TSJUDER unleashes 2nd track “Iron Beast” upon the world 💀

After the freezing cold music video of ‘Gods of Black Blood’, Norwegian black metal legend TSJUDER is now unleashing their ‘Iron Beast’ from the pits of hell. The track is taken from their fiercly new album “Helvegr”, which will bring dark clowds over the world on June 23, 2023 via Season of Mist.

TSJUDER is releasing ‘Iron Beast’ in a form of a visualiser video, envisioning the concept of this powerful new song filled with black metal riffs and shattering blast beats. The new track is available here:

TSJUDER’s straightforward comment: “This is Iron Beast. The opening track on our forthcoming album Helvegr. Death to all!”

Pre-orders for “Helvegr” are now available HERE, while the album can be pre-saved HERE. (Some vinyl’s are already sold out)

The album will be released on various physical formats, such as cd digipack and coloured vinyl, but also limited edition clamshell box (cd) and LTD vinyl box.
These limited edition come with a bonus album “Scandinavian Black Metal Attack” in which TSJUDER pays a special ode to Bathory.

The cover artwork for “Helvegr” can be viewed together with the track-list and further album details below.

Artwork: Jonas Svensson and Laura Nardelli
Track-list:
1. Iron Beast (3:37) [WATCH HERE]
2. Prestehammeren (4:01)
3. Surtr (6:59)
4. Gamle-Erik (3:46)
5. Chaos Fiend (4:02)
6. Gods of Black Blood (5:19) [WATCH HERE]
7. Helvegr (7:36)
8. Faenskap og Død (3:08)
9. Hvit Død (2:52)

Since their inception in 1993, Oslo’s TSJUDER have been responsible for some of the most hate-filled ferocity perpetrated under the banner of TRUE NORWEGIAN BLACK METAL.
 
The band’s unholy fire was initially lit when founding members NAG (vocals/bass), BERSERK (guitar) and DRAUGLUIN (guitar) grew weary of playing death metal and sought out engorged levels of extremity to sate their increasingly profane ambitions. The time was ripe to inaugurate a ceaseless campaign committed to an uncompromising strain of brutally raw black metal, influenced by the primal thrash blasts of Sodom, Kreator, Destruction, Sarcófago and early Sepultura; black metal first wave trailblazers such as Bathory and Hellhammer; and, most vitally, Mayhem’s seminal Deathcrush, and Darkthrone’s game-changer, A Blaze in the Northern Sky.

Assuming the TSJUDER name, a moniker plundered from a mythical, murderous Northern tribe, various embryonic line-ups gathered around the all-conquering core of Nag and Draugluin, laying the fearsome foundations for what was to follow with two demos – Ved Ferdens Ende and Possessed – recorded between 1995-96. But it was with 1997’s EP, Throne of the Goat, that the black metal underground really began to sit up and take notice, the release establishing TSJUDER’s reputation as a blasphemous bulldozer hellbent on crushing the insipid and nostalgic in relentless blizzards of sub-zero riffage, punitive blast beats and blood-curdling screams.

Recordings for an inaugural full-length in 1999 were lost to a computer virus, but from the scavenged remnants of these sessions would emerge the Atum Nocturnem demo, an obnoxious foretaste of the group’s debut album, Kill For Satan, an international breakthrough slathered in slime-encrusted sacrilege. That damnable release saw the aptly-named ANTI-CHRISTIAN open his TSJUDER account, the drummer blasting a succession of gateways though the underworld, pulverising a punitive march to the band’s malevolent maelstroms.

Demonic Possession (2002) and Desert Northern Hell (2004) sustained the band’s focus on death, devils and destruction, while ratcheting up the production levels on a barbaric brace of flesh-strippers conjuring a landscape of frost-bitten wastes and foul abyssal realms. With the music press busy dishing out plaudits, the band’s burgeoning confederacy of fanatics were becoming desperate for some TSJUDER live action. Heeding the clarion, the band embarked on a full European tour with fellow countrymen Carpathian Forest. They also recorded a pair of gloriously powerful live performances in 2005, in Norway, which would subsequently be documented on the group’s Norwegian Apocalypse DVD.

TSJUDER would take a deserved hiatus in 2006, with members finding other musical outlets for their creativity; Nag launching heretical black metal outfit KRYPT; Draugluin and Anti-Christian doing time with the thrashier TYRANN.

But it wouldn’t be long before the irresistible call of TSJUDER would exert itself once more. The band reconvened, reenergised and eager to make up for lost time, returning to live performances in 2010 before finally unleashing the mighty Legion Helvete (2011), a typically uncompromising comeback interspersed with pronounced Motörhead influences on punkish hyper-blasters such as ‘Slakt’.
It would be another four years before TSJUDER issued the merciless Antiliv (2015), a snarling lycanthropic howl of a record, heavy-loaded with vindictive black’n’roll swagger and lashings of buzzsaw guitar.   
 
TSJUDER quickly set about creating the follow-up to Antiliv, but musical differences and protracted disputes led to a parting of the ways, with Anti-Christian bowing out after an impressive 20-year tenure with the group. Undaunted, Nag and Draughluin enlisted doyen tub-thumper JON RICE to provide the requisite drum artillery and continued to work on new recordings – fine-tuning guitar tones and sharpening mixes.

Then COVID-19 struck, the pandemic further stymieing the album’s release as the world tumbled from its fragile axis. But humanity is now benignly settling into its most chronic phase of perpetual abnormality and TSJUDER are steeled again to hoist their inverted cross above the barricades of conciliation. Their latest opus, Helvegr, is a devastatingly savage offering, one which fully adheres to the band’s eternal credo of “NO FUCKING COMPROMISE”.     
Recording Line-up:
Nag – Bass & Vocals
Draugluin – Guitars & Vocals
Jon Rice – Drums

Guest musicians:
Guitar solo on ‘Gamle Erik’ by Pål Emanuelsen
Guest vocals on ‘Gods of Black Blood’ by Seidemann (1349)

After the departure of Anti-Christian, Jon Rice and Eivin Brye has shared the drum duties on TSJUDER ‘s live performances.

Links:
https://www.facebook.com/tsjuderofficial
https://www.instagram.com/officialtsjuder

Mixing + Mastering: North Waves Studios by Pål Emanuelsen
Artwork: Jonas Svensson and Laura Nardelli

Shop: https://redirect.season-of-mist.com/Tsjuder-HEL
Pre-save: https://shop.season-of-mist.com/list/tsjuder-helvegr

HERETIC CULT REDEEMER stream new III DAMNATION album

Today, Greek black metallers Heretic Cult Redeemer stream the entirety of their highly anticipated third album, Flagellum Universalis. Set for international release on April 21st via III Damnation Productions, hear Heretic Cult Redeemer’s Flagellum Universalis in its entirety here:

Formed in 2009, Heretic Cult Redeemer was created in Athens by Funus (ex-Acrimonious), D, and T. A few months later, V (ex-Embrace of Thorns, ex-Acrimonious) joined the band with the aim to record their debut album, the self-titled Heretic Cult Redeemer, which was released in 2013. V left the band, and C. Docre (Acrimonious) and N3, completing the lineup Heretic Cult Redeemer‘s eventual second album, Kelevsma, released in 2018.

Never ones to rush nor adopt half-measures, Heretic Cult Redeemer have completed their third album, Flagellum Universalis, which features the lineup of vocalist/bassist Funus, guitarist/bassist Tempest, guitarist N3, and drummer C. Docre. Undoubtedly the band’s best lineup yet, suitably do they deliver their strongest recorded statement yet in Flagellum Univerisalis. Nearing a full hour in length, the album is literally MASSIVE as well as ceremonial, invoking a new era for Heretic Cult Redeemer as well as reinvigoration of orthodox/religious-style black metal. Never forgetting their more death metalled roots, the band’s gnawing & gnarly epics feature as much brawn as brain as they spiral outward from an ominous core.

With form meeting content, the lyrics to the nine-song Flagellum Universalis are indeed heady. The concept of record plunges into the paths of the primeval human urge of opposition to law and structure; it is a profound spiritual and philosophical journey towards Eosphoric self-knowledge. Heretic Cult Redeemer consider themselves as the means, harbingers, and vessels of Luciferian and Promethean teachings, as expressed through the frenzy, of the touch of Echidna.

To date, Heretic Cult Redeemer‘s catalog has been of sterling quality if not unheralded. However, the Greeks’ boldest steps – their first foray into the halls of greatness – now come with Flagellum Universalis. Behold, and redeem thyself!

Cover and tracklisting are as follows:

Tracklisting for Heretic Cult Redeemer’s Flagellum Universalis
1. Lunar Reign – Lunar Apogee    
2. Intoxication Divine    
3. Ascending Perfection    
4. Lapsit Exillis    
5. The Woven Chords of Ecstasy    
6. Grave Sophia – Breath of the Night    
7. Eye of the Saturnian Dawn    
8. Primeval Cognition I    
9. Primeval Cognition II

MORE INFO:
www.facebook.com/Heretic-Cult-Redeemer-108482089276374

www.facebook.com/iiidamnationproductions

COSMIC BURIAL set release date for new PURITY THROUGH FIRE album, reveal first track – features members of NACHTIG and VALOSTA VARJOON

Today, Purity Through Fire announces June 2nd as the international release date for Cosmic Burial‘s highly anticipated third album, Far Away From Home, on limited A5 digipack format.

Those who follow the dread deeds of Purity Through Fire should know by now that Cosmic Burial is the sole work of erstwhile Nachtig and Valosta Varjoon mainman V. V. And while those labelmates are undeniably black metal – related-yet-different sides, it must be said – over the course of Cosmic Burial‘s first two albums, 2020’s Impakt and 2021’s …to the Past, does V. V. strike upon far more distant realms of the imagination, only sparingly related to black metal. In his own words, Cosmic Burial is “ambient/atmospheric music for dreamers about space and time,” and thankfully is the course still the same for his third album, Far Away From Home.

As aptly titled as it comes, Far Away From Home is as lost-in-space as either of Cosmic Burial‘s two full-length predecessors and arguably even more gorgeously despairing. Here, V.V. continues the trend of making his massive compositions more compact. Impakt was literally massive in its 75-minute runtime while …to the Past was a comparatively brisk 45 minutes, and so it goes with the four-song/48-minute Far Away From Home. That its four component song titles are written in Morse code says everything about the album’s contents: these are plaintive distress signals from the outer reaches of the cosmos, rendered in shimmering & swirling tones of synth-led black metal. That that black metal plods forward at a largely mid-tempo gait creates a unique disconnect between energy and desolation – like being inexorably drawn to a yawning black hole, an ominous portal to those outer reaches. As always, V. V. foregoes vocals entirely, thus further severing ties to strict black metal by definition, but that simply allows that paradoxical gorgeousness to hit even deeper wells of despair. There’s just no return when you’re Far Away From Home.

Begin charting a course with the brand-new track “A .-. .-. .. …- .- .-..” here:

Cover and tracklisting are as follows:

Tracklisting for Cosmic Burial’s Far Away From Home
1. A .-. .-. .. …- .- .-.. [11:57]
2. B .. .-. – …. [11:12]
3. S — .-.. .. – ..- -.. . [12:02]
4. S – .- .-. … . . -.. [11:58]

MORE INFO:
www.facebook.com/Cosmic-Burial-849464872064423

KVAD set release date for PURITY THROUGH FIRE debut, reveal first track – features members of SOLUS GRIEF, UNHOLY CRAFT, DARKEST BETHLEHEM+++

Today, Purity Through Fire announces June 2nd as the international release date for Kvad’s highly anticipated second album, So Old, on CD format. The vinyl version will follow later.

Hailing from Norway, Kvad indeed performs black metal exclusively in the ancient Nordic tradition. The band is yet another project of the ever-prolific Peregrinus, who numbers the likes of Unholy Craft, Solus Grief, Hjemsøkt, Darkest Bethlehem, and Praefuro among his current endeavors. Then a duo, in 2022, Kvad released the Invocations EP and Cold & Dark, As Life debut album in quick succession, and now Peregrinus continues to strike while the burning church is hot with their second album, So Old.

On one hand, So Old is aptly titled: the album begins with a desolate melancholy of what once was, and then the blizzard of distortion leads into a cryogenic grimness not unlike mid-’90s Gorgoroth, particularly the hackle-raising, Hat-esque screams of Peregrinus. And so Kvad follows this trajectory for a good deal of the album…but their songwriting unfolds, fever-dreaming into strange shapes not found among the ashes of those churches. While never dissonant per se, that blizzard of riffing soon compounds into a fury/flurry backed by Peregrinus’ brisk-yet-building drums; it’s a howling hysteria that’s not altogether untuneful, and its slipstreaming vortex suggests the superlative late ’90s psychedelia of Svest and Weakling. But, much as he does with his other projects, Peregrinus is not one to be (exclusively) pinned down to one specific style, and possesses the songwriting nous to turn these classics-minded creations into ones respectably modern. So Old, and yet so alive!

In the meantime, hear the brand-new track “I Long for the Fires” here:

Cover artwork, courtesy of Greallach, and tracklisting are as follows:

Tracklisting for Kvad’s So Old
1. So Old
2. I Long For The Fires
3. This Was Death
4. Amidst Thunder and Demonic Ecstasy
5. The Forest Draped Black
6. In Servitude of a Dying Flame
7. Void Ritual
8. Ashes of a Life

MORE INFO:
www.kvad.bandcamp.com

MOON ORACLE stream new SIGNAL REX / BESTIAL BURST album

Today, Finnish black-doom deviants Moon Oracle stream the entirety of their highly anticipated second album, Ophidian Glare. Set for international release on April 11th via Signal Rex in conspiracy with Bestial Burst, hear Moon Oracle‘s Ophidian Glare in its entirety here:

It was but 2021 when Moon Oracle burst from the void, fully formed, with their Muse of the Nightside debut. Also jointly released by Signal Rex and Bestial Burst, Moon Oracle’s first public recording portrayed the power-trio as astute auctioneers of pure-yet-idiosyncratic metal, equally informed by archaic black metal and eldritch doom. With its bass-heavy crunge and wild tribal drumming, little else around quite sounded like Muse of the Nightside.

And so it goes with Ophidian Glare, Moon Oracle’s second full-length exploration of that battleground between the Id and the Ego. The album’s opening birth pangs suggest their barbaric primitivism will be exaggerated to obscene lengths, but patience rewards the intrepid – or ignorant, as it were – as Ophidian Glare soon blossoms into startling shapes at once vulgar and artful. The ever-present pulse of filth still guides Moon Oracle, but much of the preceding wildness has been reined in (or at least refined), resulting in an altogether more atmospheric sound that allows haunting spaciousness to enter and thereby make the barbarism hit that much harder. Perhaps the album’s unique charm can be summarized by the track title “Nethereal Axe.”

Still cold and alone in their uniqueness amongst an underground that rewards conservatism, Moon Oracle continue to pursue their equally ancient avant-garde muse with increasingly adventurous results. True deviants and outsiders, behold their Ophidian Glare!

Cover and tracklisting are as follows:

Tracklisting for Moon Oracle’s Ophidian Glare
1. The Numinous Gate Opens [4:44]
2. A Vision in the Mansion [3:50]
3. Nethereal Axe [2:43]
4. Serpent’s Word [3:47]
5. Widdersyns – Against the Current [4:19]
6. Abysmal Crimson Desert [10:58]


MORE INFO:
www.facebook.com/MoonOracleFinland
www.moonoracle.bandcamp.com

www.signalrex.com
www.facebook.com/signalrex

Argentina’s INFERNAL CURSE set release date for new IRON BONEHEAD album, reveal first track

Today, Iron Bonehead Productions announces June 23rd as the international release date for the long-awaited third album of Argentina’s Infernal Curse, Revelations Beyond Insanity, on CD and vinyl LP formats.

Hailing from the oft-overlooked scene of Argentina, Infernal Curse are a study in patience and defiance. Forming in 2008, early on, the band’s sound was strictly within the blown-out blackthrash characteristic of South America’s most-underground metal, culminating in the clattering ‘n’ chaotic Awakening of the Damned debut LP in 2012. However, it was with the Iron Bonehead-released mini-album The End Upon Us in 2014 where Infernal Curse truly found their stride. Reigning in the chaos for a more pulsing form of barbarity, the power-trio were as violent and virulent as ever, but pushed the still-overwhelming physicality into the beyond. Amazingly, they then pushed beyond The Beyond with 2016’s Apocalipsis full-length, again released by Iron Bonehead. Bestial metal taken to its psychedelic extremes, Apocalipsis presented a paradox between profundity and crudity, forever elevating Infernal Curse above the mongrel hordes mindlessly battering away to the same well-worn, black/white/red-all-over Blasphemy tropes.

That album no doubt proved to be an apex for Infernal Curse, and thereafter did the band stick to EPs and splits – and even then, three years on from Apocalipsis. Now, at long last, Infernal Curse deliver their third album, Revelations Beyond Insanity. Once again, the Argentinians both embody and defy the bestial metal paradigm, and harken back to the earliest expulsions from mid ’80s South America. After its eerie church-organ intro, Revelations Beyond Insanity kicks in with one of the most SAVAGE guitar/bass tones in many years; swirling and deliriously effected, all strings chundering forth from their fingers congeal into a crumbling cathedral of nightmarish enormity. That drummer Bestial Offensor follows suit with a loose & lively tornado of DD Crazy-style controlled chaos should not be surprising: South American touchstones like Bloody Vengeance, Immortal Force, and especially INRI and Sexual Carnage are recast in a manner both world-eating and ceremonial. Yet, for Infernal Curse, even when plumbing the depths of primitivism, a haunting throughline elevates their approach above base barbaric physicality and into the realm of rigorous mind-expansion – that that Beyond explodes into a kaleidoscope of feral atavism at the heart of the psychedelic experience. Or, simply dispense with fancy words altogether and submit to the overwhelming onslaught of Revelations Beyond Insanity: Infernal Curse have returned to the full-length front to reclaim their throne.

In the meantime, hear the brand-new title track “Revelations Beyond Insanity” here:

Cover and tracklisting are as follows:

Tracklisting for Infernal Curse (Argentina)’s Revelations Beyond Insanity
1. Intro / Revelations Beyond Insanity [4:32]
2. Black Mass Sheperd [3:21]
3. Voidearth / Rites of Blood and Steel [7:00]
4. Church of Perversity [4:46]
5. Thy Eternal Tribulation [4:42]
6. Aeon of Extinction [4:46]

MORE INFO:
www.facebook.com/infernalcurseofficial 

www.facebook.com/IronBoneheadProductions

CEMETERY URN reveal first track from new HELLS HEADBANGERS album

Today, death metal barbarians Cemetery Urn reveal the new track “Damnation is in the Blood.” The track is the first to be revealed from the band’s highly anticipated fifth album, Suffer the Fallen, which should see release this summer via Hells Headbangers on CD, vinyl LP, and cassette tape formats. Hear Cemetery Urn‘s “Damnation is in the Blood” in its entirety here:

By now, Cemetery Urn require no introduction. Pillars of Australia’s now-legendary extreme metal scene, for nearly 20 years have these barbaric death metallers pursued their strict ‘n’ staunch vision of absolute ultraviolence – and ultraviolence with poise and daresay class. Though lineup shuffles have always been a part of the band’s picture, through it all, erstwhile Abominator founder Andrew Gillon (guitar, sometimes-bass) has steered their turbulent ship and rendered four equally punishing full-length tomes: each one immediately recognizably Cemetery Urn, but each one subtly expanding their sound with no compromise and no quarter. That seven years separated their second and third albums and five years have passed since their fourth matter not; dread deeds are always bubbling within Gillon’s cauldron, and he’s now assembled another deadly lineup, resulting in another deadly LP.

Titled Suffer the Fallen, Cemetery Urn now see the arrival of drum god Brandon Gawith (Eskhaton, Hobbs Angel of Death, Vahrzaw), bassist Joel Westbrook, and fellow Abominator founder Chris Volcano on vocals. Wasting no time, Suffer the Fallen kicks in and proceeds to scorch all and sundry. Once again, Cemetery Urn exude their trademark poise and, yes, CLASS; pulverizing and often operating at unsafe speeds, the quintet still put proper songwriting at the forefront, and color it with a payload of devilish details and deft shifts in tempo and texture. To the uninitiated, Suffer the Fallen will stun and likely sound overwhelming, but those who already drink deeply of the extreme arts will perhaps be surprised at how lithe Cemetery Urn‘s characteristic barbarism has become. Sharpening that attack to an enviable degree is the clear ‘n’ cutting production courtesy of Adam Calaitzis at Toyland Studio, resulting in a fortuitous first partnership. Same goes for the stark cover artwork courtesy of scene legend Mark Riddick – Suffer the Fallen indeed!

Given Cemetery Urn‘s deep roots in the Australian scene and their preceding history, both in Abominator and Gillon’s late-days work in the influential Bestial Warlust, it’s with no small amount of fanfare that original vocalist Damon Bloodstorm – of course, former frontman for both Bestial Warlust and Abominator – is resurrected from the grave on the vinyl-only bonus track “Mass Graves of Blood,” an unreleased track from 2007 which also features original bassist Squiz and thus marks the final time that the original Cemetery Urn lineup was together. Altogether, eight tracks in 35 minutes of pure Australian Barbaric Death Metal: Suffer the Fallen and none survive!

Release date, cover, and tracklisting for Suffer the Fallen to be revealed shortly. For more info, consult the links below.

MORE INFO:
www.facebook.com/cemeteryurn

www.hellsheadbangers.com

Lawless black metallers Thanatomass premiere the new track “Sorcery of Hades

Today, lawless black metallers Thanatomass premiere the new track “Sorcery of Hades”. The track is the second to be revealed from the band’s highly anticipated debut album, Hades, set for international release on May 12th via Living Temple Records. Hear Thanatomass‘ “Sorcery of Hades” in its entirety here:

The origins of Thanatomass are shadowy, but their first public recording – 2018’s MMXV-MMXVI demo – reveals some hints as to that mystery. From there, the conflagration was lit; the power-trio continued to expound upon their lawless black metal ultraviolence, exploding with more eldritch energies and ever-more-ravenous devotion with each successive strike. The following year’s Darkest Conjurations EP saw Thanatomass link up with current conspirators Living Temple, becoming more barbaric and atmospheric simultaneously, which then reached a fever pitch with 2021’s Black Vitriol & Iron Fire EP. These two short-lengths evinced exceptionally more ideas and of course far more violence than records twice their length, and suitably etched the band’s name into the underground as one to watch…and be fearful of.

At long last, Thanatomass‘ first official full-length arises with Hades. Here, immediately, past and present are consumed by unquenchable fire, an absolute bloodlust that cannot be sated – a near-overwhelming display of ultraviolent physicality that takes on a supernatural aspect, so impossibly askew is their attack. With but a minute-long intro to set the stage and prepare the unsuspecting for the cosmic onslaught ahead, Hades kicks into contorting/spiraling form with the 10-minute epic “Templvm Carnalis / Vomit Ceremony,” which mainlines the OTT diabolism of Sarcofago’s INRI into the vortextural slipstream of classic Katharsis. But as the album plays on – and as the listener’s will is reflexively, irrevocably broken down, submission turning to hypnotism and eventually immolation – those sonic signposts are successively uprooted, and it’s brazenly displayed that Thanatomass are operating with a decidedly unique approach to songwriting. Still ultraviolent, sure, and arguably one of the most dangerous displays of such within nowadays’ underground, Hades presents clear & caustic ideas hammered to their logical conclusion only to birth yet more vulgar shapes that then contort and distort themselves into continually frightening contours…all with nary a pause for breath. But lest one think that Thanatomass are “chaotic” or “dissonant” or other such loaded descriptors, it must be stressed that their chops and execution are superlative: natural and “live,” as it should be, with no fake punch-ins and the like, honoring the ancient ways of heavy metal fire. And, just like their prior recordings but especially more so here, Thanatomass are undeniably a black METAL band, flying the flag of the first wave but prepared to burn any banners or standards as needed.

At seven songs across 44 minutes, with two songs topping eight minutes each and another two topping ten, Hades is a tower of ceremonial debauchery writ in shattered-glass sonics. That David Glomba provides stunning cover and interior artwork further underlines the magnitude of Thanatomass‘ debut album, and altogether stands as the momentous event it was destined to be. Submit to everlasting fire!

Begin submitting to the previously revealed track “Gravedance Sabbath” both HERE at Living Temple‘s official YouTube channel as well as HERE at Living Temple‘s Bandcamp, where the album can also be preordered. Aforementioned cover art and tracklisting are as follows:

Tracklisting for Thanatomass’ Hades

1. Katabasis (Intromass) [1:04]
2. Templvm Carnalis / Vomit Ceremony [10:01]
3. Gravedance Sabbath [2:18]
4. Living Tombs Of Tartaros [8:31]
5. Sorcery Of Hades [8:52]
6. The Bone Nimbus [1:19]
7. Retromass (Morbid Ordinance Of Doom) [11:27]

MORE INFO:
lvxmorgenstern.org

www.living-temple.org 
www.facebook.com/livingtemplerecords 

America’s SEVER stream IRON BONEHEAD debut album

Today, American black metal cult Sever stream the entirety of their highly anticipated debut album, At Midnight, By Torch Light. Set for international release on April 14th via Iron Bonehead Productions, hear Sever‘s At Midnight, By Torch Light in its entirety here:

One of the most promising developments in American black metal in recent years, Sever combine bestial ferocity with spectral atmosphere and surprisingly deft dynamics. The work of one Ma-Kaxul, Sever made their public debut with the Sadistic Sorcery demo in 2022, courtesy of Iron Bonehead. That demo indeed pointed the way for Sever‘s sound: at once primal and magickal. And now Ma-Kaxul reveals the wider breadth of his vision…

Thus, less than a year after that debut demo, Sever unleashes their first full-length: At Midnight, By Torch Light. Simultaneously familiar and foreign, invoking cult names as varied as Nazxul, Kvist, Norway’s Odium, and Australia’s Darklord or even ’90s Demoncy and Abigor, the swells of violence across the album’s six-song/38-minute runtime are firmly situated between bubbling bestiality and cosmic chaos. Straightforward, to be sure, but never simplistic, Sever‘s onward-and-spaceward thrust overwhelms and then hypnotizes, invoking a(n ultraviolent) trance that soon unfolds its many layers of obsidian darkness. Of course, mention must be made of the synth work, skillfully integrated into the (gleamingly obsidian) whole and ably buttressing that swelling violence without softening it one bit. It’s all too easy to get lost in At Midnight, By Torch Light, but it’s a spectral cocoon well worth residing in.

As the sun sets in the west, prepare for lunar sacrifice and wield the hammer of vengeance like an abyssonaut with Sever‘s At Midnight, By Torch Light!

Cover and tracklisting are as follows:

Tracklisting for Sever (USA)’s At Midnight, By Torch Light
1. Abyssonaut [5:29]
2. Lunar Sacrifice [6:28]
3. Sunset in the West [6:47]
4. Hammer of Vengeance [4:04]
5. At Midnight, By Torch Light [5:25]
6. Eastern Boar [9:19]

www.facebook.com/IronBoneheadProductions

Malaysia’s TOMB set release date for new IRON BONEHEAD mini-album, reveal first track

Today, Iron Bonehead Productions announces June 23rd as the international release date for a brand-new mini-album from Malaysia’s Tomb, The Dark Subconscious, on CD and 12″ vinyl formats.

Formed in 2014, Kuala Lumpur’s Tomb hail from the small-yet-lethal Malaysian black/death underground that features such stalwarts as Mantak and Thorns of Hate. And just like those two contemporaries, Tomb exhibit a frightening feralness that can only come from South East Asia. And while many/most bands wimp out or slick up as they go along, the reverse is actually true for Tomb, as proven by their latest The Dark Subconscious mini-album. 

While their earlier EPs are hardly “refined,” the throbbing mysticism compared favorably to earliest Samael, Root, and Black Funeral. Here on The Dark Subconscious do Tomb go even more primitive – “bestial,” yes, but a form of bestiality birthed by the likes of Abhorer. Indeed, it’s no accident that Tomb‘s logo change is not unlike that of those cult Singaporeans: a swirling, sulfurous mass of gutter frequencies soon assault the listener on The Dark Subconscious, occasionally colored by no-less-primitive synths left over from their earlier days. In that regard, one could liken the 16-minute miasma to Beherit’s Drawing Down the Moon, the ’90s work of Greece’s Disharmony, or especially Mystifier’s paradigmatic duo of Wicca and Goetia…but there’s still that sense of strange, of scene-unbound lawlessness, across Tomb‘s latest short-length. Short but VERY sweet, long may they obey that lawlessness!

In the meantime, hear the brand-new track “Black Altar of Sathanas” here:

Cover and tracklisting are as follows:

Tracklisting for Tomb (Malaysia)’s The Dark Subconscious
1. Abomination Spells
2. Cursed Angel Of Doom
3. Black Conjuration Of Beleth
4. Occult Eternal Mysteries
5. Black Altar Of Sathanas
6. Nocturnal Rites Of Blasphemy

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