Releases

The follow-up to last year’s “Selenelion” release, “The Missing”, sees the collective of vocalist/guitarist Josh Strawn (Blacklist), guitarist Kevin Hufnagel (Gorguts, Dysrhythmia), bassist Toby Driver (Kayo Dot), and drummer Charlie Schmid take the next step in VAURA’s musical evolution. Continuing where “Selenelion” left off but venturing towards a more defined sound through the band’s seamless mix of progressive metal and classic darkwave/’80s goth, “The Missing” is an album which is an ideal vision of said genres amalgamating into a rich sonic venture.

Recorded, mixed, and mastered by Colin Marston at The Thousand Caves along with featuring artwork by Terence Hannum (Locrian) and gorgeously packaged in a gatefold wallet sleeve with 10 double-sided colour artwork panels and a protective CD sleeve, tracklisting for “The Missing” goes as follows:

1. The Missing
2. Incomplete Burning
3. The Fire
4. Mare Of The Snake
5. Pleasure Blind
6. Passage To Vice
7. The Things That We All Hide
8. Braced For Collapse
9. Abeyance
10. Putting Flesh To Bone

“Catharsis” was the album that would define and shape YOB’s signature style of colossal cosmic monolithic doom. It was the album that became the harbinger of what YOB would deliver with their succeeding full-length albums, and it is even the album in which some of the die-hard, old-school YOB fans would even claim is the doom metal trio’s best release.

But it was with “Catharsis” in which YOB would create a new sound of their own, a sound of doom which would inevitably develop itself over the years and finally be recognized as one of the most powerful sounds emanating from the doom metal scene as proven by YOB’s succeeding albums.

“Catharsis” laid down the groundwork for YOB which allowed Mike Scheidt and co. to be recognized as visionaries in heavy music; three massive tracks of monolithic spaced-out heaviness to characterize such an album that climaxes in the 20-plus minute epic title track that many recognize as one of the greatest YOB songs ever written.

Re-mastered from the original tapes by Tad Doyle, giving “Catharsis” a more complete and warmer sound than the original, along with featuring a fabulous new design by Aaron Edge that spans an 8-panel digipack, and liner notes by Mike Schedit, this re-issue of “Catharsis” is the definite presentation of this album with its original tracklisting in place.

1. Aeons
2. Ether
3. Catharsis

One of the most dense, complex, twisted, and amoral metal albums to be released this year, “Obsian” is sonic madness and dementia personified. The soundtrack to your ultimate mental breakdown.

Taking their sound and plunging further towards the depths by creating a much more layered and intricate opus than the band’s cult “Mounds Of Ash” debut, CASTEVET (now featuring KRALLICE bassist Nicholas McMaster who joins the comradeship alongside vocalist/guitarist Andrew Hock and drummer Ian Jacyszyn) once again will take the listener into a world of pain and personal hell through the six tracks that encompass an album unlike anything else going on in the metal scene today. “Obsian” is a dark, bleak, uneasy, and ominous album crafted through meticulously constructed musical counterpoint via waves of dissonant progressive tones and rhythms laced with melodic shape-shifting song structures. Almost like a 20th century classical opus filtered through the lens of blackened avant-garde prog metal. It then climaxes in full-on anxiety-filled glory with “The Seat Of Severance”, featuring the vocals of Extra Life drummer Nick Podgurski. The album also features a guest horn section courtesy of Amy Mills and Tim Byrnes.

Tracklisting for “Obsian” goes as follows:

1. The Tower
2. Cavernous
3. The Curve
4. As Fathomed By Beggars And Victims
5. Obsian
6. The Seat Of Severance

Three years after the release of their “Exalted Emanation” EP, along with the stopgap “Realm Of Evoken Doom” retrospective compilation EP, GRAVE MIASMA have procured what will be recognized as one of the most important death metal albums of our time, their debut full-length album “Odori Sepulcrorum”.

In what encapsulates the true essence of death, “Odori Sepulcrorum” is a dark, sprawling, eerie monolith of sonic progressive death metal terror that not only upholds the ancient death metal spirit of ages past, but also forges ground for the genre’s future by harnessing the artistry and fervor of death metal’s golden age. Produced and captured in its entirety at London’s Orgone Studios on vintage analog gear and recording/mixing/mastering devices by Jaime Gomez Arellano, giving “Odori Sepulcrorum” that old-school massive tone and warm tight feel while at the same time embracing the enormous rapturous dark atmosphere, “Odori Sepulcrorum” defines itself as death metal artistry of the highest order.

Presented in a six-panel digipack and booklet printed on reverse cardstock, along with being adorned with artwork by Denis Forkas, tracklisting for “Odori Sepulcrorum” goes as follows:

1. Death’s Meditative Trance
2. Ascension Eye
3 Ovation to a Thousand Lost Reveries
4. έσχατος
5. Odoratus Sepulcrorum
6. Interlude
7. Seven Coils
8. Ossuary

Going even further with their musical expression and singular take on doom rock/metal, the Salt Lake City siren-led contingent have delivered their heaviest, darkest, most majestic and most musically-advanced album yet. Following up the new album’s predecessor “No Help For The Mighty Ones”, with “More Constant Than The Gods” SUBROSA’s sonic amalgam of low-end amplifier worship doom rock/metal, stirring neo-classical chamber music (courtesy of the dual electric violins which have become even more prominent and potent in their role with the new album) and Americana goth folklore tragedy, bears witness in a more epic, moving, and monolithic expression on the band’s most accomplished work yet. Where all musicianship and instrumentation is taken to its next logical level on “More Constant Than The Gods”, this new SUBROSA album will define the band as one of the most prominent and creative bands in doom metal today.

Tracked by drummer Andy Patterson in the band’s hometown and mixed and mastered in Sweden by Marduk bass player Devo Andersson in Endarker Studios, tracklisting for “More Constant Than The Gods” goes as follows:

1. The Usher
2. Ghosts Of A Dead Empire
3. Cosey Mo
4. Fat Of The Ram
5. Affliction
6. No Safe Harbor

Presenting their most devastating work to date, VASAELETH’s follow-up to “Crypt Born And Tethered To Ruin” is a maelstrom of primitive atmospheric death metal horror that one can only expect from the reigning ungods of the American death metal underground. With “All Uproarious Darkness” VASAELETH take their sound further into the depths and beyond previous musical output to once again evoke the real essence of death evoking a soundtrack to the universe inverting itself, the tomb of paradise revealed. Death metal that brings ruin and disease upon the feeble mortal coil.

Featuring the most intense and murderous 19-minutes of dark death metal you’ll hear all year and that never lets up, tracklisting to “All Uproarious Darkness” goes as follows:

1. All Uproarious Darkness
2. Paradise Reconsecrated
3. Fathomless Wells Of Ruin
4. Black Curse Upheld
5. Throat Of The Grey Watcher

What will be seen as the strangest, darkest, most dangerous and more importantly one of the most polarizing black metal albums to be released this year, “Anti-Cosmic Tyranny”, an album formulated and constructed behind prison walls by mastermind and notorious black metal crime lord Angelfukk Witchhammer (also the ex-mastermind of Canadian cult maniacs Ouroboros, one of the heralding bands who helped to spearhead the modern-day war metal movement), is a twisted, harsh, and raw audial ritual. A sonic offering meant to summon the impending age of the new dark aeon, “Anti-Cosmic Tyranny” slithers the path where outsider progressive lo-fi black metal conjures the ancient spirit of the genre from a time where black metal was feared. Where a bestial punishing attack seamlessly interweaves itself with a sound picture mired in melancholic drear and utter dread, through a wave of snarling vocals, ritual chants, moans, whispers, saxophone abuse, and subliminal harsh noise, “Anti-Cosmic Tyranny” will reveal itself as a work of black metal artistry steeped in chaos and dementia.

Tracklisting to “Anti-Cosmic Tyranny” goes as follows:

1. Black Rites Of Black Shadows
2. Reincarnation Of The Sun
3. Sacrificial Chants Of Cosmic Separation
4. Gnosis Granted From The Bloodline Of Fire
5. Heretics And Ashes
6.Blood Bone And Blackthorn

With “Shadows” the Massachusetts apocalyptic doom crust metal monolith have delivered their most engaging album to date. A much darker and more introspective sonic monolith than their previous releases, namely their “Untold Wait” debut and its “Asylum” successor, “Shadows” sees MORNE create a much more doomier and introspective work. More brooding, melodic, while bringing the heaviness factor to a new level, “Shadows” is an album that harnesses an uncanny atmosphere. While more introverted and more stripped down, yet still encapsulating a vast and mighty sound picture, “Shadows” still presents itself as the soundtrack to where we witness oceans engulfing entire cities and leaving entire wastelands barren and desolate.

Tracklisting for “Shadows” goes as follows:

1. Coming OF Winter
2. A Distance
3. New Dawn
4. Shadows

A much darker and more adventurous musical jaunt than their “Smiling Dogs” debut, “Rebellion Hymns” brings down the heathen hammer through its epic odes to the bottle and wasteland America with music steeped in American goth and folklore.

Helmed by COBALT multi-instrumentalist Erik Wunder who is likewise joined by multi-instrumentalists Josh Lozano and Scott Edward, “Rebellion Hymns” reveals itself as the most ambitious and diverse work MAN’S GIN have manifested to date. Much more epic, varied, and heavier in scope, “Rebellion Hymns” covers a wide musical canvas through a discourse which consists of memorable moving emotionally draining songs interspersed with moments of experimental ambient creaking string-interplay and noise (see if you can spot a COBALT “Eater Of Birds” reference snuck in).

Recorded and produced by Andrew Schneider (Unsane, Pelican, Cave In, Converge etc.) at Translator Audio in Brooklyn, NY and featuring photography and layout by Jimmy Hubbard, “Rebellion Hymns” sees Wunder and co. even bring in a formidable cast of musicians to join the ride. Such musicians that make a guest appearance on “Rebellion Hymns” are Jarboe (ex-Swans), Bruce Lamont of YAKUZA, John LaMacchia of Candiria, and even Wunder’s co-conspirator in COBALT Philip McSorley makes an appearance likewise.

Tracklisting for “Rebellion Hymns” goes as follows:

1. Inspiration
2. Varicose
3. Off the Coast of Sicily
4. – - -
5. Old House (Bark at the Moonwalk)
6. – - -
7. Never do the Neon Lights
8. – - -
9. Deer Head & the Rain
10. Cellar Door
11. Sirens
12. Hibernation Time

Montreal, Canada’s GEVURAH portrays a virulent and aesthetically potent vision of lacerating black metal chaos and utter death worship through their hymns of plague and glorification.

Their debut release “Necheshirion” captures that moment of genuflection to give honor and praise to the reign of Lucifer during the inevitable dark aeon. Five songs spanning 33-minutes of virulent religious black metal malevolence (one song being a homage to legendary Swedish black metal horde Malign) which signify the process of spiritual rebirth of the enlightened Self which rises from the ashes through fire and ultimately liberates itself through death.

Packaged in a gloriously designed 4-panel digipack with the booklet directly attached within the packaging, tracklisting for “Necheshirion” (Hebrew for snake-like) goes as follows:

1. The Essence Unbound
2. Flesh Bounds Desecrated
3. The Throne Of Lucifer
4. Divine Ignition
5. Entering Timeless Halls (Malign)

Formed by guitarist Jeff Wilson (WOLVHAMMER, Chrome Waves, ex-Nachtmystium), vocalist Adam Clemans (Wolvhammer), bassist/synth player Jim Adolphson (Mourner) and drummer/synth player Peter Clarke (Iron Thrones), the music that LIAR IN WAIT indulge is influenced by the classic goth, darkwave, and post-punk movement of years past. The sound of drowning and falling, “Translations Of The Lost” is the initial snapshot from this band where four tracks (one being a Fields Of The Nephilim cover) of despair and tragedy subtly weave themselves through a sonic reflection of dejection and despondency.

Limited to 1000 units (CD version), nicely packaged and specially priced at a discounted rate, tracklisting to the “Translations Of The Lost” EP goes as follows:

1. Faithless
2. Conversations In Violet
3. Fall With Me Now
4. And There Will Your Heart Be Also (FotN cover)



Never stop the sadness.

You can stream “Translations Of The Lost” here



And check out the video for “Fall With Me” here:

Revealing itself as the most defying and most accomplished ALTAR OF PLAGUES album to date, “Teethed Glory and Injury” sees James Kelly and co. create an album unlike anything the band have previously crafted.

The result being an album venturing into harsher and more extreme sonic terrain, and more unconventional where Kelly (who also masterminds WIFE, his electronic-oriented outlet) dissects and deconstructs the initial blueprint that ALTAR OF PLAGUES based their sound upon, and forms a whole new sound for the band while past reflections still loom and become expanded upon at the same time.

By incorporating more elements of noise, industrial, and electronica, all while taking the influence of ambient and experimental music even further, “Teethed Glory and Injury” sees its songs built upon the different permeating sounds and ambience, where said elements come across as the key factors that help shape the songs and give them form and substance.

Fully captured in Orgone Studios by Jaime Gomez Arellano, with the North American version of “Teethed Glory and Injury” packaged in a 4-panel CD gatefold-jacket with a designed inner-sleeve that protects the CD, tracklisting goes as follows:

1. Mills
2. God Alone
3. A Body Shrouded
4. Burnt Year
5. A Remedy And A Fever
6. Twelve Was Ruin
7. Scald Scar Of Water
8. Found, Oval And Final
9. Reflection Pulse Remains

Conjured by guitarist John Cobbett (Hammers Of Misfortune, ex-LUDICRA) and drummer Aesop Dekker (AGALLOCH, WORM OUROBOROS, ex-LUDICRA) to create music together again post-Ludicra fallout, it wouldn’t take long to round out this new band’s lineup with YOB’s Mike Scheidt joining on vocals and bassist Sigrid Sheie (Hammers Of Misfortune, Amber Asylum) completing the contingent.

It was natural of course that speculation would surface as to what the musical direction of VHOL will entail because of its membership’s musical repertoire already at their disposal. And it became the finality that VHOL’s sound is unlike anything one would end up expecting; a sound that didn’t end up being the sum of its parts. But greater. Far from it actually considering it’s not remotely doom metal, not black metal and not even close to being Ludicra part II (even though some traces have leaked and crossed over to VHOL due to Cobbett’s signature guitar playing, where even traces of early Hammers Of Misfortune rear their head on slight occasion).

What VHOL have created is a whirlwind of upbeat raw, un-polished vicious cross-pollination where old-school hardcore, dbeat fury and punk collide with classic old-school metal (‘70s era Judas Priest meets “Show No Mercy” era Slayer/”Kill Em All” era Metallic). All topped with Schedit’s most versatile and jaw-dropping vocal performance to date which will easily solidify him as one of the greatest vocalists in metal today.

Recorded at Earhammer Studios in Oakland by Greg Wilkinson and mixed in Seattle by Randall Dunn, and presented in a lavish 6-panel digipack designed in conspiracy with Cobbett, Aesop, and Viral Optic, tracklisting for “Vhol” goes as follows:

1. The Wall
2. Insane With Faith
3. Plastic Shaman
4. Grace
5. Illuminate
6. Arising
7. Songs Set To Await Forever

*Description written in 2007 Through a trial of bizarre and strange circumstances, controversial Colorado warmachine COBALT have finally given their latest offering to the world, namely their new epochal work of art “Eater Of Birds”.

Much more atmospheric, strategic, advanced, darker, and overall, much more devastating and oppressive than their previous “War Metal” effort, “Eater Of Birds” is an epic cinematic extreme blackened war metal scourge rummaging through harsh violent musical terrain, thematically and lyrically laced with intelligently thought-provoking woven subjects that explore true darkness, desolation and introversion, self-reflection and despair, loss, the power of nature, all while reflecting upon the true animal instincts that dwell within the nature of man; to behold the will of the strong and to dominate the weak. Hail the noble savage… stealer of the sky… one with the wilderness…

Encapsulating 70-plus minutes of tribal and ritualistic-like blackened war metal with the soundscape aesthetic found in such acts as NEUROSIS, SWANS, KILLING JOKE, and ANGELS OF LIGHT, “Eater Of Birds” presents a different kind of façade in the North American extreme black metal scene. One that goes much beyond the familiarity that likewise plagues it…

Presented in a six-panel digipack and a 12-page booklet laced with unique artwork, the tracklisting for “Eater Of Birds” goes as follows:

1. When Serpents Return
2. Ulcerism
3. Ritual Use Of Fire
4. Blood Eagle Sacrifice
5. Witherer
6. Ritual Use Of Fire
7. Invincible Sun*
8. Androids, Automatons, and Nihilists*
9. Cephalopod
10. Ritual Use Of Fire
11. Eater Of Birds

*Denotes Jarboe appearance

Listen to the album here:

The soundtrack to the strong inheriting the earth, “Gin” is a dark, eerie, and violent outburst that takes Cobalt’s surreal avant-black metal approach and tears it into new epic and ritualistic proportions. A sonic fist fuck like no other, going more for the throat and plunging further into the depths, “Gin” is a study of torment, violence, strong excess, hard sex, and despair through a harsh and very real terrain the duo of Sergeant Phil McSorley and Erik Wunder have wandered uopn.

Like an epic diseased black metal interpretation of NEUROSIS, SWANS, HIGH ON FIRE, TOOL, and KILLING JOKE, “Gin” sees Cobalt shifting their sound in a sense where more substance and depth becomes layered through the ritualistic and tribal rhythms found within the music, all while maintaining the violent and harsh nature that Cobalt’s music has always been characterized by.

Dedicated to literary vanguards Ernest Hemingway and Hunter S. Thompson, “Gin” is the springboard to fuck the universe.

Tracklisting for “Gin” goes as follows:

1. Gin
2. Dry Body
3. Arsonry
4. Throat
5. Stomach
6. A Clean, Well Lighted Place
7. Pregnant Insect
8. Two Thumbed Fist
9. The Old Man Who Lied For His Entre Life
10. A Starved Horror

Listen to the album here:


Fucking destruction.

Initially unleashed by the band themselves on Jan 01 of this year (exactly a year after their “Denouement” debut was self-released likewise, note this will see an official release via Poland’s Hellthrasher Productions soon) via digital and hand-assembled CDs, it didn’t take long for Profound Lore to become immersed in the mysterious UK trio’s style of twisted, demented, dark, epic, doomy death metal horror which would inevitably lead us to officially present “Novit enim…” in an aesthetic that we could only see fit for such a work of monumental death metal artistry.

With revamped layout courtesy of Chimere Noire and packaged in a nicely designed digipack with the artwork and imagery washed over by a metallic silver layer for enhanced effect and heightened aesthetic, this official CD release of “Novit enim…” was pressed in a very limited run and will be a one-time pressing.

Tracklisting goes as follows:

1. Forebode
2. The Tongue Of The Demagogue
3. Under The Wretched Sun Of Hattin
4. Elegy Of Ruin
5. The Headless Serpent
6. A Sheath Of Deceit
7. Elegy Of Staves
8. A Malthusian Epoch
9. As Paupers Safeguard Magnates
10. Created Sick; Commanded to be Well
11. The Last King

You can listen to the album here

True death metal horror once again unleashed, Australia’s surrealist death metal enigmas PORTAL emerge with their most dense-sounding opus to date. “Vexovoid” takes the singular sound PORTAL defined with their inception over 15 years ago and once again takes the death metal paradigm, tears it inside-out and inverts it to create a twisted sonic amalgam of your worst nightmare manifested.

A vision of pure dread, psychosis, and dementia framed and projected from carrion flesh celluloid upon the feeble mortal coil.

Featuring artwork by none other than Rev. Kriss Hades, followed by its awesome packaging likewise, tracklisting for “Vexovoid” goes as follows:

1. Kilter
2. The Back Wards
3. Curtain
4. Plasm
5. Awryeon
6. Orbmorphia
7. Oblotten

What will alienate Portal that much more from today’s death metal scene, “Outre” truly captures the pure essence of the universe turning onto itself. It is an album drenched in raw other-worldly mire, unforgiving surrealism, and pure unbridled horror. Through waves of vortex-like guitars, methodically paced war-hammer execution, looming bass pulsations, and the subterranean vocal dictatorship of The Curator, “Outre” is essentially the soundtrack to a fisting orgy hosted by Yog-Sothoth. True death manifested.

Tracklisting for “Outre” goes as follows:

1. Moil
2. Abysmill
3. Heirships
4. Omnipotent Crawling Chaos
5. Black Houses
6. Outre
7. Thirteen Globes
8. Sourlows
Listen to the album here

Entitled “Arriving Angels”, Chesley’s third release under the HELEN MONEY moniker sees the very prolific cellist explore the instrument she uses as her sole musical weapon even further. Where her classical music approach and expertise works in conspiracy alongside the realm of experimental, ambient, and drone music while also somewhat crossing over into the realms of doom metal. Also armed with an array of effects pedals and having Neurosis/Sleep drummer Jason Roeder manning the warhammers, “Arriving Angels” is an intriguing sonic exploration piece unlike anything we’ve ever released before.

Recorded and mixed by Chesley’s close friend, legendary music icon Steve Albini at Electrical Audio studios, giving “Arriving Angels” pretty much one of the most formidable sounding records we’ve ever put out, the new HELEN MONEY release serves itself almost as a meditative piece of sorts drawing the very fine line between elaborate progressive rhythms and stark minimalism.

With beautiful packaging featuring artwork and design by Steve Byram (who was responsible for laying out such classic albums as “Reign In Blood” and “License To Ill”), tracklisting for “Arriving Angels” goes as follows:

1. Rift
2. Upsetter
3. Beautiful Friends
4. Radio Recorders
5. Midwestern Nights Dream
6. Arriving Angels
7. Shrapnel
8. Runout

ASH BORER’s self-titled debut surfaced initially on cassette only, after the band’s initial demo and their split 12” with Fell Voices. Even though it was only available on cassette through the band’s own Psychic Violence label, this was the release that would bring awareness to ASH BORER as one of America’s more prominent black metal entities and would be recognized as one of the more prominent American black metal releases that came out in 2011. Likewise, the band would conspire with Profound Lore to release the follow-up full-length “Cold Of Ages” in 2012, again an album which was considered one of the best black metal releases of the year, and naturally a proper re-issue of the self-titled debut became imminent.

Consisting of three massive vitriolic time-stretching hymns, “Ash Borer” has been re-mastered for the CD format in order to experience the sonic power of this album in its penultimate form. The CD comes packaged in a faux-leather gatefold CD jacket with red foil print adorning it with the CD being housed in its own black sleeve for protection.

Tracklisting

1. In The Midst Of Life, We Are Death
2. Rest, You Are Lightening
3. My Curse Was Ruined In The Darkness Against A Doomsday Silence

Gaining quite the reputation in underground doom metal circles from their self-titled demo last year and a good handful of live appearances on the West Coast, BELL WITCH (solely comprised of basisst/vocalist Dylan Desmond, also of Samothrace fame, and drummer/vocalist Adrian Guerra) easily became known as one of the heaviest sounding doom metal bands in America today (testimonials were also given on the band’s recent U.S. tour), especially considering the waves of crushing overbearing doom come from a band that only have bass, drums, and vocals at their disposal.

“Longing” is about as bleak of a sonic picture as a doom metal album can get. This is a time-stretching album (which features guest vocals by Erik Moggridge of Aerial Ruin on the track ‘Rows’) that depicts sadness, suffering, and despondency like none other. Through Desmond’s down-tuned bass pulsations along with his lamentations that work in conspiracy with Guerra’s warhammers and his cavernous growls, “Longing” is an epic work that will become realized as that emotional sledgehammer of self-reflection and despair.

Tracklisting for “Longing” goes as follows:

1. Bails (Of Flesh)
2. Rows (Of Endless Waves)
3. Longing (The River Of Ash)
4. Beneath The Mask
5. I Wait
6. Outro

With “Ritual Of Passing”, Portland’s ATRIARCH have developed into a revelation beyond measures. With their mere beginnings, at a time where the band were slowly discovering, honing, and defining their sound, one in which amalgamates the likes of classic ‘80s deathrock and goth along with doom and a bit of black metal, ATRIARCH would indeed create a bit of a local/West Coast buzz (the band, at the time, also featured ex-members of Graves At Sea and Trees respectively) through their live actions and inevitably their acclaimed “Forever The End” debut which was released last year. The vibe and uncanny atmosphere the band would evoke would be one reminiscent of the short-lived Bay Area cult band The Gault and said band’s phenomenal and only-release ever, “Even As All Before Us”.

With a recent split 12” ATRIARCH did with their like-minded musical comrades in Alaric this past year, said split was a revelation in its own right, a hint of what ATRIARCH would inevitably deliver with “Ritual Of Passing” (which also features guest vocals from Jessica Way of WORM OUROBOROS on the closing outro); more focused songwriting and taking their sound even further through a harrowing, haunting, obsessive and possessive sermon-like offering drenched in vitriolic atmosphere and flourishing washed-out reverb/wall-of-sound epicness that carries that ancient vibe and tradition found in classic deathrock, goth, and doom metal.

Gorgeously packaged and presented, with artwork by Stevie Floyd and design and artwork respectively by vocalist Lenny Smith, tracklisting for “Ritual Of Passing” goes as follows:

1. Parasite
2. Prayer
3. Altars
4. Altruist
5. Offerings
6. Crused
7. Outro (Lucifer Speaks With Death)

For just over a decade, the UK’s most promising death/doom metal band have been known to create some of the most enveloping, meticulously crafted, and all-encompassing death doom metal of our time. From their 2003 “Ecstatic Lethargy” demo (which we heard upon its release and which literally blew us away) to their “Noctambulism” debut three years later, INDESINENCE were always a band to behold, even though they were not one to always be thrusted into the spotlight of the UK metal scene, they are undoubtedly one of the truly elite bands to hail from said metal scene. With a sound culled from such reference points as Disembowelment, the very early/old-school days of the Peaceville Three, and Celtic Frost, INDESINENCE would inevitably carve their own unique identity within the death/doom metal movement. And with their new album, six years after their last full-length (and only their second full-length album), INDESINENCE (which features members involved with such respected bands as Grave Miasma, Cruciamentum, Code, Pantheist, Binah, Esoteric, and Adorior) have created a death/doom masterpiece unlike any in the genre. As the band describes in their own words, they characterize “Vessels Of Light And Decay” as a “full frontal assault of Celtic Frost, Swans, Demoncy, and Barclay James Harvest”.

Packaged in a gorgeously designed thick and somewhat-weighty hardcover digibook (the only edition you can buy “Vessels Of Light And Decay” in) with an expansive 28 page booklet glued in, tracklisting for “Vessels Of Light And Decay” goes as follows:

1. Flux
2. Paradigms
3. Vanished Is The Haze
4. Communion
5. La Madruaga Eterna
6. Fading (further beyond)
7. Unveiled

Continuing on the path laid down by the storming “Of Seismic Consequence”, a milestone for the Chicago avant-garde progressive metal cult, its follow-up “Beyul” continues in the unique artistic expressionistic way that YAKUZA have always been known to deliver; a volatile and progressive miasma of controlled chaos where the fusion of progressive metal, jazz, and experimental pillage metal collide.

With “Beyul” YAKUZA have followed-up “Of Seismic Consequence” with another storming and moving triumph that will even bring more recognition and respect to YAKZUA, the recognition they should have been getting since the beginning of their career. Led once again by renaissance musician and band vocalist/saxophone player Bruce Lamont, “Beyul” continues to see YAKUZA’s revolutionary style that they’ve always known to carry come to the fore. While at the same time the band taking it to the next level with a stronger sense of straightforward more-accessible songwriting and melody that finds its way within the storming chaos, which has only heightened the YAKUZA listening experience that much more.

Tracklisting for “Beyul” goes as follows:

1. Oil And Water
2. The Last Day
3. Man Is Machine
4. Fire Temple And Beyond
5. Mouth Of The Lion
6. Species
7. Lotus Array

Marking the band’s fourth release, “Alight In Ashes” is essentially the culmination of the band’s music oeuvre and experience, climaxing in a result that is easily MENACE RUINE’s best album to date. By musically defining itself as a triumphant amalgamation of martial ambient, industrial, noise, neo-folk, and black metal, “Alight In Ashes”, an album which harks back to the vibe and feeling of the band’s second release “The Die Is Cast”, where more of an emphasis is placed on the structure of melody and rhythm. But taken that much further with “Alight In Ashes”, the album which showcases MENACE RUINE at the height of their powers; almost like a deadly fuse between Nico, Burzum, A Moon Lay Hidden Beneath A Cloud, and Merzbow.

Presented in a gorgeously designed and constructed digipack, tracklisting for “Alight In Ashes” goes as follows:

1. Set Water To Flames
2. Salamandra
3. Burnt Offerings
4. Arsenikon (Faded In Discord)
5. Disease Of Fear
6. Cup Of Oblivion

Entitled “Test Of Submission”, this is the sixth full-length album in DYSRHYTHMIA’s repertoire and the band’s most-intense and accomplished album to date. Already going on a decade-plus career, DYSRYHTMIA were one of the first prominent bands to bring awareness to the instrumental progressive metal movement in America, in an age where there were not even a handful of bands attempting to do what DYSRHYTHMIA were doing in music; setting new standards and helping to create a new movement within extreme metal all on their own. The band would gain even more prominence as part of the Relapse Records roster where not only members from DYSRYHTMIA (them of course being guitarist Kevin Hufnagel, bassist Colin Marston, and drummer Jeff Eber) would also be defined by their musical and playing fortitude, but said members would continue to make a name for themselves even further within such bands as Gorguts, Krallice, Vaura, Byla, and …Behold The Acrtopus.

Nonetheless, such accomplished musicians have once again come together to make a new album at a time where there seems to be a overbearing glut of bands attempting to prove their worth in some rat-race to see which band can outdo themselves in technical prowess or whatever. DYSRHYTHMIA’s “Test Of Submission” will singlehandedly prove this trio’s superiority. With ease.

Tracklisting for “Test Of Submission” goes as follows:

1. In Secrecy
2. Test Of Submission
3. The Line Always Snaps
4. Running Towards The End
5. In The Spirit Of Catastrophe
6. The Madness Of Three
7. Like Chameleons
8. In Consequence

Emerging as one of the most revered new bands within the ever polarizing movement of this present day American black metal scene, ASH BORER are a band that will be known as of the pillars within the genre. Through violent waves of harsh virulent sonic ambiance, the time-expanding songs that ASH BORER manifest hold true to a certain aspect of the essence of black metal; on a sonic level ASH BORER’s brand of unearthly trance-inducing ambient black metal holds its own ground by upholding the genre’s aesthetic, while on a lyrical and thematic level, ASH BORER do touch upon subjects that deal with spiritual themes and religious initiation, all while harboring that slight aura of mystique and mysticism they also present.

Nonetheless, “Cold Of Ages” (which also features a guest appearance by Jessica Way of WORM OUROBOROS on the tracks ‘Convict All Flesh’ and ‘Removed Forms’) is a surging and hypnotizing sonic pillage that stands as one of the defining moments of America’s present-day black metal scene.

Tracklisting to “Cold Of Ages” goes as follows:

1. Descended Lamentations
2. Phantoms
3. Convict All Flesh
4. Removed Forms

The band’s first release since 2007’s “A Caress Of The Void” and their fifth monolith in their unparalleled repertoire (one in which every EVOKEN album is a milestone in the death/doom genre in its own right), “Atra Mors” is another new turning point for the band and an album which will be considered an essential pillar within the death/funeral/doom metal genre.

While still harboring the dirge-like monolith of EVOKEN’s signature sound of unrelenting and overbearing colossal heaviness and enveloping atmosphere of pure death, “Atra Mors” sees the band unearth their most diverse and dynamic offering to date. Diverse and dynamic as said terms to serve as a deterrent towards the band’s old-school/die-hard fan-base, especially considering “Atra Mors” encapsulates some of the heaviest, most-brutal, and darkest sounds the EVOKEN have ever unleashed, but more or less embraces what the band have culminated in their 20-year career by taking their sounds to new expansive and vast musical realms. By divulging in a stronger use of melody, while at the same time incorporating more old-school death metal moments to their sound and heightening the atmosphere even more through various forms of experimentation, “Atra Mors” will stand defiant and define itself as the band’s most accomplished album to date. It’s also the heaviest and most-enormous sounding doom metal album you’ll hear all year.

Tracklisting for “Atra Mors” goes as follows:

1. Atra Mors
2. Descent Into Chaotic Dream
3. A Tenebrous Vision
4. Grim Eloquence
5. An Extrinsic Divide
6. Requies Aeterna
7. The Unechoing Dread
8. Into Aphotic Devastation

The most scathing HOWLING WIND album to date, and the most scathing, vicious and primal album that guitarist/vocalist Ryan Lipynsky (he of Unearthly Trance, Thralldom, The Serpentine Path and one of the most underrated and prominent musicians in the underground today) has been involved with, “Of Babalon” sees THE HOWLING WIND (also comprised of ALDEBARAN drummer/vocalist Tim “Parasitic” Call as the band’s other half) unleash their most searing work yet. An album in which Lipynsky has even dubbed one of his musical triumphs, “Of Babalon” is a genuine black metal vision that hails from the American wastelands, a vision which paints an ominous picture of the fall and destruction of mankind. A continuation of the themes and visions explored with their previous albums, “Pestilence & Peril” and “Into The Cryosphere” respectively, “Of Babalon” is a further exploration and examination of the religious, occult, and metaphysical. Where “Into The Cryosphere” was that mirror where the downfall of mankind was reflected through a kingdom of ice, “Of Babalon” is that unholy reflection through a kingdom of blood and fire.

Tracklisting for “Of Babalon” goes as follows:

1 The Seal Upon The Tomb
2 Beast Of The Sea
3 Graal
4 Scaling The Walls
5 The Mountain View
6 Abominations and Filth
7 Choronzon
8 Gateways

Following up their acclaimed “South Of Salem” comeback album, “Cauldron Of The Wild” is WITCH MOUNTAIN’s triumphant follow-up and the best work the American cult doom metal band have delivered in their career. Making up for quite a bit of lost time after their hiatus of sorts prior to “South Of Salem”, WITCH MOUNTAIN have never been on fire as they are now. And “Cauldron Of The Wild” is a reflection of the band’s entire career, culminating to the present day with a big fucking bang.

With the band’s brand of soulful, dirge-like, and bluesy amplifier-worship doom that becomes graced with the soaring vocals of Uta Plotkin, “Cauldron Of The Wild” is a surging and massive opus, while at the same time, one that’s introspective and moving.

Recorded and produced by Billy Anderson, tracklisting for “Cauldron Of The Wild” goes as follows:

1. The Ballad Of Lanky Rae
2. Beekeeper
3. Shelter
4. Veil Of The Forgotten
5. Aurelia
6. Never Know

One of the most recent and intriguing enigma’s to arise within the Bay Area underground music scene, the somewhat-elusive four-piece can be best described as a band who combine influences that range from minimalist-outsider black metal, punk, and early ’90s indie art rock reminiscent of the aura of such bands as Slint (the Slint influence much more prominent with this album). With their third album, BOSSE-DE-NAGE deliver their most intricate (on a musical and especially lyrical level), intense, and murderous album to date.

Tracklisting for “III” goes as follows:

1. The Arborist
2. Desuetude
3. Perceive There A Silence
4. Cells
5. The God Ennui
6. An Ideal Ledge

Undoubtedly the most musical and most ambitious DAWNBRINGER opus to date, Chris Black and co. have definitely raised the bar that was set with 2010’s acclaimed “Nucleus” album. An album in which finally defined and solidified this veteran American cult heavy metal band as one of the most important American heavy metal bands today.

With “Into The Lair Of The Sun God”, DAWNBRINGER’s heavy metal glory comes full-force. A concept album that follows the story of a naïve assassin and his bizarre journey that inevitably leads to its tragic end, “Into The Lair Of The Sun God” is the most epic and traditional metal-sounding DAWNBRINGER album and one where the bands’ ‘70s influence is even more prominent.

Revealed in nine untitled parts founded in the key of H (“Headless Cross”, “Heaven Forbid”, “Hammerheart”, “Hail To England”, and “Holy Diver”).

The literal follow-up full-length album to the band’s cult “Dwellers Within The Twilight” debut, and the follow-up to last year’s “Buried Beneath Aeons” EP, “Embracing The Lightless Depths” is the height of ALDEBARAN’s musical oeuvre, easily the heaviest and most searing work they’ve delivered. It is the most powerful monument in their repertoire that will seal ALDEBARAN’s fate as one of the mightiest and most important death/doom metal bands today. Emerging from their beginnings which leaned more towards a sludgier and more vitriolic breed of volatile doom, “Embracing The Lightless Depths” is the result of a threatening culmination that the Portland, Oregon cult have been building towards. One that has revealed itself as a monstrosity of apocalyptic proportions.

Recorded by legendary producer Billy Anderson, tracklisting for “Embracing The Lightless Depths” goes as follows:

1. Occultation Of Hali’s Gates
2. Forever In The Dream Of Death
3. Occultation Of Ocular Tauri
4. Sentinel Of A Sunless Abyss
5. Occultation Of Dim Carcosa

An excerpt of ‘Forever In The Dream Of Death’ can be heard here:

Featuring EMM (aka Nameless Void) of Negative Plane (vocalist/drummer V, and bassist/backing vocalist MAL complete the OCCULTATION triumvirate), “Three & Seven” is a psychedelic vortex of audial terror. A true sonic nightmare where references from ancient horror soundtrack, ‘70s prog, classic ‘80s dark rock, classic cult metal (Mercyful Fate, Death SS), and post punk (Mighty Sphincter) bleed together to create one of the most surreal, intriguing, and intimidating releases of the year. While also at the same time, serving as the fist in the face to the female-fronted occult-doom/rock movement.

Tracklisting to “Three & Seven” goes as follows:

1. The Sea of Snakes and Souls
2. The One Who Sleeps
3. Shroud of Sorrows
4. Dreamland in Flames
5. Living Portrait
6. Double Walker
7. Three & Seven

Following up their eponymous debut with a much more tragic and mournful musical observation, one where the Bay Area trio (now featuring Aesop Dekker on drums, making WORM OUROBOROS a much more well-rounded contingent) have heightened their musical craft by creating songs that are more delicate and meticulously woven than their predecessors found on the debut album. With heightened atmosphere and with a more focused approach to the songwriting, the six chapters that forge together to create “Come The Thaw” are songs that tread a fine line of introverted beauty and epic vast majesty. Like an enveloping shadow.

Tracklisting for “Come The Thaw” goes as follows:

1. Ruined Ground

2. Further Out

3. Release Your Days

4. When We Are Gold

5. Withered

6. Penumbra

Chicago, Illinois LOCRIAN have been known to create prolific and genre defying and mesmerizing works within the realm of experimental music that they are now seen as one of the most in-demand bands within the scene. By creating waves of epic ambient noise mixed with elements of such genres as black metal and soundscape drone, LOCRIAN have developed a body of work that has only been progressing more and more since their inception.

MAMIFFER was initially founded by artist Faith Coloccia after the disbanding of her experimental project Everlovely Lightningheart, With MAMIFFER, Faith began to focus more on songwriting through the paino, fusing neo-classical elements and then incorporating ambient electronic hums and reductionist metal dirge. With MAMIFFER, Faith had collaborated with a myriad of musicians but found a steadiness with her main MAMIFFER co-conspirators Travis Rommeriem and her partner Aaron Turner (of ISIS/Hydra Head Records).

With “Bless Them That Curse You” (recorded at Steve Albini’s Electrical Audio studios in Chicago and mixed by Randall Dunn in Seattle), LOCRIAN and MAMIFFER have fused their unique styles together to create something of wonder and awe, an elegant and beautiful marriage of the many layers of sound present within the vast sound canvas both bands have laid forth to bring such a collaboration to fruition. A collaboration that had even exceeded and gone much further than what each band envisioned and expected when the mere thought of collaborating arose; a musical collaboration from two forward-thinking bands that was destined to happen.

Tracklisting for “Bless Them That Curse You” goes as follows:

1. In Fulminic Blaze
2. Bless Them That Curse You
3. Corpus Luteum
4. Second Burial
5. Lechatelierite
6. Metis/Amaranthine/The Emperor

Hailing from Little Rock, Arkansas, PALLBEARER have already generated a huge buzz within the doom metal scene in their short existence as a band. And never before has a new band within doom metal gained such a reputation as quickly as PALLBEARER have. All this done with their mind-blowing three-song 2010 demo which in itself, made a big impact within the doom metal scene worldwide.

By encompassing the more traditional metal style of doom, PALLBEARER’s sound takes cue from such legendary doom metal bands as Candlemass and Trouble along with a classy ‘70s prog vibe and even an inkling of influence taken from “Gothic”/old school Paradise Lost that finds its way into the band’s epic yet sorrowful odes. Through powerful melodies, epic and somber passages of gloom, and with the stand out soaring vocals from vocalist Brett Campbell (who also made a guest appearance on the LOSS song ‘Silent And Completely Overcome’ from their “Despond” masterpiece), PALLBEARER’s debut album will not only be hailed as 2012’s traditional doom metal triumph, but it shall immediately herald the four-piece right into the doom metal echelons as one of America’s mightiest exports within the genre.

Tracklisting for “Sorrow And Extinction” goes as follows:

1. Foreigner
2. Devoid Of Redemption
3. The Legend
4. An Offering Of Grief
5. Given To The Grave

Nonetheless, the Worm Ouroboros debut is probably the closest thing we’ll ever hear to a follow up to The Gault’s incredible album “Even As All Before Us”, the only album they ever put out, mainly because Worm Ouroboros bassist/vocalist Lorraine Rath was one of the main songwriters responsible for The Gault right alongside her former songwriting partner, namely John Gossard of WEAKLING and ASUNDER fame (and we all know of Gossard’s musical pedigree and genius). Hence it would be natural that Rath’s songwriting foundation, ever so evident in The Gault, slithers its way with ease into the immaculate sound picture that Worm Ouroboros conjure. It is also noteworthy that Lorraine Rath was one of the main composers that took part in Amber Asylum’s “Still Point” masterwork, and the soothing dark sounds that encapsulated said release also find their way into the dreamy and brooding soundscapes of Worm Ouroboros.

The review from Decibel magazine tells it like it is:

WORM OUROBOROS – Worm Ouroboros (8/10) By Adrien Begrand

“We don’t have to tell you about just how male-dominated metal music has been over the last 40-odd years, but while the presence of women in the genre continues to grow these days, the question of whether or not clean female vocals on a metal album can yield results that remain true to everything the music is about remains a contentious issue. No matter how capable the singer, if it’s too delicate, too operatic, too damned melodic, for every fan, there’ll be two or three skeptics waiting to lampoon it. It’s a tricky line for a female metal singer to walk, but Lorraine Rath does so brilliantly on this debut, looking past the usual metal influences and drawing from some of the more avant-garde sounds of the past quarter century. Musically, the San Francisco trio evokes the best qualities of doom, drone and dark ambient, drawing heavily from Rath’s legendary former band the Gault; but it’s when Rath enters the fray with her understated vocals that the album takes on a tone rarely heard in extreme music. It’s like Kate Bush sitting in with Asunder, Alison Goldfrapp fronting Atavist, murky, disturbing guitar and bass offset by tender singing that somehow feels more unsettling than your usual growling dude. As a result, this stunning record leaves an instant impression, whether it’s the mellow mood piece “Goldeneye,” the dreamy “A Birth a Death” or the imperial riffing of “Riverbed.” Sure, its feminine quality is more than apparent, but it packs a unique wallop that no testosterone-fueled dummies can ever match.”

Dreamy, doomy, martial, delicate, and powerfully ambient and atmospheric, where the bridge between such genres as doom metal and dark chamber rock becomes penetrated, the tracklisting for “Worm Ouroboros” goes as follows:

1. Through Glass
2. A Birth A Death
3. Winter
4. Goldeneye
5. Failing Moon
6. Riverbed
7. Brittle Heart
8. Pearls
9. A Death A Birth

Worm Ouroboros are:
Lorraine Rath – bass/vocals/flute
Jessica Way – guitar/vocals
Aesop Dekker – drums

1- The dragon in Revelation 12:1-17 should be read as denoting greatness. He is even called “great” in scripture. It is written: And the great dragon was cast out, that old serpent, called the Devil, and Satan, which deceiveth the whole world: he was cast out into the earth, and his angels were cast out with him. (12:9)

Biblical deception is in actuality enlightenment. The war in heaven between Michael and the dragon symbolizes the nihilistic triumph of Michael’s heavenly nothingness faction: Therefore rejoice, ye heavens, and ye that dwell in them. Woe to the inhabiters of the earth and of the sea! For the devil is come down unto you. (12:12)

Christ and his angels deem earthy existence as evil and cursed. Death is valued more than life. Holiness and death are promoted over fitness and life. Heaven and nothingness are elevated to supreme status. The dragon as the hated outsider fights against Jesus and Michael. The dragon attempts to reverse the lie and invert their herd system. He is isolated because of his own spirit and nobility which are in conflict with Jesus’ herd mentality.

2- The Archangel Michael is the successful leader of a slave army who have adopted their principals from Babylonia, Egypt, Hebrew tribes, and the Hellenistic world. The dragon attempts to baptize the winged women as to purge her of Christ. It is written: And the serpent cast out of his mouth water as a flood after the woman, that he might cause her to be carried away of the flood. (12:15)

Through his forceful baptism the dragon attempts to reverse the nihilistic curse created by his defeat at the hands of the slave driver Michael and his fall from nothingness into action on earth. But the winged-woman has been controlled to the point of siding with her captors. The dragon turns his campaign for civil liberty towards the children: And the dragon was wroth with the woman, and went to make war with the remnant of her seed, which keep the commandments of God, and have the testimony of Jesus Christ. (12:17)

His holy war on the children is for their freedom. The dragon becomes a cultural physician with humanistic motivations. His motivation becomes one of liberation for the enslaved children of Michael’s faction.

3- The great dragon has carried out the will of screech owl through many incarnations throughout the biblical text. In scripture he is an agent of freedom policing the activities of Michael’s missions. Early on when the Archangel held Moses in his grasp the dragon reasoned with Michael about the harmful motivations of Moses and his cult. According to Jude the dragon as Satan shed light on the murderer but the commander for Christ would hear none of it: Yet Michael the archangel, when contending with the devil he disputed about the body of Moses, durst not bring against him a railing accusation, but said, The Lord rebuke thee. (1:9)

The dragon as the devil tried to educate Michael about the black magic that Moses usurped from Egypt. The dragon attempts to deprogram the infected agents of Christ and the priest god.

WOLD – Freermasonry
I. Opening
II. SOL
III. Free Goat of Leviticus
IV. Annex Axe
V. Dragon Owl Didacticism
VI. Dry Love
VII. Working Tools for Praxis
VIII. Free Eyes
IX. Freermasonry

Abhorred blasphemous death metal from the very depths, ANTEDILUVIAN create a bizarre conjuration of raw cavernous progressive atmospheric death metal that envelopes a miasma-like fury that summons the inevitable chaos and destruction. Through the ritualistic-like crawling rhythm section that adjoins with the twisted, complex, yet methodical fury of the guitar work that lays the backbone for the summoning, “Through The Cervix Of Hawwah” is a purging to prepare for the imminent deluge to be laid upon the feeble mortal coil. An entrance way through the womb of pestilence into the realm of perverse sin.

The term Antediluvian in itself is defined as the moment before the flood, in biblical scripture. The tracklisting to “Through The Cervix Of Hawwah” goes accordingly:

1. Rephaim Sceptre…
2. …Through The Cervix Of Hawwah
3. Intuitus Mortuus
4. Scions Of Ha Nachash (Spectre Of The Burning Valley)
5. From Seraphic Embrace
6. Luminous Harvest
7. Turquoise Infidel
8. Gomorrah Entity (Perversion Reborn)
9. Erect Reflection (Abyss Of Organic Matter)

With the new LEVIATHAN album, sole proprietor and mastermind Wrest strikes back with a vengeance with one of the most confrontational, frightening, and thought-provoking musical statements of the year.

Nonetheless, “True Traitor True Whore” is a different output than anything that Wrest has previously released under the LEVIATHAN moniker. Recorded under harsh, contemplative, sporadic and stressful circumstances through bouts of madness and decadence (all under the watchful eye of Sanford Parker within the confines of Engine Studios), the fucked up bizarre nature of “True Traitor True Whore” sees Wrest bring in a more rock element into LEVIATHAN, one influenced by ‘80s dark rock and post punk along with having a surreal prog element inherent as well. All marred with the dark ambience and the claustrophobic introverted progressive/forward-thinking black metal psychosis that only LEVIATHAN can manifest.

Tracklisting for “True Traitor True Whore” goes as follows:

1. True Whorror
2. Her Circle Is The Noose
3. Bring Up To This Bottom
4. Contrary Pulse
5. Shed This Skin
6. Every Orifice Yawning Her Price
7. Harlot Rises (Mesmerized Again)
8. Blood Red And True

Following up their “Black Marketeers Of WWIII” debut and simply leveling anything previous within their repertoire, “The Obsidian Plains” sees this American pillage machine take their musical pedigree to a whole new level. With several shifts in the line-up for the band’s benefit (the band now ranks ex-Nachtmystium guitarist Jeff Wilson), the final result that has become “The Obsidian Plains” (once again produced by Sanford Parker) is a hateful vision fueled by an indulgence within a world of destruction, blasphemy, decadence, drug and alcohol abuse, misanthropy, occultism, and pure fucking nihilism.

Being the kind of album which one would feel the elation and ultimately the need to pillage, defile, and ultimately desecrate the nearest ground of all that is holy and pastoral, tracklisting for “The Obsidian Plains” goes as follows:

1. The Gleaming
2. Writhe
3. Bones Of The Pious
4. Ghosts In The Water
5. Shadowhorn
6. A Defined Aesthetic
7. The Sentinels

What is easily and by far the band’s most accomplished work to date, the Chicago psychedelic sludge/progressive metal quintet have delivered an album where the three-pronged guitar/dual vocal machine have deployed a stronger focus on their songwriting and delivering nine solid hard-hitting, pummeling, catchy yet moving and atmospherically lush songs that comprise the observation known as “An Ache For The Distance”. Production wise, the band have also stepped it up in this department likewise, delivering a more professional and grand sounding album, one produced by the band’s guitarist/keyboardist Andrew Ragin along with the monstrous mastering job provided by James Murphy.

With the band setting the mark with their “A Glorified Piece Of Blue Sky” debut, and already having done a plethora of touring alongside the likes of such bands as Helmet, Crowbar, Eyehategod, Coalesce, St. Vitus, Kylesa, Nachtmystium, Harvey Milk etc. the band will be likewise hitting the road hard for “An Ache For The Distance”, to bring you one of the most accomplished albums of 2011 on the live front.

Following up their triumphant comeback album “The Great Cessation”, YOB have once again created another opus of doom metal mastery that will go down as one of the great American doom metal albums of our age (even though you can pretty much say that with any album within YOB’s repertoire). But with “Atma” the Eugene, Oregon three-piece, led by vocalist guitarist Mike Scheidt, have unleashed a new level of dynamics and depth with an album in which many will call the band’s magnum opus.

Transcending (there’s that word again) the foreboding darkness and oppression that was “The Great Cessation”, “Atma” sees YOB continue their soul searching cycle of reaching that higher state of being through five crushing spiritually levitating tracks of pure doom metal mastery. The word “Atma” is defined as the existence of the core of the soul and that the highest value of knowledge comes from one’s true self. In turn, “Atma” is the culmination of YOB’s career that has reached a current self-reflective peak in their musical journey.

Featuring a guest appearance by Scott Kelly of NEUROSIS and artwork by Stevie Floyd of DARK CASTLE, and packaged in a gorgeously designed digipack designed by Aaron Edge, tracklisting for “Atma” goes as follows:

1. Prepare The Ground
2. Atma
3. Before We Dreamed Of Two
4. Upon The Sight Of The Other Shore
5. Adrift In The Ocean

“Hands That Pluck” is presented as a two-disc set which features the new and most overwhelming CAINA full-length to date, “Hands That Pluck” and a bonus disc which is a 54 minute EP entitled “Old Songs, New Chords”.

Solely commanded by young UK musical visionary Andrew Curtis-Brignell, when he started CAINA at 17 years old, he had already been experimenting by mixing such genres as raw black metal, shoegaze, and post metal together much before said trend exploded into the scene and before bands of said ilk came pouring out by the droves.

Brignell’s vision was much deeper, more profound, and ultimately a unique vision like no young artist had ever portrayed in the underground black metal scene, musically and lyrically. “Hands That Pluck” is the ultimate culmination of the CAINA aura, one that was built upon with the initial demos and developed through a sky melting repertoire that encompassed a unique creative fervor.

“Hands That Pluck” nonetheless is the most ambitious, experimental, progressive and unique CAINA album yet. Also it is CAINA’s bleakest, most aggressive and punishing album as well and is the first CAINA album that Brignell has brought in a cast of musicians to help shape and complete the vision for “Hands That Pluck”. Featuring guest vocals from Imperial (KRIEG), R. Resmini (STARKWEATHER), and C. Ross (BLOOD REVOLT/REVENGE/AXIS OF ADVANCE), the appearance from these accomplished musicians also help make “Hands That Pluck” the most diverse CAINA album to date and help make the final CAINA album a suitable finality.

The two-disc set packaged in a six-panel digipack, tracklisting for “Hands That Pluck” goes as follows:

1. Profane Inheritors
2. Murrain (vocals by Imperial)
3. Hands That Pluck
4. The Sea Of Grief Has No Shores
5. Callus And Cicatrix (vocals by Rennie Resmini)
6. Somnium Ignis
7. Haruspication
8. I Know Thee Of Old (vocals by Chris Ross)
9. Ninety-Three


The second bonus disc included with “Hands That Pluck” as mentioned is the “Old Songs, New Chords” EP. Comprising 54 minutes, “Old Songs, New Chords” contains several re-worked CAINA songs in a new interpretation vs. their newly re-mastered original versions. It also contains a cover of a NICO song.

Tracklisting for “Old Songs, New Chords” goes as follows:

1. Some People Die (re-interpretation of the song “Some People Fall” originally from the album “Some People Fall”)
2. Validity (re-interpretation of the song“The Validity Of Hate Within An Emotional Vacuum” originally from the album “Some People Fall”)
3. The Last Song (re-interpretation of the song “Permaneo Carmen” originally from the album “Mourner”)
4. To Funk The Night Up By Its Shit (re-interpretation of the song “To Pluck The Night Up By Its Skin” originally from the self-titled Caina EP)
5. Roses In The Snow (Nico cover)
6. Some People Fall
7. The Validity Of Hate Within An Emotional Vacuum
8. Permaneo Carmen
9. To Pluck The Night Up By Its Skin

Featuring death metal legend Craig Pillard (ex-INCANTATION/DISCIPLES OF MOCKERY), one of the most influential death metal vocalists of all time, and members of current U.S. death metal gods FUNEBRARUM, CITIZEN’S ARREST, and other INCANTATION alumni, DISMA’s towering debut album (which follows their highly-praised, now out of print “Vault Of Membros” demo) is a monolith of down-tuned doomy death metal terror that just seethes of old-school death metal glory.

Captured purely on analog without the means of any digital computer enhanced trickery or any triggered effects which seems to be the means for most modern-day pseudo death metal nonsense and where fake social awareness/tech death metal bands seem to cater towards, the power inherent in “Towards The Megalith” manifests itself as the complete antithesis and the ultimate sledgehammer death blow to the head of polished modern-day death metal.

Like the ominous tomb of humanity in which it represents, “Towards The Megalith” is a crawling and lurking monster, a suffocating yet epic vision of death metal horror and doom that will solidify this as one of the most prominent death metal albums of the year.

Packaged in a six-panel digipack that’s adorned by some of the most incredible artwork that could ever grace a death metal album (and there will be no death metal album released this year whatsoever that will have artwork as stunning as jaw-dropping as this), tracklisting for “Towards The Megalith” goes as follows:

1. Chaos Apparition
2. Chasm Of Oceanus
3. Spectral Domination
4. Vault Of Membros
5. Purulent Quest
6. Lost In The Burial Fog
7. Of A Past Forlorn
8. Towards The Megalith

Masterminded by its sole visionary Andrew Markuszewski (who is also an active member of NACHTMYSTIUM and LORD MANTIS), AVICHI’s follow-up to the 2007 “The Divine Tragedy” debut is a much more advanced and progressive observation, on a musical and lyrical level.

By capturing that ancient black metal spirit and combining it with a challenging and forward-thinking musical template created by Markuszewski’s impeccable vision of black metal, one comparable and not unlike that brought forth from such present day black metal luminaries as Deathspell Omega, Negative Plane, and Leviathan, AVICHI’s “The Devil’s Fractal” comes across as an enlightening, strong-willed and thought provoking diabolical journey of pure black metal terror.

As told through a voyeuristic glimpse into the world and actions of Satan, tracklisting for “The Devil’s Fractal” goes as follows:

1. Sermon On The Mount
2. Under Satan’s Sun
3. Tabernacle Of Perdition
4. Kaivalya Of The Black Magician
5. I Am The Adversary
6. The Devil’s Fractal Part I
7. The Devil’s Fractal Part II

Featuring members that have been involved in such notable bands as GRIEF (guitarist Jeff Hayward), DISRUPT, and FILTH OF MANKIND (guitarist/vocalist Milosz Gassan), and known for having their name embedded on DARKTHRONE’s mascot Max Necro’s leather jacket (as shown on the cover of the Norwegian’s “Circle The Wagons” album, both Fenriz and Nocturno Culto both endorsing MORNE), MORNE’s follow-up to their acclaimed debut “Untold Wait” (released late 2009) is a vast expansion on their massive and unbelievably heavy sound canvas that had already helped define their sound.

Emerging from the crust/hardcore scene upon their inception in 2005, MORNE’s sound would become synonymous with that of old-school NEUROSIS (“Souls At Zero”/”Enemy Of The Sun”/”Through Silver In Blood” era) while also incorporating influences by the likes of such bands as BOLT THROWER, DISCHARGE, SWANS, PINK FLOYD, and JOY DIVISION.

“Asylum” (which features a guest appearance from JARBOE and AMBER ASYLUM’s Kris Force on the track ‘Volition’) sees MORNE take their sound further into that of epic grandeur and sprawling vast sonic mastery. More progressive, doomier, more atmospheric and cinematic, “Asylum” is an observation where crushing all-encompassing heaviness seams itself with sonic beauty.

Tracklisting for “Asylum” goes as follows:

1. Asylum
2. Edge Of The Sky
3. Nothing To Remain
4. I Will See You
5. Killing Fields
6. My Return
7. Volition

Easily the most all-encompassing and dynamic work the duo of guitarist/vocalist Stevie Floyd and drummer Rob Shaffer have delivered, “Surrender To All Life Beyond Form” finally captures the essence of DARK CASTLE the way it was meant to be portrayed; through the vast energy and uncompromising heaviness of their highly praised live show.

Recorded and produced by Sanford Parker, who has given DARK CASTLE their best sounding output to date, DARK CASTLE’s brand of doom metal is unique in a way that the songs don’t depend on long, plunging drawn out pieces to create the effect the duo harness, but instead create an overwhelming sense of heavy dark atmosphere through a series of vicious, pummeling, and progressively structured songs that bleed together seamlessly to create an opus that will unforgivingly take hold of the listener without mercy. By combining a sense of deep spirituality and a very dark bludgeoning monolithic doom metal aesthetic at this album’s core, “Surrender To All Life Beyond Form” will serve as one of the most intriguing doom metal albums of the year.

Featuring guest appearances by Mike Scheidt of YOB, Blake Judd of NACHTMYSTIUM, Nate Hall of U.S. CHRISTMAS, and Sanford Parker himself, along with the album being adorned by some of the most beautiful and stunning artwork courtesy of Stevie Floyd herself, tracklisting for “Surrender To All Life Beyond Form” goes as follows:

1. Surrender To All Life Beyond Form
2. Stare Into Absence
3. Create An Impulse
4. Seeing Through Time
5. Heavy Eyes
6. Spirit Ritual
7. To Hide Is To die
8. I Hear Wind
9. Learning To Unlearn

In what has seemed like an eternity to finally manifest, after years of struggle, suffering, and torment, “Despond” is the culmination from a band driven by depression, anxiety, illness, despair, fear, and pain. “Despond” is an album that will serve as the soundtrack to a funeral march towards ruin, decay, and utter oblivion.

One of the most negative, somber, yet moving and emotionally draining funeral/death doom metal albums of any era, “Despond” is a testament, a musical epoch that will force you to confront what will inevitably await upon the doomed horizon.

Featuring four unique interludes created by each member of LOSS that seam the entire discourse of “Despond” together, tracklisting for “Despond” go as follows:

1. Weathering The Blight
2. Open Veins To A Curtain Closed
3. Cut Up, Depressed And Alone
4. Deprived Of The Void
5. An Ill Body Seats My Sinking Sight
6. Despond
7. Shallow Pulse
8. Conceptual Funeralism Unto The Final Act (Of Being)
9. Silent And Completely Overcome (feat. guest vocals from Brett Campbell of PALLBEARER)
10. The Irreparable Act

Formed by accomplished musician/artist Josh Graham (also a member of NEUROSIS and formerly of such acclaimed acts as BATTLE OF MICE and RED SPAROWES), A STORM OF LIGHT (in which their previous preceding albums were released by Neurosis home-base Neurot Recordings) have developed into quite the unique contingent in their fairly short career span.

By initially combining elements of sludge and doom metal, post metal, and epic ambient soundscape experimental music, with their third album, “As The Valley Of Death Becomes Us, Our Silver Memories Fade”, A STORM OF LIGHT have developed even further into a much more potent and cohesive unit with what ultimately is easily their strongest release to date.

By embracing musical templates more associated with traditional metal (i.e. mid-era Metallica) and traditional rock (i.e. AC/DC, QOTSA), while still maintaining the band’s forward thinking progressive vibe, “As The Valley Of Death Becomes Us…” presents a more song-oriented A STORM OF LIGHT while at the same time, a band that has incorporated a heavier, harder-hitting, and ultimately darker and more crushing vibe to their music. Out of all of his musical and artistic endeavors Graham has been involved in the new A STORM OF LIGHT album will stand as one of his most prominent accomplishments.

Featuring a guest appearance by SOUNDGARDEN lead guitarist Kim Thayil, along with featuring guest-appearances by Jarboe (ex-SWANS), Kris Force (AMBER ASYLUM), Nerissa Campbell, and members of SLEEPYTIME GORILLA MUSEUM, BOOK OF KNOTS, and U.S. CHRISTMAS, “As The Valley Of Death…” is packaged in a gorgeously designed thick 8-panel wallet digipack (one of Graham’s best designs ever) with a protective CD sleeve. Tracklisting for “As The Valley Of Death…” goes as follows:

1. Missing (feat. Kim Thayil)
2. Collapse (feat. Jarboe)
3. Black Wolves (feat. Kim Thayil and Nerissa Campbell)
4. Destroyer
5. Wretched Valley
6. Silver
7. Leave No Wounds
8. Death’s Head
9. Wasteland (feat. Jarboe and Kris Force)

In what is ALTAR OF PLAGUES’ most visceral and darkest musical offering to date, “Mammal” is an unforgiving bleak journey which makes us confront and explore what really lies behind the inevitable conclusion of our state of mortality and piercing into the unraveling and coming-undone of this mortal coil.

Captured in four lengthy tracks, “Mammal” is a gut-wrenching musical epich that sees ALTAR OF PLAGUES deliver what is undoubtedly the masterwork of their repertoire, taking their influence of black metal, ambient, post-metal, and experimental music that much further down the endless depths unknown.

Featuring artwork by Timo Ketola (exclusive to the Profound Lore version of “Mammal”) and packaged in a six panel wallet digipack with a protective CD sleeve, tracklisting for “Mammal” goes as follows:

1. Neptune Is Dead (18:44)
2. Feather and Bone (11:42)
3. When The Sun Drowns In The Ocean (8:18)
4. All Life Converges To Some Center (13:15)

The new KRALLICE album is not only their darkest, most dense, and heaviest release to date, but the masterpiece they’ve threatened to deliver upon their inception.

Tracklisting for “Diotima” goes as follows:

1. -
2. Inhume
3. The Clearing
4. Diotima
5. Litany Of Regrets
6. Telluric Rings
7. Dust and Light

Easily delivering their most crushing and devastating release in their ten-plus year career, “Venerable” will serve as mere proof that KEN MODE are one of the most prominent and elite acts within the landscape of today’s hardcore/noiserock crossover scene. Considering that “Venerable” will solidify KEN MODE as Canada’s premiere and most important hardcore band today, “Venerable” will also be the album in which will create more awareness for the Canadian trio, and allow KEN MODE to get the recognition they deserve. This will be proven, not only with the pillaging material on “Venerable” (captured, recorded, and produced by Converge guitarist Kurt Ballou), but also with KEN MODE’s unrelenting and jaw dropping live show in which the band are pretty much gonna glorify all year round during endless tour jaunts.

We recently read if Voivod and Cursed had kids and they formed a noiserock band, that KEN MODE would be it and basically we’ve always assessed that KEN MODE could very well be one of the bands within Canada today that are qualified to help carry on a band like Voivod and Cursed’s legacy. Just imagine this scenario: Voivod, Cursed, Unsane, and The Jesus Lizard had a fisting orgy. And that’s some idea what “Venerable” will offer. But along with such other elements as post rock/metal and even a touch of sludge and a bit of doom, KEN MODE’s sound canvas is as diverse and colourful as it is punishing and destructive.

Packaged in a gorgeously designed 6-panel digipack and featuring artwork courtesy of Julie Anne Mann and Josh Graham (A Storm Of Light/Neurosis/Soundgarden/Shrinebuilder etc.), tracklisting for “Venerable” goes as follows:

1. The Book Of Muscle
2. Obeying The Iron Will
3. Batholith
4. The Irate Lumberjack
5. A Wicked Pike
6. Flight Of The Echo Hawk
7. Never Was
8. The Ugliest Happy You’ve Ever Seen
9. Terrify The Animals
10. Mako Shark

Easily delivering their most accomplished and most entrancing album yet (NHFTMO being their third release), the female dominated doom contingent are destined to bring even more awareness to their brand of spellbinding amplifier worship. By delivering their heaviest release to date, SUBROSA’s music is a culmination of supernatural down-tuned guitar and low-end bass, the dark air of two eerie violins, thunderous raw percussion, and seductive female vocals. To get a glimpse of the diabolical sound that SUBROSA conjure, imagine a haunting mix of PJ HARVEY, KYUSS, L7, COVEN, and Appalachian Murder Ballads filtered through the ghostly vibes of American gothic tragedy.

Mixed and mastered by MARDUK bassist Magnus Devo Andersson and featuring artwork from the great artist Glyn Smyth of Scrawled Design, tracklisting for “No Help For The Mighty Ones” goes as follows:

1. Borrowed Time, Borrowed Eyes
2. Beneath The Crown
3. Stonecarver
4. The Inheritance
5. Attack On Golden Mountain
6. Whippoorwill
7. House Carpenter
8. Dark Country

SUBROSA are:
Rebecca Vernon: Guitar, vocals
Sarah Pendleton: Electric violin, vocals
Kim Pack: Electric violin, vocals
Dave Jones: Bass
Zachary Hatsis: Drums

GRAYCEON’s third album, “All We Destroy”, is the album the eclectic Bay Area trio have been threatening to make since their inception.

Comprised of cello (Jackie Perez Gratz), guitars (Max Doyle), drums (Zack Farwell), and vocals (Perez Gratz and Doyle), GRAYCEON are a band unlike anything that has been procured in heavy music. Known to create elongated time-stretching odes by combining progressive metal, neo-classical/chamber music, and down-tuned baroque-esque sludge doom, “All We Destroy” is already being heralded as the band’s masterpiece. Heavier, more ferocious, yet more elegant and beautiful, “All We Destroy” is the musical soundtrack to a frantic journey filled with tales of deceit, revenge, and broken hearts, all weaved through the scope of modern-day tragedy.

A quick background check on the accomplished musicians that comprise GRAYCEON:

– Jackie Perez Gratz is also the vocalist and cellist for aquatic doom metal outfit GIANT SQUID and was once a part of chamber neo-classical masters AMBER ASYLUM. She has also has served as the recording cellist for such bands as NEUROSIS, CATTLE DECAPITATION, OM, TODAY IS THE DAY, and most recently appeared and composed all the cello parts featured on the latest AGALLOCH album “Marrow Of The Spirit”

– Max Doyle and Zack Farwell are also members of one of the most underrated thrash bands in the U.S. today, namely the VOIVOD-influenced band WALKEN. Come to think of it, WALKEN are pretty much the only thrash band we like today.

Tracklisting for “All We Destroy” goes as follows:

1. Dreamer Deceived
2. Shellmounds
3. We Can
4. Once A Shadow
5. A Road Less Traveled
6. War’s End

The approach to Portal’s style of death metal has always treaded the fine line between sheer madness and the intricately artful. Cinematic in scope, like a death metal interpretation of The Cabinet Of Dr. Cagliari or the death metal soundtrack to an ancient silent arthouse flick gone terribly awry, Portal have pretty much transcended the interpretation of what death metal should portray, and simply inverted and twisted it to no end. Even moreso with “Swarth”.

Almost serving as the missing link between Portal’s previous abominations (namely “Seepia” and “Outre”), “Swarth” continues to bring the band’s aesthetic to new disturbing levels of unease. Musically, “Swarth” is very labyrinth-like, very claustrophobic and suffocating where twisted counterpoint and scathing dissonance merge with earth scraping atmosphere to unveil the inevitable rising chaos.

And as usual, with every Portal release, what is surely to divide and polarize death metal enthusiasts who either realize the substance, depth, and genius that Portal portray and the ones who simply cannot comprehend or understand the enigma that is Portal. And those who continue to be indifferent and can’t seem to form any kind of opinion or expression because Portal’s music is so fucked, uneasy, and just wrong in a way that it continues to push and tear the boundaries of extremity within death metal like no other band can through the filth, mire, and the utter crawling chaos that unearths itself through each chapter that creates a Portal release as a whole. Nonetheless, no death metal band has created such debate and dialogue as Portal have, and surely with “Swarth”, such debate and dialogue will no doubt continue, confuse, and perplex. Nonetheless, this is how Portal’s music, in a way, thrives.

Tracklisting for “Swarth” goes as follows:

1. Swarth
2. Larvae
3. Illoomorpheme
4. The Swayy
5. Writhen
6. Omenknow
7. Werships
8. Marityme

Meticulously and obsessively pieced together over a period spanning several years, “Parasignosis” takes the sound MITOCHONDRION formulated on their “Archaeaeon” debut and stretches it even further through an infinite sonic vacuum of cosmic death metal horror. Through its flowing and cyclical nature, “Parasignosis” is a death metal album that summons a dark and sinister atmosphere like no other. An album that creates otherworldly ambience through the vast layers of intricately placed sounds formulated through a multitude of sonic textures that help to create one of the most brutal, chaotic, psychedelic, and most challenging and overwhelming death metal albums of our time. Even though “Parasignosis” can be quite the exhausting listen, its overbearing and suffocating nature is what makes such an album a unique all-encompassing overpowering listening experience.

Featuring stunning artwork created by Alexander Brown, tracklisting for “Parasignosis” goes as follows:

1. Plague Evockation (Pestilentiam Intus Vocamus, Voluntatem Absolvimus Part I)
2. Lex Ego Exitium (Pestilentiam Intus Vocamus, Voluntatem Absolvimus Part II)
3. Tetravirulence (Pestilentiam Intus Vocamus, Voluntatem Absolvimus Part III)
4. Trials
5. Rift/Apex
6. Parasignosis
7. Banishment (Undecaphosphoric)
8. Kathenotheism

Presenting a much darker, colder, and harsher opus than anything the Pacific Northwest dark metal legends have come forth with, “Marrow Of The Spirit” also sees AGALLOCH deliver their most epic and cinematic album to date. Where moments from the band’s entire repertoire have seeped their way into this latest observation, “Marrow Of The Spirit”, presents a new chapter in the AGALLOCH legacy that wholly defines itself as its own distinct entity. Where each of the six compositions that conspire to create the apocalyptic journey that is “Marrow Of The Spirit” are their own individual segments that stand onto themselves, the overall balance created when conjured together becomes an emotionally stirring pillage into an otherworldly realm of darkness and despair.

“Marrow Of The Spirit” is also the first album to feature new AGALLOCH drummer Aesop Dekker (also in Profound Lore acts LUDICRA and WORM OUROBOROS) and features guest appearances by cellist Jackie Perez Gratz (GRAYCEON, GIANT SQUID, ASUNDER, AMBER ASYLUM), Jeffrey Neblock (VINDENSANG), and Nathan Carson (WITCH MOUNTAIN, TWO-TON BOA, SUNN 0)))).

Presented in a six-panel digipack with a 12-page booklet all in spot gloss, tracklisting for “Marrow Of The Spirit” goes as follows:

1. They Escaped The Weight Of Darkness [3:41]
2. Into The Painted Grey [12:25]
3. The Watcher’s Monolith [11:46]
4. Black Lake Nidstang [17:34]
5. Ghosts Of The Midwinter Fires [9:40]
6. To Drown [10:27]

What is easily one of the most punishing time-stretching doom metal albums of the year, “Terminal” is an album which treads the fine line of doom metal minimalism and expansiveness simultaneously. Where an introverted claustrophobic and very stripped-down plodding assault on the senses is complimented with a vast and open sound picture, “Terminal” is an album that provides that glimpse into an apocalyptic cleansing, where downfall, destruction, rebirth, and resurrection all become imminent. Such a scenario was captured by the amplifier abuse of guitarist Rob Moore, the thunderous ritualistic doom-hammers of Aaron Deal, and the intense guttural flesh tearing vocals of Kat. A scenario that separates SALOME as one of the most distinct and intense extreme doom metal acts today.

Packaged in a gorgeous six-panel wallet digipack comprised of haunting yet very minimalistic artwork (along with featuring artwork by Fade Kainer) tracklisting for “Terminal” goes as follows:

1) The Message
2) Terminal
3) Master Failure
4) Epidemic
5) An Accident Of History
6) The Witness
7) The Unbelievers

“The Animal Spirits” is an album that continues in the classic SLOUGH FEG tradition, once again proving that SLOUGH FEG are not only the most notorious cult heavy metal band within the underground but one of America’s most important traditional heavy metal bands in the last 15 years. “The Animal Spirits” is SLOUGH FEG’s eight studio full-length release amongst a career that spans 20 years. It is another fantastic gem that will not only go nicely alongside such SLOUGH FEG classics as “Traveller”, “Down Among The Deadmen” and “Twilight Of The Idols” but will, in general, fit adequately amongst SLOUGH FEG’s entire illustrious metal repertoire (one in which no American metal band in the underground can even touch) as another chapter to remind the heavy metal scene (and its consuming fans) what true genuine metal should be all about.

As for the significance of the album title “The Animal Spirits”, vocalist/guitarist and overall metal iconoclast Mike Scalzi delves further: “The title sounds like it could mean plenty of things, but really refers to an Aristotelian theory of perception that was somehow taken seriously until the mid to later 1700′s (?!) Why this was I don’t know, but it involves these bizarre fluid called ‘animal spirits’ traveling through a person’s veins carrying information of what they have perceived, storing it in the heart, and then releasing it again when that thing is remembered. It really a primitive precursor to the idea of neurons firing in a chain, containing ideas. So that’s what people will find if they do a little research about the title.”

Going further into the themes of the album, Scalzi elaborates: “The content of the record is (subject wise) is not too far from usual SLOUGH FEG material. The first two songs are about Medieval Catholic theology. Then it switches to basic horror themes, a couple of songs about some insane person who thinks he’s a vampire, and then a werewolf (inspired by the Gothic soap-opera ‘Dark Shadows’) then there’s one of our weird ‘what if Dicky Betts of the Allman Brothers had joined Iron Maiden in 1980’ instrumentals. Then a few more songs about frustration, misery and madness, and a final fast, driving rock/metal number called ‘Tactical Air-War’, which will be sung by Bob Wright of Brocas Helm!”

And speaking of the mighty Mike Scalzi, he has just begun his Bullpen Bulletins column on respected metal site Invisible Oranges. You can read his first entry HERE and check out the storm of comments he has caused.

Tracklisting for “The Animal Spirits” goes as follows:

1. Trick the Vicar
2. The 95 Thesis
3. Materia Prima
4. Free Market Barbarian
5. Lycanthropic Fantasies
6. Ask the Casket
7. Heavyworlder
8. The Tell-Tale Heart
9. Kon-Tiki
10. Second Coming
11. Tactical Air-War

Four years after the bizarre and strange (in a good way of course) and extremely addicting “In Sickness And In Dreams” album, DAWNBRINGER (masterminded by multi-instrumentalist Chris Black, also of Superchrist, High Spirits, Nachtmystium, and Pharaoh fame) return strong with “Nucleus”, an album that continues to uphold the unique character of DAWNBRINGER by showcasing an album of infectious and triumphant heavy metal glory. Metal that is of course inspired by the glory days of the NWOBHM (Di’Anno era Iron Maiden, ‘70s Judas Priest etc.) and classic progressive metal and rock (Blue Oyster Cult etc.) while at the same time “Nucleus” pushes the state of today’s heavy metal genre forward simply by giving it that much more class and substance. Overall, “Nucleus” is pretty much one of the most forward-thinking true heavy metal albums you’ll hear today.

Recorded by Sanford Parker (who has gone on record to say that this is one of the best albums he’s ever recorded) at Semaphore Studios, tracklisting for “Nucleus” goes as follows:

1. So Much For Sleep
2. You Know Me
3. The Devil
4. Swing Hard
5. Cataract
6. Like An Earthquake
7. All I See
8. Old Wizard
9. Pendulum

Known as one of the most unique and creative bands that have dwelled within the death metal underground since the Australian horde’s inception almost 20 years ago, STARGAZER’s brand of complex esoteric death metal is unlike anything out there, a bizarre entity that create magik through intricately woven musical chaos.

Almost like a summoning that conjures a mix of Coroner’s “Mental Vortex”, Atheist’s “Unquestionable Presence”, and Morbid Angel’s “Blessed Are The Sick”. over the many years that STARGAZER have been a force, the band have amassed quite the reputable cult following through their demos, the many splits and EP’s they’ve released (“A Great Work Of Ages” is technically their second full-length album). STARGAZER are a band who pretty much attract death/black/extreme metal fans who are looking to indulge in bands that like to push the envelope even further within the genre. Hence STARGAZER is a band within death metal that, along with their fellow countrymen Portal, are tearing boundaries within the genre, expanding what it has to offer and destroying all limitations and conceived perceptions on death metal as a whole. Nonetheless, STARGAZER are a band who embody an aesthetic that emanates an air of sophistication through sheer and utter chaos.

Tracklisting for “A Great Work Of Ages” goes as follows:

1. Red Antlered Radiant
2. Passing Stone – Into The Greater Sun
3. Pypes of Psychosomatis
4. Refractive Convex Continuum
5. Chase For The Serpentsong
6.The Morbid Slither, The Sinner Slough
7. Hue-Man-King
8. Formless Face of the Timeless Faceless

Stargazer are:
The Serpent Inquisitor (Guitars/Vocals)
The Great Righteous Destroyer (Bass/Vocals)
Selenium (Drums)

COBALT multi-instrumentalist Erik Wunder returns, this time with a new venture that goes under the moniker of MAN’S GIN, the singer-songwriter project he initially spawned in 2005 when he was living back in Denver, Colorado.

Since re-locating to Brooklyn, NY last year Wunder decided to take MAN’S GIN to the next level while riding on the critical acclaim that was befalling COBALT’s “Gin” album. What initially started as a project where it was pretty much Wunder and a friend in Colorado wielding their acoustic guitars, along with endless bottles of whisky and Wunder putting his soulful voice to good use, Wunder would create what is now known as “The Rum Demos”, which were the initial MAN’S GIN recordings that were merely passed amongst solely to close friends in Wunder’s circle (with the odd backyard gig ensuing).

Once Wunder moved to Brooklyn, he then decided to round up two accomplished local musicians, namely Josh Lozano (also of Inswarm and part of Jarboe’s live band) on upright bass and guitarist/pianist Scott Edward to make MAN’S GIN a proper and a real band. Wunder would of course round off the band on vocals, guitars, and drums respectively and begin to slave away at new music until the band would inevitably enter Colin Marston’s (KRALLICE, Gorguts etc.) Thousand Caves Studio in the bellowing month of January 2010 where during three weeks of labor and uncertainty, MAN’S GIN’s debut album “Smiling Dogs” would eventually manifest.

In what can be best described as an album which takes an intimate singer-songwriter approach to its odes which serve as a suitable soundtrack to the desolate and ghostly underbelly of America, “Smiling Dogs” can be referenced through several genres like Americana folk and Southern Rock, and is reminiscent of the vibe that such acts as Woven Hand, 16 Horsepower, Dax Riggs, Nick Cave, and “Nebraska” era Bruce Springsteen portray through their art likewise.

Nonetheless, tracklisting to “Smiling Dogs” goes as follows:

1. Smiling Dogs
2. Free
3. Stone On My Head
4. Solid Gold Telephone
5. Nuclear Ambition Part 1
6. Nuclear Ambition Part 2
7. The Death Of Jimmy Sturgis
8. Hate.Money.Love.Woman
9. Doggamn

Musically, “Indoctrine” incorporates the trio’s experiences throughout the underground and the culmination of the 30 or so combined releases Nemtheanga, J. Read, and C. Ross have claimed their names to. Those familiar with Nemtheanga’s soaring vocal approach with PRIMORDIAL, J. Read’s pummeling chaos with REVENGE/CONQUEROR, and most notably C. Ross’ tactical music manipulation with AXIS OF ADVANCE, should find common ground with “Indoctrine”. But most importantly, “Indoctrine” presents a platform where each member of BLOOD REVOLT can present new ground with their repertoire. What some are claiming as the next continuation of where AXIS OF ADVANCE left off and ended with their final release (the “Purify” EP), the primal, raw, stripped down, and ultimately ferocious character of “Indoctrine” is unlike anything being released today in extreme metal. Where the chaotic nature of the music, which was captured without the use of any kind of studio manipulation whatsoever, clashes with the mighty vocal attack of Nemtheanga, that sense of unease will tend to surface with these two conflicting musical forces in conspiracy with each other. Ultimately, such a combination becomes a daring undertaking unheard of in extreme metal.

Delving further within the concept of BLOOD REVOLT, vocalist A. A. Nemtheanga states, “In an age of compromise Blood Revolt is genuine rebellion. Pushing the boundaries of what is accepted in ‘extreme’ metal, Blood Revolt is metal with teeth, like it should be. Genuine violence and aggression mixed with the kind of very real and very dark subject matter that would make other bands heads spin. No cartoon imagery or fantastical pseudo religious hocus pocus, this is the sniper filing down the pin before picking off innocents, this is the suicide bombers sweaty greasy hand on the ignition, dead bodies piled in the politics of the mass grave. Unforgiving and unrelenting elitism…”

Like the lone wolf ready to attack, tracklisting for “Indoctrine” goes as follows:

1. Salvation At The Barrel Of A Gun
2. Dead City Stare
3. Bite The Hand, Purge The Flesh
4. God’s Executioner, Praise Be
5. My Name In Blood Across The Sky
6. Indoctrine
7. Year Zero
8. The Martyrs Brigade

In what is already being praised as the band’s best album to date (as noted in the latest issue of Decibel magazine), especially considering it’s quite a feat in itself to top YAKUZA’s last two albums, “Samsara” and “Transmutations” respectively (said two albums building YAKUZA’s reputation as one of the most unique and creative bands in metal today), with “Of Seismic Consequence”, YAKUZA have taken a slightly different approach to their already distinct style of eclectic songwriting. An approach that is much darker, brooding, heavier, more primal, and ultimately rawer than ever before. This of course is highlighted with vocalist/saxophonist Bruce Lamont’s use of his clean vocals which become one of the more dominant factors on “Of Seismic Consequence” along with the heightened use of melody and elegance which only strengthens the vibe that reflects the dark night of the soul. When YAKUZA go for the throat with their all-encompassing heaviness, it becomes unrelenting, bringing YAKUZA’s sound even closer to that really dark enveloping realm.

Recorded by Sanford Parker between two studios (Electrical Audio and Semaphore) and presented in a very nicely designed six-panel digipack, tracklisting for “Of Seismic Consequence” goes as follows:

1. The Ant People
2. Thinning The Herd
3. Stones And Bones
4. Be That As It May
5. Farewell To The Flesh
6. Testing The Waters
7. Good Riddance (The Knuckle Walkers)
8. The Great War
9. Deluge

By combining elements that range from Voivod-esque progressive metal, along with aesthetics taken from progressive/post-hardcore and dissonant avant-black metal, “Mounds Of Ash” is an album that will align CASTEVET alongside the creative aura that lurks within New York’s underground metal scene, one in which finds company amongst such luminaries as Krallice, Unearthly Trance, Tombs, The Howling Wind, Bloody Panda, Negative Plane, Black Anvil, Batillus, A Storm Of Light, Hull, Liturgy, Malkuth etc. With “Mounds Of Ash”, CASTEVET will immediately be recognized amongst the elite of NY’s extreme metal underground.

Conjured within The Thousand Caves studios by Colin Marston of Krallice/Gorguts/Dysrhythmia fame, tracklisting for “Mounds Of Ash” (in which Marston has claimed to be one of the best albums he’s recorded) goes as follows:

1. Red Star Sans Chastity
2. Mounds Of Ash
3. Grey Matter
4. Red Aura
5. Stones
6. Wreathed In Smoke
7. Harvester

In conspiracy with drummer Tim Call (of ALDEBARAN), Ryan Lipynsky’s vision for THE HOWLING WIND incorporated the very essence of old school black metal (i.e. BATHORY, CELTIC FROST, old-DARKTHRONE) along with Lipynsky’s blood born doom that he’s known to unleash with Unearthly Trance.

With “Into The Cryosphere”, Lipynsky and Call nonetheless take the sound initiated by “Pestilence & Peril” even further into a more violent, virulent, and experimental territory. Captured by Colin Marston (KRALLICE, GORGUTS etc.) at The Thousand Caves Studio, “Into The Cryosphere” is an unforgiving and chilling soundtrack that takes the listener within the desolate, cold, vast, and lifeless realm known as Antarctica. Through an occult-like cosmic vision, the vision of Antarctica that THE HOWLING WIND present with “Into The Cryosphere” is an unholy realm where the fall of mankind is reflected through a kingdom of ice.

Bring on nuclear winter, tracklisting for “Into The Cryosphere” goes as follows:

1. The Seething Wrath Of A Frigid Soul
2. Teeth Of Frost
3. Obscured Pyramid
4. Ice Cracking In The Abyss
5. Will Is The Only Fire Under An Avalanche
6. Impossible Eternity
7. A Dead Galaxy Mirrored In An Ice Mirage

Following their acclaimed “Great Bringer Of Night” demo, which was one of the most hailed demos of last year, and most recently following the destruction and debauchery they left in the wake of this year’s SXSW (where COFFINWORM caused quite a scenario), “When All Became None” is a blasphemous testament to the downfall of humanity. A diabolical offering where demented amplifier worship sludge doom and black metal form an unholy alliance to offer an album which literally sounds like death, doom, and destruction, and is inspired by imminent death, poser disposal, and the destruction of Christ.

Summoned by Sanford Parker at Semaphore Studios, “When All Became None” is a sonic ritual to invert 2000 years of Christian teaching in a 45-minute span.

Tracklisting for “When All Became None” goes as follows:

1. Blood Born Doom
2. Start Saving For Your Funeral
3. Strip Nude For Your Killer
4. Spitting In Infinity’s Asshole
5. High On The Reek Of Your Burning Remains
6. The Sadistic Rites Of Count Tabernacula

With “Never Cross The Dead”, Lasse has created an album which takes all the traits of what made “Fulfill The Curse” a monumental debut, and has basically upped the ante on pretty much everything that has characterized the very essence of Hooded Menace. Basically “Never Cross The Dead” takes the Hooded Menace signature molding, one in which mixes old school death metal (basically death metal which doesn’t exceed the year 1992) with plodding AUTOPSY-esque sludge darkness, dirge-like amplification worship, slow crawling doom (ala WINTER and the first CATHEDRAL album), and takes said guttural conjuring to a level so sinister and evil, while also tampering new ground with a bit more Sabbath-esque groove and even some more dual guitar harmonics thrown in to help strengthen and further develop the Hooded Menace sound. Said elements all come together to create a monumental horror filled sonic feast that will plunge you into a realm where only old-school death/doom metal mastery reigns supreme.

With its amazing jaw dropping cover art, drawn by Putrid and coloured by Geyer, “Never Cross The Dead” will not only be one of the heaviest albums to be released in 2010, but will also go down as one of the best death and doom metal albums to be released this year likewise.

Tracklisting for “Never Cross The Dead” Goes As Follows:

1. Never Cross The Dead
2. Terror Castle
3. Night Of The Deathcult
4. The House Of Hammer
5. Rituals Of Mortal Cremation
6. As The Creatures Ascend
7. From Their Confined Slumber
8. Theme From Return Of The Evil Dead

By combining influences that seamlessly work their way into LUDICRA’s musical blueprint, influences in which reference the likes of the second wave of Norwegian Black Metal, traditional and classic heavy metal, punk, progressive, and neo-folk, LUDICRA have always held a firm balance within their sound that borders on the threshold of ugly and beautiful. “The Tenant” nonetheless is the sonic depiction (and product) of the harsh and seedy underbelly that the band members dwell and roam within, one in which the struggle for everyday survival is a harsh reality within the confines of the dark damp corners of The Bay Area. Hence it’s only fitting that “The Tenant” conveys such themes of urban survival in the band’s natural habitat and environment. It’s almost akin in a way, how Wim Wenders paid homage to the city of Berlin through his film Wings Of Desire, or how Martin Scorsese gave his ode to the dark recesses of New York through such films as Mean Streets and Taxi Driver, it is through “The Tenant” that LUDICRA deliver their musical homage and ode to The Bay Area, told through their eyes.

Presented in a specially and exquisitely designed and embossed digipack (designed by bassist Ross Sewage), tracklisting for “The Tenant” goes as follows:

1. Stagnant Pond
2. A Larger Silence
3. In Stable
4. The Undercaste
5. Clean White Void
6. Truth Won’t Set You Free
7. The Tenant

In what comes across as a release that mixes the epic and soulful vibes of SOLITUDE AETURNUS and the flat-out pounding drive of THE OBSESSED, “Last Sunrise” takes the momentum from APOSTLE OF SOLITUDE’s previous album, the lauded “Sincerest Misery”, and brings it to new soaring levels of doom metal glory.

Formed by ex-GATES OF SLUMBER drummer Chuck Brown, who has taken the helm of vocals and guitars in APOSTLE OF SOLITUDE, and along with their fellow Indiana metal comrades in The Gates Of Slumber, APOSTLE OF SOLITUDE have slowly been gaining quite a bit of respect within the doom metal scene and already have been recognized as one of America’s premier doom metal bands. This reputation will only cement itself even more with the release of “Last Sunrise”.

A pilgrimage through nine tracks, where the militant opening of the title track sets the tone for the journey of the inevitably doomed lovers, as the build-up of the album strengthens with each succeeding track more and more, until the utterly moving earth shattering climax that is the song ‘Coldest Love’ (one of the mightiest doom metal songs you’ll hear all year, if we may add) brings the hammer down and draws this tale of tragedy to a close.

Tracklisting to the North American version of “Last Sunrise” (which features three bonus tracks recorded by Gates Of Slumber drummer Bob Fouts; covers of The Obsessed, The Misfits, and Born Against respectively) goes as follows (*denotes North American bonus tracks):

1. Last Sunrise (Requiem)
2. Acknowledging The Demon
3. Other Voices
4. Letting Go Of The Wheel
5. Hunter Sick Rapture
6. December Drives Me To Tears
7. Sister Cruel
8. Frontiers Of Pain
9. Coldest Love
10. Streetside*
11. Astro Zombies*
12. Mary And Child*

By upholding the ancient tradition of wretched old school atmospheric death metal and presenting a style of death metal that truly embodies what death metal should portray, “Crypt Born & Tethered To Ruin” is a monument within U.S. underground death metal and will solidify Vasaeleth’s position within the elite of said death metal scene.

Already with their demo garnering quite a reputation within the underground that would inevitably realize Vasaeleth’s importance within the U.S. death metal scene (their initially sold out demo was recently pressed on 7” format), “Crypt Born And Tethered To Ruin” is the death metal interpretation to the ultimate manifestation of death. A raw, murky, and brutally ambient atmosphere is created through some of the most vile, guttural, and evil sounding death metal to surface all year.

Tracklisting to “Crypt Born & Tethered To Ruin” goes as follows:

1. Wrathful Deities
2. Figures Of Chained Spirits
3. Curse Seeping Through Flesh
4. Gateway To The Cemetery Of Being
5. Poisoned Tongue
6. Spirit Of Noxious Miasmas
7. Adorned & Irdescent
8. Crypt Born & Tethered To Ruin

Indeed WTFOP is a unique Wold listening experience not for the faint at heart or stomach, and definitely not for the weak of mind. And those who suffer from hallucinations or those prone to hearing voices, for better or worse, might find listening to WTFOP dangerous.

Wold mastermind/high priest Fortress Crookedjaw had this to say concerning WTFOP:

“‘Working Together For Our Privacy’ consists of three compositions; sound created within Wold’s thought lodge. The songs can induce harsh trance aural formations and hallucinations. We sent out transformations through the sound ideas which manifested the transgressive waves. Priestly insignificance and reversal religiosity is diabolically executed in your tight virgin ears. The spies in the wires sparkle through like hoarfrost on machine pumps which distribute unconscious aural chemical reaction. The death machine ejaculates toxins but also provides a psyche sanctuary of sorts, but ultimately the inevitable takes hold. Death is the factor.”

Along with the hypnotizing and mesmerizing artwork provided by artist Pippi Zornoza (www.dirtpalace.org/pippi) that graces the physical canvas of WTFOP, artwork that you will be beckoned to stare at while listening to WTFOP, it is advised to approach WTFOP with caution.

WTFOP has potential to cause mental dependency, severe psychological trips, latent dream states, and trance-like inducement.

Recorded in Regina, Saskatchewan Canada, tracklisting for WTFOP goes as follows:

1. The Secret
2. Death Spiral
3. Lovey Dovey

Indeed WTFOP is a unique Wold listening experience not for the faint at heart or stomach, and definitely not for the weak of mind. And those who suffer from hallucinations or those prone to hearing voices, for better or worse, might find listening to WTFOP dangerous.

Wold mastermind/high priest Fortress Crookedjaw had this to say concerning WTFOP:

“‘Working Together For Our Privacy’ consists of three compositions; sound created within Wold’s thought lodge. The songs can induce harsh trance aural formations and hallucinations. We sent out transformations through the sound ideas which manifested the transgressive waves. Priestly insignificance and reversal religiosity is diabolically executed in your tight virgin ears. The spies in the wires sparkle through like hoarfrost on machine pumps which distribute unconscious aural chemical reaction. The death machine ejaculates toxins but also provides a psyche sanctuary of sorts, but ultimately the inevitable takes hold. Death is the factor.”

Along with the hypnotizing and mesmerizing artwork provided by artist Pippi Zornoza (www.dirtpalace.org/pippi) that graces the physical canvas of WTFOP, artwork that you will be beckoned to stare at while listening to WTFOP, it is advised to approach WTFOP with caution.

WTFOP has potential to cause mental dependency, severe psychological trips, latent dream states, and trance-like inducement.

Recorded in Regina, Saskatchewan Canada, tracklisting for WTFOP goes as follows:

1. The Secret
2. Death Spiral
3. Lovey Dovey



Nonetheless, “Stratification” is the Wold clan’s most unconventional recording to date. Even more bizarre and surreal than its predecessors, “Stratification’s” mission statement is pretty much symmetrically crystal clear; to worship and adhere to the wrath of winter.

Like an unforgiving maelstrom of harsh sonic buzzsaw-like waves, through violent claustrophobic audial flurry, listening to “Stratification” is akin to being caught in an unrelenting crystallizing snow storm while wandering, and totally lost on a desolate and vast glimmering Saskatchewan prairie.

Blinding and wailing, the uncompromising nature of “Stratification”, presented in a graciously designed 8-panel digipack, is a noise-filled spectrum of terror, all while presenting some of the most artful, elegant, and thought-provoking poetry that Wold have ever crafted; it is through vocalist Fortress Crookedjaw’s lyrics in which gives balance to “Stratification’s” violent yet elegant nature.

He says: “Stratification is the voice of Wold’s domination. We dominate in an authentic way, like hunger and sex. This is our strongest and most strict release. Obey and I feel satisfied as warriors and artists; we are truly triumphant. It is natural. It is right. With this album it seems that Wold have nothing to prove. It’s like on LOTMP and even more so with Screech Owl we were still in the process of invading the village; and now that we’ve established power, we are, through our power and will, able to create a sublime winter world under a blanket of white noise on a frantic sleigh ride.”

Tracklisting for “Stratification” goes as follows:

1. Stratification
2. Sleigh Ride
3. White Winter Wanderer
4. Frost Crystal Symmetry
5. Nine Paths
6. Nine Creeks
7. Wintertime
8. The Frozen Field
9. Auld Tree

Featuring two members of Portal, “Relentless Execution Of Ceremonial Excrescence” will clearly serve as one of the most intense death metal listening experiences of the year. Like an unholy mix of the atmospheric dirge-like heaviness of Incantation’s “Onward To Golgotha” and “Mortal Throne Of Nazarene”, the ferocity of Bestial Warlust’s “Vengeance War Till Death” and “Blood And Valour”, and a doomy-cavernous vibe akin to Disembowelment’s “Transcendence Into The Peripheral”, Impetuous Ritual present death metal in its most diabolical and evil form through an ideal vision of raw brutality filtered through an intense vision with themes deeply rooted in occult lore.

Tracklisting for “Relentless Execution Of Ceremonial Excrescence” goes as follows:

1. Elegy
2. Convoluting Unto Despondent Anachronism
3. Coalescence Of Entropy
4. Ceremonial Disembowelment
5. Destitution
6. Inexorable Blasphemies
7. Unhallowed Ascendance Into Impurity
8. Ritual Of The Crypt
9. Dirge

At 77-plus minutes in length, “Dimensional Bleedthrough” sees the band initially conceived by guitar wizard Mick Barr (OCRILIM, ORTHRELM, OCTIS etc.) and Colin Marston (DYSRHYTHMIA, BEHOLD… THE ARCTOPUS, GORGUTS etc) take their sonic progressive blackened shroud and make it even more involving, where surreal and hypnotizing guitar acrobatics swirl through a meticulously constructed template of dizzying sonic chaos and structured counterpoint, solidified by the pounding and precise rhythm section provided by bassist/vocalist Nick McMaster and drummer Lev Weinstein.

Nonetheless, “Dimensional Bleedthrough” proves that the band’s initially conceived sound goes much beyond the initial conceived regard as Krallice being the “black metal band of Mick and Colin”, and into its own league of being one of the most challenging and progressive bands in “extreme metal” today.

Presented in a nice six-panel digipack with artwork from bassist/vocalist Nick McMaster and Karlynn Holland, tracklisting for “Dimensional Bleedthrough” goes as follows:

1. Dimensional Bleedthrough
2. Autochthon
3. Aridity
4. The Mountain
5. Intraum
6. untitled
7. Monolith Of Possession

Featuring bassist Danny Lilker (BRUTAL TRUTH etc.) and guitarist John Gallo (of US doom lords ORODRUIN), Crucifist’s debut album was a long time coming until finally, after several opportunities fell through for the band, Profound Lore came in to help the band finally get this album of theirs out, after we pretty much salivated after hearing the material that inevitably would grace this head/fist banging feast.

A sinister mix of old school blackness that reference such elite acts as CELTIC FROST/HELLHAMMER, VENOM, BATHORY, AUTOPSY along with a slight NWOBHM feel that can’t help but bleed from John Gallo’s awesome guitar riffs (especially seeing that Gallo is one of the great guitarists of doom metal today).

Along with such acts as Aura Noir, Nifelheim, Midnight, and Villains, Crucifist are one of the very few bands today that can deliver such a vibe that brings that ancient spirit back from such glory days. A definite rarity these days especially considering all these other bigger and newer bands getting praised for bringing back or “reviving” that elusive era of years past, bands like Crucifist will pretty much serve as the fist in the face to all these other bands.

Tracklisting for “Demon Haunted World” goes as follows:

1. Pursuit Of The Pious
2. Putrid Mother Lode
3. Skull Smashing Face Ripping Death
4. Honor
5. Curse Of The Plasma Hound
6. Tumefaction
7. Neon Corpse
8. Demon Haunted World
9. Witchgrip
10. Angel Of Death
11. Anus Mundi

This nightmare that Bloody Panda have conceived is presented with seven dirge-like hymns that portray the New York doom contingent as one of doom metal’s most distinct and intimidating outfits. Fronted by Japanese siren Yoshiko Ohara (who also provided the very intriguing and bizarre artwork that graces the canvas of the new album, and of course her striking lyrics mirror this), where her unearthly laments, wails, and screams brings forth a power that no other female vocalist in all of metal has conceived. Almost as if “Plague Mass” was translated into a doom metal album, along with Ohara’s overbearing vocals, “Summon” also carries a pedigree where ultra down-tuned reverberations and monolithic chords merge with deep organ passages and a funeral-esque drum procession that solidifies the ritualistic power that “Summon” possesses.

The second disc that accompanies “Summon” is a DVD of the 20-plus minute visual interpretation/short film of the track “Miserere”. A film made by band members Bryan Camphire, Blake McDowell, and Josh Rothernberger, filmed in various locations in Brooklyn and Indonesia (most notably the Jaliluhur Dam), “Miserere” is an abstract, haunting, and disturbing visual that features Butoh dancer Yuko Kaseki. An intriguing and intimidating viewing experience to say the least.

Tracklisting for “Summon” goes as follows:

1. Gold
2. Pusher
3. Saccades I
4. Saccades II
5. Miserere
6. Grey
7. Hashira

After the many trials and tribulations Scheidt had to endure concerning his previous pre-resurrected Yob band (in which we, along with Schedit, are technically not allowed to mention because of legalities – but you should know who they are obviously), it was natural that Schedit (along with longtime Yob drummer Travis Foster and new bass player Aaron Reiseberg) would inevitably pen the heaviest, darkest, and most oppressive sounding Yob album to date.

Recorded and produced by Sanford Parker, who has given Yob their best production/sounding album to date, “The Great Cessation” also sees Yob deliver their most varied sounding album. With the behemoth-like monolithically paced traditional “cosmic” doom sounds that have helped define Yob’s sound over the years (along with the band’s tendencies to write songs that average ten minutes in length) which continue to resonate on “The Great Cessation”, Yob also incorporate new elements that give “The Great Cessation” a pummeling energetic vibe like no other Yob album, while at the same time, delivering even more plunging abysmal dirge-like histrionics that go so far as to even render moments on “The Great Cessation” as blasphemous and evil (as in the track “Silence Of Heaven”). In true Yob tradition, the album ends with the 20-minute title track (what some have even dubbed the Yob ballad!) which ends the album in that surging victorious moment; in the most epic of moments.

Tracklisting for “The Great Cessation” goes as follows:

1. Burning The Altar
2. The Lie That Is Sin
3. Silence Of Heaven
4. Breathing From The Shallows
5. The Great Cessation

Reflecting back towards the earlier era of the act in which mastermind Kris Force (she being the long time collaborator for such seminal acts as NEUROSIS and SWANS) manifested, “Bitter River” is an unearthing of the magic of such classic Amber Asylum observations as “Natural Philosophy Of Love” and “Songs Of Sex & Death”, and updating the immaculate vibe with Amber Asylum’s current carnation.

Now featuring co-writer Leila Abdul-Rauf (who also fronts Bay Area progressive metal wonder SAROS and also contributes to BASTARD NOISE) in the Amber Asylum ranks, along with appearances by longtime Amber Asylum cello player Jackie Perez-Gratz (GIANT SQUID, GRAYCEON, ASUNDER etc.), the dominating low-end frequencies courtesy of bass player Eric Wood of BASTARD NOISE fame, flute player Sigrid Sheie (HAMMERS OF MISFORTUNE), drummer Chiyo Nukaga (GRAVES AT SEA, NOOTHGRUSH), and also featuring a guest narration by JARBOE (ex-SWANS), it is through each member’s respective lent talent that brings forth the illustrious presence emanating from “Bitter River”.

Tracklisting for “Bitter River” goes as follows:

1) Twilight
2) Bitter River
3) Bounding Main
4) Winter Winds
5) Auger Of Thrall
6) Fear And Doubt In The Frozen Dawn
7) Thee Apothecary
8) Mountain Haze
9) Nocturne
10) Haze Reprise

Tracklisting for AMBER ASYLUM “Bitter River” goes as follows:

1. Twilight
2. Bitter River
3. Bounding Main
4. Winter Winds
5. Auger Of Thrall
6. Fear And Doubt In The Frozen Dawn
7. Thee Apothecary
8. Mountain Haze
9. Nocturne
10. Haze Reprise


Tracklisting for “Acrid Plains” goes as follows:

1. Acrid Plains
2. As The Tyrant Falls Ill
3. Coriolis
4. As The Tyrant Falls Ill (Reprise)
5. Devouring Conscience
6. Reversion
7. The Sky Will End Soon

Entitled “White Tomb”, the follow-up to the acclaimed independent “Sol” mini-album release (and after doing UK tour stints with Mayhem and Wolves In The Throne Room), and assessed by Terrorizer magazine as “one of the most promising black metal debuts since ‘Diadem Of 12 Stars’”, Altar Of Plagues’ sound canvas stretches much further than certain perceived notions.

Epic, cinematic, and surging, “White Tomb” is a storming vision where stark images of crumbling skyscrapers, dying and rotten urban structures, empty cracked worn down highways and rising oceans dominate through the convergence of different styles. From epic elongated black metal stretches, slow plodding doom ala Khanate/Burning Witch (speaking of doom, ex-GRAVES AT SEA vocalist Nathan Misterek makes a guest appearance), minimalistic electronic/martial ambient/industrial vibes reminiscent of the Cold Meat catalog, along with the towering apocalyptic vibes of Old Man Gloom and early Isis (“Mosquito Control/Celestial” era) and the instrumental wonders of Mogwai and Red Sparowes, “White Tomb” is a vicious uncompromising atmospheric pillage that serves as a soundtrack to collapsing cities becoming desolate wastelands.

Tracklisting for “White Tomb” goes as follows:

1. Earth (i. As A Womb, ii. As A Furnace)
2. Through The Collapse (iii. Watchers Restrained, iv Gentian Truth)

They made a good impression with their “Five Pointed Tongue” debut several years ago, but with their new masterwork “Acrid Plains”, Saros will simply display that there is such thing as creativity within the U.S. metal scene. Just that it dwells within the underground, naturally.

With a myriad of styles and influences that make their way amongst the Saros musical canvas, Saros still manage to carve out a distinct identity that puts them alongside the elite, which comprises of such acts as Hammers Of Misfortune, Ludicra, Asunder, and Amber Asylum respectively.

Featuring members from revered acts as BASTARD NOISE, Amber Asylum (mastermind Kris Force also makes a guest appearance on “Acrid Plains”, along with Saros also being known as Amber Asylum’s sister metal band), and the legendary Weakling, Saros meld influences that can be reflected with such genres as extreme progressive metal (later era DEATH), traditional epic metal (“…And Justice For All” era METALLICA), aristocratic metal (Hammers Of Misfortune), with a splash of Ludicra-esque black metal, chamber music (Amber Asylum), along with the neo folk sensibilities found within artists like DEATH IN JUNE and AGALLOCH.

Tracklisting for “Acrid Plains” (PFL 042) goes as follows:

1. Acrid Plains
2. As The Tyrant Falls Ill
3. Coriolis
4. As The Tyrant Falls Ill (Reprise)
5. Devouring Conscience
6. Reversion
7. The Sky Will End Soon

Probably the most ambitious Hammers undertaking yet; two new full length albums released together at the spine with each album being distinct from one another (musically and aesthetically), “Fields” and “Church Of Broken Glass” present a new chapter in the evolving musical journey of America’s most exquisite and unique metal band today.

With a new and augmented line-up intact, and with a proggier, warmer, tighter, and more-vintage sound at their disposal, Hammers Of Misfortune deliver heavy metal artistry like no other band in the metal scene today. Definitely a different expression than past works, with two new voices in the fold and with an expansion and progression in their sound like never before, “Fields” and “Church Of Broken Glass” are moving journeys through a poetic musical landscape that is expansive, almost-theater/Broadway musical-like with different characters telling the many tales of struggle, uprising, and victory from many points of view.

An more in-depth look at the two new albums can be read via an epic interview John Cobbett did with Pitchfork Media. Go HERE to read the interview to get a deeper and more explicit insight on these two new masterstrokes.

Tracklisting for “Fields”

1. Agriculture
2. Fields
3. Motorcade
4. Rats Assembly
5. Always Looking Down
6. Too Soon

Tracklisting for “Church Of Broken Glass”

1. Almost (Left Without You)
2. Butchertown
3. The Gulls
4. Church Of Broken Glass
5. Train

With the critical acclaim that had befallen last year’s “Mourner”, “Temporary Antennae” simply takes the framework from it’s predecessor (as well as the “Some People Fall Debut”) and brings it to a whole new aesthetical power resulting in the new album not only being the most intense Caїna album yet, but the most pop-influenced Caїna album as well. It was hinted in the past that certain post-rock and indie-rock elements have found their way into the harsh landscape that mastermind Andrew Curtis-Brignell had initially created with Caїna, influences that ranged from 4AD rock, to neo-folk, and acoustic-song (ala Bruce Springsteen “Nebraska” era) that melded within experimental and harsh raw black metal. This time, “Temporary Antennae” finds other influences making their way into the sound picture that builds upon Brignell’s vision, influences such as ones reflective of the aesthetic brought forth from such essential acts as Joy Division and The Cure (“Pornography” era).

Once again with Brignell (at 22 years of age) handling all instruments (with the odd help from his brother Jon Curtis-Brignell playing bass on a few tracks), recording, and mixing, along with a fabulous mastering job done via the awesome Optimum Mastering studios (PORTISHEAD, ATAVIST etc.) and with the artwork once again provided by Gentian Osman, “Temporary Antennae” once again proves that Caїna is not only the most promising prospect to come out of the UK in recent times, but one of the most potent creative forces in the underground extreme music scene today.

Tracklisting for “Temporary Antennae” goes as follows:

1. Intro – Manuscript Found In Unmarked Grave, 1914
2. Ten Went Up River
3. Willows And Whippoorwills
4. Tobacco Beetle
5. Larval Door
6. …And Ivy Wound Round Him
7. Them Golds And Brass
8. Petals And Bloodbowls
9. Temporary Antennae
10. None Shall Die

Again spanning two epic elongated tracks (around 22 minutes each), “Points At Infinity” goes much further substance and depth wise than the first experimentation these two acts converged in. Definitely taking this experiment between both acts to the next level, albeit creating something wholly new and different when compared to the debut, rather than just continue on from the first release, “Points At Infinity” takes the doom/drone/ambient experiment into new territory as both acts continue to push new sonic ground.

“Points At Infinity” also marks the first Atavist recording featuring the new Atavist line-up which consists of new vocalist Matt Bartley and ex-NARCOSIS bass player Oliver Turner. Of course Nadja is and always will be Aidan Baker and Leah Buckareff.

Tracklisting for “II:Points At Infinity” goes as follows:

1. [Projective Plane]
2. [Closed Curve]

In what will easily be one of the most talked about black metal releases of the year, KRALLICE purge with an epic masterpiece not heard since Weakling’s “Dead As Dreams”. Nonetheless, the Krallice debut album is a virulent vision from the twisted and unique minds of Barr and Marston (the band also features Bloody Panda drummer Lev Weinstein). Epic time-stretching hymns that take reference from the aforementioned Weakling album, Burzum’s “Hvis Lyset Tar Oss” masterpiece, Gorgoroth’s “Antichrist”, and Ulver’s “Nattens Madrigal” while incorporating Barr and Marston’s musical pedigree from their respective acts, Krallice have also created a distinct-sounding opus that helps to strengthen and augment the landscape of North American black metal.

Along with the vicious and multi-layered guitar shredding, strenuous and hypnotizing tremolo picking, calculated drumming, and Barr’s harsh cavernous wails, the Krallice debut is a black metal album that treads the fine line of sonic devastation and cryptic beauty.

Tracklisting for the Krallice album goes as follows:

1. Wretched Wisdom
2. Cnestorial
3. Molec Codices
4. Timehusk
5. Energy Chasms
6. Forgiveness In Rot

Nonetheless, “Stratification” is the Wold clan’s most unconventional recording to date. Even more bizarre and surreal than its predecessors, “Stratification’s” mission statement is pretty much symmetrically crystal clear; to worship and adhere to the wrath of winter.

Like an unforgiving maelstrom of harsh sonic buzzsaw-like waves, through violent claustrophobic audial flurry, listening to “Stratification” is akin to being caught in an unrelenting crystallizing snow storm while wandering, and totally lost on a desolate and vast glimmering Saskatchewan prairie.

Blinding and wailing, the uncompromising nature of “Stratification”, presented in a graciously designed 8-panel digipack, is a noise-filled spectrum of terror, all while presenting some of the most artful, elegant, and thought-provoking poetry that Wold have ever crafted; it is through vocalist Fortress Crookedjaw’s lyrics in which gives balance to “Stratification’s” violent yet elegant nature.

He says: “Stratification is the voice of Wold’s domination. We dominate in an authentic way, like hunger and sex. This is our strongest and most strict release. Obey and I feel satisfied as warriors and artists; we are truly triumphant. It is natural. It is right. With this album it seems that Wold have nothing to prove. It’s like on LOTMP and even more so with Screech Owl we were still in the process of invading the village; and now that we’ve established power, we are, through our power and will, able to create a sublime winter world under a blanket of white noise on a frantic sleigh ride.”

Tracklisting for “Stratification” goes as follows:

1. Stratification
2. Sleigh Ride
3. White Winter Wanderer
4. Frost Crystal Symmetry
5. Nine Paths
6. Nine Creeks
7. Wintertime
8. The Frozen Field
9. Auld Tree

Indeed, Half Makeshift mastermind Nathan Michael’s reasons for ending his musical venture all-too prematurely (make of it whatever you will) are his own reasons based on his own decision to do so. And we’ll simply leave it at that. But nonetheless, you think it would seem coincidental, Michael’s sudden actions that put an end to Half Makeshift, kind of seem reflective in the intimate and desperate nature of “Omen”; a reflection of the inevitable end.

“Omen” is a devastating observation of formidable experimental ambient drone-like subtle mastery. With moments that reminisce with such like-minded acts as NADJA, SUNN 0))), GODSPEED YOU BLACK EMPEROR, and A SILVER MOUNT ZION, “Omen” is an opus of dense and flowing sonic terrain where cinematic sound visions create vast, desperate, and devastating scenarios, almost serving its purpose like a desperate doomsday soundtrack. From such scenarios as a blissful jaunt amongst a great ocean or a vast open field, to such disturbing yet picturesque scenarios where crumbling destructive frequencies envision skyscrapers falling and crumbling into the sea or an enormous tide crashing down onto civilization.

Working as one 50+ minute track, but separated into four parts, “Omen” (mastered beautifully by JAMES PLOTKIN) subtly shifts through different emotions and feelings that create a general overall mood for the entire picture; a mood that can be quite soothing and comforting, yet at the same time virulent and uneasy, and ultimately eerie and chilling. Through incredible use of melody via light guitar strums and guitar ambience, melded with waves of static bursts, ivory key tappings that create the build-up that will inevitably come in the form of massive drone rumblings, “Omen” is an observation within such a genre that will bring more awareness to the wonder that is (the now defunct) Half Makeshift.

Be aware…

Already with the act’s self-titled debut released early 2007 by noise label Bastardized, WRATH OF THE WEAK do purport some of the many familiar traits possessed within the paradigm of underground raw primitive lo-fi black metal. But of course do tend to take these certain tendencies to the utter extreme.

Through waves of layered distorted guitars that emit unrelenting ambience through feedback and surreal overtones filtered through an open vast sound picture, through unforgiving repetition and vicious melody to embody a vision of uncompromising hypnosis, WRATH OF THE WEAK can be analogized in this kind of scenario: WEAKLING and ILDJARN tearing away and trying to cannibalize each other in the desert while somewhere on the sidelines, VELVET CACOON observe pretentiously stroking their chins… or some shit like that…

“Alogon”, the WRATH OF THE WEAK sophomore release on Profound Lore Records is a noisy, loud, repetitive, hypnotic, obsessive, unforgiving, and powerful work of raw ambient black metal art that will make an exceptional reflecting observation within the genre.

“Alogon” Tracklisting

Chapter I: A leap of faith ends when you crash into the ground
Chapter II: Using self-destruction in the pursuit of a better life
Chapter III: What we learn from spending 120 hours in a downpour
Chapter IV: When one side of the mirror diverges from the other
Chapter V: Angels with forked tongues and the gifts they bear
Chapter VI: Light streaming in through the cracks in the door
Epilogue: The journey toward non-existence, in slow-motion
Technicolor

With THRALLDOM, mastermind Ryan Lipynsky (a.k.a. Killusion) would help generate the sound that is known as US black metal and help take it to new extreme experimental levels. With three full-length albums to their repertoire, Thralldom, even though they may not have been as widespread as some of their contemporaries (i.e. Leviathan, Nachtmystium, Xashtur etc.), were clearly known as one of the most important bands in US black metal. Their Profound Lore released swansong, “A Shaman Steering The Vessel Of Vastness”, solidified Killusion’s reputation as one of the most creative minds within contemporary extreme underground music. And of course with what he’s done with US black metal, he’s also helped spearhead the blackened sludge doom genre with Relapse Records recording artists UNEARTHLY TRANCE, clearly one of the leading bands in this particular genre in which said last album, namely “The Trident”, showed Killusion as a visionary in the scene.

Hence with the inevitable demise of Thralldom, due to Killusion’s former band mate not sharing Killusion’s extreme-minded vision and views, Killusion has decided to continue his black metal pillage under the new moniker of THE HOWLING WIND. Continuing in the legacy he left with Thralldom, The Howling Wind is Killusion’s vision on the coveted genre of black metal and what he considers to be some of the most extreme art he has ever created. And indeed you will know such a statement is true when embracing the aural holocaust of The Howling Wind. While still maintaining the vibe of Thralldom, The Howling Wind sees Killusion’s black metal pedigree lurking within more extreme and oppressive waters. Inheriting some of the experimentation found on the last Thralldom release through waves of static and noise, “Pestilence & Peril” is a very raw, primitive, and polarizing black metal opus that will go down as one of the year’s shining treasures within the US black metal underground. Through dense layers and layers of hypnotic and old-school riffing, diabolical metallic groove and unforgiving unearthly surrealism, the murk and filth that is “Pestilence & Peril” is a continuation on the themes explored on the last Thralldom album; the decay and demise of America’s social and spiritual backdrop all told through an occult-like vision through apocalyptic and Satanic allegory.

Nevertheless, where Thralldom left off, The Howling Wind begins a new legacy as a new impending force in US black metal has been unleashed.

Divided into chapters, but works best as one long song (kinda akin to Corrupted’s “El Mundo Frio”), “II:Ruined” is a massive plunge through crawling and pounding vibes of distorted madness, bass-heavy frequencies, methodically played drums, and utterly painful virulent vocals, all filtered through pure unbridled atmosphere and ambience. A sonic scenario where every negative emotion conceived manifests into beyond epic proportions.

Featuring guest appearances from CRIPPLED BLACK PHOENIX founder Justin Greaves (ex-ELECTRIC WIZARD/IRON MONKEY), and UK alternative singer Rose Kemp, “II:Ruined” will definitely appeal to those who worship at the altar of such bands as those that Justin Greaves was formerly of, alongside acts like KHANATE, SUNN 0))), and CORRUPTED (in which Atavist could possibly be the heirs to said throne, or maybe the UK’s answer to Corrupted!) respectively.

This North American edition comes in a gorgeously designed 8-panel digipack (designed by singer Toby Bradshaw himself) and contains an exclusive bonus track, namely the GREIF cover of “I Hate The Human Race” (which is quite fitting to say the least). Nonetheless, the tracklisting for “II:Ruined” goes as follows:

1. I (3:05)
2. II (15:19)
3. III (17:40)
4. IV (7:05)
5. V (16:52)
6. VI (7:23)
7. I Hate The Human Race (Grief cover exclusive to the North American version)

Also, if you look very closely within the layout, somewhere (we’ll leave it up to you to find it), you will see some Morse Code in which could lead to exclusive audio online! At the same time, you can hear an excerpt from the track ‘III’ in our MP3 section.

NOTE: This version is for North America, for those in the UK etc. will be able to purchase this work of art via Invada Records when they release it in the coming few weeks.

Following the band’s recent successful touring jaunt in Japan (with fellow doom gods Corrupted), it is now unleashed, the doom metal event of 2006, ASUNDER’S “Works Will Come Undone”, a monument of crushing and moving artistic funeral-death doom unparalleled. Already considered one of the most respected acts within the genre, “Works Will Come Undone” will clearly makes its (land)mark within the spectrum of the ever coveted doom metal scene. Massive, elegant, experimental, brimming with godsend epic heaviness, and captured on pure analog via legendary producer Billy Anderson (Neurosis, Melvins, Mr. Bungle, High On Fire etc.), “Works Will Come Undone” will take the doom metal genre to a new artistic level never reached before. Adorned with exquisite artwork from David D’Andrea (www.sonofenoch.com), and encapsulating a length of nearly 73 minutes, the tracklisting for “Works Will Come Undone” goes as follows:

1. A Famine
2. Rite Of Finality

Now serving as the alter-ego of The Axis Of Perdition (just like Tribes Of Neurot are to Neurosis), where the sounds that Pulsefear were generating in their lair would inevitably lay the foundations down to what The Axis Of Perdition would become, Profound Lore are proud to unleash the nightmare that was first conjured up in 2000 and continued to brood up until 2006. Characteristically, Pulsefear and The Axis Of Perdition of course do share similar aesthetics, even though both entities purvey different expressions in their audial interpretations of sheer utter horror. With “Perichoresis”, Pulsefear unveil sounds of rust and decay while summoning a foreboding evil ready to unearth itself from the cracks of the run down walls, hallways, and desolate roads and alleyways of a town that has become so decrepit and ghostly from the ensuing engulfing darkness that has consumed it to no end. As “Perichoresis” progresses through it’s journey, the dormant monster that hovers throughout begins to become revealed more and more, just like the derelict, inexplicably functioning lighthouse in the abandoned seaport reveals the town to be a little more dilapidated and horrific by each slow revolution of the beam.

Limited, and specially priced, “Perichoresis” also features stunning photography and imagery courtesy of urban photographer and explorer Melanie Rhys (www.urbandecay.org.uk) and will most-likely appeal to fans of the glory days of the Cold Meat Industry era via such acts as RAISON D’ETRE, IN SLAUGHTER NATIVES etc. along with such bands as SUNN 0))), NADJA, and LUSTMORD.

The tracklisting for the 50-plus minute journey that defines “Perichoresis” goes as following:

1. Gauze
2. Lighthouse Pt I
3. Docks
4. Lighthouse Pt II
5. Under

“Still Point” is proof on why the neo-classical chamber music brigade are one of the most inspiring and respected acts within such sub-genres as neo-classical, chamber, gothic, and post-rock.

Along with “Still Point” being the most polarizing observation within the Amber Asylum repertoire, the journey that the listener will undertake in such a pilgrimage will be one where somber and lush cinematic orchestrations parallel with voices of darkly angelic wonder. Through an incredible dark mood-shifting sound journey, where the lines between despair and hope become blurred through an elegant cascading blanket of dense rich comforting fog, “Still Point” is an unforgettable jaunt that will offer that haunting embrace that we cannot help but simply welcome.

Tracklisting for “Still Point” goes as follows:

1. In The Still Point He Remains
2. Black Phoebe
3. The Summation
4. Outer Dark
5. Loss Is The Sword
6. The Great Valerio
7. Garden Of Love
8. Diminishing Returns
9. North
10. 12 Months

Amber Asylum on “Still Point” are: Kris Force, Jackie Perez-Gratz, Lorraine Rath, and Sarah Schaffer.