Today, Edged Circle Productions announces the signing of Norway’s Black Viper. The first fruit of this union shall be a new EP containing two brand-new songs – “Volcanic Lightning” and “Ride of the Icarus” (instrumental) – and on the B-side, a Warlord cover of “Black Mass,” as a tribute to the late Billy Tsamis. A release in winter is expected.
Featuring erstwhile members of the esteemed Deathhammer, Norway’s Black Viper made their public debut in 2016 with the demo Storming With Vengeance. In 2018, they released their debut album, Hellions of Fire, through High Roller Records. While their pedigree is planted in Norway’s renowned thrash metal scene, Black Viper go deeper back into the annals of heavy metal, offering an epic & moody amalgamation of mid ’80s metal and early speed metal, from the Sunset Strip to dear old Blighty, the frozen tundra of Canada to the rising sun of Japan. Hellions of Fire garnered widespread acclaim, and for good reason: its energy is infectious, its songwriting authentic, everything TRUE AS STEEL.
The second Black Viper album, Solitary Gates, is already in pre-production, with final recording to commence shortly. More news to be announced shortly. For more info, consult the links below.
Today, Primitive Reaction announces September 24h as the international release date for Malignament‘s highly anticipated debut album, Hypocrisis Absolution.
It was but the autumn of 2019 when Malignament burst from the void with a shockingly developed debut demo. Although bearing just a couple tracks, the sheer songwriting prowess and furious, full-throttle execution proved that Malignament was already a name worth reckoning in Finland’s elite black metal scene.
However, if that demo was an all-too-swift taste of Malignament‘s already-powerful potential, then Hypocrisis Absolution storms the gates with utter abandon. Just like its short-length predecessor, the duo’s debut album no doubt bears some/many traits for which Finnish black metal is known/renown, but here do Malignament maximize the muscularity they flexed on that demo whilst somehow becoming more atmospheric. And whereas so much Finnish black metal focuses on freezing fire, Malignament‘s iteration is overtly triumphant and daresay warmer – molten, even, like a sword drawn forth from a forge. Elsewhere, the duo staunchly stick to their guns (or, rather, swords) and utilize their dizzying, mesmerizing melodicism to its fullest effect, poignantly pushing each of these eight songs into the halls of greatness, underpinned by a roiling ‘n’ robust soundfield that’s somehow simultaneously ethereal. Above all, Malignament wisely understand the fundamentals of black metal and reside there – and there alone – never varying in their dedication or sidestepping into diluting waters. Hypocrisis Absolution is stark proof of pure and proud traditionalism done with reverence and defiance.
Wise ways from young hands, Malignament are prepared to offer Hypocrisis Absolution: surrender, or fall beneath their blade!
Feel the first steel of the brand-new track “Like Rats They Followed” here:
Cover and tracklisting are as follows:
Tracklisting for Malignament’s Hypocrisis Absolution 1. Thunder of Awakening 2. Call to Arms 3. Like Rats They Followed 4. Storm And Chaos Within 5. Unforgiving North 6. Wolf And The Moon 7. And The Empires Will Fall 8. Bloodlust And Immortality
Today, Primitive Reaction announces September 24h as the international release date for the highly anticipated third album of Finland’s Azazel, Aegrus Satanas Tecum.
Formed in that fateful year of 1992, Azazel are among the first black metal bands to hail from Finland – and undoubtedly, one of the most cult. The band released a demo in 1993 and a mini-album in ’96, but then receded into the shadows and misery for many years. Following a split album in 2011, however, the black flame of Azazel was burning brightly once again, resulting in the full-lengths Jesus Perversions (2012) and Witches Deny Holy Trinity (2015). And while it would seem that the shadows of misery ensnared the band again, some demons never die…
Now, at long last, those shadows recede and reveal Azazel‘s long-awaited third album, Aegrus Satanas Tecum. Immediately and righteously recognizable as Azazel, Aegrus Satanas Tecum is a unique record in that it bridges all the band’s eras whilst opening new portals into the black beyond. Here, one will find the near-bestial filth & fury of Jesus Perversions alongside the more haunting and even stately sensations of Witches Deny Holy Trinity. But, like anything in Azazel‘s wild & weird world, ramshackle insanity runs riot – and often – and thus is a variety of songcraft employed to mangle the mind and ruin the spirit. And yet, the finesse with which Azazel accomplish this, playing something “primitive” but in clear & cutting fashion (and vice versa), bespeaks some strange magick on the band’s part and lends even more staying power to their ever-uncompromising sound. Above all, Aegrus Satanas Tecum is an album that’s equally early ’90s as it is NOW: Azazel are more undead than ever.
“Accomplished”? Perhaps? Ancient? Always. Azazel may be predictably unpredictable, but Aegrus Satanas Tecum proves that their twisting saga is far from over…
Hear for yourself with the brand-new track “Demons Attack the Nun’s Chapel” here:
Cover artwork, courtesy of the legendary Chris Moyen, and tracklisting are as follows:
Tracklisting for Azazel (Finland)’s Aegrum Satanas Tecum 1. Invocation (Hail the Ancient Ones) 2. Jesus Christ Impotent Rotting Saviour 3. Welcome to Church Bizarre 4. I Worship Him 5. Demons Attack the Nun’s Chapel (Aegrum Satanas Tecum) 6. Incubus Rises Again 7. Succubus, My Infernal Vampire Spirit 8. In Nomine Dei Nostri Satanas
Finland has had an amazing underground metal scene for a very long time now – you ask the average metal fan what do you think when you think of Finland you are gonna say “BLACK METAL” . However in recent years we have been seeing the next wave of Finnish kids coming up with some great Death metal acts of which Galvanizer is one of. If you love old School Morbid Angel and say mid level era Carcass then yes of course you are gonna love Galvanizer.
Today the band premier for us their new single “The Inexorable” off their forthcoming 2nd album “Prying Sight of Imperception” . You can hear the sing here:
Galvanizer emerged in 2013. Their 2018 debut album, Sanguine Vigil, stormed the scene and earned the band a huge amount of respect in the underground with their violent brand of grinding death metal. Now its follow-up is to be unveiled to the world.
Titled Prying Sight of Imperception, this record does not approach with shyness or reserve; rather, it jumps into a riveting cascade of rotten guitars and pummeled drums that pulverize you as the maniacally snarled vocals spew forth. Its beginning should grab any death metal fan who takes the genre seriously with its primal artillery or pure carnage. Taking the core of thrashing instrumentals and barbaric grooves to the logical conclusion, a swamp of pure & filthy death metal ecstasy, there is no turning back once you hear Galvanizer. Once they cave your skull in with their sonic savagery, you will not need convincing to become a part of the odious mass of fans blasting their rotten hymns of devastating death.
Prying Sight of Imperception is a cut of ferocity that knows no remorse, hammering bestial barbarity to corpse-splitting effect. From the tormenting heaviness of the drums to the unending riff-fest and certainly not forgetting the malignant vocals, Galvanizer‘s latest offering is a storm of hellish intensity that gets in, rips you apart, and leaves without having time to offer so much as a single weak riff.
The cemetery gates have opened…venture in and join the zombified metal mania with Galvanizer‘s Prying Sight of Imperception!
Preorder info for the CD version can be found HERE at Everlasting Spew‘s Bandcamp. Preorder info for Me Saco Un Ojo‘s vinyl version can be found HERE.
Cover and tracklisting are as follows:
Tracklisting for Galvanizer’s Prying Sight of Imperception 1. The Sanguine Legacy 2. Servants of the Scourge 3. The Inexorable 4. Blaze From Within 5. Chthonic Profanation 6. Ground Above 7. Dia De Muertos 8. The Ever-Crescent 9. Grotesque Devotion 10. Of Flesh Unknown
Icelandic Tech Death outfit OPHIDIAN I are now unveiling their brand new song ‘Storm Aglow‘, which is taken from the band’s upcoming release ‘Desolate‘. The album is scheduled for world-wide release on July 16th, 2021 via Season of Mist. Check it here:
The band comments on the new album and track: “‘Storm Aglow’ was the last song we wrote for the album. It is one of the tougher songs on the album to play due to the journey of the melodic structure. One that was very much influenced by Bach Preludes and classical works that employ similar concepts. This song was one of the most rewarding ones to nail during the writing and rehearsing period of the album. When we got it right we played it over and over again just because of how good and fun it felt to play – a very cathartic track to crack. We’re super proud of this one.“
OPHIDIAN I previously revealed the artwork for ‘Desolate’, which has been created by Eliran Kantor, and can be viewed together with the album details below.
Track-list 1. Diamonds (4:35) (WATCH) 2. Spiral To Oblivion (3:31) (WATCH) 3. Storm Aglow (4:12) (WATCH) 4. Unfurling The Crescent Moon (2:53) 5. Sequential Descent (4:31) 6. Captive Infinity (3:43) 7. Enslaved In A Desolate Swarm (4:05) 8. Dominion Eyes (3:13) 9. Jupiter (4:01) 10. Wither On The Vine (4:07) Total: 38:51
With a clear goal of reaching the apex of technical metal in terms of proficiency, arrangements and sound, OPHIDIAN I has produced the destructive full-length album ‘Desolate’.
Emerging from Iceland; the barren island in the north, home to apocalyptic weather, eruptions, and storms. The breeding intensity, blazing speed, and ferocity of OPHIDIAN I reflects the chaos it hails from as well as the inherent beauty and complex harmony. Consisting of familiar faces within the Icelandic scene as members of bands such as Helfró, Beneath, Une Misère and Atrum; OPHIDIAN I set forth with the intent of testing the boundaries of the extreme, while retaining focus on composition and arrangements.
After getting together and realizing the goal was within reach, the band spent days upon days in the rehearsal space expanding and calibrating their physical and mental abilities in order to actualize the envisioned form of OPHIDIAN I. Bound and determined to create an absolute no-compromise piece of work, OPHIDIAN I headed to the studio after having honed in on the direction and arrangements of the 10 songs that were to become ‘Desolate’. Remaining extremely meticulous throughout the process, the methodically performed tracks were handed over to Christian Donaldson (THE GRID) for mixing and mastering. To finalize the vision, Eliran Kantor took to creating artwork fitting the forementioned direction and soundscape. With the completion of ‘Desolate’ the raison d’être of OPHIDIAN I had been established and partially fulfilled. Bringing the ferocity to the masses is now a central objective.
Incessantly at work, OPHIDIAN I is a monumental brute-force to be reckoned with. Amidst the dominant roster at Season of Mist, OPHIDIAN I will be unyielding in their claim to be amongst the titans of the industry. With various influences ranging from all styles, the unique melt of technical death metal – with immersive melody and hooks at every corner – ‘Desolate’ will appeal to all those who seek peak militant musicianship on all fronts.
Those fine folks at Season of Mist Records decided to stream the full Withered album “Verloren” that is released tomorrow, June 25th today. YUSSS! For those of you who don’t know S.O.M. don’t really sign many US BM bands so you know Withered have got to be good to the green light from these guys. The record sounds Huge great production and lots of twists and turns in the song writing to keep you on your toes (You know what I am talking about)
Check out the full album here:
WITHERED vocalist/guitarist Mike Thompson and artist Paul Romano recently gave a behind-the-scenes look and in-depth interview on the creation of the unique album artwork. The detailed article, which is accompanied by an exclusive video clip and photos, can be viewed HERE. Further details for ‘Verloren’ can be found below.
Tracklist 1. By Tooth In Tongue (8:22) 2. The Predation (6:55) 3. Dissolve (4:33) 4. Casting In Wait (5:29) 5. Passing Through… (2:37) 6. …The Long Hurt (3:55) 7. Verloren (4:29) 8. From Ashen Shores (8:21) Total: 44:41
From its inception, WITHERED has been an outlier, a perplexing charge of extremity which the metal scene has never been able to put its finger on.
“We want to compound new elements into every album,” posits guitarist/vocalist Mike Thompson, “and we’re definitely a band for metal nerds. Our audience seems to be the old-schoolers who are absorbed by this stuff every day and jaded folks of a certain age. Industry types and peers tend to get it, but that’s about it.”
Thompson’s self deprecating assessment of his creative output might be part gentlemanly humility talking or a harshly realistic take on WITHERED’s cult status, or somewhere in between, but with an impressive body of work fanned out over the course of 18 years and five albums which have weathered as many trends, the Atlanta quartet continues to confound and refuses to compromise. New album, Verloren is the band’s most daring and iconoclastic work yet, one that spits in the eye of complacency and exists as a contrarian masterstroke.
Originally formed by Thompson and ex-guitarist/vocalist Chris Freeman in 2003 following a spell in local grind institution Social Infestation (alongside Mastodon’s Troy Sanders), WITHERED’s initial goal was to re-write black, doom and death metal modes and mores. To that end, the band has achieved that goal as their sound and aesthetic refuses to clearly state which subgenre they call home. Over the course of its history, WITHERED has generated more questions than answers about who they are and what they do. They’ve toured with the varied likes of Mastodon, High on Fire, Dismember, Grave, Vital Remains, Possessed, Watain, Mayhem, 1349, Krallice, Skeletonwitch and Danzig. Their live show provides an air of never-know-what-you’re-gonna-get mystery. See them on one occasion and it’s a DIY kick in the gut with stripped down, rehearsal room bareness appropriately complementing the lunacy. The next time they get in the van they’ll do so accompanied by rigged up columns of light cloaking the stage in bloody reds and searing whites. And with Verloren, the band’s forthcoming fifth album, Thompson and his band mates – drummer Beau Brandon, bassist Rafay Nabeel and fellow guitarist/vocalist Dan Caycedo – continue to nudge both thematic and sonic goalposts by providing relatable food for thought while retaining the adversarial fire that has powered the engine since the start.
“There’s a philosophical introspective approach to the subject matter that informs our writing style. We’re trying to create an atmosphere that complements the themes and that’s something we’re trying to circle back around to on Verloren.”
WITHERED’s first album, 2005’s Memento Mori, generally speaking, tackled the subject of mortality and the grieving process that follows significant loss, trauma and tragedy. Album number two, 2008’s Folie Circulaire was, as Thompson describes, “more existentialist, nihilistic and Nietzsche-ian” while 2010’s Dualities was an exploration of Jungian psychology and the shadow self. As alluded to in the title, 2016’s Grief Relic started into the U-turn back towards the exploration of the role and impact of grief as the men of WITHERED themselves entered that stage of life in which older family members, friends and childhood heroes were passing away, expectedly and otherwise. Five years on, Verloren rounds out the turn with a sinister sound and an area of study more akin to a deep therapy/counseling session instead of the usual gore and lore that often emboldens extreme music.
“Rafay wanted to use the theme of ‘missing’,” explains Thompson, “which was broad and abstract, so I dialed it down to be more about this outlook I’ve developed over the years about how each of us have a ‘Love Well.’ Every bit of love you get from your parents, your upbringing and your learning how to receive and experience love in relationships and through experiences contributes to the well. Your traumas counterbalance that and take away from it, especially when foundational core elements take a hit, like the untimely loss of a parent. That’s one of life’s unique puzzle pieces and when that piece is removed it’s never going to be replaced.
“We’re equipped with a certain capacity – our wells are filled to a certain level – and when you start getting smacked with traumas, whatever you have in that well – your defense mechanisms – can get worn down pretty quickly, especially for someone who has never really known love because of a broken home, difficult relationships or whatever. Each one of us in WITHERED carry unique traumas that we’ve focused this new record on. For me, most of my significant losses are from older wounds that I’ve dealt with through WITHERED from the very beginning, but with this being the first album with Dan and Rafay, it’s like a new exercise for them to really focus on the things they’ve been carrying around.”
Verloren translates to “missing” from German and relates not just to the friends, family and pieces of the member’s lives and hearts that have, and will go, missing as the time ticks on unfettered, but also, in the face of the global pandemic, just how much the activity of being in a band has been missed by everyone who took the write/record/tour cycle for granted. Verloren demonstrates a topical uniqueness; one that discusses the stuff everyone from the steeliest of black metal cape wearers to the gore-obsessed death metal crushers and everyone playing in a band or not has had to – or will have to – confront at some point. By leveling the elitist playing field so often found in extreme metal underground attitudes, Verloren offers a more holistic experience, elevating WITHERED by being unafraid to discuss topics that fly in the face of what most would connect to the sounds they make.
“About two years before I started WITHERED,” Thompson recalls, “I went through a series of traumas where I was forced to take stock of and define my foundational ‘puzzle pieces’ that could be taken away and what the trauma and grief is going to look like when I lose close family and/or friends I truly care about. Ironically, one I didn’t face until recently was WITHERED. No one ever thought that not being able to play shows or tour because of a pandemic was even feasible. I processed the idea of losing WITHERED and playing music and touring and everything else around the time of Grief Relic when two guys quit the band and I lost a lot of steam and inspiration. Luckily, Beau was there to kick my ass and shake me out of it. When it comes to this album, there was an initial suffering of anxiety because of the uncertainty in the world and the fear of losing this album because we put a lot into it, are super proud of it and it is the best WITHERED album yet. It’s important for my inspiration and motivation to go forward. It takes so much effort for us to create a record, the thought of it for it to all be for naught or potentially be wasted just destroys me.
“Surprisingly, we haven’t had a lot of push back on these themes, though I would love to take on that conflict!” he laughs. “For most people, metal is purely aesthetic, a grandstanding ‘f-you!’ to society and an adolescent rebellion kind of thing. But at the same time, we do get positive feedback from the people who have looked a bit deeper and done some research. We just want to be honest. We used to make the joke when we go out on tour, especially in the early days when deathcore was all the rage and we’d be on these weird package bills, that ‘Hey, we’re WITHERED and we’re here to bum you out.’ We’re not a party band or a shock band so you don’t get the fun aspect from us when going to a show. I’ve always been frustrated that we’ve never been able to communicate our super-realism and the different perspectives of life. If I want to sing about how much gratitude I have for my mother in a roundabout way, then whatever, we’ll do it!”
As WITHERED enters its third decade, they’ve drawn a more insular and conclusive line in the sand. The band has forged further forward with the process of eschewing typicality, including not utilizing any of the usual producer suspects to help sculpt Verloren. Instead, they flew the flag of independence by again going down the route of self-production with Thompson himself taking the bull by its horns.
“We get a little bit more deliberate every time around and starting with Grief Relic we decided not to hire anyone to help produce and filter it through a particular lens. We started self-producing and I kind of took the reins on that last time and more so this time and also when it came to selecting who was going to engineer [Raheen Amlani at Orange Peel Recordings], then mix [Greg Wilkinson at Earhammer Studios] and master it [Jarrett Pritchard]. The trick is to find someone who loves Times of Grace as much as they love Clandestine and His Hero is Gone, Napalm Death and all the way out to later Enslaved and can balance all those things. If it’s truly honest and truly communicating the intention of a song, then it’ll be powerful, heavy and generate emotion.”
Verloren also revisits WITHERED’s traditional methodological step of sitting down and looking at the present state of metal before consciously lashing out against what’s taking up most of the broader public’s attention.
“We’re constantly looking for something new to do. We love genre bending and putting D-beats next to funereal riffs next to black metal blasts and heavy doom riffs and figuring out how to make it all work and make sense with whatever vibe we’re trying to nail down. For this one, I wanted to lean back into the funereal doom world. I got burnt out when doom – especially southern doom, being a southern band – was the word of the day around the time of our first two records. We basically ran in the other direction and got away from doing any full-on doom parts for a while. I wanted to come back around to that, so we went back to bigger stuff like My Dying Bride for the couple of eight minute epics on the album [album opener “By Tooth in Tongue” and closer “From Ashen Shores”]. Also, for the first time in my life and against my better judgment, I decided to write clean vocals and I’m singing on two songs. They’re kind of buried in the mix a little bit because I’m still self-conscious about them, but they were the only things that made sense for the parts we wrote. I tried to fight it, but nothing extreme was accomplishing the goal. On top of that, we go the other way where three of the songs have some super crusty and grind elements. Part of why I asked Dan to join the band was because I knew he would get the sludgy, crusty side of things and help me cultivate that better in WITHERED. On the album, ‘The Predation,’ ‘Dissolve’ and ‘Casting in Wait’ are his. Those would be the twists on this album because we’re always trying to write what we think is missing and what we want to hear in heavy music after sitting down and looking at the landscape of what’s out there.”
And despite being deliberate oppositional in the subject matter they choose to explore and express, how much of their hearts and souls they choose to strip bare for fickle crowds and grind against whatever current musical grain the rest are cruising along, the determination, seriousness and importance of WITHERED in each member’s lives hasn’t ebbed. In fact, it’s only been magnified with time and circumstance. Having been forced into a year off from normal band life has made it clear how vital WITHERED is for everything from creative expression, social networking, wanderlust, overall personal sanity and moving forward.
“Personally, I’m very, very fortunate with regards to my family and others being supportive and taking what I do seriously. Looking back, I could be really selfish and headstrong about music. My family got so used to it that they would volunteer to schedule dinners and family events around rehearsals and practice because they were able to glean how important this was to me and how seriously I took it. Even moving out into the real world with the professional realm of things and the jobs that we have had in order to keep this going, I’d say it’s taken more seriously now than ever. We’re constantly challenging ourselves to progress and carve our own path. WITHERED is a permanent part of my life, it’s what I expect to be there. I’ve built so much on it and I’ve somehow been able to weave it into my life to where it’s a defining part of me as well. This isn’t rock star fantasy camp, although the other weekend I was bored, missing travelling and sitting around so I took the band van out and just drove out for three hours, turned around and came home!”
Guest Musicians: Ethan McCarthy (Primitive Man) on “Passing through…” which is a noise track done under his “Many Blessings” nomenclature using field recordings Mike Thompson made at a family funeral.
Wardruna North American Tour Moved to 2022, New Dates Added! Wardruna’s highly anticipated KVITRAVN North American Tour will be postponed until 2022. However, the band has taken this opportunity to add performances in Atlanta, GA and Durham, NC, as well as a second show in Salem, OR! Tickets for these newly added shows go on sale this Friday at 10am local time through the links below.
Einar Selvik comments; “We are grateful for your patience and promise to make it worth the wait!”
IMPORTANT TICKET INFO
Already purchased tickets remain valid for all the new dates. If you had purchased any tickets for Calgary, AB or Vancouver, BC, these will remain valid for the new venues. The show at Ovens Auditorium, Charlotte NC is no longer part of the tour. Any purchased tickets will be refunded. Fans who bought a Charlotte, NC ticket, will get first access to the new show in Durham, NC.
For any further questions around your ticket, please contact your local ticket office.
Portuguese Black metal legends Irae are back with this new mini Album “Dangerovz Magick Zpells from the Mesziah of Death” which is set for a worldwide release on Signal Rex on June 24th . For those of you who have been around for some time now will know that Irae is going to deliver the most fucked up twisted raw BM known to man and this release does not disappoint – check it here:
Since the dawn of this cursed millennium, mainman Vulturius has prolifically pursued a singular vision of RAW BLACK METAL that includes five full-lengths and countless split releases with likeminded comrades. As such, Irae have almost singlehandedly invigorated Portugal’s black metal scene, particularly the rawer iteration of it, and with the release of the Lurking in the Depths LP last summer, the Korona Winter Rehearsal of Darkness & Evil tape at the bitter end of 2020, and a split LP with comrades Ordem Satânica and Wømb most recently – all through Signal Rex, of course – there’s no sign of that black flame being extinguished anytime soon.
Ever restless, Vulturius returns with one of Irae‘s most unique recordings, Dangerovz Magick Zpells from the Mesziah of Death. As suggested by its enigmatic title, this is largely Irae at their most thirsty & miserable – howling, hypnotic, and harrowing, with no redemption nor reprieve in sight – and the sound suits the concept, form matching content like old rot atop ancient moss. Here, Vulturius wrote all the lyrics first and then divided them across four songs. It’s a story written and adapted in a sub-language that Vulturius invented, to not have a common language but something close by. “Imagine you’re possessed and don’t talk things right and give a new formula to things that already exist,” he explains, before qualifying: “I was drunk when I had this idea and put pen to paper.” Imagine, then, the tongue-twisting demi-vernacular not unlike the magickal realm created by the Black Legions’ Vordb for his hordes Belkètre, Brenoritvrezorkre, and Moëvöt among many others.
More concretely, Dangerovz Magick Zpells from the Mesziah of Death tells the story about an old mad wizard who made a deal with supernatural forces to conquer the world. Thusly rising to the occasion, Irae weave four equally epic spells across a time-expanding yet somehow concise 33 minutes. Each one is as nasty yet magisterial as the last – sickly flowing, ripped raw, and all keenly nuanced – with “Part III” portraying Vulturius at his most ghostly, an almost downer-pop anthem that shows a softer yet supremely sinister side.
Surprising, yes, but undeniably Irae…behold these Dangerovz Magick Zpells from the Mesziah of Death!
Cover and tracklisting as follows:
Tracklisting for Irae (Portugal)’s Dangerovz Magick Zpells from the Mesziah of Death 1. Part I [5:20] 2. Part II [10:39] 3. Part III [5:55] 4. Part IV [10:24]
I wasn’t sure what to expect when I opened this Netherbird press release this morning. As you can see above the guys look like they could be playing in a Sisters of Mercy cover band but the press release says they play Blackened Death.. well yeah yeah I know “you can’t judge a book by a cover” but we all do anyways – how many of you have bought albums in the past just based on the cover? I know I have done that MANY a time…so let’s be fair and give the guys a chance to impress us…
I clicked on the youtube link and what do ya know? Its good! Super clean production (sorry all you trve kvlt raw BM fans) and a great energy – there are times at least in this song where I hear influences by the late and great Chuck Schuldiner and Death, which isn’t a bad thing – check the track here:
Here’s a bit of back ground info on the band for ya :
Netherbird are by no means strangers to the Swedish extreme metal scene, having already released five acclaimed albums, the last of which being 2019’s stunning Into the Vast Uncharted, also released by Eisenwald, as well as a slew of EPs and singles since their inception in 2004. Ever since then, the band has managed to blur the lines between black and death metal, managing to develop a distinct sound that culminates in their newest full-length, Arete. Throughout their career, Netherbird has featured members from several renowned extreme metal projects such as Amon Amarth, Dark Funeral, and At The Gates. On Arete, the music on display serves as evidence that the band has assembled its strongest lineup to date.
What sets Netherbird and particularly the album Arete apart from their peers is their uncanny ability to fuse moments of sonic serenity and beauty with outbursts of pure fury, managing to flow seamlessly from ethereal acoustic guitar passages into melodic tremolo riffs accompanied by flawlessly executed blastbeats, courtesy of the brilliant Fredrik Andersson, known for his prior work in Amon Amarth. These bold musical arrangements are presented in a warm, clear production, allowing all sections to breathe and engulf the listener in the sounds of Arete. The dynamic range on display here is truly impressive; with vocals and drums having been recorded at Wing Studios and guitar and bass tracks having been captured at Scarecrow Studios, the album has undergone a masterful production job at the hands of Sverker Widgren at the aforementioned Wing Studios, where artists such as Sweven, Diabolical, October Tide, Wormwood, Centinex, and Mörk Gryning have recorded as well. On Arete, Sverker Widgren’s production showcases flawless instrumentation and a diverse vocal performance in their full glory. And as always with Netherbird, the lyrics offer deep and meaningful reflections upon the highs and lows of the human condition. Every track offers different observations of the pursuit of the highest ideals and the terrible cost that comes with that quest.
Cover art was done by French Legend Nihil His past collaborations include work with The Royal Shakespeare Company, Amenra, Hocico, Raison d’Être and In Slaughter Natives
Check the art here:
Tracklisting for Netherbird’s Arete 1. Âme Damnée 2. Towers Of The Night 3. Void Dancer 4. Infernal Vistas 5. Carnal Pentiment 6. Mystes 7. The Silence Of Provenance 8. Atrium Of The Storm
NETHERBIRD lineup Johan “Nephente” Fridell – vocals Pontus “Bizmark” Andersson – lead guitars Tobias “Tinitus” Jakobsson – guitars, backing vocals Micke “M.A.” André – bass Fredrik Andersson – drums
Today, Chaos Records – in conspiracy with Life After Death and Seed of Doom – announces August 6th as the international release date for Decrepisy‘s striking debut album, Emetic Communion. Chaos Records will handle the CD version, while Life After Death and Seed of Doom will handle the vinyl LP and cassette tape versions.
Dragged from the grimy depths of the rivers of Portland, Oregon, the spirit of Decrepisy made flesh in early 2020 comes ripping with a style of regressive, gut-churning death metal only the likes of Kyle House (Vastum, Acephalix) could manifest. With the addition of Jonathan Quintana (Thanamagus, Ritual Necromancy) on guitars, Tim Lower (Hellgrazer, Grave Dust) on bass, and Charlie Koryn (Ascended Dead, Funebrarum) on drums, a truly unique, savage, and unseen form of death metal comes floating dead…
Disgorged from unimaginable trauma of pain and loss, Decrepisy’s heavy, brick-walled sound of death captures the burdened grief of stillborn souls straight from ancient ossuaries and fetid human tombs. Disinterring early Grave, Convulse, and Incantation, their sound is drenched in dark, brooding solos that open up veins and riffs that purify through rot.
Life in decay…partake of Decrepisy‘s Emetic Communion.
Begin partaking with the brand-new track “Embodied Decomposition” here:
