anticipated debut album, self-titled Tour d’Ivoire. Set for international release today via Antiq, hear Tour d’Ivoire‘s Tour d’Ivoire in its entirety here:
Tour d’Ivoire is an atmospheric black metal project created by Hyver (Véhémence, Grylle, Hanternoz) and La Griesche (Grylle, Cercle du Chêne) in early 2023. The atmosphere of this first eponymous album is thick and mysterious as a twilight fog: extreme vocals emerging from hypnotical riffs, synthesizer melody, and spectral choirs. The French lyrics treat, with a fatalistic view, the contemplation of landscapes and architectures out of mystical dreams, as depicted by Sperber Illustrationen for the album’s cover art.
Antiq is a label dedicated to the fully coherent concept of making music through sound, image, video, and attitude. They have been putting their entire existence into it since 2009. Over the years, Antiq have been identified as producers of not only perfectly coherent lyrics and themes through music, but also conceptual art and, of course, the manufacturing of beautiful objects. The label tries as much as it can to work with French creators, and if possible, with the smallest and most serious structures.
Aforementioned cover artwork and tracklisting are as follows:
Tracklisting for Tour d’Ivoire’s Tour d’Ivoire 1. La Tour [8:34] 2. Brouillard [9:09] 3. Forteresse de Marbre [7:54] 4. Givre [7:44]
Today, legendary Finnish black metallers Horna reveal the new track “Hymni V.” The track is the second to be revealed from the band’s highly anticipated 11th album, Nyx – Hymnejä Yölle, set for international release on September 13th via W.T.C.Productions. Hear Horna‘s “Hymni V” in its entirety here:
Horna need no introduction. Formed in 1994 when they were but teenagers, the band soon began creating a vast, prolific catalog – and, since the early 2000s, began asserting considerable influence over the black metal underground both in their native Finland and abroad. And while there are three distinct eras of Horna – the Nazgul-fronted version during the late ’90s to early 2000s, then the feverish Corvus-fronted years from 2003 to 2009, and finally, the Spellgoth-fronted lineup that began the 2010s and which has seen a few lineup shifts but has patiently parceled out recordings ever since – stellar songwriting and impassioned playing have always been their hallmarks. Their sound may’ve undergone subtle shifts of texture throughout those many years, but Horna‘s vision of unapologetic BLACK METAL has never faltered: proud and pure, familiar yet unique, and undeniably eerie and emotive.
Fitting for their 30th anniversary, Horna now unveil a new full-length that bridges past, present, and future: Nyx – Hymnejä Yölle. While the preceding Kuoleman Kirjo challenged with its sheer length – then again, so did 1999’s classic Haudankylmyyden Mailla, which retroactively wielded influence on that album and this next one – it nevertheless comprised 13 mostly-compact rippers emblematic of the Spellgoth era: nightsky melodicism conjured forth by founding guitarist Shatraug and longstanding six-string foil Infection, with the new rhythm section of drummer LRH and bassist VnoM creating blistering speed that was somehow swinging. That lineup carries forward to Nyx, and largely does that songwriting schematic. But whereas its predecessor touched upon a moodier aspect, on Nyx do Horna expand upon that in conjunction with longer tracks; six songs in 44 minutes should be easy math for most people. However, the album’s structure is unique in that the first five tracks are Roman numeral variations of “Hymni,” and thus fit a framework of crisp, mystical black metal both nostalgically ancient yet somehow surprisingly “modern.” Then comes “Kuoleva Lupaus,” which features former bassist (and currently Kryptamok mainman) Hex Inferi. Solemn and stripped back unlike anything else in their extremely deep discography, this nine-minute closer is essentially neofolk, but unmistakably done the Horna way. A haunting end to a majestic catharsis…
Of especial note is the production across Nyx: arguably the “cleanest” production Horna have yet had, it only heightens said mysticism and adds a palatable sheen to these raging wraiths of song – the latent emotion brought to a boil, the hypnotism pulling heartstrings in magickal collusion. It speaks to the strength of their songwriting, once again, which somehow manages to become ever more focused yet varied as time marches on. And although nods to the Nazgul era are noticeable – the Corvus era stands cold ‘n’ alone in its righteous, ragged filth – this synthesis of peak performance and professionalism with spectral songwriting becomes its own new “era,” in effect. Or, simply, it’s Horna. Their legendry continues to be written…
Hear the recently revealed video “Hymni I” HERE, also at W.T.C.‘s official YouTube channel. Cover artwork, courtesy of Dhomth, and tracklisting are as follows:
Tracklisting for Horna’s Nyx – Hymnejä Yölle 1. Hymni I [8:46] 2. Hymni II [7:46] 3. Hymni III [6:08] 4. Hymni IV [7:32] 5. Hymni V [5:00] 6. Kuovela Lupaus [8:46]
Today, French black metallers Diablation reveal the new track “Eternel.” The track is the first to be revealed from the band’s third and final album, Irrévérence, set for international release on September 27th via Osmose Productions. Hear Diablation‘s “Eternel” in its entirety here:
After experiencing a journey into the depths of despair, Diablation imagine the future of a newly elected people saved from the emerging apocalypse. They depict this future in great detail in their new transcendent opus, consisting of seven tracks mixed and mastered by Seb BST.
The tracks evoke violence and epic emotions, inspiring courage, honor, and adoration towards the Architect of this world. The metallic anthems crafted by VOA are supported by incantations chanted tirelessly, backed by a martial, heady rhythm driven at a frantic pace by Rémi Serafino (drums) and Max (bass).
The final work of the group features the last words of their martyr singer Arkames, who is now doomed to silence. The work symbolizes irreverence, counter-revolution against modernism and liberalism, and the desire for a restoration of His Reign. The closing words of the work are “Oh God, I rely on you, that we can one day become King again.” May this sentiment guide us until our last breath.
Preorder info can be found HERE. Cover and tracklisting are as follows:
Tracklisting for Diablation’s Irrévérence 1. 144000 [1:23] 2. Eternel [6:38] 3. Purification [8:46] 4. Par La Haine [5:24] 5. Chrysanthèmes Au Nouveau Monde [7:43] 6. Ad Universum [5:49] 7. Le Dernier Roi [6:26]
This November, True Vampyric Metal Punks Spiter will embark on a tour of the American East Coast. Joining them as support will be New Hampshire deathpunks Diabolus. Full list of confirmed dates as well as poster art are as follows:
11/1 Worcester, MA @ Ralph’s Diner 11/2 Jersey City, NJ @ Black Pearl 11/3 Richmond, VA @ Cobra Cabana 11/5 Atlanta, GA @ Boggs Social 11/6 Stuart, FL @ East Ocean Pub 11/7 Orlando, FL @ The Conduit 11/8 Pensacola, FL @ Subculture 11/9 New Orleans, LA 11/10 Memphis, TN @ The Hi Tone 11/12 Louisville, KY @ Portal 11/13 Asheville, NC @ Eulogy 11/14 Raleigh, NC @ The Pour House 11/15 Brooklyn, NY @ Meadows 11/16 Philadelphia, PA at Fotoclub
It was but the summer of 2022 when Spiter burst from the fucking grave with their debut album for Hells Headbangers, Bathe the Babe in Bats’ Blood. Featuring members of labelmates Shitfucker and Devil Master, the power-trio made plain – and vulgar – their infernal & infectious True Vampyric Metal Punk: a raw-yet-anthemic blend of cult blackthrash, obscure hardcore punk, and even the wildest deathrock. The album sowed its seeds of sanguine depravity and Spiter took their madness on the road, cementing their cult status immediately.
Now, the deviants of Spiter return with a ripping new mini-album, Enter the Gates of Fucking Hell. This six-song / 26-minute recording sees the lineup scaled back to vocalist / guitarist / songwriter Richard Spider (Daemon Bitch of Shitfucker) and drummer Snake (Disjawn) – they continue to be a trio for live purposes – and remarkably shows even more fire and focus than that not-inconsiderable debut album. Somehow, those six(-six-six) songs sound shorter and more epic simultaneously, with Spider showing his songwriting chops between wild & winding mania and ghoulish catchiness. The production, in kind, is colder and harsher but clearer and heavier, assaulting the listener with arguably more undead energy than said debut. And then, over before it began, you’re again possessed to press “play” and enter those fucking gates over and over…again, until it fucking hurts.
Stream Spiter‘s Enter the Gates of Fucking HellHERE at Hells Headbangers‘ Bandcamp. Order info can be found HERE. Cover and tracklisting are as follows:
Tracklisting for Spiter’s Enter the Gates of Fucking Hell 1. Enter The Gates Of Fucking Hell 2. Drowning In Darkness 3. Tears Of Blood 4. The Creeping Serpent Psychosis 5. 666 On The Crucifix 6. Reflection Of The Vampire
