On August 24th internationally, Personal Records is proud to present a brand-new mini-album from Vomitrot, Emetic Imprecations, on digipack CD format.
Vomitrot are a new one for Personal Records: extremely filthy, disgusting, and in-your-face CAVEMAN death metal, which only proves what the labels name means – a name that releases what it likes and does not pigeonhole to any genre or belief as long as the music is good and personal.
Forming in 2019, Vomitrot released their Rehearsal Demo MMXX in 2020 and, two years later, the debut album Rotten Vomit. Emerging from the primordial soup of boiling body fluids, the Swedish power-trio return nastier than ever with the release of Emetic Imprecations.
A stout recording at six songs in 26 minutes, Emetic Imprecations is almost so overwhelming that any second after that length would simply be too much to bear. Here, Vomitrot deliver a bizarre breed of vicious death metal, originating from an unholy mix of old-school death metal, war metal, and grindcore. The feverish riffs, the guitar tone that with cuts through your bones with the finesse of a rusty saw, the gut-wrenching vocals, the subsonic bass frequencies that stimulate the primal urge to dominate your enemies by making them gargle on their innards, and the schizophrenia-inducing hammering on the drums, purely driven by instinct and insanity – all components blend together disharmoniously into an explosive diarrhea of emetic madness and primal entropy.
Other bands may pose as “caveman,” but Vomitrot truly live it, and prove it with pustulent punctuation on Emetic Imprecations! Recommended for maniacs of early Incantation and Kataklysm, as well as Canada’s Cremation, Finland’s Abhorrence, and America’s Infester: YOU’VE BEEN WARNED!
First track to be revealed shortly. Preorder info can be found HERE. Cover and tracklisting are as follows:
Today, Spanish death metallers Krypticy stream the entirety of their highly anticipated second album, The Non-Return. Set for international release on July 22nd via Memento Mori, hear Krypticy‘s The Non-Return in its entirety here:
Krypticy was founded by main composer Alex Guerrero (vocals/guitar) in Málaga, back in 2013. The band’s debut EP, Necronomicon, captured their fondness for old-school death metal, most specially of the Floridian kind (Morbid Angel, Obituary, Death, Cancer). By the time they released their debut full-length, Hideous Being, a few years later, the band was already exhibiting a larger range of influences (Suffocation, Malevolent Creation, Deicide, Decapitated) and had begun to play live, sharing the stage with bands such as Lapidated, Avulsed, Wormed, Aposento, and Necrophiliac, among others.
With the band solidifying their lineup by the end of 2022 – Guerrero alongside Pancho Vázquez (drums), Thomas Schenk (bass/backing vocals), and Sergio Álvarez (guitar) – Krypticy signed with Memento Mori for their sophomore full-length. And now it arrives, bearing the ominous title The Non-Return. As forecasted by its stark cover artwork (courtesy of Cardaver Art) and cryptic nomenclature, The Non-Return sees Krypticy aiming to push the limits their already consolidated sound. Undoubtedly still tried & true DEATH METAL, there’s nevertheless a strive for something more spiritual here, as the quartet seek an evolution towards a more unique personality whilst retaining the classic edge that always defined Krypticy‘s approach to the genre. Mind you, this isn’t doublespeak for going all-out “prog” or leaving behind death metal altogether (and still calling it such); rather, the band have begun to more fluently speak different dialects within the same language, producing a multilingual approach that can only but strengthen the sum effect. So, while the traditional tropes of late ’80s thrashing and early ’90s grinding are well and accounted for, there’s a markedly angular aspect to Krypticy‘s songwriting on The Non-Return, which works up a fever & fury when riffs and riffs and RIFFS attack, one mercilessly after the other, the rhythm section surging and staying linear and ultimately producing a memorability that easily evades verse/chorus structures.
So, for those who willingly have their minds warped by such unfussy sleepers as Suffocation’s Pierced From Within, Malevolent Creation’s Stillborn, Decapitated’s The Negation, and Diabolic’s Infinity Through Purification, prepare to arrive at your destination with Krypticy‘s The Non-Return!
Aforementioned cover artwork and tracklisting are as follows:
Tracklisting for Krypticy’s The Non-Return 1. Infected Pharaoh 2. Hypatia’s Heresy 3. Texas Chainsaw Massacre 4. The Void 5. The Water Street Butcher 6. UGH! 7. Krypticy 8. Virgins Recently Fucked Sacrifice
On July 12th internationally, Invictus Productions will release Mages Terror‘s highly anticipated debut album, Damnations Sight, on CD and vinyl LP formats. And today, they stream the album in its entirety. Hear Mages Terror‘s Damnations Sight in its entirety here:
Mages Terror are built upon the fiery hunger of Illogium’s will to create a third psyche outside of Portal and Vomitor which would explore the devotion to the arts of thrashing ancient death and speed metal with the traditional essence. Elite levels of darkness and hate are fused with simplified, structured headbanging riffs, adorned with scathing vocals and a mix of shredding vs. haunting solos.
Alongside him is guitarist Rotten, hailing from the Brisbane death metal unit Pustilence, with his highly skilled virtuoso style of soloing, which offsets the atonal horror of the solo work by Illogium – a complementary guitar duo. Vocalist / bassist Stillborn, who also bleeds over from Pustilence, unleashes a scathing presence that commands over the dual fire. Drums are pounded by CY, who has graced bands in the past such as Mongrels Cross, Impetuous Ritual, and Consummation.
The year 2023 saw a demo under the guise of Vulgar Overlord, recorded via Tascam 4-track, rough and raw with a limited release of 80 red pro-cassettes (which quickly sold out). In November of the same year, with Aphotic Mote (of Portal) at the mixing helm, Mages Terror‘s debut full-length, Damnations Sight, was conjured, of which the results are stunning. Rich vintage and ripping guitar tones, huge drums, and nasty vocals are hammered down with conviction.
Invictus Productions have stepped up to release Mages Terror‘s Damnations Sight, marking a union of several years between the label and Australia’s heathen underground metal best.
Cover and tracklisting are as follows:
Tracklisting for Mages Terror’s Damnations Sight 1. Serpent Bat 2. Paramount Specter Dust 3. Fane of the Slug Gods 4. Ruthless Guild 5. Presage 6. The Vomited Harvest 7. Master in the Black Cavern 8. Demon Bell 9. Vulgar Overlord 10. Damnations Sight
In their endless quest to push and support current underground acts that perpetuate the odor of vintage death metal, Memento Mori are extremely thrilled to announce a new signing: Insineratehymn, from the United States.Hailing from Los Angeles, Insineratehymn have managed to position themselves in the taste of underground extreme metal fans with their powerful death metal clearly influenced by classic bands, giving a masterclass in ’90s death metal, from the spiraling vortexes of early Tampa to the sewage to come from New York, through to eerie emanations from Europe and the dissonance at the dawn of the new millennium. Naturally, the band bend those classic tropes in a variety of ways, all of which bespeak their own identity. Scuzzy, slicing, clanging, angular, brutal beatdown, ignorant stomp, or just straightforward killshot: no weapon is left aside. Simply, Insineratehymn are death metal for death metal maniacs, by death metal maniacs who understand and appreciate the rich-yet-codified history of the genre. Handy references to be made include Sadistic Intent, Monstrosity, Suffocation, Grave, Edge of Sanity, Demigod, Sentenced – and of course, Deicide, who provided their namesake.
Insineratehymn‘s third full-length is due for release on October 21st, 2024. Memento Mori will release the CD version while Rotted Life will take care of the vinyl and tape versions. Further details to follow in the coming months. For more info, consult the links below.
Today, throwback extreme metallers Inerth stream the entirety of their highly anticipated new mini-album, Hybris. Set for international release on July 5th via Abstract Emotions on 12″ vinyl format, hear Inerth‘s Hybris in its entirety here:
Inerth was born in Madrid in early 2019 just after the dissolution of their previous band, the acclaimed grindcore act Looking For An Answer. Formed by veteran musicians with 25 years of touring and recording experience, Inerth‘s main idea was to create an amalgam of harsh-but-pondering music designed to reflect a lifelong passion for sounds ranging from death metal to sludge as well as incorporating doomed and industrial soundscapes. After a self-titled EP debut, Inerth released their debut album, Void, in 2022 through Abstract Emotions, receiving great reviews worldwide and being included on the best albums list at such outlets like Mondo Sonoro, Rock Zone, Aversionline, Ritvual and Metalitalia among others. Taking inspiration from such bands as Godflesh, Napalm Death, Neurosis, Celtic Frost, Amebix, and Killing Joke, on their first full-length did Inerth reclaim the spirit of the 1990s’ most extreme & transgressive sounds.
With Hybris, Inerth show an evolutionary leap for the band. Unafraid of experimentation and going beyond boundaries, the four new songs here are full of strength and spirit. Inerth are clearly influenced by Godflesh, a band with which they recently toured, but Hybris equally shows their own idiosyncratic style in even-more-powerful form.
Preorder info can be found HERE. Cover and tracklisting are as follows:
Today, Hells Headbangers Records announces August 30th as the international release date for Deceased‘s highly anticipated eighth album, Children of the Morgue, on CD, vinyl LP, and cassette tape formats.
In lieu of this announcement, the band reveal the new title track “Children of the Morgue.” Hear Deceased‘s title track “Children of the Morgue” in its entirety here:
By now, Deceased need no introduction. One of the longest-running American death metal bands, since 1985, Deceased have been there for it all: death metal’s genesis, its creative peak, its commercial peak and subsequent sink into trendiness, the eventual fallout and “un-trendiness,” its rebirth at the hands of a new generation, and on and on. There they have stood, simply and 100% always Deceased, not caring what year it is or what is hip – simply, always, DEATH METAL FROM THE GRAVE!
And across their sizable-yet-succinct discography, at their heart, Deceased have always been a great HEAVY METAL band. They proved it with 1997’s landmark Fearless Undead Machines and continued to prove it with every album thereafter, with 2018’s Ghostly White showing that even this MANY years on, their pistons are pumping harder and more creatively than ever.
During those past three decades, Deceased have not been without ambition. Even when stretching the limits of complexity like on 1995’s The Blueprints for Madness, true-to-death storytelling has always been at the fore of their work, vividly illustrated by the characteristic throat of founder / former drummer King Fowley. And although Fearless Undead Machines was perhaps the apex of that storytelling, never before have Deceased attempted such an emotional, topically rooted-in-death album…until now!
Enter Children of the Morgue, Deceased‘s darkest record to date. The album’s concept is on dying and all that it entails, and suitably do the band integrate nearly every element of their past and present arsenal into its 55-minute runtime. “There will be fast parts, slow parts, melodic parts, noisy parts, and everything in between,” Fowley claimed pre-release, and he’s not wrong! But how Deceased manage to thread everything together so seamlessly speaks to the strength of their songwriting – always recognizable, but never resting on past laurels. Here on Children of the Morgue, moody-yet-melodic riffing and lead-work take center stage as Fowley narrates this epic-length tale of life and death. The album’s exceptional pacing and engaging, always-going-forward song constructions heighten the sensation that the record is a lot shorter than it actually is; however, if one was to do some quick math, he’d surmise at least half these tracks are indeed EPIC – at or above the eight-minute mark. Nevertheless, the sum effect is mesmerizing and even majestic, unremittingly DARK as the subject matter may be. The final icing on the cake (or slamming of the morgue’s doors?) is the warm & rustic recording courtesy of Oblivion Studios, where the aforementioned Fearless Undead Machines and co-classic Supernatural Addiction were rendered onto tape.
Nearly 40 years since their formation, Deceased show no signs of stopping – and, in fact, are arguably more potent than ever. You can now add Children of the Morgue to their list of undeniable classics…but this is not the end!
Preorder info can be found HERE. Cover and tracklisting are as follows:
Tracklisting for Deceased’s Children of the Morgue 1. Destination: Morgue 2. Children of the Morgue 3. Turn to Wither 4. Terrornaut 5. The Reaper is Nesting 6. Uninvited Dirge 7. The Grave Digger 8. Eerie Wavelengths 9. Fed to Mother Earth 10. Skull with the Vacant Stare 11. Brooding Lament 12. Farewell (Taken to Forever)
WORMED unveils Pleoverse Omninertia, the latest single from their eagerly anticipated Sci-Fi Tech Death Metal album, Omegon. WORMED has once again successfully harnessed the raw essence of cosmic dissonance; Pleoverse Omninertia showcases their unparalleled mastery. Recorded in the spectral shadows of BlackStorm Studios, and given form by the alchemical wizardry of Colin Marston at Menegroth, The Thousand Caves, this track propels the listener into a labyrinth of quantum entanglements and cosmic lore.
Pleoverse Omninertia immerses audiences into a cryptic dimension where reality itself bends to the divine algorithms of the Pleoverse. Beneath the veneer of chaos lies an ordered dance of subatomic particles, narrating the saga of Krighsu, the transcendent timeline hacker, in his perpetual quest for the Omegon—a substance of unimaginable power that lies at the heart of ancient galactic conflict.
As Krighsu navigates through the surreal tapestry of the Pleoverse, the track’s brutal elegance and technical precision unravel a narrative steeped in the metaphysical struggle for power, truth, and the manipulation of cosmic forces. Echoing the enigmatic essence of its creators, Pleoverse Omninertia is but a glimpse into the multidimensional battlefield that WORMED invites you to traverse.
Space – the final frontier. Yet, when WORMED reach out into the void, the results sound far more like a dark space opera inhabited by bizarre aliens, genetically and technically evolved meta-humans struggling for power and survival in galactic empires. Now, the nano-technological war has been unleashed in the void to defeat the last sower of human life, Krighsu!
Odd-time signatures, avalanches of breaks and complex rhythmical as well as melodic patterns will excite every aficionado of extreme technicality, while growls down-tuned strings and double-bass assaults will more than satisfy extreme metal connoisseurs. While being outstandingly skilled musicians WORMED are avoiding any self-indulgent show of prowess for its own sake. Instead, the five-piece from Madrid clearly lays its emphasis on creating atmospheric songs, which develop and grow along the underlying story.
Originating from Spain’s capital Madrid in 1998, WORMED immediately made an impact in the death metal scene with the release of their ‘Floating Cadaver in the Monochrome’ MCD (1999). Following a promo CD under the title ‘Voxel Mitosis’ (2001), the first studio album ‘Planisphaerium’ received high acclaim by critics and fans alike in 2003. In the wake of their debut full-length, the Spanish received invitations to international festival shows and touring around the globe. WORMED performed in Japan alongside GORATORY and VOMIT REMNANTS and afterwards hit Europe with MALIGNANCY and DESPONDENCY.
A creative hiatus, partly due to line-up changes and filled with re-issues of their previous released as well as the single ‘Quasineutrality’ (2010) finally ended, when their sophomore album ‘Exodromos’ came out in 2013. On their third full-length ‘Krighsu’ (2016), the fast-rising Spanish Sci-Fi tech death prodigies are telling a dystopian cosmic story with lyrics and music joined into an overarching concept. Its intense brutality, dissonant dynamic riffing, and tremendous heaviness combined with an amazing futuristic concept, which introduced the character Krighsu – last human in the cosmos, harvested top reviews and saw WORMED headlining in the US and co-headlining in Europe.
In the summer of 2019, WORMED brought their ultra-technical cosmic sonic onslaught to new heights on their 4-track EP ‘Metaportal’, released through Season of Mist. Praised as a monstrously satisfying addition to their catalogue, the EP bridged the gap between their previously released 2016 ‘Krighsu’ and their newest project. Atmospheric yet faithful to the skull-crushing mindboggling textures they’ve given fans over the years, ‘Metaportal’ allowed WORMED to come to terms with the loss of Guillermo Calero in 2018 and move forward.
On ‘Omegon’, WORMED’s upcoming 2024 release, they continue the story of Krigshu, a timeline hacker entangled in manipulation by cosmic forces. As viciously as the aggression they bring on their technically impressive instruments, Krigshu battles his way to unlock the mysteries of Omegon, a mysterious cosmic substance holding ultimate power. With 9 tracks of ultimate interstellar chaos, a story unfolds and WORMED prove yet again that they reign supreme on the technical death metal genre.
Recording Studio BlackStorm Studios (Karrantza, Basque Country)
Production Credits Ekaitz Garmendia – Producer & Sound Engineer Mixed & Mastered by Colin Marston at Menegroth, The Thousand Caves (Queens, NY, USA) Editing by Simon Da Silva at The Empty Hall (Madrid, ES)
Available Formats: Digital Download CD Digipak 12″ Vinyl Gatefold – Black 12″ Coloured Vinyl Gatefold – White 12″ Coloured Vinyl Gatefold – Transparent Blue 12″ Coloured Vinyl Gatefold – Blue, Black & White Marbled
Today, Neuropa Records announces August 2nd as the international release date for ADON’s highly anticipated debut album, Adon, on CD and vinyl formats.
Formed in 2019, ADON are a black / death metal duo hailing from America, helmed by lifelong friends guitarist Nath and vocalist Æthelwulf II. They found solid footing in late 2020 with the addition of session drummer James Stewart (Decapitated, ex-Vader). Their first public release was the Arkane EP in October of that year. A period of silence lasting four years would follow as ADON worked on their full-length debut. The “Axiom” digital single was revealed at the very beginning of 2024, teasing the dark delights of that debut album.
At last, ADON’s first full-length arrived in the form of Adon, elegantly self-titled. Its initial release was exclusively through The Metalhead Box subscription service, but so impressed with its cold-steel majesty, Neuropa immediately sought to release the record worldwide on both CD and vinyl, with expanded deluxe layout. And for good reason: ADON’s opening salvo is a heat-seeking missile and massive wall of gleaming chrome alike, an example of “blackened death metal” that honors the full potential of such an appellation, and very simply a very superlative display of songwriting acumen and pummeling intensity.
An exploration into dark fantasy, a true story of repeating history – ADON characterize their main motives thusly, and so does Adon bring them to burned-black life. ADON examine the fragility of existence through story and violent legend, and supposes what happens when our world is ended. Illustrating that is a record that comprises six songs in 49 minutes that lay forth a stark, sometimes-sensual landscape of cutting clarity and rusted-razor violence. Its unique structure as an album – two distinct halves, which start with two conventional-length songs segueing into two respective titans, the nearly 17-minute “Adon” and the 11-minute closer “Æon,” which is to say nothing of every track beginning with the letter A – regulates and exacerbates the sturm und drang of their equally graceful and muscular execution, where quite-often-godly solos wind in and out of their slipstreaming surge. That latter aspect heightens the overall classiness of Adon, an all-too-rare accomplishment among today’s black / death scene where “good production” is often a slippery slope to sterility. Instead, ADON show themselves as astute craftsmen, able to put their considerable chops in service of the song, and evince a cold / hard / dead texture that feels palpably post-modern despite their authentically classic foundation.
Aesthetic signposts are there, to be sure – prime Necrophobic, Lord Belial, and Naglfar to Thorns’ lone album, post-Rebel Extravaganza Satyricon, and the Norwegian Zykon – but boundless in inspiration and bringing a distinctly American air to proceedings, ADON are undoubtedly on their way to conquering the underground with Adon. What could’ve been one of the “best-kept secrets” is now being released in a worldwide edition: immerse thyself in its alluring “Æther”!
In the meantime, hear Adon in its entirety here:
Preorder info can be found HERE. Cover and tracklisting are as follows:
Today, French death metallers Skelethal reveal the new track “Spectrum of Morbidity.” The track is the second to be revealed from the band’s highly anticipated third album, Within Corrosive Continuums, set for international release on July 12th via Hells Headbangers.Hear Skelethal‘s “Spectrum of Morbidity” in its entirety here:
Additionally, Skelethal will be touring Canada following the release of Within Corrosive Continuums. Full list of confirmed dates & venues as well as poster art are as follows:
July 18 – Montreal, QC @ la Soterennea July 19 – Ottawa, ON @ House of Targ July 20 – Toronto, ON @ Baby G July 25 – Trois-Rivières, QC @ le Zénob July 26 – Quebec, QC @ la Source July 27 – Rimouski, QC @ Bain Public
Formed in 2012, Skelethal have been at the forefront of the now-fertile French death metal scene. While many of the band’s primary influences have been Swedish – Entombed, Carnage, and Dismember – over the past decade, the quartet have finessed that style of death metal into one that feels classic rather than simply “old.” Call it intrinsically understanding what makes death metal DEATH METAL or simply possessing the songwriting nous to add to such a hallowed canon rather than merely milking, but Skelethal have proven to be contenders to the throne. First full-length evidence was 2017’s Of the Depths…, followed by 2020’s Unveiling the Threshold, which saw a lineup change and bold steps beyond Swedeath (and both released by Hells Headbangers), and now arrives LP#3 to all but assure that ascent to the throne.
Tellingly titled Within Corrosive Continuums, Skelethal‘s third album equally encapsulates their past and builds upon it in noble ways. While it’s predecessor saw a slight uptick in clarity, here do Skelethal carry forward that clarity with a conspicuous dirtying-up of tone. The production’s as powerful as ever, so it could be argued that that rediscovered grit & grime come more in the band’s execution – or, more accurately, the songwriting itself. Within Corrosive Continuums immediately sounds like the same band who unleashed those prior two (celebrated) LPs, but Skelethal flex a bit differently here, opening up a number of (still-death metal) influences and transforming them into riffs and rhythms that ever so slightly more adventurous, all without (crucially) losing their characteristic directness. As such, the bulk of these largely-five-minute-long songs feel twice as fast, so feverish is the band’s intensity, but dread-draped hooks and CRUSHING heaviness still rule the day. Put another way, Skelethal take on textures that are more personal and somber, but keep the expression resolutely death metal. Simply witness the 13-minute closing juggernaut, appropriately enough the title track: hearing is believing, and Skelethal will make believers out of even the crankiest “old school” diehards.
Third albums are always a gamble when it comes to death metal; you either sell out, or get stuck in inertia for the rest of your days. Skelethal defy this convention and continue to push their limits, culminating in a deep trip Within Corrosive Continuums.
Also hear the previously revealed “Fatal Abstraction” HERE, also at Hells Headbangers‘ official YouTube channel. Preorder info can be found HERE. Cover and tracklisting are as follows:
Tracklisting for Skelethal’s Within Corrosive Continuums 1. Creation 2. Spectrum of Morbidity 3. Mesmerizing Flies at the Doors of Death 4. Eyes Sewn Mouth Full 5. Upon the Immemorial Ziggurat 6. Fatal Abstraction 7. Within Corrosive Continuums
Today, Blood Harvest Records announces August 30th as the international release date for Gutvoid‘s highly anticipated new mini-album, Breathing Obelisk, on CD, 12″ vinyl, and cassette tape formats.
Since their formation in 2019, the ascent of Canada’s Gutvoid has been nothing if not meteoric. From their initially digital-only debut EP, Astral Bestiary, receiving a physical release courtesy of Blood Harvest to the Four Dimensions of Auditory Terror four-way split shared with Blood Spore, Coagulate, and Soul Devourment the following year – again, via Blood Harvest – Gutvoid churned forth a world-eating Metal of Death that duly devoured the listener whole. Still, massive potential lurked, and it arrived with one of the most fully-formed death metal debut albums in 2022’s Durance of Lightless Horizons. Hailed far and wide upon its release and thereafter, Durance of Lightless Horizons simply intensified all the hallmarks of their sound – heaving, vertigo-inducing, spiraling like tar-thick smoke – and then sharpened them with a sterling sense of clarity, allowing their yearning, come-hither melodicism to evoke both melancholy and malice.
Taken individually, each of Gutvoid‘s recordings builds upon the last but offers surprising twists of the knife. And so it goes with the band’s brand-new mini-album Breathing Obelisk. Totaling 31 minutes across four tracks, one can easily do the math and surmise that Gutvoid here are stretching out into epic territory. Fittingly, they open up their world-eating sound to include looser execution, more fist-pumping mid-tempos, hypnotic repetition of melody, linear-but-not-really songwriting, and a strange style of grooviness…or “grooviness” in that it’s akimbo and angular and yet still supremely rhythmic in a manner most surprising for tried-and-true death metal. Here, the band eschew much of the doominess of their preceding work and instead allow those vast vistas of space pregnant with tension & terror to be built back up with rolling tank-treads of mountainous might. The cover art to Breathing Obelisk, then, begins to make more sense in the context of this textural shift; it’s Gutvoid at their most approachable and most alien – clearly recognizable, fully in focus, and yet somehow incomprehensible for the strange transmissions they’re emitting from some unknown outpost. That these four songs run anywhere from six minutes to nearly ten bespeaks not bloat, but rather a desire to patiently unfold their dread landscapes – and then do so with a remarkable memorability that’s not predictable verse/chorus formulae. And the rougher, dirtier production heightens this unfussy uniqueness that much more.
Cementing their status as one of the best still-young death metal entities around, Gutvoid challenge you to stand before their Breathing Obelisk.
In the meantime, hear the brand-new track “For We Are Many” here:
Preorder info can be found HERE. Cover and tracklisting are as follows:
Tracklisting for Gutvoid’s Breathing Obelisk 1. Swamp Consumed [9:50] 2. For We Are Many [5:52] 3. When The Living Dome Opens [7:21] 4. Shodar [7:04]
