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Due to circumstances beyond our reach, we are no longer able to press this release in the form it has existed so far – including the laser etching that was featured on the b-side of the vinyl. We decided to fully re-brand the release with Dávid Glomba with less cryptic optics yet more visceral and eschatologically visions to echo the terrifying call for repentance at the end of times.

In this re-press rather than the etching, the B-side vinyl will include an alternative version of “Purging Tongues”.

Mysterious sounds from the island to the center of the Mediterranean sea

The name Ilienses comes from the tribes who lived in the heart of Sardinia, in Barbagia, in the Nuragic Era. The music is a combination of contemporary and archaic instruments of Barbagia, used in the ancient rituals and the esoteric traditions, as the Sardinian Carnival.

Acephalix wakes from five years in morbid repose with a new offering upon the glistening altar of flesh, a devastatingly tormented study on Theothanatology, the idea or belief that God is dead. Within this cerebrum shattering inquiry lies, as always, a primal spewing forth of vicious death metal malignity and bomb-raid hardcore dispersions.

Across a decade and a half lifespan, the evolution of Acephalix into the bludgeoning instrument of discord and dead faith displayed on Theothanatology has never felt so urgent. The crumbling siege-like mentality of modern life leaves no doubt God has left the building and Acephalix adeptly soundtrack the contradictions, atrocity and inner turmoil of such massive loss and decay.

From the opening title track to closer “Atheonomist,” Acephalix is razor-focused on its greatest strengths, commanding the unambiguous sonic pulverizing of a bulldozer over the decimated skull pile of a once thriving civilization. Simultaneously more musically complex and savagely barbaric, Theothanatology heralds a collapse already in motion.