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Hammerfilosofi was formed in the year MMXX in the midst of global chaos, shutdowns, death, panic and pestilence. For some, a time of despair and mass hysteria, but for others, a time of solitude, of contemplation and of inner strength. The idea behind the band, according to Fuoco Cammina Con Me was quite simple:

“We are taking Black Metal back to its primeval and genuine meaning and purpose. Hammerfilosofi is the cleansing fire that aims to eradicate every trace of the civilized, the harmless, and the mediocre. It is an instrument to initiate a violent cathartic inner journey – and a celebration of strength and vigor, of terror and strife, and of glorious death.”

Two years later, Hammerfilosofi is ready to unleash its first offering to the world: A 45 minute long incendiary feast of Black Metal Fanaticism, entitled “The Desolate One”. According to Noktifer, the album is a musical and lyrical celebration of the path to godhood.

“It is a ceremonious depiction of the sulphurous path that may turn man into superman. Hopefully our work can contribute to Black Metal once again being both Feared and Revered!”

This is Black Metal from the fertile earth of the graveyard – made for the wanderer who dares walk the path of no return – guided by nothing but His luminous darkness.

EXHIBITION OF CONQUEST is an abrupt departure from the undeviating approach of titan hammer; a sojourn into the psyche and Genesis of the band’s original historical concepts, yet realized as a contemporary manifestation. It has been a time for reflection, and time for pause, to energize and gather weapons, planning the next strike.
This true form of Black art is dangerous and intoxicating, a fist in the face of God.
EXHIBITION OF CONQUEST provides a path of escape, to those lost within the current insufferable and nauseating state of extreme music.
This new chapter of the American band is not merely a furtherance of their usual brutal approach . This version has been sharpend to form a Rising Storm of frostbitten icy landscapes, that satiate the seeker of truth.
Once again, all artwork has been created by Francesco Gemelli (Darkspace, Spite Extreme Wing, Forgotten Woods, Abigor…).
Kommandant returns to record all audio at Belle City Sound, in Racine ,WI

Ascalapha’s art is dark and deviant, an expression of a macabre obsession. Like cobwebs growing in the dark, the immortal myth of the vampire finds a new incarnation in the band’s music which through dark melodies gives shape to a new story to tell, embracing the solitary and evocative aesthetic of corridors and abandoned rooms in which the sound of the death bells echoes. The references to Neige’s first projects (Alcest), namely Mortifera and Celestia, are clear, and more generally the imprint of the nostalgic and melancholic French black metal wave can be felt. While remaining within the scope of low-fi artistic expressiveness, Ascalapha’s creations must still be listened to in the light of modernity.
Let the cry of blood shed every last drop of hope.

Hailing from Reykjavík, Iceland is where Dauðaró’s journey begins, a place where the earth gets black and a burning pathos annihilates any hope.
It’s a descent to Lovecraftian fields, where atmospheric
noisy echoes merge with funeral doom and black metal for a multi layered
experience.
Let yourself be guided into the unknown:
“Nýir Heimar” will draw your essence to the world beyond.

After a debut album that raised the attention of a nowadays crowded underground, the ambitious project from Italy now evokes their occult
essence and makes it flow into their highly anticipated comeback.

Moving from the European inspired Black Metal but inoculating on the same their peculiar Indo-Sumerian nostalgia, like an ancient cry in a
trembling scenario of shadows, Digir Gidim takes their visual and audial dimension to a more mature and intrinsic merging.

Supported by the usual majestic artwork created by Luciana Nedelea (Mare Cognitum, Fuath, Ghost Bath…), the music flows and takes us to our
most insane and struggling times, as primordial energies make the earth tremble.

Words as atmospheric and occult can in some way provide some anchors to the media but cannot fully describe the treasure trove of different
feelings and evocative emotions that create this sublime conflict.

Making some comparisons to the debut, Digir Gidim’s threatening, unsystematic and mostly disharmonic ritual absorbs huge waves of sadness and
bursting majesty, like perfectly represented on the album cover, opening a wider horizon of emotions and journeys through cold lands of non-existence.

It’s a voyage with no return, where  chosen souls reach the Passage to Divination, a path through the silence of oceans and deserts, detaching themselves from humanity,
assuming transparency and the celestial shimmering moving to the ultimate sacrifice, surrendering to the merciless embrace of the Supreme Regulator

2004, like the early new millenium years, was in the middle of the
Black Metal crossroad between going back to the primordial grim roots
and moving to uncharted and unsurveyed territories.
This is where Absentia Lunae moved their first steps, a wolf pack, as
lyrical mastermind explained on this re-edtion booklet retrospective,
angered by the cowardly pacified western society where they grew up.
This juvenile fuel was obviously not merely drawn to shape their
intense form of brutal Black Metal but showing already some gleams of
unique form of dramatic and avantgardish impetus.

In an era where magazines and fanzines where still the most
influential form of knowledge the demo soon became a recurring
reference for the demo sections. Stuza Records from Ukraine ( the same
one released bands like Aosoth, Astrofaes, Sort Vokter…) released
the same on tape and some months later band printed the same on a 500
copies pro-cd, which soon became sold out.

Absentia Lunae’s most praised efforts like “In Umbrarum Imperii
Gloria” & “Historia Nobis Assentietur” always share the podium with
“Marching Upon Forgotten Ashes” on fan’s feelings.

It has been the band’s decision to maintain the feeling of the
original source , some quotes from the key points of the lyrics have
been added and an extensive retrospective from the singer Ildanach
about whole album concept and track by track details on core concept
and band birth.

Kommandant took their first steps into the Black Metal playground whilst the western world was retreating  into a deep slumber. We can now either decide to face reality; a call to arms, or remain in such a state of impotence.

Kommandant brings forth the inferno; an enlightenment and awareness that is both clandestine, and apparent simultaneously . Ancient phantograms, echoing both the struggle of the past and the actuality of the present, make their fog of war pervasive to all the stagnant relics that hinder advancement. Audibly , this is by far the most staggering version of the Kommandant weaponry. Blunt force trauma, striking hard and fast, for maximum effect.

The soldiers marching in the fog are obedient vessels, actuated by a primordial magnetic impulse. While listening to “Titan hammer” it can immediately be perceived as an imminent  tragedy , a mere lingering spectre, devouring any remaining glimmer or aspirations. Once fully emerging from this acrid slurry, the  miasma will succeed in trapping the listener within the entrails of atavistic phantoms.

References can be made somehow to nefarious acts like War, Marduk & Zyklon-B. Within  a scene that is severely  overpolluted by  disingenuous bedroom projects , Kommandant takes a step to the front with mature songwriting and a professional studio recording shaped in Belle City Sound Company studio, located in Racine, WI.

The artwork and layout is perfectly emphasized once again with the creative genius of artist Francesco Gemelli ( Abigor, Katatonia. Kvist, Darkspace, Spectral Lore ..)

“Titan Hammer”  will march and progress deeper and deeper into the battlefield of humanity , like a dagger to the heart of the world.