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When drummer/vocalist Proscriptor McGovern (Russ R. Givens) dissolved Absu on January 27th 2020, his main intention was to splinter the 30-year old faction into a renewed songwriting concord. Proscriptor McGovern’s Apsû is the obvious by-product of that chemical breakdown, which constitutes a new incarnation and direct continuation of Absu’s legacy. Securing the ranks, alongside McGovern, are continuing bassist/vocalist Ezezu (Absu: 2008-2020), new guitar virtuoso Vaggreaz (Possessed, Gruesome) and keyboardist Vorskaath (Zemial, Agatus). Since Absu’s last, unreleased album was to be penned as “Apsû,” McGovern fused the title with his name to form the group. With this much anticipated, self-titled album, McGovern’s objective was to append the signature sound of “mythological occult metal,” but to convolute it with bouts of psychedelia, fusion and vintage electronics. Written for those who are curious and unwearied in their quest of arcane knowledge, the album was chronicled at studios around the world and features an exclusive set of guests

Eard is the Old English noun for land, country and home. Consisting in harpist Glorya Lyr and multi-instrumentalist MK (Silence Thereafter, Duir), the band borrowed the title for their debut De Rerum Natura from the poem by Roman author Lucretius, composed in the first century BC and translated as On The Nature Of Things.

After contributing to Saor Forgotten Paths, writing and performing the closing track “Exile”, Eard set forth to craft their own music. The band’s focus is to investigate human nature, of which De Rerum Natura depicts several aspects mainly related to Old English and Italian poetics.

The duo has solid roots in melodic black metal, and adds their own twist with the extensive use of the celtic harp, the strings of which constantly intertwine with the classic black metal equipment. The result of such is De Rerum Natura, a familiar yet extremely personal blend of atmospheric, nature-infused black metal.

Eard is the Old English noun for land, country and home. Consisting in harpist Glorya Lyr and multi-instrumentalist MK (Silence Thereafter, Duir), the band borrowed the title for their debut De Rerum Natura from the poem by Roman author Lucretius, composed in the first century BC and translated as On The Nature Of Things.

After contributing to Saor Forgotten Paths, writing and performing the closing track “Exile”, Eard set forth to craft their own music. The band’s focus is to investigate human nature, of which De Rerum Natura depicts several aspects mainly related to Old English and Italian poetics.

The duo has solid roots in melodic black metal, and adds their own twist with the extensive use of the celtic harp, the strings of which constantly intertwine with the classic black metal equipment. The result of such is De Rerum Natura, a familiar yet extremely personal blend of atmospheric, nature-infused black metal.

"Even at their crucible, Cemetery of Scream was a force unto themselves. Original, dark and not afraid to experiment best sum up the bands humble beginnings. It’s always nice when you can listen to a band, put them in a category and do so without pointing out who they sound like if not a few resemblances to early My Dying Bride.
"Melancholy" finally finds new life again as a digipak CD and first time release on (double) vinyl

Double LP, black vinyl, gatefold cover

"Even at their crucible, Cemetery of Scream was a force unto themselves. Original, dark and not afraid to experiment best sum up the bands humble beginnings. It’s always nice when you can listen to a band, put them in a category and do so without pointing out who they sound like if not a few resemblances to early My Dying Bride.
"Melancholy" finally finds new life again as a digipak CD and first time release on (double) vinyl

Digipak CD with 12 pags booklet

hardcover digibook, ltd 

Great grim black metal, a mixture between early Immortal and early Burzum

Calculating and cruel, steeped in an ambiance of controlled fury, the nine tracks offer a jarring journey through the haunted recesses of the mortal mind. They are violent and hypnotic, but also bring out the occasional demented melody to keep things unpredictable. The lyrics - manic demonological verses that read as the album sounds - are roared, chanted, moaned and snarled with equal parts conviction and possession. All combined, this results in a soundscape which, whilst firmly rooted in the death metal tradition, is thoroughly imbued with a theatrical vibe and spiritual depth more associated with black metal. The Broken Seal is a unique fusion of musical worlds, concocted to plague the reality of flesh.

The debut studio EP from this twisted Colorado death metal legion. Mixed and mastered by Damian Herring (Subterranean Watchtower). Eighteen minutes of Sci-Fi death metal for fans of Timeghoul, Demilich and other oddities.

Ladoga is a call of a modern man to his roots. It’s an attempt to look at the life of the ancient man through the prism of the legends and today’s cultural paradigm. The man who is physically same yet so diffident in mind.
It’s a journey from nowhere to nowhere. It’s about a fate of a person in the eternity of the existence

High Roller Records, transparent ultra clear with red and yellow "Fire Splatter" vinyl, ltd 300, 425gsm heavy cardboard cover, lyric sheet printed on uncoated paper, A5 photo card, finally available on vinyl, After Canadian thrash metal legends Razor had released their self-financed debut EP »Armed And Dangerous« in 1984, they were surprised to get the attention of Attic Records, the country?s leading major record company at the time. The band soon inked a deal with the label and was destined to spearhead the company?s new Viper Records division. »Escape The Fire« was originally planned to be the follow-up to »Armed And Dangerous« but in the end it did not work out like this. Attic put pressure on the young band and had their own ideas of shaping the future of Razor. The result was »Executioner?s Song«. Original bassist Mike Campagnolo tells the whole story: ?Let?s face it, when any young band is given a shot at a record deal, it usually leans heavily in the label?s favour. Sure, we were inexperienced but they were also treading in unknown waters with the new Viper division, so there was a bit of lost advantage all around. I think we learned a bit from each other but hey, it?s usually the person with the cash making the final decisions. The main problem was that they were trying to cash in on anything we released instead of promoting a newer direction as the metal scene began to get harder and faster. They really didn?t grasp how the scene was changing and progressing and didn?t really get ahead of that wave. They had a pattern of how to deal with artists and stuck to that formula instead of seeing that this genre was here to stay and not just a fad. Attic showed that strategy with »Executioner?s Song« when they wanted some songs off of »Armed And Dangerous« and the »Escape The Fire« demo to create that release.? »Escape The Fire« was originally recorded on December 1st 1984 at Future Sound studios in Toronto and was produced by Terry Morostega (who had worked on »Armed And Dangerous«) along with Dave Carlo. As Mike Campagnolo explains, after »Armed And Dangerous« Razor were ?firing on all cylinders?: ?It would have been interesting to see how »Escape The Fire«, if released in its original form, would have been received by metal fans. It would?ve probably pushed some of the »Executioner?s Song« material onto »Evil Invaders« and who knows if it would have altered the progression of the band in any way??