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Comdemned to Suffer was recorded in Croydon UK and mixed by London-based Tide Music Studios. This is our 3rd album, the most personal so far, as no guest musicians participated during recording and lyrics are more mature and complex, mostly reflecting different struggles that we’ve overcomed in the past 5 years as a band. In the melodic death metal genre, we like to add black metal elements to the mix as well to make the music sound a bit darker and intense. We’ve been influenced mostly by death metal pioneers from 90’s but there are also modern elements in our music. We were influenced by the bands like The Carcass, At the Gates and Dissection, so our music can be described as ‘similar’ to these bands with a pinch of modern elements on top. We put great emphasis on this album and worked really hard to make it sound profound and we believe this is the most mature album that we’ve released so far.

In the vein of AT THE GATES, DISSECTION & CARCASS

[6 Panels Digipak] Shortly following the successful re-editions of FORGOTTEN WOODS’ cult albums “As The Wolves gather” and “The Curse of Mankind”, it’s now time to offer the same treatment to the most controversial and innovative project of the Norwegian combo, JOYLESS.

“Wisdom & Arrogance” is the second output of the project, but also the first to show JOYLESS in a comprehensive form, an evolution of the first wild signs that characterized the band’s debut, with songs swifting towards more contaminated negative rock territories.
The album has been indeed an influence on the scene and was released by the young Kvarforth (Shining) via his personal label Selbstmord Services.

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

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.

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

Linguas Diaboli è un numero speciale di Sulphur Fanzine, stampato professionalmente ed interamente dedicato a quelle realtà Black Metal italiane (e non) che cantano nel proprio dialetto o in lingua autoctona. Tante interviste ed articoli, come sempre, tra cui IMAGO MORTIS, MALARIUM, TRINAKRIA, VULTUR, ILIENSES e molti altri

IN LINGUA ITALIANA

Numero speciale di Sulphur: una monografia di 30 pagine di STORMLORD

IN LINGUA ITALIANA

100 pages, professionally printed!

On this issue, editorial articles and interviews with: Spite Extreme Wing, Aborym, Minenwerfer, Antrisch, Marthe, The Gloomy Radiance Of The Moon, I, Voidhanger Records, Woods Of Desolation, Trivax, Deinonychus (early days interview), Midnight Odyssey, Swartadauþuz and… many more  

IN LINGUA INGLESE

(metalitalia.com) "A differenza di altri misteriosi figuri che oggi popolano le tenebre dell’underground black/death, Lalartu continua a conciliare la suddetta immagine incappucciata con un suono che, per quanto complesso, stratificato e ultraterreno, si guarda bene dallo scadere in forme onanistiche di eccentricità e sperimentazione (basti pensare alla recente prova degli Ævangelist). Musica che si è nutrita abbondantemente delle peggiori nefandezze del catalogo Iron Bonehead e Norma Evangelium Diaboli da un lato e di certi titani degli anni Novanta dall’altro, per un risultato complessivo che, sul filo di una gestualità rituale e contraddittoria, sembra volerci traghettare oltre il nostro spazio-tempo.
Così com’era stato per l’esordio “Kadingir”, anche “ITIMA” si configura quindi come un viaggio, un’opera da assimilare nelle giuste condizioni per riuscire a carpirne il linguaggio espressivo e non smarrirsi nel suo reticolo di pieni/vuoti sensoriali, con i primi dati da esplosioni di blasfemia non troppo distanti da quelle di Wrathprayer, Teitanblood o Beyond e i secondi a manifestarsi grazie a parentesi ambient dal sapore etnico e siderale. Un flusso di coscienza (trattasi di un’unica suite della durata di poco superiore ai quarantacinque minuti) che ci mostra il Nostro camminare sull’orlo dell’Abisso per poi descriverne con dovizia di particolari il tuffo in quel maelstrom ribollente e terrificante, con i riff, le ritmiche e le voci a farsi via via sempre più deformi e votati al culto di antiche divinità che creano e distruggono la vita.