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The astonishing 2nd full-length by this Mexican band. Hailing from the vast Death Metal hotbed of Mexico, Ravenous Death feature current members of such other bands as Remains, Demonic Manifestation and Death's Forsaken. The band's embryo was brought forth in 2016 during the recording of Remains' 3rd full-length in Mexico City, when vocalist/guitar player Miguel Angel and drummer Esteban Salcedo toyed with the idea of creating a Death Metal band influenced by Vomitory, Torture Division and the likes. Later on, both musicians shared their vision with lead guitarist Enrique Fray, and the three of them agreed to push the idea forward and carry it out as a side-project due to the commitments they all had with their main bands. Soon after, Enrique and Miguel Angel began writing songs for the newborn abomination, and the three members decided to name the band after a Vomitory song titled "The Ravenous Dead". Fast forward to October 2016, and the recording of Ravenous Death's debut demo/EP, "Ominous Deathcult", is finalized (although not released as a Bandcamp download until March 2017), including five songs chock full of rotting maliciousness that showed great poise in combining blasting brutality, crushing heaviness, somber ambience and fierce intensity, with the lyrical themes revolving around death, occultism, blasphemy and other classic topics of the olden Metal of Death. On May 13th, 2017, the band made their first live performance in the city of Guadalajara. For this occasion, two new members were recruited -namely, bass player Alejandro Mendez and guitarist Diego Gomez- leaving Miguel Angel on vocal duties alone. After the excellent crowd response, both Alejandro and Diego joined the band as official members. Emboldened by this patient momentum, and featuring new vocalist Victor Mercado, Ravenous Death at last released their debut album, 2019's "Chapters of an Evil Transition", courtesy of Memento Mori. Aptly titled, "Chapters of an Evil Transition" indeed displayed the band's transition into an evil Death Metal juggernaut. The album found great favor among the Death Metal faithful, for it absolutely bled the molten-yet-mildewed essence of 90's Metal of Death. Now Ravenous Death are back to fuck fashion and especially fickle tastes with the longer and stronger "Visions from the Netherworld". Not for nothing is the album titled as such: "Visions from the Netherworld" is an epic 63 minutes, and conveys a moodiness perfectly suited to these slicing 'n' sluicing songs. The atmosphere is hideous, evil as ever but without any cloying "cavernous" touches; the production is professional and powerful, skillfully balancing gleam and grime; the leads are more prominent, and blackened to a crisp; and the songwriting itself twists and turns and twists some more, opening infinite labyrinths but always with a (crooked) direction in sight. Whereas the previous full-length displayed trace elements of Mexican forebears Shub Niggurath as well as Sadistic Intent, Seance, old Grave, 90's Immolation, 90's Vader, Demigod and Vomitory, here do Ravenous Death strike upon new-yet-old ground that can only be qualified as Ominous Rotten Death Metal. And as its epic length suggests, "Visions from the Netherworld" is indeed a concept album as always; the cover art, once again by the masterful Mörtuus, represents all the twisted visions that the band have about Hell, the underworld, punishment, etc. Enclosed in era-authentic mastering courtesy of Loïc Fontaine at Krucyator Studio (France), Ravenous Death have eclipsed their momentous debut with their "Visions from the Netherworld"!

84 pages Artbook with CD

Limited to one edition only in this format, printed on fine art book-paper and hard cover with goild foil details 

Three years after the second full-length 'Faunalia', the singer/keyboardist Selvans returns with a new EP.
'Dark Italian Art' is definitely the Manifesto of the Italian composer. Selvans confirms the prog rock and symphonic influences introducted in the previous work (with Goblin and Devil Doll ruling the roost), imprinting them definitely in his folk-horror scenery.

The EP introduces 'Corvo Morto' (Italian for 'Dead Crow'), a character created by Selvans in collaboration with the horror writer Luigi Musolino and to whom the track 'Verrà Corvo Morto' (Italian for 'Corvo Morto will come') is connected, as well as the homonimous tale attached to the 80 pages digi-book version of the EP.
Aside from the second new track 'Iò Pan!' and the outro 'L'Errante', Selvans celebrates the artistic heritage of his country with the cover of 'The Hanged Ballad' taken from the first Death SS' album and a cover medley of the legendary album 'Inferno' by Metamorfosi, a progressive italian rock band from the 70's.

This will be the first work in which Selvans is joined by his full live band, made of valid musicians who are with him since several years of concerts.
Learnt the lesson of the great masters of the horror and the absurd in music – with Screamin' Jay Hawkins and King Diamond above all – Selvans offers a decandent and peculiar interpretation which is brazenly Italian.
Walking among woods and ruins of ghost villages, Selvans leads a procession of outcasts hidden behind animal masks, on a muddy stage weaved with roots, whispering rituals of rural magic and cursed doggerels.
Curtains up!

Inherits The Void is the musical endeavor of French multi-instrumentalist Antoine Scholtès. Born in 2020, the project based in Clermont-Ferrand released the Mémoires EP before starting to work on a proper full-length studio album.

Monolith Of Light hence marks Inherits The Void debut album, born from Scholtès’s desire for “a meeting between influences from the ‘90s Swedish Black Metal scene and a more current orientation of the genre”. Rage and melody entwine in these seven hymns to the transience of man, bringing to mind the great masterworks of Dissection, Dawn and Vinterland, as well as the more contemporary sounds of France.

Inherits The Void adds to their deep black metal roots, incorporating atmospheric hints from bands like Celeste, Déluge and Nesseria: “the main idea behind that album was to compose songs that would be both melodic and atmospheric, embraced by the desire to propose a range of various emotions”.

Black vinyl, printed in 100 copies

Inherits The Void is the musical endeavor of French multi-instrumentalist Antoine Scholtès. Born in 2020, the project based in Clermont-Ferrand released the Mémoires EP before starting to work on a proper full-length studio album.

Monolith Of Light hence marks Inherits The Void debut album, born from Scholtès’s desire for “a meeting between influences from the ‘90s Swedish Black Metal scene and a more current orientation of the genre”. Rage and melody entwine in these seven hymns to the transience of man, bringing to mind the great masterworks of Dissection, Dawn and Vinterland, as well as the more contemporary sounds of France.

Inherits The Void adds to their deep black metal roots, incorporating atmospheric hints from bands like Celeste, Déluge and Nesseria: “the main idea behind that album was to compose songs that would be both melodic and atmospheric, embraced by the desire to propose a range of various emotions”.

ERP presents the follow up the the well received demos from Copenhagen based death metal band CHAOTIAN

As a teaser while we wait for the debut album from Danish carcinogenic death metallers CHAOTIAN, “Adipocere Feast” offers two new songs showing both the slower and gloomier side of the band, as well as the faster excretions the band has to offer

This is the black vinyl version Released by Extremely Rotten Productions

first full-length

With 2012's "Aeons Black" standing as one of the defining death metal albums of the twenty-first century it has been a long wait for the follow up. In 2021, Sweden's Aeon finally return with its successor, "God Ends Here", and in doing so only up the ante with a record that is bigger, harder and stronger in every way. "I wasn't feeling any pressure after such a gap, we don't do shit half assed and I feel like this is our strongest album yet," states guitarist Zeb Nilsson. A darker, even more epic collection, it is everything an Aeon fan could want with a few surprises in store, pushing the genre in new directions and once again asserting that they are one of the most important bands in extreme metal.

Ikarie is a newborn band formed by experienced musicians from the Mediterranean coast of Spain. They describe themselves as a band developing “the concept we call cosmic existentialism, which is about our freedom and responsibility as a rational species, aware of its insignificant, terrifying and astonishing existence in the universe”.

Cuerpos En Sombra is the first album by Ikarie, a post-metal opus in the vein of Cult Of Luna and Year Of No Light, “a legend of ghosts, of those who emerge from the deepest wounds of the soul. Installed in their universe of silent and silenced scars, inspired by the desert and sea landscapes of the Spanish Levant where we grew up, it delves into the theme of the human being from its limits, where it almost ceases to be, in a world where perhaps it is not allowed to be”.

The album deals with “what happens and doesn't happen when we become an unproductive and annoying absence, showing a series of desolate places and characters as if they had come out of the collective imaginary of the uncomfortable, painful and demented”.

Cuerpos En Sombra is the first chapter of a trilogy in which Ikarie intend to denounce the stigma of being different, the lack of resources in everything related to mental illness and the pathologization of people with problems which are mainly structural.

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