Texan black/death cult Nexul stream a new song Hexecration from their massively anticipated debut album, Paradigm of Chaos. Set for international release on July 28th via Hells Headbangers check it here:
Nexul are a part of the Ordo Satanae Imperium collective – which includes fellow Hells Headbangers cults Nyogthaeblisz and Hellvetron, with whom Nexul share members – and one of the most exciting developments in American black/death metal in recent years. Together, this trio of bands explore death’s deepest mysteries and provide sonic/lyrical keys to the Beyond. Of them, Nexul are the newest, making their recorded debut with the Nexulzifer demo in 2013, which Hells Headbangers released on both 7″ vinyl and cassette tape. Across three songs and a dozen minutes, Nexulzifer portrayed a potent vision of Luciferian death metal magick – heaving, hideous, and molten to the touch – and formed the foundation on which Nexul built their next illuminating vision.
And now, that illumination arrives with Paradigm of Chaos. Compared to the more basic, bestial-intensive Nexulzifer, the Nexul of Paradigm of Chaos is one that walks the threshold between all-consuming chaos and sheer insanity, between ravaging death magick and the ethereal vibrations both above and especially below: both heeding the boundless powers which drive them while disregarding/disrespecting any notions of “tradition.” As the band explains, “This Paradigm of Chaos was conceived over three years, during which time we plunged into entropy and strife, either through our own making or tribulation from external forces. What has emerged is a corporeal/ethereal mirror, a destructive pattern woven of audial lunacy and spiritual fervour towards the Great Dragon that is called LEVIATHAN.”
In a relatively short amount of time, Nexul have become masters of wielding sound as a veritable weapon; here, on Paradigm of Chaos, it is literally overwhelming and tangibly MASSIVE to behold. But within that ghastly, gibbering maw of oblivion lays nuance and dynamics: this is more than just senseless noise, and certainly more than rote “brutality” for its own sake. It is verily the death rattle of the soul, and those reverberations ring infinitely – and forebodingly – across a canvas which is even more heaving, even more hideous, and untouchably molten. There are layers upon layers upon layers to this Paradigm of Chaos, and the corridors down which one can wander are seemingly infinite. Rarely has black/death metal been this unremittingly violent whilst keenly subtle.
Tracklisting for Nexul’s Paradigm of Chaos
1. Accursed Abyss
2. Hexecration
3. Wrathful Chaos
4. Dark God of Paradox and Eternal
5. Leviathan Unbound
6. Chaosipher Tower
7. Serpent of Acosmic Darkness
8. Paradigm of Chaos
9. Bringer of Pandimentional Disrupt
10. Lord of the Bottomless Seas
11. Drowning Sephiroth
12. Leviathan outro
“Here set we up a curse-pole, and this curse we turn onto יהוה and שְׁכִינָה. This curse we turn unto all slaves of the flesh that they will wither and dissipate as cancer eats the body until the Crown is dissolved and Naught is left save for vultures to rend.” – Ν.Brairava, under the influence of madness for NEXUL
A year after the critically acclaimed full length “Absence”, Swedish Symphonic DSBM act MIST OF MISERY is going to disclose two new chapters, and the first chapter — a mini album entitled as “Shackles of Life” — is going to be released via Black Lion Records.
After their critically acclaimed sophomore full length “Absence”, released back in 2016, Mist of Misery is returning with their long anticipated mini album “Shackles Of Life” the first of the two chapters to be opened. The symphonic/DSBM band from Stockholm started their journey back in 2010, March, and so far have released two full lengths and two EP releases. Currently, the band is working as a quartet.
First chapter of their dual mini albums, “Shackles of Life” features some of the most gloomy and utter beautiful crafted work in a long time. its simply one of those releases that rarely comes out, If you’ve enjoyed Absence then this will be a step above.
This EP also marks the sad departure of Erik Molnar’s history in Mist of misery, he took this decision because of being busy with recording and writing for the new Hyperion album. Erik will of course still linger around for this mini release to watch as everyone absorbs it.
“Broken Chains”, the third track from the mini album, is having a haunting beauty within its mournful atmosphere, filled with the serene arrangements of synths, endless melodic guitar harmonies and stirring melancholic vocals
The mini album was mixed by Mortuz Denatuz and mastered by Ronnie Björnström of Defitory and EAP Mix Room…known for working with bands like Bodyfarm, Aeon, Cut up,
Artwork was done by talented Russian artist Alex Tartsus.
Track – List:
01. Shackles Of Life
02. Placid Drowning
03. Broken Chains
04. A Dreamless Void (Euthanasia Part 2)
05. Dagon
06. Opening Chapter To A Solitary Confinement
07. Closing Chapter
Hells Headbangers sets October 13th as the international release date for Cadaveric Incubator’s highly anticipated debut album, Sermons of the Devouring Dead, on CD and vinyl LP formats.
Comprising veterans of the Finnish underground, Cadaveric Incubator are a power-trio whose sole purpose is to bury the listener under miles of garbage and grime, sewage and sickness. Their long-gestating full-length debut, Sermons of the Devouring Dead comprises a dozen tracks of utterly ugly, morally bereft DEATH METAL of a most classic vintage – and authentically so. Forget about eras or scenes or geography; this is death metal for death metal maniacs, by death metal maniacs.
Cadaveric Incubator was formed in 2005 by Necroterror (bass/vocals) and Humiliator (guitar/vocals) with the help of various drummers who came and went during the band’s first incarnation, which lasted around two years. The aim was to create old-school disgusting sounds influenced by early Carcass, Repulsion, Autopsy, early Xysma, Mortician, Blood, the early Mexican Disgorge, and such. No fun and no political garbage usually associated with the more grinding side of things – just raw, filthy brutality and total death! But after two demos – only the first one, Resurgence of Morbidity, was released – and countless live shows, the band split up in early 2007 due to personal problems between members.
Seven years later, in 2014, Necroterror resurrected Cadaveric Incubator by teaming up with his old comrade Pentele, who he had known from the early ’90s scene – back in the deep Finnish backwoods when Necroterror played in his first-ever death metal band, Excrement, and Pentele was drumming for Carnifex and Festerday in the same area. Original founding member Humiliator was asked to join, as well, and the new demo Unburied Abominations was recorded. After several brutal live shows and a demos compilation on Terror from Hell Records, the band finally recorded 12 tracks in early 2016 for their debut album, Sermons of the Devouring Dead.
Now armed with the help of fetid fans Hells Headbangers, Cadaveric Incubator are set to smother the underground in all sorts of uncleanliness! Just a cursory read of the album’s song titles should spell in no uncertain terms exactly what kind of timeless filth there is to bathe in: “Swarming Decay,” “Horrific Festering Plagues,” “Gravestench Asphyxiation,” “Unburied Abominations,” and the telltale “Conceived in Filth,” among others. Heed these Sermons of the Devouring Dead and get swamped in gore!
The first fling of filth can be heard with the previously-revealed track “Gravestench Asphyxiation”
Cover and tracklisting are as follows:
Tracklisting for Cadaveric Incubator’s Sermons of the Devouring Dead
1. Gravestench Asphyxiation
2. Hideous Premonition
3. Cadaveric Incubator
4. The Covenant of Gore
5. Cold in Casket
6. Rite of Eibon
7. Massacred
8. Swarming Decay
9. Unburied Abominations
10. Conceived in Filth
11. The Undead Fiend
12. Horrific Festering Plagues
Today, Iron Bonehead Productions sets September 29th as the international release date for Worm’s debut album, Evocation of the Black Marsh, on vinyl LP and cassette tape formats.
Hailing from the swampy recesses of Florida, the American Worm is the work of one mysterious Fantomslaughter. To date, he’s done two rare demos, The Deep Dark Earth Underlines All (2014) and Nights in Hell (2016), but now as a duo alongside one Equimanthorn, Worm present the fullest distillation of their foul ‘n’ fetid aesthetic in Evocation of the Black Marsh.
Ever aptly titled, Evocation of the Black Marsh comprises eight hymns to the spiritual swamp lurking in every listener. With titles like “Evil in the Mire,” “Altar of Black Sludge,” and especially “The Slime Weeps” and “Swamp Ghoul,” it would be fair to assume that Worm would worship at the altar of Varathron’s classic His Majesty at the Swamp. However, while faint traces of those Greek gods can be detected, across the 42-minute LP is a clanging, blown-out appropriation of early Goatlord and Mortuary Drape, but strewn with a screws-loose personality that hails unorthodoxy endlessly. It’s a harsh and unsettling listener, but done with the authenticity and purity of black metal’s earliest, pre-tabloid days – and where else would something harsh and unsettling end but at the swamp? Submerge into the slime and prepare for a true Evocation of the Black Marsh.
Cover and tracklisting are as follows:
Tracklisting for Worm (USA)’s Evocation of the Black Marsh
1. Altar Of Black Sludge
2. Winged Beast Of The Phantom Crypt
3. Gravemouth
4. Evil In The Mire
5. Evocation Of The Black Marsh
6. Swamp Ghoul
7. Rotting Semblance
8. The Slime Weeps
After a lot of back and forth – I finally had a chance to talk to the guys in Loss this week – in case you do not know these guys pretty much made the “doom album of the year” with “Horizonless” now go read this interview and learn something new
* First off guys congrats on the new album , what was it like to work with Billy Anderson?
Tim Lewis- Thank you and I can say with Billy you will witness a lot of caffeine consumption.
That mixed along-side of making a slow record actually turned out incredibly well. Overall, we knew we were writing a more dynamic record this time around and Billy helped accentuate various dynamic moments throughout the record. He allowed our creative flow to take the reins, to be honest. It was by far the most productive and sane experience for us in the studio. He is a great producer to work alongside of and has a “one liner” for every sentence spoken in the room.
Billy took one look at the gear list and was sold on moving
forward
* How did Billy take to Nashville – if I am not mistaken doesn’t he have his own studio in the Pacific Northwest? What was the decision on bringing him there as opposed to you guys recording at his home base?
TL- Yes, Billy’s studio is located in Portland, OR.
We recorded the album at Welcome to 1979 here in Nashville and the name says it all when it comes to the gear at the studio. Billy took one look at the gear list and was sold on moving forward with doing the album here.
* Billy is known for recording bands live – is this how you guys prefer to record or is it something you guys were totally comfortable with?
John Anderson- All of our songs are written, arranged, and repeatedly performed in our
rehearsal space live, so recording them live is a natural step. That said, hearing everybody that’s standing around you in headphones, while their amps are isolated in various locations throughout the building, can take some adjustment, but we’d done it before.
The live scene has exploded here lately
* Nashville isn’t really known for its metal scene – is there even one there these days?
JA- Nashville, as a whole, is growing at an alarming rate these days, so every scene is growing right now, along with the population. We’ve become the “It City,” according to various publications, so the live scene has exploded here lately, with almost too many options on a daily basis. And, yes, that has brought us some metal shows and tours that would never have happened here five years ago.
* The band has been going for about 12-13 years now right? What’s the trick for longevity? Especially when most bands don’t last 5 years?
TL- First I would say it’s not a trick at all. It’s honoring what this band stands for. We have
always said that “if any member of LOSS were to leave for whatever reason, LOSS would be finished”. The course in which we compose and arrange these songs helps reflect the musical aesthetic of our very different personalities. We are true to what LOSS is. LOSS is four men telling various truths of what we see in ourselves and the world around us.
We feel free to ignore the rules
and allow the songs to take sharp turns
* It’s actually really hard to play so slow and still be interesting – what’s the secret to doing so?
JA- Dynamics are the key to remaining interesting, for us. Rather than adhere to any prescribed formula for what “this type of music” is supposed to sound like, we feel free to ignore the rules and allow the songs to take sharp turns, if that feels right to us. We’re actually not slow all the time, which I think helps us to stand out, or at least not bore ourselves. There is also an emphasis on melody in this band. There has to be feeling behind the slow passages, or they will lack atmosphere.
* You guys singing a lot on death and dying? What’s the closest you have come to death so far?
TL – For myself I have had my life threatened by disease and have moved forward from it, for now. Most of us in life have all had close calls or threats. How one chooses to acknowledge the weight of what death truly is, in my opinion, can define whether the mental wielding of death is actually a proven truth or simply an illusion.
* What’s was the doom band that really turned you on to the Genre? I remember buying Cathedral’s Forest of Equilibrium, so slow and so crushing. That did it for me
TL- For myself and everyone in LOSS, Black Sabbath will always be such a huge influence on the feel of what later grew into the doom genre but, the first record that I bought that really opened me up to the specific genre of “doom metal” was when I purchased Candlemass’ Nightfall on cassette at the ripe age of 16. So many people at that time hated the record because it wasn’t speed or thrash metal and I was absolutely obsessed with it. It was like listening to magic.
JA- For me, I would cite My Dying Bride as the band that first sparked my interest.
* I would imagine the “talent pool” for doom metal musicians in Nashville compared to Country musicians – how did you guys find each other?
TL – I had moved to Nashville from Dallas and met Mike through the underground metal radio show he had at the time. He was already friends with John and Jay. Mike, John and myself started discussing the possibility of a band and developing its structure through our past and current struggles. After less than a week of discussing it, they introduced me to Jay for the first time as well as asking his interest in forming this doomed assembly.
If you’re going to visit Nashville, don’t go to Broadway or 2nd Avenue
* Do you guys play much locally? Last time I was in Nashville it was a Tuesday night and all the bars downtown had world class bands playing in every bar but they were all country! Is it hard to get gigs locally?
JA- We prefer not to wear out our welcome with local shows. Playing locally every weekend, or even every month, sets a lot of bands up for diminishing returns. People get burned out, they take your appearances for granted, or they start to feel like it’s more of an obligation than an event. By all means, if your crowds keep growing, go for it, but with us, we play a very specific kind of music, made for a very specific mood. We don’t make a very good weekend party band. And, if you’re going to visit Nashville, don’t go to Broadway or 2nd Avenue unless you want to see country bands. That area is paid-for and marketed-to the tourists, who you can easily identify by their cowboy hats.
* Speaking to locals in Nashville, they said the city is rapidly transforming with so many people relocating there from all over the country. Can you see Loss staying in Nashville or has the band ever talked about relocating?
TL – I love to travel and explore so I would never say “never.”
Either to a major city or somewhere more remote?
TL – Remote
You couldn’t help but feel
everything in that room
* You guys are not one of these bands that lives on the road – but what’s been your favorite gig played to date and why?
TL- I would say in Berlin with Worship. That gig was insane and so many great people and the overall gut nature to it. Mike and Daniel (Doommonger) doing vocals together was sick.
JA- Yes, that final show of our European tour (in Berlin) sticks out for me as well, and it goes to show that the best concerts are not always the ones in the biggest venues. Everything was right in our face that night, and the place was crowded with maniacs. You couldn’t help but feel everything in that room, like there was no barrier between band and audience. That said, our show a few years ago at Maryland Death Fest was also amazing, to look out on such a vast ocean of faces.
* What more can we expect from you guys in 2017?
JA- Holy Mountain is about to issue some new shirts for us, which will be available in their web store soon. Profound Lore did a really cool longsleeve of the album artwork, and to answer a popular question, yes, there will be a short sleeve version of that same design, as well as some others that have yet to be revealed. We currently have some shows lined up for the fall, and we’re working on what will happen after that.
In anticipation of their upcoming first North American tour this September, on September 8th, Hells Headbangers is proud to present a special compilation CD from Slaughtbbath entitled Contempt, War and Damnation. One of the most elite hordes in the shit-hot Chilean black/death scene, for a decade and a half now, Slaughtbbath have prolifically pursued a fierce ‘n’ fiery vision of total black/death METAL. With a rich yet uniformly exemplary discography, this power-trio have laid waste to the underground across a myriad demos, splits, EPs, and 2013’s now-classic debut album, Hail to Fire.
Now aligned with Hells Headbangers since last year’s red-eyed ‘n’ raging split 7″ with Grave Desecrator, Slaughtbbath hereby present an exclusive collection of tracks from their post-Hail to Fire period. Aptly titled Contempt, War and Damnation, this seven-track CD compiles tracks from splits with Grave Desecrator, Ill Omen, Kill, and fellow Hells Headbangers cult Hades Archer as well as a rare compilation track and a brand-new song specifically recorded for this release. As ever going from strength to strength, Contempt, War and Damnation displays a Slaughtbbath at the peak of their powers, pulsing with both bestiality and burliness alike, and yet exhibiting a nuanced songwriting nous that is second to none.
As North America quivers before Slaughtbbath’s impending assault on its shores (dates after the jump), prepare for Contempt, War and Damnation!
Cover and tracklisting are as follows:
Tracklisting for Slaughtbbath’s Contempt, War and Damnation
1. Astral Rape
2. Nefast Fireground
3. Tyranny From Sodom
4. Inverted Hierophany
5. Bestial Descension
6. The Sands of Despair
7. Black Revelation of Death
Confirmed dates and venues for Slaughtbbath’s forthcoming first North American tour, dubbed Barbaric Cruelty Over North America, as well as poster art are as follows:
September 8-9 – Wings of Metal Festival @ Katacombes
September 12 – Worcester, MA @ Ralph’s Rock Diner
September 13 – Brooklyn, NY @ Metal Kingdom
September 14 – Philadelphia, PA @ The Fire
September 15 – Cleveland, OH @ Now That’s Class
September 16 – Chicago, IL @ Reggies Music Joint
September 17 – Hamtramck, MI @ New Dodge Lounge
September 20 – Buffalo, NY @ Rockin Buffalo Saloon
September 21 – Toronto, ON @ Coalition
September 22 – Sherbrooke, QC @ Le Murdoch
September 23 – Considered Dead Festival, QC @ Multi Meduse
Today, Hells Headbangers sets October 13th as the international release date for Hades Archer’s highly anticipated second album, Temple of the Impure, on CD, vinyl LP, and cassette tape formats.
Hailing from Chile, Hades Archer are staunchly and proudly a duo: foul and filthy, yet fuller than most bands twice their membership. Across their prolific canon, Hades Archer have come to define – and set the gold standard for – modern black/death metal hailing from South America. Rabid fans for many years, Hells Headbangers couldn’t be more pleased to work with the diabolical duo for Temple of the Impure and other upcoming assaults.
Hades Archer was formed in 2006 in Santiago, Chile by N-III on guitars and voice and Infernal Desolator on drums. The band launched their first demo-rehearsals through Chilean label Kuravilu, unleashing their glorious influences such as Venom, Bathory, Hellhammer, Sarcófago, Sextrash, Mayhem, Impaled Nazarene, Bestial Warlust, Black Witchery, Inquisition, and more. Later in 2007, Hateaxes Command came in on drums. With this new lineup, the duo recorded the Penis Metal and Gloria Rex Infernvs EPs – released in 2008 and 2010, respectively – and their debut album, 2011’s For The Diabolical Ages. This cult era is considered by Hades Archer where the band’s history truly began.
In 2012, Hateaxes Command departed and was replaced by Skullcrusher Hammers, due to N-III’s move to Valdivia years before. With this lineup, Hades Archer launched a number of live rituals and recorded the mini-album The Curse Over Mankind. Two years later came the Circus of Abominations split mini-album with new labelmates Slaughtbbath. Once more due to Skullcrusher Hammers moving to another city and foregoing Hades Archer embarking upon future tours, the year 2015 saw the return of Hateaxes Command to record the EP Unus Cantus Bestiae, which was later reissued as a split with Japan’s legendary Sabbat.
But, at long last, now arrives Temple of the Impure: the grand culmination of Hades Archer’s hard graft in the underground the past decade-plus, and a grimy new jewel in the reigning crown of Chilean black/death. The band’s first new recordings in two years, Temple of the Impure proves that the silence was indeed golden, for LP#2 is a fucking firestorm of filth and foulness, a forever-flowing fount of unnervingly hypnotic ultraviolence. Both defining and deviating from the classic Chilean archetype, Temple of the Impure sees Hades Archer simultaneously surpassing the boundaries of chaotic overload and somehow delivering their most diseased and dirt-encrusted expression by paradoxically locating their cleanest and most professional recording to date. A dicey move in most bands’ hands, but here, the payoff speaks for itself: Temple of the Impure is precisely THAT, and it can be heard in gleamingly 3D tones, thereby maximizing the palpably physical possession it invokes within the listener. Total and utter diabolism across a dozen tracks in 34 minutes, Temple of the Impure kicks in immediately and thoroughly assaults the senses for its entire duration, along the way finessing forth deft ‘n’ dynamic downshifts and martial headbanging moments.
Aptly titled as anything currently out there, Temple of the Impure is the foundation on which Hades Archer hereby assert their dominance across the nowadays underground metal scene. Behold mastery, and bow down. The first example of that impure mastery can be heard with the previously-revealed track “Chaos Teratosis Chimeras”
Cover and tracklisting are as follows:
Tracklisting for Hades Archer’s Temple of the Impure
1. Intro (Ikkibu Ardu)
2. Chaos Teratosis Chimeras
3. The Gods Sold This World For Destruction
4. Circus Of Abominations
5. Sex Sex Sex Perversions
6. Great Moon Tide
7. Hecate Undressed
8. Unus Cantus Bestiae
9. Temple Of The Impure
10. Apollyon’s Brightness
11. The World Inheritance
12. Outro (Homodeus Abortunction)
ALTARAGE are unveiling the first mind-blowing track taken from their forthcoming album, ‘Endinghent’, which has been scheduled for release on October 13th. The enigmatic Spanish death innovators are available for interviews.
The song “Spearheaderon” is presented in the form of an insane video clip
ALTARAGE comment: “Nothing relevant to say. There is no point. Words are futile in the raging waters of the ‘Spearheaderon’. Bizarre thoughts and filth spread, we shall move forward. Through the excess, ‘Endinghent’.”
ALTARAGE are furthermore releasing the artwork of ‘Endinghent’, which can be viewed together with the track-list below.
ALTARAGE deliver exactly what the underground buzz around them promised. Their second full-length, ‘Endinghent’ is bristling with black and dissonant death metal fury that immediately evokes a plethora of sinister images in the brain. Their relentless soul-crushing sound is sending the scared mind on overdrive.
Little is known about this secretive death metal collective, except their origin from Bilbao, the largest city in the Basque country of Spain. In 2015, ALTARAGE unleashed a demo simply entitled after its year of release, ‘MMXV’ generated massive interest in the extreme metal scene around the globe. This was followed by the debut album ‘NIHL’ (2016), which received high praise from critics and fans alike.
ALTARAGE return to mercilessly drag you into an abyss of nightmares and twisted meanings. ‘Endinghent’, in their own words, calls the doom inhabitants to reach a whole nothing. Welcome to this new dimension of sonic darkness.
NEKROHOWL plays abhorrent and paroxysmal form of death metal in the uncanniest path of legendary 90’s era death metal period. The troop consists of the members from some of the finest bands from Bangladesh, including Homicide, Nafarmaan, Enmachined and Warhound.
Toilet ov Hell premiered “Mortal Incubation” — first single from their debut upcoming EP, “Epitome of Morbid”.
“Soon you’ll find yourself clawing out of your grave again, though, because this is the kind of track that demands repeat listens.” — Toilet ov Hell
Nekrohowl originally started as a 4-piece Death Metal band, consisting of members of some other prestigious local extreme metal band. Soon they released their menacing demo and invaded Kolkata. Currently they are active as a trio and their monstrous lineup consists of Obliterator (Homicide), Sadist (Enmachined, Nafarmaan) and Warmonger (Warhound, Ex-Orator).
Track “Mortal Incubation” will be a part of their upcoming EP, to be released within a few months.
Guitarist Obliterator States:
“The song resembles ” death ” as a person / entity with sheer omnipotence and ominous wrath against mortals . It is said that , the bringer of doom and darkness shall forever reign in the realm of man . The temptation to devastate human in flesh will summon ultimate excruciating .”
Nekrohowl has done completing their AGONIZE AND EXCRUCIATE TOUR 2017, where they supported Japanese Tech Death Giant DESECRAVITY on their Bangladesh (Dhaka) and India (Shilong and Kolkata) gigs.
Iron Bonehead Productions sets September 29th as the international release date for Runespell’s highly anticipated debut album, Unhallowed Blood Oath, on CD and vinyl LP formats.
Hailing from the shit-hot true Australian black metal scene, Runespell is the work of one Nightwolf, considered by those in the know to be arguably the busiest man in OZBM, maintaining as he does the equally prolific Eternum and Blood Stronghold. While bearing aesthetic similarities to those two bands – this is the purest, most mystical black metal after all – Runespell is a majestic rumination on the mysteries of war and bloodshed, vengeance and valor, memory and destiny. Nightwolf handily accomplished that earlier this year with the debut demo Aeons of Ancient Blood, but now, once again in bloodpact with Iron Bonehead, Runespell rises for its grandest strike in Unhallowed Blood Oath.
Maintaining the same exemplary standards in songwriting and execution, here on Unhallowed Blood Oath, the passion and prowess by which Nightwolf guides Runespell have somehow multiplied tenfold. This is black metal deeply steeped in early ’90s classicism, be it from Scandinavia or France or particularly Poland – again, no sea change there – but to take source material, especially the sort that’s been so widely replicated year after year, and both handily challenge those classics AND resound like an era-relevant relic is no mean feat. In fact, it requires dedication and sacrifice – spiritually, above all, as well as physically – and those are in no short supply across Unhallowed Blood Oath; not for nothing is the album titled that. The seven tracks comprising the record feel strangely far more epic than the compact running-time of 37 minutes suggest, and yet within that mesmerizing maelstrom of alternately grim/gorgeous frequencies lies profound truths, flickering refractions of times distant and as yet lived, of black metal wielded as weapon, totem, and portal simultaneously.
Partake in Runespell’s Unhallowed Blood Oath or be banished: there is only one choice. Begin the journey to damnation/redemption with the opening track “Oblivion Winds”
Cover and tracklisting are as follows:
Tracklisting for Runespell’s Unhallowed Blood Oath
1. Oblivion Winds
2. Bloodlust & Vengeance
3. As Old Gates Unfurl…
4. Heaven In Blood
5. White Death’s Wings
6. All Thrones Perish
7. And Wolves Guide Me Home
