Purity ThroughFire is proud to present Úlfarr‘s highly anticipated second album, Fornetes Folm, on CD and vinyl LP formats. The CD version will be released on December 25th while the vinyl version will see release in early 2025, and both will feature His Crown Grows From His Skull as a bonus EP.
Since 2011, Úlfarr have stood for uncompromising, antisocial UK black metal – or, under their own banner of Cumbrian Black Metal. Helmed by Dominus – who counts the equally prolific Thy Dying Light amongst his activities, as well as fellow labelmates Nefarious Dusk and Morte Lune – Úlfarr released a handful of demos, a couple splits, and most uniquely, a couple live albums before their debut mini-album, Hate & Terror – The Rise of Pure Evil, in 2019 and then another mini-album, The Ruins of Human Failure, two years later. During the summer of 2023, they released a split album with fellow UK horde Malfeitor. Across these caustic recordings, Úlfarr stoked the fires of old – namely, classic Craft, Darkthrone, Mayhem, One Head One Tail, and Death Cult.
Late last year – in December, to be exact – Úlfarr released their debut album, Orlegsceaft, featuring a revamped lineup as well as sound. Going from a quintet to trio now, the band release a second album a full year after the first: Fornetes Folm. Mind you, this second album carries forward three members – erstwhile Exvoidxist / Forvitnast vocalist Játvarðr, Malfeitor maiman Nosdrahcir on drums & bass, and of course Dominus on all guitars – and suitably does Fornetes Folm further the sound of its full-length predecessor. Grim & ancient black metal is the order of the day across this eight-song LP: raw yet refined, atmosphere and physicality coiled like the Ouroboros, with ghoulish grimness running rampant like a long-lost recording from 1995 given undead life through ghostly means. With such a continuation, it’s fair to say that Úlfarr have fully entered their second epoch, and it’s sublimely anti-modern. Underlining their perpetually anti-modern air, the bonus EP His Crown Grows From His Skull is included, harkening to the earlier Úlfarr sound – and yet, its three tracks were recorded after the central album. Only they know the true contents of their cauldron, but black metal diehards are all the richer for Úlfarr‘s restlessness.
In the meantime, hear the brand-new track “Moonskin” here:
Cover artwork, courtesy of Játvaðr, and tracklisting are as follows:
Tracklisting for Úlfarr’s Fornetes Folm / His Crown Grows From His Skull Fornetes Folm 1. Alarūna 2. Hildeleoma 3. Algol (As malice shone upon northward doors) 4. November 5. Moonskin 6. Glæterung 7. The Cold Council of Old Shadow 8. Forn-Jotr His Crown Grows From His Skull (bonus EP) 9. Intro 10. Ānforlætan 11. In Veneration of the Corpse Eaters Star
Today, Purity ThroughFire sets December 25th as the international release date for Nefarious Dusk‘s highly anticipated third album, Death Beneath a Starless Sky, on vinyl LP format. The CD version is out now.
Residing in the dankest dungeons of the UK black metal scene, Nefarious Dusk have been spreading their infections since 2011. A trio of demos, an EP, and a split all issued forth before their debut album for Purity ThroughFire, 2019’s The Wanderer of the Cold North. A self-titled album arrived two years later for the label. Through it all, the iron fist of the ever-prolific Dominus has ruled, who currently also counts the considerable Thy Dying Light and Úlfarr among his activities.
Now joined by Úlfarr bandmate Nosdrahcir on drums and synth, Dominus has assembled the third Nefarious Dusk full-length: Death Beneath a Starless Sky. As expected, the duo raise high the banner of second-wave classicism, but surprises still abound. Nefarious Dusk‘s foundation is as firm as ever – a chilling-yet-rousing canvas of ancient atmosphere and hypnotic pulse, tastefully dusted by a subtle fog of synth – but one could rightfully argue that Death Beneath a Starless Sky is a deliberate “regression” of sorts, back to the very earliest ’90s and not strictly within a Scandinavian context. Witness the utterly shredded, sublimely ethereal guitars which recall the very earliest wave of Polish black metal. Then witness the synths float upward from that shimmering mass, creating a solemn-yet-stargazing effect no matter the tempo. For indeed do Nefarious Dusk shift among more tempos here, from the rockin’ side of the self-titled album to the blazing-the-Northern-sky surge of the debut, and the songwriting in kind embarking upon the epic; of the six here, two songs average around eight minutes and another tops ten. Whatever way you approach Death Beneath a Starless Sky, Nefarious Dusk remain against the modern world!
In the meantime, hear the brand-new title track “Death Beneath a Starless Sky” here:
Cover and tracklisting are as follows:
Tracklisting for Nefarious Dusk’s Death Beneath a Starless Sky 1. Black Heart [8:15] 2. Secrets Within the Dead Forest [4:31] 3. The Raven’s Curse [8:41] 4. Death Beneath A Starless Sky [10:02] 5. Mountains of Transylvania [3:28] 6. Hymns of Winter Depression [2:57]
Today, Hells Headbangers sets December 27th as the international release date for Lament in Winter’s Night‘s highly anticipated second album, Whereunto the Twilight Leads,on CD and vinyl LP formats. Atrocity Altar shall handle the cassette tape release.
Hailing from the ever-fertile Australian black metal underground, Lament in Winter’s Night is the work of one The Seer, who has a vast array of other projects lurking in his cobwebbed soul. Of them, Lament in Winter’s Night is the most prominent and prolific and, since the beginning of 2019, has seen feverish activity from The Seer, culminating in the debut album At the Gates of the Eternal Storm in 2020. So impressed by its hideous grimness, Hells Headbangers reissued the album in 2022 and promptly sought an alliance with The Seer, which now culminates in the release of Lament in Winter’s Night‘s second album.
Evocatively titled Whereunto the Twilight Leads, Lament in Winter’s Night‘s second full-length immediately sounds like them – spectral in its rawness, wounded in its melodicism, largely bass-less recording, and altogether ghoulish and ethereal in equal measure – but changes are certainly afoot here. For one, The Seer is joined by Blood Fury on drums, and while the former still handles all songwriting as well as guitar, bass, synth, and vocals, their chemistry comes careening with no small amount of aplomb: Whereunto the Twilight Leads is both more feverish and nuanced than the band’s prior recordings, bouncing from buoyant blasts to an almost-regal midtempo that absolutely amplifies the unapologetically bright riffing & lead-work (often, one and the same). Mind you, by “bright,” there’s an underlying sentiment of melancholy or at least nostalgia across the whole of the album, but rather than get bogged down by the should-be-inherent misery, The Seer’s scurrying & scrying strings build citadels of invigorating sound – “medieval” by proxy, and perversely more AND less black metal than ever. It’s a unique disconnect that Lament in Winter’s Night work further in their favor here, and anyone who misses the work of Stefan Kozak (Mystic Forest, Eikenskaden) would be well advised to roam these hinterlands of Whereunto the Twilight Leads.
An exceptionally emotional release, Whereunto the Twilight Leads proves that Lament in Winter’s Night are defying the “raw black metal” template with daring imagination and breathtaking poignancy.
In the meantime, stream the entirety of Whereunto the Twilight Leads in its entirety here:
Preorder info can be found HERE. Cover and tracklisting are as follows:
Tracklisting for Lament in Winter’s Night’s Whereunto the Twilight Leads 1. The Raven’s Journey (In the Halls of Nostalgia) [3:06] 2. The Night Beckons in Yellow and Blue [9:43] 3. Dawn, Cast Your Heart [7:09] 4. Blazing Galactic Kingdoms [9:22] 5. Cradle the Flames of a Weary Life [7:14] 6. Whereunto the Twilight Leads [6:34]
On January 9th, 2024 internationally, W.T.C.Productions is proud to present Barshasketh‘s highly anticipated fifth album, Antinomian Asceticism, on CD and vinyl LP formats.
It’s been a long and winding road for Barshasketh – from their earliest days in 2007 as a solo project of Krigeist in his native New Zealand on to his relocation to Scotland and building an actual band, from breakout third album Ophidian Henosis in 2015 on to the even-mightier Barshasketh in 2019 – but even amidst all the lineup shuffles and geographical distance covered, one fact has remained firm: purest BLACK METAL, intentionally free of genre cross-pollination, chiseled and refined with patience and persistence. What stands upon that foundation after all these years is a monument to the boundless darkness and infinite imagination at the core of black metal, vital in 2024 as it would have been in 1994. Torches ablaze, hearts enflamed…eternal strife is the fuel.
Still, even with an iron-clad discography, Barshasketh are not ones to lazily rest on laurels even if considerable time passes between recordings. Witness Antinomian Asceticism, their first full-length in five years – and, eerily, fifth overall. Utterly refreshing upon pressing “play,” even with that time away, Barshasketh immediately explode into a jet-stream of velvety obsidian. It’s not inaccurate to call Antinomian Asceticism their most direct and concise record in many a year, but guiding that finely honed assault is their characteristic nightsky melodicism, which reaches a fever pitch here. Just like its all-too-considerable eponymous predecessor, Antinomian Asceticism‘s melding of mysticism and might evokes authentic, purple-blue visions of the late ’90s as soundly as it stands upon palatably modern ground. The difference here, perhaps, is that Barshasketh slice away some of the corridors of their usually labyrinthine songwriting and head straight toward the essence – austere, awe-inspiring, ASCETIC.
“Why Antinomian Asceticism?” asks guitarist / songwriter GM. “It’s important to disassociate this form of asceticism from Christian forms of asceticism, which are nihilistic (in the original, world-denying sense of the term) as well as the Socratic formulations of asceticism which anticipate St. Paul, St. Augustine, and St. Thomas Aquinas. We reject the moral law, and ascetic practices that might be undertaken in order to satisfy any such Morality. I capitalize Morality here to emphasize that we are not referring to a mere system of values that might be arrived at by rational means, but a type of absolute morality that is received from God as formulated by the Kantian ethical notion of the categorical imperative – in other words, an eternal moral standard that cannot be questioned and applies uniformly across time and space.
“Before we lay out our reasoning as to why an antinomian form of asceticism might be beneficial,” he continues, “we would firstly like to appeal to the Schopenhauerian notion of the metaphysical will, which is a kind of inner essence that resides in all things – an idea which builds on the Kantian ‘thing-in-itself.’ This metaphysical will has certain drives associated with it, most relevant of which in this context is the drive to maintain oneself, replicate oneself, assert oneself (Kant also touched on these and refers to them as ‘inclinations’); these are concepts that anticipate Darwin and something Nietzsche would later build on. Schopenhauer viewed ascetic resignation as a means to make the world good by reaching some kind of status in which we are removed and numbed from it – our sense of the idea is that we need to find some sort of Aristotelian ‘golden mean’ in which we are not led around by our inclinations and metaphysical will, which leads to a shallow, reactive way of living which does not permit deep insight, yet also not radically separated from ‘this world.'”
Concluding, GM states, “Ascetic practice in our conception isn’t a conscious weakening or the self (via fasting, for instance) in order to satisfy a moral obligation, nor is it to enable some vain self-righteousness, but instead, it is a means by which we temporarily withdraw within in order to access insights which then strengthen the liberated individual in the real and this-worldly realm.”
In the meantime, hear the brand-new track “Radiant Aperture” here:
Cover artwork, courtesy of Rodrigo Pereira Salvatierra, and tracklisting are as follows:
Tracklisting for Barshasketh’s Antinomian Asceticism I. Radiant Aperture II. Nitimur in Vetitum III. Lebenswelt Below IV. Charnel Quietism V. Phaneron Engulf VI. Antinomian Asceticism VII. Exultation of Ceaseless Defiance
Today, Purity ThroughFire announces December 25th as the international release date for Order of Nosferat‘s highly anticipated sixth album, Towards the Nightrealm of Orlok, on CD, A5 digipak, vinyl LP, and cassette tape formats.
By now, those well versed in the crimes of Purity ThroughFire should be well aware of Order of Nosferat. Emerging from the shadows in early 2021, the duo of Count Revenant and Anzillu released TWO full-lengths that year: Necuratul and Arrival of the Plague Bearer. And while both underground veterans are no strangers to black metal, the variety they unleashed with Order of Nosferat was most definitely OLD, in every sense of the word: undead vampiric black metal had truly arisen! Like (vampiric) clockwork, two more full-lengths followed the next year – Nachtmusik in March and Vampiric Wrath Unleashed in December – proving that their bloodthirst could not be sated. While 2023 was relatively quiet, Order of Nosferat “only” released a split album with Lunar Spells, showing a more nuanced and atmospheric side to their vampirism.
[Anzillu]
Alas, 2024 has proven to be predictably bountiful for Order of Nosferat, as The Absence of Grace arrived as the snows began to melt – and now, as those snows soon take hold, so does yet another full-length. Titled Towards the Nightrealm of Orlok, on LP#6 do the duo of Revenant and Anzillu return to misery and comfort, regressing their black metal further back to somewhere around 1997-1999. Whereas The Absence of Grace moved at a more measured pace and utilized a unique production style – crisp and cutting but somehow brittle, exceptionally ethereal in its effect – Order of Nosferat kick up the pace again, galloping triumphantly into the night in search of prey. The production’s equally brittle, but authentically vintage: the fuzz ‘n’ buzz recalls old French vampires like Blessed in Sin, Winter Funeral, and Osculum Infame, esteemed company and spiritual forebears for this particular (and pure) style of black metal. And while the duo have always had exquisitely moonlit synths, aiding and abetting their melancholia, they truly meld into something majestic here, indeed taking the listener Towards the Nightrealm of Orlok. Christmas day shall hereby be a bloody one, courtesy of Order of Nosferat!
In the meantime, hear the brand-new title track “Towards the Nightrealm of Orlok” here:
Cover artwork, courtesy of Vhan Artworks, and tracklisting are as follows:
Tracklisting for Order of Nosferat’s Towards the Nightrealm of Orlok 1. …Far Away to the Land of Ghosts 2. Crossing the Shadowland 3. Towards the Nightrealm of Orlok 4. At the Sea She Longs for His Return 5. Blood is Life! 6. Into Pale Shadows and Ghostly Dreams 7. Where the Werewolf Haunts the Woods 8. Beyond the Eternity Gates I Wait 9. Don’t Leave [Gummy Boy cover]
Today, American black metallers Luring premiere the new track “Born With the Devil’s Marking”. The track is the second to be revealed from the band’s highly anticipated third album, Malevolent Lycanthropic Heresy, set for international release on December 13th via Iron Bonehead Productions. Hear Luring‘s “Born With the Devil’s Marking” in its entirety here:
Belonging to the Order of the Broken Sword circle which includes labelmates Azathoth’s Dream and Wuldorgast, Luring made their public debut in 2018 with the Interitu Caret Devotione ad Coronam Satanas demo. From there, with the successive full-lengths Victory Fires Ablaze Under the Banner of Lucifer and the Iron Bonehead-released Triumphant Fall of the Malignant Christ last year, Luring have slowly-yet-assuredly become one of the most exciting developments in American black metal of recent years, effortlessly finessing a stridently classicist form that doesn’t point toward preceding idioms too obviously nor overly.
Perhaps reaching their apotheosis of such, Luring now deliver Malevolent Lycanthropic Heresy. The trio’s third album features much of the same foundation as its two LP predecessors – rippling physicality fused with otherworldly texture, inspired by contemporaneously early Abigor and Gorgoroth as equally as turn-of-the-millennium Nocternity and Lunar Aurora – but here do Luring intensify the extremes of their sound. On one hand, that physicality goes a more gutted direction, digging deep into sepulchral catacombs almost deathly. On another hand (and especially as the album plays on), their once-subtle melodicism goes to bolder lengths: some more melancholic, others more triumphant, but always with a fully developed narrative arc. Interestingly, half the album is given to instrumental tracks that aren’t strictly “ambient” in the usual black metal sense(s), imparting haunting / alluring atmospheres that thread seamlessly into Malevolent Lycanthropic Heresy‘s overall sensory experience; however, there are touches of true ambient within the other four, otherwise-black-metal songs. Altogether, and armed with a cleaner and yet still-analog production, Luring render their third full-length a never-belabored masterclass in black metal both authentically ancient and refreshingly modern.
Also hear the previously revealed “Dying Wolf Beneath the Stars” HERE at Iron Bonehead‘s Soundcloud. Cover and tracklisting are as follows:
Tracklisting for Luring’s Malevolent Lycanthropic Heresy 1. Ravaged By the Teeth of a Feral God 2. Chalice of Splintered Dreams 3. Born With the Devil’s Marking 4. Black Death Elixir 5. The Odious Gaze of Chronos 6. We Come From the Shadows at His Command 7. Dying Wolf Beneath the Stars 8. Burial Opus
A mighty force since the ’90s, MÖRK GRYNING‘s ferocious black metal refuses to yield to trends, instead honoring their feral forebears and carving an untamed path forward. As the world braces for the release of their latest apocalyptic symphony, Fasornas Tid, the band ignites the flames of anticipation with their new single, Black Angel.
The raw, relentless energy of Black Angel beckons from the shadows, a harbinger of the madness that lurks within us all. This track captures the essence of what MÖRK GRYNING has always embodied—a defiance of the mundane and a celebration of the chaos within. The ferocity of Black Angel is unmatched, leading listeners through a dystopian landscape with a blend of melodic black metal mastery and death metal savagery that harkens back to their iconic era of Tusen år har gått…, yet resounds with the power of now.
Recorded, mixed, and mastered at Wing Studios by Sverker Widgren, Fasornas Tid promises to be a journey through the darkest corners of the human psyche. With album artwork crafted by the enigmatic C-G, every aspect of this release speaks to the unyielding spirit and dark, rebellious heart of MÖRK GRYNING.
Listen to Black Angel now here:
Fasornas Tid is out December 13th on Season of Mist.
Tracklist: 1. Intro (1:13) 2. The Seer (4:03) 3. Tornet (3:59) [LISTEN] 4. Fasornas Tid (3:34) [WATCH] 5. Before The Crows Have Their Feast (4:26) 6. Savage Messiah (4:37) 7. An Ancient Ancestor Of The Autumn Moon (4:11) 8. Black Angel (3:38) [LISTEN] 9. Barren Paths (1:52) 10. The Serpent’s Kiss (4:19) 11. Det Svarta (3:19) 12. Age Of Fire (4:48) Total runtime: 44:04
Mörk Gryning was founded in Stockholm, Sweden in 1993 by Goth Gorgon and Draakh Kimera. Two years later they released their debut album “Tusen År Har Gått” (1995), recorded and mixed at Unisound Studios, by legendary producer Dan Swanö and released by No Fashion. The album is one of the milestones of the ‘90s Swedish Black Metal scene.
The group returned to action in November 1996, working at Sunlight Studios together with Tomas Skogsberg and Dismember’s Fred Estby to craft the “Return Fire” album. Over the following years, three more albums were released, for example “Maelstrom Chaos” with new guitarist Avathar, a scene veteran, recorded at the legendary Grieghallen Studios Bergen, Norway.
Ever since the debut album, “Tusen år har gått…”, Mörk Gryning has refused to follow in the footsteps of others and walked their own paths – something which is made very clear on the 2003 release “Pieces of Primal Expressionism”, an experimental and heavy progressive release recorded at Dug Out, produced by Daniel Bergstrand. After a couple of years of touring and festival performances, the band was put on hold.
Returning to the scene again in 2017, the band performed an exclusive live show in Stockholm playing all the songs from the debut album and some other songs from the back catalogue. This ended in releasing the 4-song live record called “Live at Kraken”. During the pandemic the comeback album “Hinsides Vrede” was released to much critical acclaim with many of the songs today being the backbone of their live shows. A new album is scheduled for release in 2024 and the band is more active than ever.
Line-up: DRAAKH KIMERA – Lead Vocals, Guitar GOTH GORGON – Bass, Backing vocals, Lead Vocals on “Det Svarta” S-L – Lead Guitar, Backing Vocals C-G – Drums AEON – Keyboards, Backing Vocals
Recording Studio: Wing Studios, Stockholm, Sweden
Production Credits: Produced by Sverker Widgren & Mörk Gryning Mixed & Mastered at Wing Studios, Stockholm by Sverker Widgren
Guest Musician: C of AVSLUT on “Tornet” & “An Ancient Ancestor Of The Autumn Moon”
Fronted by Justin Greaves, CRIPPLED BLACK PHOENIX has carved a path that speaks to the voiceless, the marginalized, and the disenchanted. The Wolf Changes Its Fur But Not Its Nature is a raw and evocative testament to their journey – an anthology of reworked and re-recorded classics that resonate with renewed vigor and raw emotion.
Drawing from the echoes of their rich past, this album traipses through time, breathing new life into anthems that have shaped the band’s immortal spirit. From the extended odyssey of Song For The Loved to the resurrection of the lost-classic Whissendine, each track showcases their unwavering commitment to exploring the human condition and the perpetual struggle for justice and equality.
This year, CRIPPLED BLACK PHOENIX are celebrating their 20-year existence. They’re doing this by releasing a two-part album with classics & covers of songs that have inspired their long journey. Season of Mist is now streaming The Wolf Changes Its Fur But Not Its Nature on the YouTube channel.
Listen to The Wolf Changes Its Fur But Not Its Nature here:
The Wolf Changes Its Fur But Not Its Nature An album which exhumes and resurrects their buried treasures, reworking and re-recording iconic tracks that have weathered the storms of time. These anthems – imbued with the rawness of old friends and new allies – surge with renewed vigor, challenging the very essence of complacency. Anthem such as We Forgotten Who We Are or the lead single Goodnight, Europe, completely re-imagined.
Horrific Honorifics Number Two (2) An album which serves as a dark homage to the musical titans who ignited their spirit, with visceral covers that explode into life. With tracks like the searing rendition of New Model Army’s Vengeance and the haunting introspection of Laura Branigan’s Self Control, this album is a collection of CRIPPLED BLACK PHOENIX‘s masterful rendition of classic songs which have inspired them over the years.
The Wolf Changes Its Fur But Not Its Nature + Horrific Honorifics Number Two (2) is out November 29 on Season of Mist.
Tracklist: 1. We Forgotten Who We Are (11:17) 2. You Put The Devil In Me (6:18) 3. 444 (7:23) [LISTEN] 4. Goodnight, Europe (Pt2) (8:37) [WATCH] 5. (-) (4:39) 6. Song For The Unloved (14:22) 7. Whissendine (6:58) 8. Blizzard Of Horned Cats (4:43) Total runtime: 1:04:21
Tracklist: 1. Vengeance (4:16) 2. Self Control (5:23) [LISTEN] 3. Blueprint (4:03) 4. And That’s Sad (6:52) 5. Hammer Song (4:52) 6. When A Blind Man Cries (3:22) 7. My Pal (3:51) 8. Goin’ Against Your Mind (8:53) Total runtime: 41:36
The Wolf Changes Its Fur But Not Its Nature & Horrific Honorifics Number Two(2) are a double album celebrating the 20 year existence of CRIPPLED BLACK PHOENIX.
Original Credits: All tracks on Horrific Honorifics Number Two(2) are covers of various artists.
Vengeance Originally recorded by New Model Army, Written by: Sullivan/Morrow
Self Control Originally recorded by Laura Branigan, Written by: Giancarlo Bigazzi, Raffaele Riefoli, Steve Piccolo
Blueprint Originally recorded by Fugazi, Written by: Canty, Lilly, MacKaye, Picciotto
And That’s Sad Originally recorded by NoMeansNo, Written by: NoMeansNo
Hammer Song Originally recorded by Sensational Alex Harvey Band, Written by Alex Harvey
When A Blind Man Cries Originally recorded by Deep Purple, Written by: Gillan, Glover, Blackmore, Lord, Paice
My Pal Originally recorded by God, Written by: God, Joel Silbersher)
Goin’ Against Your Mind Originally recorded by Built To Spill, Written by: Doug Martsch, Jim Roth, Brett Nelson, Scott Plouf
Self Control Belinda Kordic – Vocals Justin Greaves – Drums, Guitars Andy Taylor – Baritone Guitar Helen Stanley – Synth Wesley J. Wasley – Bass
Blueprint Ryan Patterson – Vocals Justin Greaves – Drums, Guitars Helen Stanley – Piano Wesley J. Wasley – Bass
And That’s Sad Justin Greaves – Drums, Guitars, Vocals Wesley Wasley – Bass, Vocals
Hammer Song Belinda Kordic – Vocals Justin Greaves – Drums, Guitars Andy Taylor – Guitar, Acoustic guitar Helen Stanley – Synth, Hammond Wesley J. Wasley – Bass
When A Blind Man Cries Belinda Kordic – Vocals Justin Greaves, Drums, Guitars Andy Taylor – Guitars Helen Stanley – Piano Kostas Panagiotou – Hammond Wesley J. Wasley – Bass
My Pal Belinda Kordic – Vocals Justin Greaves – Drums, Guitars, Backing Vocals Wesley J. Wasley – Bass
Goin’ Against Your Mind Justin Storms – Vocals Justin Greaves – Drums, Guitars Andy Taylor – Guitar Wesley J. Wasley – Bass
Recorded in 2023 at: Chapel Studios, Lincolnshire Engineered by Pieter Rietkerk
Additional Vocal Sessions at: Kapsylen Studio, Stockholm Engineered by Jörgen Jugglo Wall. House Of Foto, Louisville, KY Engineered by Ryan Patterson
Additional Production Credits: Mixed by Pieter Rietkerk Mastered by Magnus Lindberg Produced by Justin Greaves
Available Formats: Digital Download CD Digipak 3×12″ Tri-Gatefold – Black 3×12″ Coloured Vinyl Tri-Gatefold – Transparent Red3x12″ Coloured Vinyl Tri-Gatefold – Yellow, Black & Red Marbled 3×12″ Coloured Vinyl Tri-Gatefold – Black & Silver Marbled
In their endless quest to push and support current underground acts that perpetuate the odor of vintage death metal, Memento Mori are extremely thrilled to announce a new signing: Ataudes, from Argentina.
The entity known as Ataudes was called forth in Buenos Aires back in 2019, out of a rabid desire to play blackened death metal pervaded by destructive riffs, blastbeats, and gut-wrenching vocals, and exhibiting a dazzling taste for haunting sections that create an eerie atmosphere that spreads through their music like a malevolent blend of all things morbid. From the high-speed rampages to the creepier slower parts, Ataudes have a brilliantly grim and defiling sound that hits all the right spots for old-school extreme metal diehards to feast upon. The band are recommended for fans Morbid Angel, Blood Incantation, Spectral Voice, Immolation, Dead Congregation, Krypts, and Incantation.
Ataudes‘ second full-length is due out on April 21st, 2025. Memento Mori will release the CD version, and Obscure Disharmony Records will take care of the tape version. Further details to follow in the coming months. For more info, consult the links below.
Today, Osmose Productions announces December 27th as the international release date for CMPT‘s highly anticipated second album, Na utrini, on CD and vinyl LP formats.
The second in the ambitious Balkan black metal trilogy, started with the debut album Na utrini, offers a conceptual prequel set before the events of the previous album begin to unfold. Utrina comes from the local vocabulary usually meaning a neglected, uncultivated land that no one pays attention to anymore. It is a desolate piece of land at the end of villages, between fields and forests, roads and marshlands, alienated and abandoned by common folk.
While Krv i pepeo carries the symbol of bloodlust, Na utrini paves its way in symbols of land, mud, and dirt and, as such, explores the world located on the northern wing of the Danube bank in the lower part of the Pannonian basin. These wet and muddy lands at the foot of the Carpathians were, for centuries, both home and the grave for numerous empires and civilizations, many of which still have their mark in local folklore, beliefs, and toponyms. It was here that the ancestors of the southern Slavs made their last stop before definitively settling on the Balkan Peninsula.
Once again following the night and the local “demon hour” (Serbian: “gluvo doba”), Na utrini is a record about the darkness of abandoned places, old ruins, cemeteries, wastelands, and liminal spaces that time has forgotten.
First track premiere to be revealed on December 2nd. Preorder info can be found HERE. Cover and tracklisting are as follows:
Tracklisting for CMPT’s Na utrini1. Na utrini [9:30] 2. Oppidum Panuka [4:57] 3. Mesečina [5:37] 4. Campus de Maxond [1:59] 5. Crna voda [3:47] 6. U raljama košave [5:35] 7. Kao srp u noći [9:26] 8. Δ ΙΣΤΡΟΥ [7:27]
