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Welcome to the third chapter of MISOTHEIST:
Vessels by which The Devil is made Flesh
The band continues where For the Glory of your Redeemer left off, delving into a massive, profound album filled with unpredictable, intricate Black Metal as we come to expect from this band.
Its aggressive, yet beautiful, with gorgeous and sublime melodies covered in darkness and torment. Each listen reveals something new; a new detail, another riff, another twist you previously didn’t notice, making this an unbelievable album that grows and pulls you in further upon each listen. The incredible songwriting and musicianship is something this band has gotten a name for, something this album seals once and for all!
Welcome to the third chapter of MISOTHEIST:
Vessels by which The Devil is made Flesh
The band continues where For the Glory of your Redeemer left off, delving into a massive, profound album filled with unpredictable, intricate Black Metal as we come to expect from this band.
Its aggressive, yet beautiful, with gorgeous and sublime melodies covered in darkness and torment. Each listen reveals something new; a new detail, another riff, another twist you previously didn’t notice, making this an unbelievable album that grows and pulls you in further upon each listen. The incredible songwriting and musicianship is something this band has gotten a name for, something this album seals once and for all!
B5 fluorescent pink
• For fans of Spectral Voice, Disembowelment, My Dying Bride, Worm, Ceremonium, Tzompantli, Krypts, Rippikoulu
Blue Metallic
Witch Vomit’s two previous releases, Abhorrent Rapture and Buried Deep In A Bottomless Grave, solidified and elevated their position as one of current US death metal’s most potent and direct sources of expertly crafted cacophonous carnage. With a methodically relentless fervor and merciless aggression Witch Vomit have carved out a formidable reputation for barbarism with hooks so catchy they rend flesh from bone.
On new album Funeral Sanctum, Witch Vomit expand the dark melodicism buried within the butchery of past releases, now sharpened into black obsidian and causticly fused with the band’s hallmark brutality. The DNA within tracks such as “Blood Of Abomination” and “Dominion Of A Darkened Realm” invoke not the upbeat harmonies one hears in typical melodic death metal, but something more akin to the demonic evil might of early Dissection, gleaming in frozen darkness. The gore-soaked USDM ferocity remains the rotted core of the band’s foundation.
Witch Vomit’s dominant stretch of dynamic evolution within the scope of their concentrated stylistic framework has reached a new pinnacle with Funeral Sanctum. The album’s intense focus and ceaseless riff storm unleashes a wave of bloodfreezing gratification carved with permanence into the blackest depths.
Witch Vomit’s two previous releases, Abhorrent Rapture and Buried Deep In A Bottomless Grave, solidified and elevated their position as one of current US death metal’s most potent and direct sources of expertly crafted cacophonous carnage. With a methodically relentless fervor and merciless aggression Witch Vomit have carved out a formidable reputation for barbarism with hooks so catchy they rend flesh from bone.
On new album Funeral Sanctum, Witch Vomit expand the dark melodicism buried within the butchery of past releases, now sharpened into black obsidian and causticly fused with the band’s hallmark brutality. The DNA within tracks such as “Blood Of Abomination” and “Dominion Of A Darkened Realm” invoke not the upbeat harmonies one hears in typical melodic death metal, but something more akin to the demonic evil might of early Dissection, gleaming in frozen darkness. The gore-soaked USDM ferocity remains the rotted core of the band’s foundation.
Witch Vomit’s dominant stretch of dynamic evolution within the scope of their concentrated stylistic framework has reached a new pinnacle with Funeral Sanctum. The album’s intense focus and ceaseless riff storm unleashes a wave of bloodfreezing gratification carved with permanence into the blackest depths.
The first, self-titled offering from Udåd (Mork’s Thomas Eriksen).
Primitive, raw and real Norwegian Black Metal.
CD in digipak edition.
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Udåd is the new act from Thomas Eriksen of current Norwegian black metal masters, Mork. As his main band evolves ever further into complex and elaborately textured moods and atmospheres, and after reflecting back on Mork’s first album ‘Isebakke’ as the framework for this new vessel in the pursuit of pure Black Metal grimness, Eriksen delved deeply into this stream of influence to create somewhat of an antithesis to current day Mork, with something utterly “nekro” in its motivations and execution. An unpretentious exploration of the brutal reality of death and the lack of meaning in life.
With a completely stripped down and cold approach, bringing to mind the spellbinding, almost dungeon-like recording sounds from the burgeoning early 1990s black metal movement, this is an exploration of absolute and relentless darkness, for a sparse and primitive trip through the mental abyss of raw feeling. Influence for this self-titled opus also came from outside of the sphere of metal, having being introduced to the works of cinematographer Jørg Buttgereit, more specifically “Der Todesking”, with its art based on the raw and ugly truths that humanity bares within it’s flesh. Udåd is therefore Eriksen’s “Der Todesking”.
LVME steadfastly uphold the essence of traditional Black Metal while boldly broadening their musical scope. “Of Sinful Nature” presents five expertly crafted tracks that defy conventions. This album is an intense Black Metal sermon, marked by a fluid fusion of complex riffs and surprising twists; a powerful expression of raw, unbridled and rebellious energy.
“Of Sinful Nature” stands out with its authentic production quality – a real treat for those familiar with the feral force of an analogue drum kit. The album’s production harks back to the organic sound of earlier decades, enriched with the grit of all-analogue mastering.
Once you immerse yourself in “Of Sinful Nature”, you’ll be swept away by its commanding presence for forty-five minutes. This album is an experience to be embraced and surrendered to, a celebration of Black Metal and its conquering spirit.
CD in deluxe 6-panel Digipak with a shape cut in the packaging and gold Pantone print with 16-page booklet.
VLTIMAS have been legends since the dawn of metal. Flo Mounier has been drumming for Cryptopsy since their earliest exhumations of the Canadian underground. Rune Eriksen took hold of axe-wielding duties for the second coming of Mayhem. And who could forget David Vincent, the larger-than-life vocalist for Morbid Angel.
But these devils weren’t content with living amongst the gods. Instead, they’ve joined forces as the legendary heroes of the underworld. Their first album as VLTIMAS was greeted with a rapturous procession of devil horns. 2019’s ‘Something Wicked Marches In’ was voted “album of the year” by Zero Tolerance Magazine and BangerTV. “Likely to knock listeners asses to the ground with outlandish brute force”, praised Blabbermouth.
With new album ‘Epic’, VLTIMAS ascend to even greater Satanic heights. “Miserere” howls across a blackened sky, blistered by tremolo picking that’s more piercing than a siren’s call. True to its name, “Scorcher” is primed for face-melting, with blasts that blaze than a forest fire. “Undefeated, we are sure to remain”, Vincent bellows with ghoulish bravado over the constantly building “Invictus”.
OBSIDYEN is a Black Metal band founded in Albi (81) in 2019.
Their first musical attempts revolved around biblical mythologies, before slowly shifting towards the « Ancient Astronaut Theory », popularized by Erich von Däniken in 1968.
According to this theory, humanity has been visited by non-human beings in the past.These traumatic anthropological and technological encounters led to the creation of polytheistic religions and myths in antiquity.
OBSIDYEN transcribes these subversive subjects through massive and powerful riffs, coupled with liturgical cold melodies, resulting in an atmospheric harmony that adventures the listener into the lands of the past, the stars and beyond.
The band released their first self-produced album, "ANTEDILUVIAN SCRIPTUM" in 2020, with subjects including Mesopotamian and Sumerian cultures, the Old Testament or the
myth of Atlantis.
Very soon after the release of this first album, Omega has created a mythological trilogy based on the "Cult of the Serpent" around the world.
The first episode is called "LITANY OF IAH", and takes place in
ancient Egypt.
THE VISION BLEAK return in grand style: The German duo's seventh full-length "Weird Tales" constitutes a monumental tribute to the eponymous American pulp magazine and other tales of mystery and dark imagination. The album consists of a single track that is divided into internal chapters, which are each inspired by weird tales, poems, and other literature of horror and the macabre. On "Weird Tales", THE VISION BLEAK are referring to eminent writers of the legendary magazine such as H. P. Lovecraft and Clark Ashton Smith, but also allude to authors that were never featured in the magazine, for example Edgar Allen Poe and Lafcadio Hearn, whose "Fantastics and Other Fancies" was very influential for this album. THE VISION BLEAK are pulling every register of their enormous musical prowess. The chapters range stylistically from flamboyant gothic rock via dark doom to harsh black and death metal parts – and about everything in between. All the thrilling elements that the following of the duo has come to expect and love is present on this record: the dramatic and theatrical, the harsh and heavy, the melancholic and eerie, and also catchy and symphonic moments. All of this is woven into a dense sonic tapestry, which is held together by a recurring ebb and flow that is reminiscent of classical composition. THE VISION BLEAK were born out of the friendship between guitarist, bass-player and harsh vocalist Markus Stock aka Ulf Theodor Schwadorf and drummer and singer Tobias Schönemann alias Allen B. Konstanz. After first experimenting with a more gothic rock formula, THE VISION BLEAK shaped up when the duo began to involve their mutual love for the horror genre. Already their debut album, "The Deathship Has a New Captain" (2004) became an instant success in both gothic and metal circles and is by now regarded as a classic. As the debut album's theme was based on classical horror movies, the Germans aptly dubbed their style: horror metal. With the following albums, THE VISION BLEAK cemented their reputation as purveyors of classy and quality music. Each full-length revolves around themes from the horror genre that can easily be deduced from their respective titles. "Carpathia" (2005) was followed by "The Wolves Go Hunt Their Prey (2007) and "Set Sail to Mystery (2010), "Witching Hour" (2013), and "The Unknown" (2016). THE VISION BLEAK, the masters of horror metal, are finally ready to gift the world their most ambitious song so far: "Weird Tales" is a beautiful and heartfelt homage to a poetic golden age of horror and mystery literature. Listen with care, but always be wary of the eldritch and forbidding sounds that lurk within this song!
