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Whilst admiration of the US American masters is unquestionable, Ageless Summoning display a jaw-dropping level of originality in their approach to the sub-genre. “Our goal has never been to just imitate what has come before, but we’re not trying to hide our influences either. We include plenty of deliberate references, but we’re also trying to develop our sound and continue the exploration of vast and desolate otherworlds.”

Featuring members of such long-running U.K. acts as Of Spire & Throne, Haar, Úir, Scordatura, and Abyssal, the band has several combined decades of desecration under their belts. Wrapped in one of the most stunning and sinister Paolo Girardi artworks in recent memory, Corrupting The Entempled Plane is not to be missed.

Whilst admiration of the US American masters is unquestionable, Ageless Summoning display a jaw-dropping level of originality in their approach to the sub-genre. “Our goal has never been to just imitate what has come before, but we’re not trying to hide our influences either. We include plenty of deliberate references, but we’re also trying to develop our sound and continue the exploration of vast and desolate otherworlds.”

Featuring members of such long-running U.K. acts as Of Spire & Throne, Haar, Úir, Scordatura, and Abyssal, the band has several combined decades of desecration under their belts. Wrapped in one of the most stunning and sinister Paolo Girardi artworks in recent memory, Corrupting The Entempled Plane is not to be missed.

Pure sonic annihilation reaches its pinnacle and inevitable sublimation on Disimperium's debut full-length album Grand Insurgence Upon Despotic Altars. As the debut 2021 7" Malefic Obliteration had already hinted at, human ears will fall prey yet again to an entity whose quest for total sensorial destruction has now reached implausible and horrific extremes, far beyond the confines of sanity which had already been obliterated on the inaugural release. In its nine tracks and thirty two minutes of pure concentrated terror, Grand Insurgence Upon Despotic Altars discharges an inescapable payload of death that impacts the listener with the force and speed of an apocalyptic shockwave escaping the fireball of a nuclear warhead. An onslaught of carpet bombing drums, bass, guitars and contorted vocals dissolving the lines between sanity and pure chaos establishes a permanent and incessant state of absolute armageddon, while a maelstrom of malefic atmospheres and apocalyptic darkness enshrouds the assault transforming the work into a weaponized, hallucinogenic, otherworldly burden of total terror. Where bands like Diocletian, Impetuous Ritual, Tetragrammacide, Knelt Rote and Damaar had already tested and established the limits of human resistance against abstract ideas of omnipotent negativity and horizonless sonic bedlam, Disimperium explore these outer limits even further, venturing out and establishing a new era into which there is no more measure to the very definition of musical insanity sought and achieved for the sole sake of aggression.

Pure sonic annihilation reaches its pinnacle and inevitable sublimation on Disimperium's debut full-length album Grand Insurgence Upon Despotic Altars. As the debut 2021 7" Malefic Obliteration had already hinted at, human ears will fall prey yet again to an entity whose quest for total sensorial destruction has now reached implausible and horrific extremes, far beyond the confines of sanity which had already been obliterated on the inaugural release. In its nine tracks and thirty two minutes of pure concentrated terror, Grand Insurgence Upon Despotic Altars discharges an inescapable payload of death that impacts the listener with the force and speed of an apocalyptic shockwave escaping the fireball of a nuclear warhead. An onslaught of carpet bombing drums, bass, guitars and contorted vocals dissolving the lines between sanity and pure chaos establishes a permanent and incessant state of absolute armageddon, while a maelstrom of malefic atmospheres and apocalyptic darkness enshrouds the assault transforming the work into a weaponized, hallucinogenic, otherworldly burden of total terror. Where bands like Diocletian, Impetuous Ritual, Tetragrammacide, Knelt Rote and Damaar had already tested and established the limits of human resistance against abstract ideas of omnipotent negativity and horizonless sonic bedlam, Disimperium explore these outer limits even further, venturing out and establishing a new era into which there is no more measure to the very definition of musical insanity sought and achieved for the sole sake of aggression.

Where does reality end and where does it begin? And who, or what, decides this? Multinational experimental black metal enigma 夢遊病者 (SLEEPWAKER) re-propose this question to us via their masterful fourth album Skopofoboexoskelett, an enigmatic and playfully formulaic quandary of deconstructed visionary counter-music reminding us a simple concept: that reality is dictated by perception, and as such, by manipulating perception (via the arts), any reality is not only possible but also valid. And as is always the tradition with 夢遊病者, music is the alchemical key via which questions are raised and answers are found in the labyrinth of history, culture, lore and world traditions. In the case of Skopofoboexoskelett, an exploration of the notions of self-reflection, intuition, phobia, luck, and failure in the context of the evil eye, its historical, cultural, physical and metaphysical meanings, as well as its psychological effects, carefully unraveled and revealed. Within this paradigm "Skopofoboexoskelett" takes 夢遊病者's vision, agenda, and intents, further than ever before, with musical boundaries shattered, definitions pulverized, genres, styles and aesthetics ridiculed into a masterful sensorial manipulation which draws the listener into the deceptive and subversive absurdity that is their own perception being stimulated in unprecedented ways. Drawing their own line and dictating the guidelines of music's end as we know it, 夢遊病者 use their unique sonic idealizations made of lysergic black metal excoriations, kraut, psych, noise rock, world music, improvised deconstructionism and schizoid free jazz to transcend conscience and reason, devastate the senses (particularly the auditory one) and open the mind unto a new plane of perception of which the only logic is illogicality, as only true and unquestionable experimental arts dictate and demand.

Bestial, pulverizing, black/death metal barbarity from the outermost realms of insanity. Sacramento, California-based desecrators Abhorrency bring us their humanity-ending debut full-length abomination, Climax of Disgusting Impurities, thirty two minutes of complete savagery and bestial sonic abandon worshipping the deranged cult of bands like Death Worship, Conqueror, Bestial Warlust and Proclamation. Unrelenting and antihuman in every aspect imaginable, the nine-song audial weapon of mass extermination establishes a perpetual state of torment and terror within the listener through an unyielding death-bearing black, death, and grind-infused onslaught designed to demolish every human presence by any means necessary. A new cult of total death has risen, and Abhorrency are its new chaos-wielding prophets and emissaries!

True Occult Black Metal from Ecuador!

Brand new EP, comprised by 20 min of prime black metal from Ecuador.

Dedicated to all the nocturnal entities of the sinister side, who roam the shadowy southern temple.

Warlord returns to the glory days of Evil in this debut album from Werewolf Bloodorder. The Rebirth of the Night and the Fog is a trip back to the 90’s! Containing 7 new songs, one of them originally composed for the new Evil album, which was never released and a song composed by Warlord and Black Goat of Darkness in 1994 and only now duly released.

"Terrific recording of a Nächtlich rehearsal, in anticipation of their concert at the Summoning Of The Elder Spirits show in New York, on June 24th, 2022.

Released on home dubbed tapes for that same gig, this rehearsal was done with the full live line-up that composed that seance, playing that same setlist, consisting of tracks off of "Satanas Solum Initium Est", their self-titled album, the "Third Ritual", "Second Ritual of Night Worship" and self-titled EP's.

Even more visceral than regular Nächtlich, fully recorded live in studio and onto tape, as the best of traditions, Nächtlich sounds fuller and more energetic than ever, entrancing their listeners with ritual fumes and stomping, unaplagetic primitivism, calling for the eternal reign of the dark cult. A hysterical praise for 90's maniacs, and preaching for annihilation of scene tourists and revisionists. Those who know, know.

Originaly released on the band's on U.E.'s own imprint, Vinland Corpse."

One of the black metal underground’s best-kept secrets, MORTA first fully arose from the crypt with SIGNAL REX’s release of their debut EP, Fúnebre. Banging 'n' clanging anguish echoing from the filthiest dungeons, the then-trio’s first short-length succinctly displayed their palpably physical – and surprisingly emotive – attack across nearly a half-hour. In a sense, Fúnebre felt like an album, but such was still brewing…

At long last, MORTA’s debut album bubbles up from the primordial muck with no small amount of rudeness: La España negra. Pure and proud BLACK METAL from southern climes, MORTA’s first full-length carries forward many/most of its predecessors’ foremost strengths – deft shifts from spiralingly violent hypnosis to scabrously headbanging segments, a remorselessly raw-yet-refined soundfield, ugly and emotional in equal measure – but a relatively wider (and wilder) swath of ideas and textures are given ample room to roam across this 39-minute recording. Just like that predecessor, La España negra resides firmly within the realm of black metal, be it elder expressions from the ‘90s and underground-entrenched ones post-Y2K; the now-quartet honor the sanctity of the artform by exploring their own vibrations rather than those of others. But within a longer format and maximizing that expanded lineup, MORTA often allow bass guitar to guide their eerily hummable melodicism – again, one could liken that to a romanticism unique to their Spanish heritage – and even when pushing busier, denser tonalities, there’s a perversely ethereal quality that creates a cool disconnect. Their dungeons are deeper than ever, and the reverberations go straight to the soul…

The Bosnian void masters return at last, with a blazing new record of nothingness worship and incessant passion.

Now under their third incarnation, the project, previously known as Void Prayer, and originally born under the name of Cave Ritual, delivers here their third full-length record, but appears here very aptly refurbished and reborn in what, sonically, definitely appears to be a culmination of sorts of the sound the band has been molding since its audial shift in 2019.

Although "The Grandiose Return to the Void" had already been a triumphant shift in direction, with "Sarajevski Odisej", a deserved nod to Homer's ancient epic, the Black Plague Circle stalwarts achieve a new, unquestionable triumph in songwriting, with absolute elite orchestration and sound structure. From blazing riffs of majestic, serpentine melodicism, to mind-bending dissonance and the absolutely fiery, ecstatic leads, Izrod appear to approach a sound style closer to that of Misþyrming's most recent LP's, with clear inspiration also from DsO or late era Mayhem, but by all means making their own distinct sound. With much more daring elements like the almost Progressive and Jazzy interludes in tracks like "Siva smrt" and "Tibet više nije Tibet", the bass also absolutely shines in these passages pulsating energy straight into the black dimension.