Month: December 2017

Death metal classicists Rotheads premiere the new track “Sewer Fiends”

Today, death metal classicists Rotheads premiere the new track “Sewer Fiends”. The track hails from the band’s highly anticipated debut album of the same name, Sewer Fiends, set for international release on January 22nd, 2018 via Memento Mori. Hear Rotheads’ “Sewer Fiends” in its entirety exclusively HERE.

Hailing from Romania, the putrid ensemble of Rotheads was formed in Bucharest back in 2014 as an old-school death metal side-project to the experimental doom/noise/stoner-improv band Keeng Ra’at; both bands contained the same three members. By 2015, five songs were written, and recordings began in December of that year. Ultimately, six songs (plus intro and outro) came out in April 2016 as the Unfazed by Death demo, which turned out to be a remarkable, sick trip into the bowels of murky and foul-smelling death metal. In the meantime, another guitarist joined the band, and the original bassist left and rejoined later on. The original drummer and vocalist also left the band in August, and another drummer has since joined, while the vocals are now handled by the original guitarist. Rotheads have played only a few times live, the most memorable being two gigs around Romania with the legendary Sadistic Intent.

“Aptly fucking titled” is an understatement when it comes to Sewer Fiends. Here, Rotheads take their aggregate influences – particularly from the classic early ’90s Finnish scene (Abhorrence, early Sentenced, Demigod, Depravity), as well as other timeless crypt dwellers such as Autopsy, Incantation, Carnage, Accidental Suicide, Grave, and Asphyx – and proceed to create a mesmerizingly murky ‘n’ moody work with their debut album. The sewage is piled high and plentifully, as foul ‘n’ fetid riffs flow fast and freely, but always with a clearly discernible direction; after all, Rotheads are firmly grounded in the timeless songwriting style of old-school death metal, where feeling and texture are paramount over technique and other flashy wank. And those riffs continue to roll ever forward, malevolently and majestically, just like a (filth-strewn) tank. And yet, amidst all this crunch and carnage lay a layering of eerie melody atop, evoking fresh crypts opening slowly or the tension of wandering further into tomb-like sewers. Indeed, Rotheads are as aptly named as their album is titled, and we dare you to emerge from their moldy embrace completely clean – there’s just no way to wash off this horror!

As an appetizer, just stare deeply into Cesar Valladares’ cryptic cover art. And, with mixing and mastering courtesy of Javier Felez at Moontower Studios, it’s all but guaranteed that Rotheads’ Sewer Fiends will be one of the best (if not THE BEST) death metal debuts of the year!

Cover and tracklisting are as follows:

Tracklisting for Rotheads’ Sewer Fiends
1. Sewer Fiends
2. From the Glowing Goo Rise
3. Rats in the Walls
4. Psychic Leech
5. Servants of the Unlight
6. The Mad Oracle of Seweropolis
7. Dance of the Vermin

MORE INFO:
www.facebook.com/rotheads
www.rotheads.bandcamp.com

Interview with UK death metal band Cruciamentum

Today I spoke with one of the best new death metal bands in the Uk, Cruciamentum. Check it out:

First off congrats on the new ep sounds killer – if I am not mistaken Priory Studios is a pretty legendary studio right? How was it recording there?
D.L.: We’ve worked with Greg at Priory Studios at some point on every release we’ve done. We keep going back because it is a great studio, Greg is easy to work with and not only does he understand the music, but he’s open to experimentation and working collaboratively with us.

The Absu cover is pretty sick – how did you guys decide to cover Descent to Acheron?
D.L.: It’s a song we’ve played parts of in our rehearsal room since we started the band. Barathrum V.I.T.R.I.O.L. and Temples of Offal played a big part in influencing Cruciamentum, and once we decided to record a cover it was a natural choice.

If I am not mistaken you guys have been going for about 10 years now. What would you say have been the highlights of being in the band to date?
D.L.: To me personally, our greatest achievement was to release Charnel Passages. The album took a long time to write and it wasn’t an easy process. It seems safe now it’s been released for a few years to say that I feel quite proud of it, it represents a musically and conceptually matured version of Cruciamentum – of what we were building towards on the earlier releases and a mark of quality to which we must adhere to in the future.

If I am right most of you guys have had experience in other death metal bands before Cruciamentum, why do you think you have made it work with this line up versus previous bands?
D.L.: Our experience isn’t limited to death metal but we have also played in other metal bands. Success is subjective and can’t be measured – though I didn’t get to tour with previous bands, I still think I achieved what I wanted to at the time with them which means they’re still a success in my eyes. They’re important steps in our musical evolution. As for Cruciamentum – I think that it worked out because it was the first time for many of us that we were in a band where we as a collective had similar tastes, attitude and ideas as to how a band should be musically, and conceptually. The physical distance between the members and the money, time and traveling involved means that whilst it slows us down and limits what we can do, there’s no-one in the band who is a deadweight because the requirements to be in the band mean that only someone truly dedicated could be involved.

The first song we wrote was “Rotten Flesh Crucifix” which was about the Catherine Wheel, a medieval instrument of torture and execution.

Cruciamentum means torture and pain in Latin right? Who came up with the band and what does it represent to you guys?
D.L.: Torture or torment, but yes. The band name was my idea, at the start of the band the lyrics were less reflective and focused around blasphemy and anti-religious topics. The first song we wrote was “Rotten Flesh Crucifix” which was about the Catherine Wheel, a medieval instrument of torture and execution. It seemed to make sense to take a name which summed up that theme and in a language which conveyed it in a time appropriate fashion. That said, the name doesn’t feel obsolete now – it still very much sums up a large portion of our themes and has a certain obscurity and mystique to it.

Do you guys have a world view (political or religious) that you subscribe to?
D.L.: Philosophically we all to varying degrees view the world in a way that mirrors the band’s themes, but we would never consider ourselves an ideological band.

It’s difficult to pinpoint what it is about the Midlands which made it the breeding ground for heavy music

I presume you guys are based in the West midlands right? why do you think so many legendary bands have come from the Midlands (Sabbath, Priest etc)
D.L.: Actually, no – not any more. I still live in the Midlands at the moment, but the rest of the band is spread across the country, and actually now we’re spread across two countries. It’s difficult to pinpoint what it is about the Midlands which made it the breeding ground for heavy music that it is. I believe many of those bands cite the fact that the area being a very working class industrial place bred a need for a harder form of escapism as the “flower power” idealism of that period didn’t speak to the average working class person. When you take that into consideration it does make sense, Birmingham is not a city where the idealism of late 60s California translates.

We’ve been very lucky to be signed to two labels that have done well by us

How did the record deal with Profound Lore come about? What’s been the most noticeable plus side of working with them so far?
D.L.: We had been in contact with Chris for some years prior to singing with Profound Lore and he had from the beginning shown an interest in signing us. We were happy with our old label Nuclear Winter until it folded, but when that happened we didn’t really consider anyone else and simply contacted Chris to see if the offer was still open. We’ve been very lucky to be signed to two labels that have done well by us. Both have been nothing but supportive and honest to us and provided us with everything that we asked for.

What’s been the biggest show the band has done to date?
D.L.: Probably playing the main stage at Netherlands Deathfest. Unfortunately due to technical problems and very little setup time it was probably the worst show we’ve ever played. I personally prefer smaller, more intimate shows but it would be good to return at some point to right the wrong.

Do you guys have a bucket list of countries you want to play? I know I would love to see you play NYC
D.L.: We actually played NYC back in 2012 at the first Martyrdoom festival. We’d love to return though! As for countries we’d like to play… Australia, and generally South America, Asia and more of Eastern Europe.

What can we expect from Cruciamentum in 2018?
D.L.: 2018 will likely be a quiet year for us. We’ll concentrate on finishing writing our second album which we hope to start recording at the end of the year.

Any final words?
D.L.: Thanks for your support. Anyone wishing to get in touch with us can do at cruciamentum.uk@googlemail.com, and we’ve got plenty of merch available at http://cruciamentum.bigcartel.com/

A black Christmas carol by Inquisition

O tidings of comfort and joy! INQUISITION are releasing the first video clip for the track, “From Chaos They Came” taken from the US black metal trailblazers’ latest album, ‘Bloodshed Across The Empyrean Altar Beyond The Celestial Zenith’. Happy holiday season, everybody!

Video credits
Produced by Videohammer Studios
Directed by Tommy Jones
Storyline content produced by Nader Sadek

INQUISITION have previously announced a massive European tour in support of their latest masterpiece, ”Bloodshed Across The Empyrean Altar Beyond The Celestial Zenith”. The American black metal duo will be joined by label mates, Greek symphonic metal demons, SEPTICFLESH.

A list of all currently confirmed dates can be viewed below.

INQUISITION / SEPTICFLESH European Tour
04 Jan 18 München (DE) Backstage
05 Jan 18 Leipzig (DE) Hellraiser
06 Jan 18 Praha (CZ) Klub Nová Chmelnice
07 Jan 18 Budapest (HU) Barbara Negra
08 Jan 18 Wien (AT) Viper Room
09 Jan 18 Ljubljana (SI) Orto Bar
10 Jan 18 Bologna (IT) Alchemie Club
11 Jan 18 Brescia (IT) Circolo Colony
12 Jan 18 Zürich (CH) Meh Suff! Winter-Fest 2018
13 Jan 18 Denain (FR) In Theatrum Denonium Festival
14 Jan 18 Lyon (FR) CCO Jean Pierre Lachaize
16 Jan 18 Madrid (ES) Sala Caracol
17 Jan 18 Barcelona (ES) Razzmatazz
18 Jan 18 Toulouse (FR) Le Metronum
19 Jan 18 Angers Le Chabada (FR) Angers Mini Fest
20 Jan 18 Paris (FR) La Machine du Moulin Rouge
22 Jan 18 London (UK) The Underworld
23 Jan 18 Vosselaar (BE) Biebob
24 Jan 18 Nijmegen (NL) Doornroosje
25 Jan 18 Hamburg (DE) Hamburg
26 Jan 18 Matrix (DE) Bochum
27 Jan 18 Mannheim (DE) MS Connexion Complex

1. Intro: The Force Before Darkness
2. From Chaos They Came
3. Wings Of Anu
4. Vortex From The Celestial Flying Throne Of Storms
5. A Black Aeon Shall Cleanse
6. The Flames Of Infinite Blackness Before Creation
7. Mystical Blood
8. Through The Divine Spirit Of Satan A Glorious Universe Is Known
9. Bloodshed Across The Empyrean Altar Beyond The Celestial Zenith
10. Power From The Center Of The Cosmic Black Spiral
11. A Magnificent Crypt Of Stars
12. Outro: The Invocation Of The Absolute, The All, The Satan
13. Coda: Hymn To The Cosmic Zenith

There are certain cycles in the rise and fall of bands that form a discernible pattern. One of the stations in this process is the break-though, when a group rises from the murky underground into the sphere of heightened mainstream attention. In the case of WATAIN for example, this transition can be pinpointed to a specific album, ‘Lawless Darkness’ (2010).

It may seem a rather daring to attribute such a moment to INQUISITION’s forthcoming seventh full-length ‘Bloodshed Across The Empyrean Altar Beyond The Celestial Zenith’ in advance. Yet even with the first spin of this record, any doubt and thought of hyperbole should disappear. The American black metal duo has obviously reached a level of confidence, maturity, and mastery of song writing, technical execution as well as strength of production that this masterpiece will mark a milestone in a career that has already gathered momentum.

While INQUISITION have so far grown without full attention paid by the metal mainstream, they have nevertheless amassed a huge underground following. Such a pivotal shift always comes with a risk. The most loyal adherents might be antagonised if a band strays too far from course in their attempt to reach for the stars. There is no danger for this to happen with ‘Bloodshed…’. Notable changes from the highly praised ‘Obscure Verses For The Multiverse’ (2013) are rather gradual than revolutionary, but still prove decisive. Dagon has slightly lowered his vocal pitch, which sounds less amphibian and the fiercer sound of his voice leaves a stronger impact. INQUISITION’s song writing has been tightened and appears more focused without losing the trademark epic majesty. Each track hits its mark, there are no fillers. This album represents the culmination and peak of a long term gradual evolution.

INQUISITION hail from the US city of Seattle, Washington although originally formed by Dagon in the South American state of Colombia in 1989. Three demos were released during this early thrash metal period, before the frontman moved back to the United States in 1996. There Dagon was joined by drummer Incubus in 1997. Their debut full-length ‘Into The Infernal Regions Of The Ancient Cult’ (1998) immediately created a buzz in the netherworld of the black metal genre. Their impact on the scene deepened with each of the following four albums and the duo’s much sought after back catalogue has meanwhile been reissued by Season of Mist in its entirety.

With ‘Bloodshed Across The Empyrean Altar Beyond The Celestial Zenith’, INQUISITION are about to conquer the world. Resistance is futile.

Line-up
Dagon: guitars, vocals
Incubus: drums

www.facebook.com/inquisition.official

Portuguese thrashers Perpetratör premiere the new track “Altar of the Skull”

Portuguese thrashers Perpetratör premiere the new track “Altar of the Skull”. The track hails from the band’s highly anticipated second album, Altered Beast, set for international release on January 31st, 2018 via Caverna Abismal Records. Hear Perpetratör’s “Altar of the Skull” in its entirety exclusively HERE.

Featuring current members of Filii Nigrantium Infernalium and Ravensire as well as ex-members of The Firstborn and Omission, Perpetratör are both a summation of their membership and a sharp deviation from it. They proved as much with their unrelenting 2014 debut album, Thermonuclear Epiphany, which displayed a power-trio poised for detonation into the outer stratospheres of old-school Teutonic thrash metal.

Once again, Perpetratör come back harder and stronger with their second album, Altered Beast. Aptly titled, Altered Beast takes all the rudiments of the band’s celebrated debut – seamless propulsion, immediately memorable songwriting, and wily execution that’s simultaneously sharp and loose – and upratchets everything to 11! Robust and more rounded production drags Perpetratör’s attack out of the underground and into the big leagues whilst not dulling the pure, fist-in-the-face diabolism and debauchery that originally ingratiated the band to diehards worldwide. Likewise, the songwriting has gone from “immediately memorable” to “obscenely catchy,” as each of these 11 speed-screeds becomes an anthem in their own, respective right, inciting both fury and fun, mania and manna. And with enviable ease, a sort of mesmerizing magic, Perpetratör simply fires off one blistering beast after another, all making for a true Altered Beast!

You might’ve already experienced a Thermonuclear Epiphany, but with Altered Beast, Perpetratör indeed prove that the second strike is deadliest! Hear for yourself with the new track “Altar of the Skull” exclusively HERE, courtesy of NoCleanSinging.com. The previously revealed “Extreme Barbarity” can be heard HERE.

Cover and tracklisting are as follows:

Tracklisting for Perpetratör’s Altered Beast
1. Altar of the Skull
2. Extreme Barbarity
3. The Doors Of Perception
4. Fires of Sacrifice
5. Lethal Manhunt
6. A Fleeting Passage Through Hell
7. Terminal Possession
8. Jungle War
9. Let Sleeping Dogs Lie
10. Hellthrasher
11. Black Sacristy

MORE INFO:
www.facebook.com/perpetratorthrash

IRON VOID reveal first track, cover, tracklisting for new SHADOW KINGDOM album

Today, doom titans Iron Void reveal the first track, cover art, and tracklisting to their highly anticipated third album, Excalibur, which will be released during the first quarter of 2018 by new label home Shadow Kingdom Records. A mainstay of the UK doom metal scene, Excalibur is the album by which Iron Void will truly be launched onto the world stage. “The Coming of a King,” the first track to be revealed from Excalibur, can be heard exclusively HERE.

Cover and tracklisting follow below.

Iron Void was originally formed by Jonathan “Sealey” Seale and Andy Whittaker (Solstice, The Lamp of Thoth) in 1998 in order to create an old-school doom metal band, worshiping at the altar of doom legends such as Black Sabbath, Saint Vitus, Pentagram, etc. The band reformed in 2008, with the current lineup consisting of Jonathan “Sealey” Seale (bass & vocals), Steve Wilson (guitars & vocals), and Richard Maw (drums).

Iron Void’s debut EP, Spell of Ruin, was originally released on CD in 2010 and re-released in 2012 via Doomanoid Records. Their self-titled debut full-length album was released on CD in 2014 via Barbarian Wrath and released on limited-edition vinyl by Fear Me! Music in 2015. The critically acclaimed second album, Doomsday – recorded & produced at Skyhammer Studio by Chris Fielding (Conan, Winterfylleth, Electric Wizard) and mastered by James Plotkin – was released on CD via Doomanoid Records in 2015 and released on limited gatefold vinyl via Fear Me! Music in 2016.

With considerable live action in the past few years as well, and encouraged by the critical acclaim heaped upon Doomsday, Iron Void patiently set to work on Excalibur. Arguably the band’s magnum opus, Excalibur is an epic behemoth of Arthurian legend, emitting an atmosphere that’s truly medieval whilst sacrificing whilst sacrificing none of their trademark DOOMED-OUT heaviness. Here, across the album’s massive yet strangely concise 48 minutes, Iron Void weave old-as-time tales of myth and magic, all set to rumbling, dramatically dynamic doom metal. The album is sequenced together with a subtle sort of mastery, taking the listener on a journey into centuries past, all concluding with the stark ‘n’ stirring acoustic closer “Avalon.” As the final notes ring out, you’ll be reaching for the calendar to check what year it is!

Cover and tracklisting are as follows:

Tracklisting for Iron Void’s Excalibur
1. Dragon’s Breath
2. The Coming of a King
3. Lancelot of the Lake
4. Forbidden Love
5. Enemy Within
6. The Grail Quest
7. A Dream to Some, A Nightmare to Others
8. The Death of Arthur
9. Avalon

MORE INFO:
www.facebook.com/ironvoid
www.ironvoid.bandcamp.com

NUCLEAR WAR NOW! to reissue seminal LURKER OF CHALICE album

Nuclear War Now! Productions sets February 15th, 2018 as the international release date for the double-LP vinyl reissue of Lurker of Chalice’s lone and long-out-of-print album, Lurker of Chalice.

Like Leviathan, Lurker of Chalice is a project conceived of and executed by multi-instrumentalist and visual artist Jef Whitehead, who is generally referred to as Wrest in the context of his music. For nearly 20 years, through his work with Leviathan, Lurker of Chalice, and many other projects, Whitehead has consistently recorded and released music that has unquestionably left permanent scars on the face of the USBM scene.

To call Lurker of Chalice a Leviathan side-project would be inaccurate. Though Leviathan is far more prolific and widely known, Wrest’s recordings under the Lurker of Chalice banner are just as earnest and extraordinary. Indeed, to many, the Lurker of Chalice material represents the zenith of Wrest’s vast and superb body of work.

The self-titled Lurker of Chalice album, which came out in 2005, was the only widely circulated recording associated with the project, the two previous demos only being released in very limited quantities. The album garnered massive praise before swiftly going out of print, practically ensuring its stature as a cult masterpiece.

It would be too simplistic to categorize this album as mere black metal because it sweeps so broadly across the musical spectrum; however, even when Wrest strays farthest from black metal in a stylistic sense, the sensations and emotions the music conjures are every bit as visceral. Born of true despair, the oppressive weight of anguish looms over the album. A genuine sense of oblivion permeates the atmosphere created by this collection of songs that, taken together, chart a course through the bleakest stations of the soul.

Following a comparatively brief introductory track, the album opens with “Piercing Where They Might,” one of two songs on the album that were featured on the Lurker of Chalice demo released in 2002. The song begins with what might be the brightest passage on the album, featuring delicate guitar work accentuated by the sounds of birds in the background—this proves to be the first and last glimpse of light the listener will have—before it abruptly shifts, plunging over the blackened horizon into ever more depressive regions. A warped repetitive riff of slow bending notes carries the momentum of the song, causing a temporal distortion as it’s woven into the latticework of a steady blastbeat moving four times faster—like the anxious constancy of one’s breath over the percussive fervor of one’s heartbeat. Only one other track, “Granite,” which was also featured on the 2002 demo, can really be described as something like traditional black metal, with assertive drums like railroad tracks guiding the movement of the song beneath a canopy of guitars, synthesizers, and ethereal vocals.

As the album progresses, its lonely and bruised meanderings persist through stylistic and compositional variations that maintain the album’s allure—from the funeral doom aesthetics of “Minions” through the haunting echo chamber of despair evoked by “Paramnesia” to “This Blood Falls as Mortal Part III,” which features a Sylvia Plath spoken-word sample amid a melancholy interplay of Eno-esque sustained guitars and synthesizers, to the neofolk evocations of “Vortex Chalice,” before culminating with the sorrowful ardor of “Fastened to the Five Points.” The album closes unceremoniously, leaving the listener fractured and depleted.

At the time of its release, no other album sounded quite like this one, and it’s no exaggeration to say that no comparable release has emerged in the last 12 years since Lurker of Chalice: the album truly occupies its own shade along the ever-expanding spectrum of black metal. Nuclear War Now! is honored to present this new edition of Lurker of Chalice, which will include the bonus track featured on previous vinyl editions of the album. Additionally, NWN! will be working with Wrest to unearth and remaster some previously unreleased Lurker of Chalice material for future releases.

In the leadup to its double-LP release, the entirety of Lurker of Chalice is streaming in full.

Cover and tracklisting are as follows:

Tracklisting for Lurker of Chalice’s Lurker of Chalice
1. (untitled)
2. Piercing Where They Might
3. Spectre as Valkerie Is
4. Minions
5. Paramnesia
6. This Blood Falls as Mortal, Pt. 3
7. Granite
8. Vortex Chalice
9. Fastened to the Five Points

further info:
www.nwnprod.com

Árstíðir reissue ‘Hvel’

ÁRSTÍÐIR will reissue their critically acclaimed third full-length, ‘Hvel’ (“Spheres”), which was originally released in 2015 on February 23rd, 2018.

The eclectic Icelandic independent rockers are offering their amazing track, “Himinhvel” as an introduction to the band via YouTube at the link below

The cover art of ‘Hvel’ and further information about he album can be found below.

Track-list
1. Himinhvel (3:39)
2. Things You Said (5:28)
3. Someone Who Cares (3:21)
4. Moonlight (3:51)
5. Vetur Að Vori (2:37)
6. Friðþægingin (3:04)
7. Ró (4:33)
8. Cannon (3:38)
9. Silfurskin (2:29)
10. Shine (4:15)
11. You Again (3:17)
12. Unfold (4:47)
Total playing time: 44:59

On rare occasions, an album appears that defies easy categorisation. ÁRSTÍÐIR have managed this feat throughout their career, but their third full-length, ‘Hvel’ (pronounced in modern Icelandic with an initial k-) has attracted a particular long list of attempts of musical definitions: indie rock, progressive rock, indie folk, chamber folk and pop, neo-classical, and minimalism have all be lobbed at the album. Yet on one description many critics seem to agree: beautiful.

Probably the easiest way to tag ÁRSTÍÐIR is to plead guilty to each of the above. ‘Hvel’ offers atmospheric, hauntingly beautiful songs that take elements of folk, rock, and classical music among other styles, which are arranged into new patterns that have invited comparison with RADIOHEAD, SIMON & GARFUNKEL, PENTANGLE, ÓLAFUR ARNALDS, and most of all SIGUR RÓS. The latter happens perhaps inevitably due to superficial similarities as ÁRSTÍÐIR often sing in their native Icelandic tongue and use acoustic instruments extensively.

ÁRSTÍÐIR emerged from the burgeoning Icelandic music scene in 2008, when the three founding members coming from different genres discovered their mutual love for vocal harmonies. Daniel, Gunnar and Ragnar quickly went from playing acoustic cover versions to their own sonic footprint amalgamating influences taken from different styles into something quite unique, which might tentatively be dubbed “Icelandic independent”.

With early lyrical references pointing towards the spectacular nature and scenery of this volcanic island and the strongly contrasting moods of its seasons, the band took the name ÁRSTÍÐIR, which means “seasons” in Icelandic.

At home, the band experienced a fast rise. Only four months after its inception, ÁRSTÍÐIR had risen from performing in a coffee shop in Reykjavik to scoring a number one hit on national radio with the track “Sunday Morning”.

The Icelanders published their self-titled debut, ‘Árstíðir’ in summer 2009, and while their home country was reeling from the market crash, the band’s stocks went up. During the air traffic disrupting eruption of the Eyjafjallajökull volcano. a first international tour started that led to ÁRSTÍÐIR continuing to tour relentlessly over the next years and gather a dedicated fan base in more than 30 countries.

Their second album, ‘Svefns Og Vöku Skil’ followed in 2011 and only a year later, the Icelanders won the prestigious Eiserner Eversteiner European Folk Music Award in Germany. While on the road in Germany in 2013, a friend of ÁRSTÍÐIR recorded an impromptu performance of the old Icelandic hymn, “Heyr Himna Smiður” in a train station, which went viral on YouTube and has attracted more than 6 million views to date.

Backed by global interest sparked by this viral hit, ÁRSTÍÐIR continued their head-lining tours and furthermore supported Swedish band PAIN OF SALVATION and Dutch vocalist Anneke van Giersbergen.

ÁRSTÍÐIR launched a highly successful crowdfunding campaign in 2014 to finance the recording of their third full-length ‘Hvel’, which translates as “spheres”. Following the release, the band embarked on a first US tour that reached from coast to coast.

A full collaboration with Anneke van Giersbergen followed in 2016. The ‘Verloren Verleden’ album contains a collection of re-imagined traditional and classical songs.

ÁRSTÍÐIR are currently working on their forthcoming fourth album, which will be released worldwide on Season of Mist in 2018.

Recording line-up
Daniel Auðunsson: guitar, vocals
Gunnar Már Jakobsson: baritone guitar, vocals
Ragnar Ólafsson: piano, vocals
Karl James Pestka: violin, electric violin, viola, programming, vocals

Guest musicians
Hallgrímur Jónas Jensson: cello
Viktor Orri Árnason: violin and viola
Andri Ólafsson_ bass guitar
Magnús Trygvason Eliassen: drums

Current line-up
Daniel Auðunsson: guitar, vocals
Gunnar Már Jakobsson: baritone guitar, vocals
Ragnar Ólafsson: piano, vocals

Recording and mix: Styrmir Hauksson, Toppstöðin and Orgelsmiðjan

Additional engineering: Þröstur Albertsson

Mastering: Glenn Schick

Additional editing: Andri Ólafsson

Artwork: Vladimír Půlpán

www.arstidir.com
www.facebook.com/arstidir

BYYRTH set release date for new IRON BONEHEAD album, reveal first track

Iron Bonehead Productions sets March 9th, 2018 as the international release date for Byyrth’s highly anticipated second album, Echoes From the Seven Caves of Blood, on CD and vinyl LP formats.

Following on from their cult debut album, Saviors of Armageddon – which Iron Bonehead released on vinyl during the summer of 2017 – here on Echoes From the Seven Caves of Blood do Byyrth strike a new face for vampiric black metal. Eschewing the withering frivolity and frivolousness of most definitions of anything “vampiric” in regards to black metal, this Californian quartet kick in quickly with a ripped-raw and unrepentantly punkish attack. Blown-out and harshing everyone’s mellow, each iron-fisted anthem marches forward with absolute arrogance and an enviable swagger – not for nothing is the opening track titled “Blood Warfare.”

Indeed, Byyrth’s vampirism is an indomitable variety, the alpha to everyone else’s omega, and they accomplish their sanguinary goals with an almost militant efficiency: Echoes From the Seven Caves of Blood storms the gates of Heaven in a compact 28 minutes. Suitably, the tracks “Vampiric War Children” and “Abhorrent Eons” feature guest vocals by the incomparable Meyhna’ch of France’s legendary Mütiilation, further underlining the validity to Byyrth’s vampiric black metal. Stand down now or receive the eternal kiss of death…

Receive the first bloody kiss with the aforementioned “Vampiric War Children” HERE

Cover and tracklisting are as follows:

Tracklisting for Byyrth’s Echoes From the Seven Caves of Blood
1. Blood Warfare
2. Call of the New Legion
3. Vampyric War Children
4. Abhorrent Eons
5. Cry of the Wurdelak
6. Cry of the Wurdelak
7. I Dare Not Wake
8. Unhuman
9. Shattered Soul

MORE INFO:
www.facebook.com/byyrth

PRELUDIO ANCESTRAL sign with FIGHTER RECORDS – new album due in 2018

Argentinian symphonic power metal band Preludio Ancestral have signed a deal with Fighter Records for the worldwide (except Asia) release of their fourth album, to be entitled Oblivion, during the spring of 2018.

Formed back in 2005 by guitarist Leo Gatti, the band released a demo in that same year, but it wasn’t until 2012 when a first EP and their debut album, Hacia lo Inmortal (Towards the Immortal), was released, being followed by another EP a year later and their second and third albums – Kybalion in 2015 and El Misterio de la Pasión Divina (The Mystery of Divine Passion) in 2016, respectively. Preludio Ancestral have been gaining quite a recognition not only in their native country, where they even opened for acts like Rhapsody of Fire and Stratovarius, but also around the world.

Preludio Ancestral’s Oblivion will be a magnificent opus of an epic-painted power metal with symphonic arrangements and awesome guitar work, where various European vocalists and Argentinian musicians give form to an album that will be the delight of any lover of this genre.

Oblivion is still in the final production stages and will see the light during spring 2018 through Fighter Records. First single, full tracklist, exact release date, and cover art will be revealed shortly. In the meantime, consult the band’s official Facebook site below.

MORE INFO:
www.facebook.com/preludioancestral2018

Italian technical thrashers CENTRIPETAL FORCE stream XTREEM MUSIC debut

Italian technical thrashers Centripetal Force stream the entirety of their forthcoming debut EP, Eidetic. Set for international release on December 20th via Xtreem Music, hear Centripetal Force’s Eidetic HERE.

Formed back in 2010 by Stefano Saroglia (guitars) and Andrea Carratta (drums), Centripetal Force completed the lineup with John Knight, who is lead singer of UK progressive metal band Synaptik. The musical style of the band is twisted, technical, and progressive thrash metal in the vein of bands like Watchtower, old Cynic, Mekong Delta, Control Denied, Coroner, later Death, and Toxik.

In 2017, Centripetal Force recorded three songs destined to be their debut EP, entitled Eidetic, and with this, they got a deal with Xtreem Music for its release in December of the same year. The band is now working on more songs for a second EP to be released sometime in fall 2018, but that’s another story…

Cover and tracklisting are as follows:

Tracklisting for Centripetal Force’s Eidetic
1. Centripetal Force
2. Eidetic Memory
3. Death of a Marionette

MORE INFO:
www.facebook.com/welcometotheforce