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Obsidian Sea was formed in the beginning of 2009 in Sofia, Bulgaria.
In the spring 2014 the band started recording their second album "Dreams, Illusions, Obsessions".

Influence : Black Sabbath, Saint Vitus, Black Hole, Paul Chain, obscure old rock & psychedelic bands; old horror films; mythology, philosophy; life, death, the beyond

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Australian black metal band Ill Omen has been releasing some of the more intriguing material out there in recent years, with sprawling instrumentation that takes on a more mysterious and ritualistic feel. These elements have been expanded further than ever before on the newest full length ‘Æ.Thy.Rift’, which feels like it could be a funeral doom effort ran through a black metal filter. Each of the songs builds a thick atmosphere that feels like it’s going to pull you directly into the void, and it’s handled in such a way that uses the longer song lengths to its advantage rather than letting them feel as though they are dragged out.

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New Mini-CD 7 tracks of blasphemy

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Katechon is a Norwegian black/death metal act hailing from the prolific region of Trondheim. The band's sophomore album, Coronation, was released in June of 2015 by Nuclear War Now! Productions on CD and vinyl. Sporting nearly thirty-five minutes over eight tracks, Coronation is suffocating yet engaging, chaotic yet flowing. Several members of Katechon have spent time in infamous Norwegian acts like Hellstorm, Wallachia and Thorns, but, with their latest album, it seems the band is intent on carving its on history.
This is an extremely heavy and dense album, but the band's swirling patterns of dissonance and frenetic melodies are superb. While the typical sunglasses and bullet belts style of black/death has its place, Katechon brings something that begins to transcend the genre; something that offers more than just primal aggression.


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After emerging on the scene with the “Bearers of Black Arts” demo followed by the “Rites of Barbaric Demons” mLP and last year’s “The Premonition” demo, Italy’s Demonomancy now return with one of the most anticipated debut full-lengths released in years. With this album, entitled “Throne of Demonic Proselytism,” Demonomancy settles into its sound focusing on a style that draws upon the dark, mid-paced atmosphere of bands like Demoncy and Archgoat, but delivered with the cutting precision of the first Black Witchery album.

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Pressed on black vinyl.

Tracks A1 to B2 from the Bearers Of Black Arts demo.
Tracks B3 and B4 from the The Premonition demo.
 

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.

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.

As it did with its first album, “Man, God, Giant,” in 2013, Katechon of Trondheim, Norway hereby releases its second full-length, “Coronation,” under the banner of Nuclear War Now! Musically speaking, “Coronation” picks up much where the previous album left off, having also been recorded at Nordstern and mixed, mastered, and produced by the band itself. Katechon’s music is characterized by precise, tremolo-attacking riffs, reminiscent of their Norwegian ancestors, Mayhem and Thorns. There are also hints of Autopsy’s brand of punk-infused death metal, both in the rhythmic patterns employed and the vocals, which oftentimes remind of the death grunts made famous by Chris Reifert, albeit here with more of a black metal influence. As with “Man, God, Giant,” Katechon has once again chosen the talents of artist Mari Oseland to portray its visual aesthetic. Nonetheless, there are noticeable differences between the two albums that enable them both to stand apart on their own individual merits. Whereas the songs on the first album were generally somewhat more straightforward and easily-digested, as well as a bit shorter, “Coronation” places a greater demand on the listener by invoking more dissonance, atonality, and a higher degree of intricacy in its compositions. Thematically speaking, “Man, God, Giant” was more metaphysical and philosophical in nature, complete with Lovecraftian creatures and images. In contrast, “Coronation” explores the autonomy of self – on the one hand alone, but on the other thriving in its complete freedom from society’s imposed norms, rules and doctrines. This album embraces the sickness and delirium that are prone to infect the imperfect being’s mind, and it prefers to proclaim Nietzsche a coward by instead staring directly into the abyss and diving right in.