Friday, July 24, 2020

NWN! News and Updates

Nuclear War Now! News & Updates
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Pneuma Hagion “Voidgazer” LP Coming Soon
Pneuma Hagion “Voidgazer” LP
ANTI-GOTH 520
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Suffocating death metal in the American tradition of Immolation and Incantation. Sample song coming soon.
ETA: Winter 2020
Apochryphal Revelation “Primeval Devilish Wisdom” LP Coming Soon
Apochryphal Revelation “Primeval Devilish Wisdom” LP
ANTI-GOTH 517
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Here’s a sample song from their previous album:
Reverence for the Kings of Hell by Apochryphal Revelation
A sample from the new album will be made available very soon!
Black metal from Lexington, Kentucky in the style of old Unisound bands like Necromantia, Varathron, Nergal, and Rotting Christ.
ETA: Winter 2020
Necrofago “Brutal Mutilation” LP Repress Out Now
Necrofago “Brutal Mutilation” LP
ANTI-GOTH 177
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Brutal Mutilation by Necrófago
2nd pressing on black vinyl with 3mm jacket and 12″ insert.
(Bio by J. Campbell)
In the late 1980′s and early 1990′s, Brazil was like a Petri dish upon which grew, with bacterial rapidity, a particularly virulent strain of Deathrash that ushered in the first manifestations of South American Black Metal. In the early to mid-1980’s bands like Vulcano, Sarcofago, and Sepultura began to define a sound that has come to be distinctly associated with Brazil. Within the span of just a few years, a nucleus of bands playing this style quickly emerged, with each providing a variant on the bestial and primitive sound at the core of the Brazilian underground. As this rotten music festered in the sick corners of Brazil, it began to draw the attention of the international underground as bands such as Holocausto, Sextrash, Insulter, Chakal, and others unleashed their own warfare noise and a scene began to coalesce around them.
In 1987, a dark entity known as Necrofago was summoned into existence via the ominous incantations of vocalist/guitarist Deathvomit in association with Rotten on bass, Rotten Corpse on drums, and later joined by Post Mortem on guitar. Not to be confused with various other bands of the same name, this band came from Minas Gerais, Brazil. (Most notably, the Necrofago from Sau Paulo responsible for the “Desire for Blood” demo is often, despite the obvious sonic differences, mistakenly associated with the one from Minas Gerais.)
The entirety of Necrofago’s recorded legacy is encapsulated in their activities during the years 1897 and 1988 with the most important piece being their 1987 demo entitled “Brutal Mutilation.” One of the most unique sounding recordings to have come from the Brazilian scene, “Brutal Mutilation” exemplifies, unlike any other recording, the emphasis those bands placed upon harsh aggression and raw recording techniques. The demo sounds like the result of the potent collision of immense quantities cheap alcohol and inhalants in brains already awash in adrenaline and youthful testosterone. Lacking in nearly every category of technical proficiency, Necrofago focused their entire effort into creating a monument to savagery.
While the apparent ineptness of the playing may initially be off-putting to some listeners, those capable of suspending their need to generate order out of the chaos of the recording will find some of the most truly evil tracks committed to tape in the 1980’s. Even at the time of its release, the demo was well-received and found its way into the hands of some of the more legendary figures in the underground. When asked about Necrofago, Laruent Remadier of Decibel of Death Zine/Snakepit Magazine responded with the following: “Oh man! I recall Necrofago. I recall being in Morbid Angel house back in ’87 and having David mentioning them non-stop like Sarcofago.”
The guitars on the demo are brittle and sordid and rest uneasily atop the drums. The entire cacophonous mixture teeters on the brink of total collapse throughout each of the three tracks as the repetitious riffs, at times almost hypnotic, roil and churn. Deathvomit’s menacing vocals fill out the sound and add to the grotesque character of the music. Aside from the “Brutal Mutilation” demo, only a 1988 rehearsal demo and live recording from the same year exist to affirm the existence of Necrofago. These recordings are more obscure and ridden with even more impenetrable sound quality. Nonetheless, the vitriolic and intense nature of the playing is captivating.
Although these tracks have been bootlegged several times throughout the years, the band’s existence is still often overlooked, and, yet, their influence in the Brazilian scene was immense. This vinyl release marks the first time that these recordings have been officially reissued and will allow new legions to breathe in the foul death-odor emitted by Necrofago.
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Scolopendra “Those of the Catacombs” LP Out Now
Scolopendra “Those of the Catacombs” LP
ANTI-GOTH 489
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Those of the Catacombs by Scolopendra
(Description by C. Conrad)
With a history of metal steeped in horror and the occult – as previously established by bands like Death SS, Black Hole, and Mortuary Drape – Italy has proven itself a fertile breeding ground for extreme music that explores these themes. Formed in 2018, Scolopendra is the latest to continue in this tradition, as evidenced on its debut album, “Those of the Catacombs.” Unlike its Italian ancestors, however, who have more typically opted for the sounds of doom or black metal, the vehicle that Scolopendra has chosen to deliver its horror-tinged themes is that of death metal. This aspect adds an element to the band’s output that distinguishes itself from its predecessors, thus making it a unique addition to its genre. Consisting of two members with a history of many years of collaboration in several bands, including Abhor, Scolopendra boasts both the pedigree and chemistry to give “Those of the Catacombs” the deathly authenticity that is obvious upon first listen.
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Carpathian Forest “Bloodlust and Perversion” Double LP Out Now
Carpathian Forest “Bloodlust and Perversion” Double LP
ANTI-GOTH 207
Repress of one of the most essential Norse black metal recordings. Released in conspiracy with Neseblod Records.
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Bloodlust and Perversion by Carpathian Forest
(Description by J. Campbell)
Throughout their long history, Carpathian Forest have covered a wide range of sonic territory. This double LP collects the earliest demo material that the band released, and it is easily among their best output. Despite the fact that they were all released nearly contemporaneously, the two demo recordings and a studio rehearsal on this compilation – “Bloodlust and Perversion” (1992), Rehearsal (1992), and “Journey Through the Cold Moors of Svartjern” (1993) – cover a vast spectrum within the Black Metal genre. The tracks on the “Bloodlust and Perversion” demo are predominantly mid-paced and, at times, even doomy evoking a sound more akin to Samael, Hellhammer or even Goatlord. The atmosphere that Carpathian Forest attains with this sound is distinct from those or any other band’s output, however. While more sludgy and visceral than much of the Norwegian Black Metal of that era, Carpathian Forest still manage to create the sense of isolation and solitude characteristic of the Norwegian landscape that is so often associated with that region’s output in the early 1990’s. The “Journey Through the Cold Black Moors of Svartjern” is even more atmospheric in that it eschews most of the traditional elements of metal in favor of a pure descent into the sensory realms. The first track is a keyboard-laden, militant dirge that, but for the vocals, could nearly be characterized as dark industrial or neofolk. The two tracks that follow are even more folkloric. This sound, while uncharacteristic of most of Carpathian Forest’s work before or since, is arguably some of their darkest and most melancholic work. This demo recording reveals that much of what is relevant and intriguing about Black Metal is the atmosphere of the music rather than the aggression that is often associated with it. The last tracks on this compilation, however, show that Carpathian Forest were equally adept at channeling the aforementioned aggression inherent in Black Metal. These tracks, taken from the obscure rehearsal recording from 1992, are predominantly primitive Black Metal as one would expect. More furious and raw than the other two demos, these tracks are a step closer to the sound evolving in Norway during the rise of the second wave of Back Metal. Carpathian Forest’s style on this recording is not quite fully realized, however, and the band seems to rely heavily upon the first wave bands that inspired them. Indeed, this demo features cover tracks by both Bathory and Venom as well as stylistic nods to Hellhammer/Celtic Frost. Overall, these early recordings capture not only a band in the process of defining its own style, but of the emergence of an entire genre of music and the diverse potential inherent within it.
-Regular Version: Black vinyl DLP, gatefold jacket.
-Die Hard version: Neon purple vinyl DLP, gatefold jacket, sticker, die cast metal pin.
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The Funeral Orchestra “Negative Evocation Rites” LP Out Now
The Funeral Orchestra “Negative Evocation Rites” LP
ANTI-GOTH 492
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Negative Evocation Rites by The Funeral Orchestra
(Description by C. Conrad)
Considering its emergence approximately eighteen years ago, The Funeral Orchestra’s body of recorded work is relatively sparse. However, rather than surrender to the temptation to equate quantity with quality, this enigmatic entity has instead opted to publish only the work that it deems fully deserving of its creative endeavor. Cloaked in black robes and golden masks since 2002, The Funeral Orchestra released three demos prior to its 2003 debut album, “Feeding the Abyss,” which introduced its apocalyptic minimalist doom to a wider audience. That same year, the band made its first live performance in its native Gothenburg, Sweden, but not many in the local scene at the time understood its music or obscure doom atmosphere. Since that time, it has released only a handful of splits, singles, and an EP, the latter of which contained two songs from a recording session that was intended to result in its second full-length. This album never came to be, however, due to a general dissatisfaction with the songs and sound captured at the time. Other attempts were subsequently made to meet or surpass the quality of “Feeding the Abyss,” but that goal was never met… until now. In 2019, the orchestra felt the correct timing and inspiration had coincided to reemerge for the purpose of producing a worthy successor to the original full-length and initiating a series of live performances. This new album, “Negative Evocation Rites,” was recorded in early 2020 in Studio Trauma and Abysmal Noise Studio in Sweden, with additional recording at an undisclosed location in Colorado, and it is slated for release on Nuclear War Now! Productions later this year. Those already acquainted with “Feeding the Abyss” will be certain to find that the band’s approach has not varied significantly from its original formula. That said, “Negative Evocation Rites” has somehow managed to present an even darker atmosphere than its predecessor, and one that appropriately reflects the bleak outlook for humanity in these uncertain times. Indeed, the band’s name is quite telling in this regard, as each of the four solemn hymns within serves as the perfect accompaniment to the funerary procession that one can easily envision chaperoning our species to its impending mass extinction. In January 2020, the band returned to the stage for the first time in seventeen years at the Orgivm Satanicvm festival in Oslo, Norway, and additional performances were booked during the year for Never Surrender III (Germany), In Flammen (Germany), and UK Deathfest, with more to be announced. Thus, like the virulent disease that it emulates, The Funeral Orchestra has arisen from its dormancy to portend the end times as it spreads its contagion worldwide.
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Varathron “Walpurgisnacht” LP 3rd Press Out Now
Varathron “Walpurgisnacht” LP
ANTI-GOTH 266
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Walpurgisnacht by Varathron
Repress of a long sold out release from 2014. 3rd pressing of 250 copies on colored vinyl LP, with 3mm jacket, and 12″ insert.
(Description by J. Campbell)
Beginning in the early 1990s, a handful of musicians in Greece established one of the most distinctive and compelling regional sounds associated with the Second Wave of Black Metal. Rotting Christ laid the foundation for this particular sound, and other acts immediately followed suit helping to define the Greek Black Metal sound and bring it to prominence within the international scene. The importance of Varathron’s contribution cannot be overstated. After releasing what is arguably the greatest Greek Black Metal album of all time, 1993’s “His Majesty at the Swamp,” Varathron recorded and released the superb follow-up, “Walpurgisnacht” two years later. Since that time, the overwhelming brilliance of the former has often overshadowed the fact that “Walpurgisnacht” is a classic album in its own right. From the outset, with the opening track, “Tleilaxu (The Unborn Child),” it is clear that “Walpurgisnacht” contains all of the characteristic traits of Greek Black Metal. The riffs are somber and melancholy, yet driven by a sense of mania, often suddenly giving way to slower, majestic passages firmly set in the Hellenic tradition. Reminiscent of the early recordings of Monumentum, on “Walpurgisnacht,” Varathron skillfully weave into the fabric of the album a slightly gothic influence producing an unearthly effect in which transient, morose interludes and subtle keyboard flourishes accentuate the album’s mystical feel. In many respects, “Walpurgisnacht” displays a maturation of the band in terms of composition and production. The writing and performance is every bit as passionate as Varathron’s earlier recordings, but the album’s broader scope reflects the band’s increased ambition. The songwriting here is versatile, displaying the nuanced complexity characteristic of all of Varathron’s work. Few albums convey a sound so deeply evocative; the melancholy atmosphere Varathron achieves is virtually unmatched in Black Metal songwriting. Delicate and morose passages are set amid contrasting incendiary riffs, working together to impart the magisterial grandeur of evil and the conjuration of malefic power. As with “His Majesty at the Swamp,” Necromantia’s Magus Wampyr Daoloth produced and engineered this album, but compared with Varathron’s earlier recordings, “Walpurgisnacht” sounds richer and fuller. The production on this recording is cleaner, permitting the listener to apprehend the immense spectrum of sound presented in the songs. The lyrics of “Walpurgisnacht” are steeped in poetry, vividly evoking an alternate reality and enriching the multidimensional nature of the music. To serve that poetic end, Varathron utilized a verse from 1920 by American poet, E.A. Robinson, for the track “The Dark Hills” and enlisted the assistance of Chuck Keller, one of the greatest lyricists in underground metal, to provide the lyrics for “Birthrise of the Graven Image.” The artwork, too, is unique and appropriate; the pagan imagery of the cover painting is the perfect visual accompaniment to the music and subject matter within. When creating this album, Varathron paid attention to every detail, and the profound confluence of every element makes “Walpurgisnacht” not only one of Varathron’s most important works, but establishes this recording as one of the greatest works of an era.
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Abigail “Blasphemy Night” LP Out Now
Abigail “Blasphemy Night” LP
ANTI-GOTH 495
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(Description by C. Conrad)
Abigail has been a staple in the roster of Nuclear War Now! since its earliest days nearly twenty years ago. In addition to multiple albums and EPs, the label released a collection of early EPs and the band’s contribution to a split, entitled “The Lord of Satan.” Now NWN! and Abigail conspire once again to further proliferate the spread of the band’s earliest material with the release of “Blasphemy Night.” This collection, presented on vinyl LP format, includes both “Demo 1” from 1992 and the “Blasphemy Night” demo from 1993. These tracks document the band’s original sound, which is best characterized as an unpolished, abrasive variety of black metal, in contrast to the sharper, more thrash-oriented sort that has resulted from the band’s evolution. As such, it is an essential addition to any Abigail fan’s collection and, more generally, to anyone who celebrates the true spirit of black metal.
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Abigail “The Lord of Satan” LP Repress Out Now
Abigail “The Lord of Satan” LP
ANTI-GOTH 188
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The Lord of Satan by Abigail
Repress with 3mm spine jacket and insert. Originally released 9 years ago on NWN. Contains tracks from their split with Funeral Winds, Descending from a Blackend Sky 7″ and Confound Eternal 7″.
The relationship between Abigail and NWN! goes back to the 2002 vinyl release of the band’s first album, “Intercourse and Lust.” Since that time, Abigail and NWN! have each mutated into different beasts; however, the relationship between these two forces has remained intact through the years. To honor the nearly 20 year legacy of Abigail, NWN! is proud to present this vinyl collection of some of the band’s earliest work. Along with pioneers Sabbat and Sigh, Abigail have long been recognized as among the most influential Black Metal bands to have emerged from beneath the banner of the Rising Sun. While, in recent years, Abigail has shifted its focus to a more depraved blackened thrash sound, the early work presented on this LP is pure Black Metal played in a manner that is harsh and hostile. This LP opens with the five Abigail tracks featured on the band’s 1995 split CD with Funeral Winds. This material, which has never before been released on vinyl, displays the characteristic wickedness that permeates all of Abigail’s work. These tracks are not merely excursions in sound, however. Each song stands out on its own and the work as a whole evinces a sophisticated level of composition and production. Side B of this LP contains the tracks from Abigail’s first two EP releases. Nearly impossible to find now, “Descending from a Blackened Sky” and “Confound Eternal” contain some of Abigail’s most powerful and blackened revelations. The 1993 “Descending from a Blackened Sky” EP, executed entirely by Yasuyuki, is a magnificent breath of annihilation. Guided by furious and relentless blast beats, Yasuyuki’s style on this EP is more harsh and raw than most of Abigail’s other work. Yet, as with all Abigail recordings, amid the chaos there are well-crafted riffs and song structures that draw the listener deep into the demonic frenzy of the songs. “Confound Eternal” may be Abigail’s most refined statement prior to the release of their first album. This release marks the first appearance of Youhei on drums to supplement the wrath of Yasuyuki’s scathing guitars and vocals, an addition which allowed Yasuyuki to incorporate a greater variety of tempos and stylistic elements. These details, such as the band’s penchant for shifting suddenly, yet seamlessly, between manic blast beats and mid-paced stomp rhythms have come to define the Abigail sound. Importantly, Yasuyuki incorporates a greater array of melodic structure into the riffs on this EP as well. Indeed, every element of the band’s sound on this release is more concentrated. The guitars, particularly the use of solos, are superior to that any of the band’s prior recordings and Yasuyuki’s vocals are the howls of possession. That both of these songs were re-recorded and included on the band’s debut LP in 1997 demonstrates that the band recognized that its sound was becoming more focused and refined. The Die Hard edition of this release includes a supplemental LP containing Abigail’s “Demo 1” recording from 1992 and the “Blasphemy Night” demo released in 1993. The first demo, on which Yasuyuki was accompanied by musicians that never appeared on any of the later work, erupts as a violent wall of sound, but quickly descends into mid-paced and even doomy passages. While the band’s style had yet to fully take shape on this release, all of the pieces were already falling into place and strains of this demo appear throughout the Abigail catalog. The latter of the two demos, executed by Yasuyuki alone, is perhaps the fastest and most aggressive Abigail release of all. Through the years Abigail has continued to evolve and change and, yet, as these early recordings reveal, the band has retained characteristic elements that have defined its sound since the beginning.
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Antichrist / Goatsmegma Split LP Out Now
Antichrist / Goatsmegma Split LP
ANTI-GOTH 498
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Split by Antichrist / Goatsmegma
(Description by C. Conrad)
Although its debut album and only prior recording was executed in the early 1990s, the existence of Canada’s Antichrist was not widely recognized until Nuclear War Now! exhumed and properly released “Sacrament of Blood” in 2011. Over twenty-five years since this recording, Antichrist returns with five new tracks to reaffirm its status as an original member of the Vancouver area scene of the time known as the Ross Bay cult. This recording is a worthy successor to “Sacrament of Blood” and is perfectly complemented by the contribution of four tracks plus an intro from Estonia’s Goatsmegma. Although this unholy entity is not closely related in geography or history to Antichrist, the two entities share an unrelenting and uncompromising approach to bestial black metal, which makes for an entirely cohesive and utterly destructive split release.
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Vassago “Nattflykt / Hail War” LP Out Now
Vassago “Nattflykt / Hail War” LP
ANTI-GOTH 499
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Nattflykt / Hail War! by Vassago
(Description by J. Campbell)
Last year, NWN! reissued “Knights From Hell,” the obscure, underappreciated classic debut album released in 1999 by Sweden’s Vassago. The reissue rekindled interest in the band and now NWN! is joining forces with Vassago once more, this time for the release of the band’s earlier material. Vassago was a project formed by Niclas “Pepa” Andersson and Micke “Sin” Backelin, both of whom were better known at the time for their involvement with Lord Belial. With Vassago, however, the two delivered a bestial, yet intricate onslaught of black death. Self-released on the band’s Total War label in 1994, the “Nattflykt” demo is a severe statement of intent, which the band perpetuated with the 1996 self-released “Hail War!” split LP featuring Antichrist (Ger). This new LP collects all the tracks from both the demo and the split LP. (Two songs, identical versions of which appeared on both recordings, have been omitted from the “Hail War” side.) These recordings are a stepping stone to the brilliance of “Knights From Hell,” but they are also outstanding in their own right, presenting a unique sound that is generally not associated with the mid-90s Swedish black metal movement. Though more primitive and less frenetic in its execution compared with the album, this material possesses a bludgeoning forcefulness and piercing intensity that characterizes this early incarnation of the band. The tracks are furious, reckless, yet not lacking melody or composition. Sin’s raptor-like vocals howl and seethe wrathful vengeance, punctuating the spectral fury of the instrumentation. This LP finally restores these early Vassago recordings to the prominence they deserve. Having completed these reissues of the prior Vassago catalog, NWN! will also be working with the band to release new material in the next year.
Tracks 1-7: “Nattflykt” demo 1994
Tracks 8-11: from “Hail War!” split LP with Antichrist 1996
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Witchcraft / Aske “Dead Christ Prayer” Split LP Out Now
Witchcraft / Aske “Dead Christ Prayer” Split LP
ANTI-GOTH 501
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Dead Christ Prayer by Witchcraft / Aske
(Description by C. Conrad)
Two of Finland’s black metal hordes unite to compile and recite “Dead Christ Prayer,” an eight-track split release that represents both the country’s unique tradition and its future. Witchcraft, whose style pays reverence in no subtle way to the great Beherit, returns to expand its imprint and demonstrate its continued adherence to the unrefined bestiality that its primary inspiration pioneered thirty years ago. Its co-conspirators in Aske first inhabited the same time and space as Beherit, but then began an eighteen-year hiatus in 1998, returning in 2016 to embark on a second blasphemous stint of new recordings, which have culminated in this effort. “Dead Christ Prayer” thus presides over the exsanguination of the lifeless body of the false savior and the ensuing transfusion ritual, combining the old blood of Aske with the new blood of Witchcraft to perpetuate the cycle of evil.
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The Satan’s Scourge “Threads of Subconscious Torment” LP Out Now
The Satan’s Scourge “Threads of Subconscious Torment” LP
ANTI-GOTH 488
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Threads of Subconscious Torment by The Satan's Scourge
(Description by C. Conrad)
Nuclear War Now! reprises its support of The Satan’s Scourge, which first manifested itself in its release of the band’s 2011 self-titled compilation LP, by presenting the vinyl reissue of “Threads of Subconscious Torment,” an EP originally released on CD in 2016. In addition to the ten tracks of chaos and savagery from the original EP, Side B of this vinyl edition includes eight bonus tracks. Like the band’s previous recordings, “Threads of Subconscious Torment” is an authentic example of classic South American metal, cast in the die originally forged by the legendary Cogumelo bands of the mid-to-late 1980s.
Side Torment:
Hammer of Chaos Bells (Intro)
Threads of Subconsicous Torment
Interludio
Betwitx Pestiferious Beast
Uncontrolled Bloody Desires
Vejación maldita
Tortured Down in the Crypts
Hypnotized Descomposition
Saw or Alive
The Crucified (Impaled Nazarene cover)
Side Torment recorded at Necro Studios, Argentina, autumn 2015.
Side Kaos (bonus tracks):
Necrosadistical Feast Of Flesh
Sick Of Humankind
Slow Death Injection
Uncontrolled Bloody Desires
Aeons Of Total Destruction
The Impaler Of Pest
…Of Kaos And Karnage
Blasphemous Attack
Side Kaos tracks 1-4 recorded in 2008.
Side Kaos tracks 5-8 are taken from the 7″ EP “…Of Kaos And Karnage” 2005.
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Prosanctus Inferi “Hypnotic Blood Art” LP/MC Out Now
Prosanctus Inferi “Hypnotic Blood Art” LP/MC
ANTI-GOTH 494
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Hypnotic Blood Art by Prosanctus Inferi
(Description by J. Campbell)
For 15 years, Ohio’s Prosanctus Inferi has unassumingly amassed an impressive catalog of deviant black/death metal. Their sound is distinctive and warped, as are the accompanying conceptual explorations and aesthetic visions. On Prosanctus Inferi’s third full-length, “Hypnotic Blood Art,” the band has further refined its approach, painstakingly sculpting the songs, chiseling details and carving away superfluous material. In the early days, Prosanctus Inferi was a duo consisting of guitarist/vocalist Jake Kohn and drummer Steve Mercer, who was later replaced by Antichristus until his death in 2010. Since then, Kohn has remained the only consistent member. For the last full-length, 2013’s “Noctambulous Jaws Within Sempiternal Night,” Prosanctus Inferi operated as a three-piece, but this new album finds them active once more as a duo, with Kohn accompanied by drummer Jeremy Spears, who has been in the band since 2010. With each release, the Prosanctus Inferi has tightened and focused its sound, perfecting its pummeling power. On “Hypnotic Blood Art,” Kohn sheds some of the technicality and velocity of his prior performances in favor of a heavier sound, reflecting, in many ways, a return to the band’s foundations. The instrumentation on “Hypnotic Blood Art” is tightly coiled, anxious. The riffs are taut and lean, their potential fully realized through the kinetic force of the percussion. As with all of Prosanctus Inferi’s recordings, eccentric flourishes abound throughout “Hypnotic Blood Art,” adding dimension and distinction to the work. Lyrically and conceptually, Kohn also harkens back to the band’s earlier days, with a focus on medieval and renaissance conceptions of Hell and damnation—topics that figured prominently on the demo recordings. This album is, therefore, the culmination of the band’s work thus far, the fulfillment of its potential, and, yet, still offers stylistic innovation and development for one of the most intriguing and dynamic American bands of the last two decades.
First pressing of 500 copies with 3mm jacket and insert.
100 x Beer base with black and opaque red smoke.
400 x Regular weight black vinyl LP
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Amputation “Live Verftet Thrash Fest Sept 29-30 1989″ MC Out Now
Amputation “Live Verftet Thrash Fest Sept 29-30 1989″ MC
ANTI-GOTH 505DH
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Live 1989 by Amputation
An ultra rare live recording from 1989 that was originally only intended to be released as bonus MLP with the die hard version LP, but we opted to make a limited run on tape format for all Amputation maniacs to enjoy. Don’t worry, the die hard DLP is still happening, but just taking longer than expected due to Covid-19′s effects on global logistics. LPs should be here by mid August.
Amputation was a Norwegian deathrash band featuring Demonaz AKA Harald Naevdal of Immortal as well as Jørn Inge Tunsberg from Hades. Recommended listening for fans of Schizophrenia era Sepultura, Old Funeral, and S/T LP era Master.
1989 Line up:
Harald Nævdal AKA Demonaz: Vocals, Guitars
Jørn Inge Tunsberg: Drums
Truls Kvernhusvik: Guitars
Padden: Bass
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Dissection “Somberlain” Double LP In Stock
Dissection “Somberlain” Double LP
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Official reissue of the iconic 1993 debut album of Swedish black metal is in stock now! Released by Black Lodge Records from Stockholm Sweden. Available as regular version DLP or special version with felt slipmat.
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Anatomia - Cranial Obsession
Now streaming... listen to 338 albums at the NWN! bandcamp!
ANATOMIA
Cranial Obsession
RECENT DISTRO ARRIVALS
Tuesday, 21 July 2020
Insanity "Demo 1985" Test Press 7"

Monday, 20 July 2020
Aeternus "...And So the Night Became" Double LP
Aeternus "Beyond the Wandering Moon" Double LP
Ancient "Svartalvheim" MC
Ancient Rites "Blasfemia Eternal" LP
Battletorn "Peace of the Grave" Clear Vinyl 7"
Blackwinds "The Black Wraiths Ascend" 7"
DEATH CHURCH "UNSILENT HATE ANTHEMS" Test Press 7"
Engendro Malévolo "Logo" Patch
Fear of God "Born Blind" 7"
Grimm "Nordisk Vinter" 7"
Invocation War ”Demonic Onslaught” 7’’

Friday, 17 July 2020
Abigail "Blasphemy Night" LP
Abigail "The Lord of Satan" LP
Ancient Rites "The Diabolic Serenades" LP
Antichrist / Goatsmegma Split LP
Carpathian Forest "Bloodlust and Perversion" Double LP
DRAVE "Terroir" LP

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