Interview: Obeisance (2020)

The following interview was conducted with Chivo from US Black/Thrash band Obeisance.

Hails Chivo. To start things off, can you give us an update on the latest incarnation of the band, including some background on how the group formed?

ETERNAL HAILS TO YOU JIM!!! Fuckin' being in a band can be a pain in the buttocks!! I got a great guitarist in Hexcraft-,we wanna get an old live drummer back. A new drummer had asked me to wait, then I saw he was drumming for a local band that's been rehearsing for TWO YEARS & he put Obeisance on hold... What would you do? So he's out. Our good friends Duende helped us out with our newest CD "Abominations of Penetrations" !!!!

Tell us a bit about your latest album, "Nuclear Penetrator," and the time it took to write, record, and release the material? Are you happy with the result?

Oh, man. Well I read in Soldier of Fortune magazine (Rip) about the US bomber the B1 Lancer the fastest nuclear bomber in the world today, originally designed as a Nuclear Penetrator and Bam! A light went off in my head and I decided that it would be a great title for a song, for an album! Since about 2016, I had a CD of riffs that I made at the studio we did 7"s and “666War!!!” & “Appetite for Desecration.” The studio owner was going to have a son and he was gonna retire forever and ever for all eternity. He's back now, anyway, so I went to a friend who plays drums and great guitar & asked him, hey these are the tunes can you do drums n guitars for this? Are you up to the task? He said yeah! I'll bang em out THIS WEEKEND!! Well, months and months later he shows me four songs...fuck...so at this point I had recorded more songs with other friends and I decided to combine both line-ups and release it as " Musica del Diablo" and I hooked up with another friend, Ibex, who quickly did guitars, bass, and drums (programmed yes, but NOT to be industrial or any SHIT like that, I don't like Fear Factory or Godflesh, fuck off to that!! So the album was ready by 2017, but the bro I had agreed to release the CD turns out was not the label guy, I had to talk to someone else and nah, I was turned off by it and finally it was released by Wit Duiwel records on CD and our usual accomplice Warhemic Productions on Cassette!! BOTH are limited!!!

What inspires your lyrics? I take it Shakespeare is out of the question.

He is actually a very big influence. Jk fuck Shakespeare. Almost everything inspires me lyric wise. I told a friend who has his own satanic Temple that I write about ALL evil, not just the judeochristian concept of Evil. So on "Nuclear Penetrator" there's songs about genocide, nuclear weapons, fucking a 22 year old chick (true story), cannibalism, sleeping in my own vomit (true story), a couple of evil zombie songs (Slayer, Morbid Angel, Incantation, Death, and more have had songs about zombies (so if whoever doesn't like that, fuck off wanker), a war of darkness, and the last victory of the Aztecs over the Spaniards in Mexico City when it was an island. Stuff like that. Oh, I've written stuff about the Aztecs and American Indian tribes since the 90's so I didn't just all of a sudden decide to do so.

How would you describe your music to those who haven't heard it before? 

Fuckin' violent unholy, unwholesome fast Metal, meat 'n' potatoes, not for PC “social justice warrior" pussies. And I'd like to take this opportunity to apologize - FOR NOTHING! FUCK OFF IF YOU'RE OFFENDED WUSSES.

Is WIT DUIWEL RECORDS official? It's your own label, right? What inspired the name?

Yessir. a small, very small (that's what she said) label but we're trying damnit!! The name is inspired by a fb friend of mine who was gonna send me some crocodile biltong but never did, so I thought he lives in South Africa & people there consider him a White Devil and Bam! I asked him how do you say White Devil in  Afrikaans and a label was born. I had a label before, Sick records, I was gonna release Rotting Christ, Libation, Lord of Putrefaction, goood stuff like that back in the 1990's but RAN OUT OF MONEY. So I never released anything. Oh well, but stuff is cheaper to release now, so here's hoping for more releases!!! 6 6 6!!!!

What can you tell us about the scene in Denver? Are there any other bands from there worth mentioning?

The scene in Denver has some diehards like Drek, Philip, and more! But it seems to be infested by PC sjw Antifa pussies who throw a tissy fit & act like wussie mini tyrants and try to get stuff banned, like Obeisance. But we did end up playing when they thought they cancelled our fest show, but WE PLAYED! AND the crowd reaction was GREAT!! So hail to Drek n Philip and the Denver diehards worshippers of Bluecifer the demonic Denver bronco!! Nice city and most imposing Rocky mountains. We didn't eat Rocky mountain oysters though. Do you eat those in South Africa?? They're a delicacy in Denver for some reason

What are 10 metal albums which had a lasting impact on you?

Fuck! My Metal warbrother I always have a problem with these lists, as 10 is few but I will try!

Viking - Do or Die
Mercyful Fate - Don't Break The Oath
Sacrifice -Torment in fire
Venom - Welcome to Hell/singles
Voivod - First four
Slayer - Show no up to Reign In Blood
Possessed - 7ch, Beyond The Gates, The Eyes of Horror
Sarcofago - I.N.R.I., Rotting, Hate
Sepultura - Morbid Visions
Darkthrone - Soulside Journey up to Transylvanian Hunger
Celtic Frost – Morbid Tales, Emperor's Return, To Mega Therion
Bathory- S/t, The Return, Under The Sign Of The Black Mark, Blood Fire Death
Sodom up to Tapping the Vein
Hellhammer!!

You've been a veteran of the US black/death/thrash scene for years, how have things changed over the years when you compare the current state of the scene to how it

was around 15-20 years ago?

The left ruins everything!! They've come to the scene and wanna change it. They think they're so important and wise, they're fuckin' stupid useful idiots as Stalin called 'em. A buncha fuckin' bandwagon jumpers messing with the scene. But it should survive, but more underground. I love the scene but not these wuss left wing hipster ridiculous Interlopers that just don't fuckin' belong. Like someone said about the bullfighting scene- it is moribund, but will never die. Says I. But what the fuck do I know?

What do you think of people in the extreme metal community that use their social media presence as a means to spout their myopic political views? Should metal be apolitical?

They're ridiculous and stupid and ONLY radicalize people to the opposite of what they want to indoctrinate you to. Metal should be almost whatever you want. But when it starts getting left wing, preachy and that you HAVE TO ACCEPT all these ludicrous stupid degenerate things? Fuck off! I DON'T HAVE TO ACCEPT ANY-FUCKING-THING!! I don't Have to accept what you believe in or support what you believe in. So I can be called whatever, felicidades. I take opinions from who they come from, and if it's some left wing idiot that has no clue doesn't like me or Obeisance, GOOD.

Going back in time, how did Daniel Corchado end up playing on 2002's Lucifer Master? Were you friends? Also, what do you think of The Chasm/Cenotaph?

I don't like to brag but yeah he's my Brother. We've been bros since the 1990 when Cenotaph came to play in Juarez Mexico. I called him when I started Obeisance and spoke with him when he left Cenotaph and started The Chasm. I love both bands but Cenotaph's early unmelodic stuff and The Chasm's stuff with vocals. I don't listen to The Chasm much any more because I don't wanna unconsciously rip off some riffs, like this other dude's band whose made a CAREER out of stealing The Chasm's riffs and arrangements. Daniel & Antonio of the Chasm have helped me by being Obeisance since 1994 up to Lucifer Master which Daniel recorded, produced, played rhythm & lead guitar (along with Julio Viterbo of Shub-Niggurath) on. Obeisance was just me in 1994, Daniel helped me with demo 94 then Antonio joined and we recorded "Hellbent on Slaughter" also in 94. Then “Inferno Eterno” in 1996 and “Lucifer Master” in 2002.

What albums have you been blasting lately? Are there any highlights for you in recent years or do you prefer sticking to the classic(k)s?

Wargasm- Why play around?
Hegemony - debut full length
Diabolic - new one Rips!
Van Halen - misc. Not Van Hagar
Obeisance - 666WAR!!!
Necrophagia LA - The figure 4
Necroseizure - new
But yeah, I stick to the classicks

Can you share with us any crazy stories or anecdotes about past gigs?

Fuck, ok. An old drummer had a couple, we were in San Antonio Texas at the great Sacrifice of the Nazarene Child fest and he was happy! Our set went down well, he fucked this chick with big tits and a big ass and he got drunk. Well, it was held at Sam's burger joint that has big, tasty burger. My old guitarist got a burger, but he wasn't that hungry so our drummer came up and scarfed it down!! The next day we're coming back to El Paso, he felt like vomiting and he puked up a SOFTBALL SIZE vomit, probably the whole burger!! In Queretaro Mexico (on tour with Thornspawn, Morbosidad & Manticore) a kid thought I was the legendary Antimo Buonanno who played that night with Hacavitz. We went to get burgers at 3am & We were refused service at a hotel coz well we're horrible black death metallers and when we finally were lying in bed, we couldn't fall asleep coz we were joking and carrying on with Lou from Manticore and Dobber of Insect Warfare, Braced for Nails & Infernal Dominion who was drumming for Manticore on that tour in Brooklyn NY (on tour with Masacre!). I had to run to the stage, borrow a strap and cable for the borrowed bass I had and the lights went off! and I didn't have a pick for the bass!!! So I assumed I had one in my pocket, NO! It was a coin, but we had to start playing!!! So I played with the coin and it was a great set!! In Mexico City (on tour with Terrorist) when we were taken to our hotel, the promoter warned us if we saw a chick that was really pretty, it was probably a she-male. So after the show we went back to the hotel and a member wanted drugs!! So another friend called somebody and told our member- wait in the street in front of the hotel (in one of the most dangerous cities in the WORLD) the drugs were delivered & as he was going back in to the hotel he saw a pretty blonde and decided to pick HER up. So he went up and said, "Hi! What's your name?" And "she" said " Michelle" in a deep super masculine voice and our member said "ah, ok!" and RAN BACK to the hotel!!

What's the last album you bought?

Necrophagia - The shape of four
Raped God 666 - The Executioner
Hegemony - Enthroned by persecution
Necroseizure - Death of ballturret Gunner

Lastly, what does the future hold in store for Obeisance and Wit Duiwel Records? Long Live The Chivo!!!

THANK YOU for this interview, Great questions!! RESIST THE ANC!!! New Obeisance CD "Nuclear Penetrator" out now!!! Limited edition!! On Cassette thru Warhemic Productions! CD on Wit Duiwel records! Next Obeisance CD "Abominations of Penetrations" coming soon!! With Wit Duiwel records we hope to release CD's by Pyre, Wrath (Germany), Wargrinder, Morbid Macabre-Damn goat re-release, and More! HAILS to you Jim and you, faithful reader.

Album review: Sammath - Across The Rhine is Only Death (2019)

Sammath - Across The Rhine Is Only Death (2019)

Holland

Hammerheart Records

The Dutch warmongering hate-cult, Sammath, return with their sixth album, "Across The Rhine is Only Death," released under the banner of Hammerheart Records. The music presented on this album is a confession of rage captured in the form of blisteringly fast, caustic black metal that takes no prisoners. An apocalyptic atmosphere permeate this album all the way through, with songs comprised of hard-hitting drums, menacing screams, and a chainsaw guitar that constantly release explosive blasts of noise and insanity-inducing violence. The music of Sammath will leave you feeling dazed and battered, like a weapon directed at the senses. Compared to the previous album, I would say that Across The Rhine... is slightly more “punk-based” in terms of riff structure, which I personally don't mind since I like hardcore punk. Every song hits the listener like a ten-ton brick wall, never letting up or toning down in intensity. It wouldn't have hurt for the band to add a few guitar solos here and there, but then again, nothing's perfect. "Across The Rhine is Only Death" isn't just any album, it's a collection of songs that perfectly embodies the oppression of war, and by unequivocally capturing that essence on disc. Recommended to fans of Revenge, Nocturnes Mist, and Angelcorpse. (HT)

https://sammathhhr.bandcamp.com/album/across-the-rhine-is-only-death

Review: Trench Warfare - Hatred Prayer (2019)

 

Trench Warfare – Hatred Prayer (2019)

USA

Transcending Obscurity Records

For some reason, Trench Warfare's "Hatred Prayer" flew under my radar last year and I am absolutely kicking myself for it. The album was released in 2019 by Transcending Obscurity Records; a renowned label from India with a reputation for putting out killer stuff. From beginning to end, "Hatred Prayer" is a tour de force and shows the band execute fast, raw and relentless death metal in the vein of heavyweights like Rebaelliun, Perdition Temple, and Nocturnal Vomit. The music is absolutely crushing, with a vocalist belching out furious barks, backed by a salvo of sick riffs and maniacal solos that attacks the senses with maximum ferocity. The drums are fast-paced and well balanced in the mix, retaining a certain rawness, paired with a sharp, throbbing bass that makes for an emphatically heavy sound. Numbers like 'New Lord' shows their capacity for slower segments; however, the focal strength of the band is without a doubt their knack for fast and bludgeoning songs filled with over-the-top aggression. The band also has a predisposition for substance and atmosphere, which is one of the reasons for why this album is so enjoyable. "Hatred Prayer" is like a palette of multiple death metal styles merged into one, and it works surprisingly well. Essentially, this is a death metal record that often borders on war metal due to the high-octane and aggressive nature of the music. Songs like 'Axiom' and 'Blood Cleansing' perfectly demonstrates what the band is about. Overall, the music is fairly straight-forward in its delivery, but executed with a lot of depth. If you have a penchant for militant and bestial death metal, then definitely check it out. A highlight from 2019. (HT)

https://trenchwarfaremetal.bandcamp.com/album/hatred-prayer-black-death-metal

Demo review: Mesmeric Revelation (2020)

 

Mesmeric Revelation – Demo 2020

India

Black Cum Productions

You know you're in for a treat when a band's music gets dubbed as "Kolkata Gutter Grind" by their label. The story began when I logged into facebook one day and saw that all my friends had posted this. So after listening to it I immediately purchased the cassette and had no regrets. The music can be described as blackened noise-grind in the same vein as their label peers Methgoat. The guitars on this EP are tremelo picked, backed by a massively thick, raw production filthy enough to stain the horizon. Strangely enough, for this style the lead guitars will pop up throughout the mix several times, mostly strummed high notes, brief and fitting for what you're being subjected to. The drums will stay on constant alternating blasts with the tempo not changing much except for a few short, slower parts here and there. Lastly, the vocals are drowned in reverb and echo, which gives the music an immensely evil effect, making the vocalist sound like a descendant of Kali herself. This has been on my playlist regularly since it was released. If you're a fan of Nyogthaeblisz, Chaos Cascade, or Methgoat, this will be right up your alley. Special thanks to Kolkata Inner Order Propaganda and War Vellum for all the sick music lately. (LR)

https://www.youtube.com/watch?v=5IyydtuFwL8

Album review: Obeisance - Nuclear Penetrator (2019)

 

Obeisance - Nuclear Penetrator (2019)

USA

Wit Duiwel Records

Obeisance has been around in the underground for well over a decade, churning out some killer releases over the years, with albums like "Lucifer Master" and "Unholy, Unwholesome & Evil" being prime slabs of black/thrash. Their 2019 album, "Nuclear Penetrator", sees the band take on a slightly different sound, but not straying too far Here the band embrace more of a brutal war metal sound. It's an improvement to 2018's "Musica Del Diablo", which suffered from a bad production due to a problem with the audio at the pressing plant. The music presented on this release is fast and relentless for the most part, but also incorporate a few mid-paced numbers like the hilariously titled 'Have Some Meats'. Generally, I'm not too fond of programmed drums, but it seems to work here, giving some of the songs a kind of “grind” feel. They switch up the pace just enough to prevent the songs from sounding the same. The riffs are well executed and show solid craftsmanship, while the vocalist emits his usual blackish rasp sounding like a more deranged, evil version of Cronos. The riffs are killer, and so are the solos, which come at you like they're hitting a speedball. It's a fun album to listen to, even though it would probably have sounded better real drums, and while "Nuclear Penetrator" may not be the best example of Obeisance's work, it still stands as a killer entry in the realm of all things unholy, unwholesome & evil. (HT)

https://obeisance.bandcamp.com/album/nuclear-penetrator

INTERVIEW: INFESTICIDE - 2020

The following interview was conducted with guitarist Isaias SpeedBlosky from Mexican Death Metal band Infesticide.

 

Hails. Firstly, tell us about your band name and the twisted imagery behind it.

Infesticide was created as a non-earthly plane where Death and Darkness are melting as one... If I remember correctly, I was 17 years old. I wanted a powerful and dark expression... a way to translate that incandescent madness that feeds our visions.

What can you tell us about your new opus, Envenoming Wounds, and what people can expect from it?

Utter Darkness! A total festering celebration to madness and chaos. It's a direct album, It's our vision of how Death Metal should be presented, simple as that.

What were the recording conditions like for the new record? Was there any internal pressure to meet a certain deadline? Are you pleased with the result?

It was a very analog process. We had total control, metronome wasn't used, mostly songs took just one take... We had enough time to dial guitar tones an atmospheres. The studio wasn't far away from my hometown, so it was very comfortable to capture, experiment and transmit Infesticide's aims. It was recorded between June-August of 2019 then mastered in Sweden in December of that same year. Yes! Very pleased.

What are some of your biggest influences musically? Do you have any idols?

Demolition Hammer, WASP, Morbid Angel.

Izzy Stradlin, David Bowie, Trey Azagthoth.

What's your opinion on people playing in black and death metal bands with aspirations to become “famous”?

I do not care at all! We executed our music for ourselves.

How did you manage to link a deal with Blood Harvest and how do you feel about being signed to such a killer and renowned underground label?

Rodrigo and I talked for a few days about Infesticide. He offered us a deal, then I just signed... It wasn't difficult at all. Blood Harvest understood our vision. It's the perfect label to work with.

Who did the artwork for your new album and how important is it for an artwork to represent your music? What's some of your favourite album covers?

The artwork is oil on canvas, the artist name is Carmen Grim. It represents every song title, expressing artist's perception... Altars of Madness is my favorite one.

Your previous album, Death's Formulas Fatal, had a more cavernous production and sound. What prompted the new, more straightforward approach? And also, what do you think of bands like Cannibal Corpse and Incantation that mostly stick to the same formula?

I never liked the "Cavernous" sound, DFF was recorded very primitive, basically in a bedroom... resulted adding that environ-ment feeling. On Envenoming Wounds things were different... I'm against guitar modern sound; that 5150, Mesa Dual and HM-2, EMG pickups with lower tuning, pretending to sound "heavy" I hate it with all my heart! Envenoming Wounds is a statement of how DEATH metal SHOULD SOUND! Guitar tone basically is AC/DC eq... love the sound of an overdriven Marshall amp! Those bands bore me.

What metal albums have you been feeding your brain with lately? Do you have any favorites from this year so far?

Concrete Winds - Primitive Force

Many people in bands hold the opinion that you need to be a musician in order to have a valid opinion about music. What is your opinion about that?

Everyone has an opinion you know? But earth is full of idiots... Musicians are like robots, they execute what is best for that note, that scale bla bla... there's no substance! There's no emotions anymore. And the other side you have those stupids who write reviews, throwing his point of view without even reading the lyrics! I hate them both! Fuck them both!

That should wrap things up. Lastly, what does the future hold for Infesticide?

New music very soon...

Demo review: Koffin - Nailed Into The Coffin (2020)

 

Koffin – Nailed Into The Coffin - Demo (2020)

Estonia

Morbid Chapel Records

Koffin is a young band hailing from Tartu, Estonia, and "Nailed Into The Coffin" is their debut demo and released on CD by Morbid Chapel Records. Koffin play a chunky style of old-school Death Metal that's loads of fun to listen to. There's no doubt that these guys are inspired by old Scandinavian death metal as there is some obvious influences shining through. The band has an excellent grasp for heaviness with a sound that brings to mind bands like Convulse, Rottrevore, and Rippikoulu. The low-end production is absolutely paramount and gives the riffs the necessary crunch to distinguish itself along with everything else. Between the four members, there isn't one instrument being played that doesn't stand out, everything goes well together and the mix is excellent. At this point, I've listened to this demo several times and still can't get enough of it. Demos come and go, but few rip through you with such heaviness and conviction as the release in question. Highly recommended. (HT)

https://morbidchapelrecords.bandcamp.com/album/nailed-into-the-coffin

Album review: Dead In Silence - Vocatus et Morbo (2020)

Dead In Silence - Vocatus et Morbo (2020)

Mexico

Independent

Dead In Silence is a one-man project from Mexico City playing melodic black metal and "Vocatus et Morbo" is their debut album. The music is rather simplistic, consisting of sorrowful and dark melodies reminiscent of old Scandinavian black metal. The vocal style is quite unique and drenched in distortion. The drums are programmed, and while I’m not too enamored with them, I've heard worse. The songs are quite lengthy, which gives the listener enough space to get into them. The music is decently constructed, even though I found it a bit quirky at first. It may take a few listens to warm up to. There's definitely some good riffs to be heard on "Vocatus Et Morbo" and the songs are quite memorable. The band plays a different kind of black metal that puts emphasis on atmosphere and expression through riffs. There's also two covers of Von and Beherit, which I find to be two rather odd choices considering the transition in style. Nevertheless, the cover of Von's 'Devil Pig' is quite good, whereas the cover of Beherit's 'Salomon's Gate' is pretty forgettable. With the addition of the two covers and ambient track at the end, this feels very much like a compilation. For reference points, I will cite bands like (old) Burzum, Ildjarn, (old) Katatonia, etc. So if you enjoy atmospheric black metal, including the above-mentioned bands, then definitely check it out. (HT) 

 
https://deadinsilence.bandcamp.com/album/vocatus-et-morbo

Demo review: Grizzly Fetish - Promo 2020

Grizzly Fetish - Promo 2020 

Japan

Independent

Grizzly Fetish hail from Tokyo, Japan, and this is their newest release, a promo featuring three new songs. I wasn't able to snag an official copy so bandcamp sufficed. They have their own unique style, mixing genres like death metal with crust and adding synths to give it an ominous atmosphere. The guitars are dirty, raw, punkish and fast. The drums are programmed but don't sound too cheesy. The vocals are raspy with occasional effects that sound pretty trippy. My favourite part about this is definitely the synths; they stand out from anything I've heard before on a metal release and are nicely laced throughout. The first song starts off with a killer Entombed-esque riff that carries the song for the most part. The drums have a tendency to drop then pick back up again, which is fun when they kick back together. Towards the end, there are some synths and leads very reminiscent of Left Hand Path. The second song is basically a crust song (aside from one section of a verse that blasts for fifteen seconds). The artist creates a very unique sound, so even though it's a different genre, it doesn't feel out of place. The drums retain a basic 1-2 beat throughout, so there's nothing really special going on. The third and final track has a death 'n' roll with a little grind feel that is spastic, with the drum programming going insane and the vocal delivery all over the place. It's something you have to hear for yourself to understand. I enjoyed this a lot, it was fun and groovy. If you're a fan of Reek of the Unzen Gas Fumes, you'll enjoy this. (LR)

https://grizzlyfetish4444.bandcamp.com/album/promo2020

Album review: Angelgoat - Primitive Goat Worship (2017)

 

Angelgoat – Primitive Goat Worship - Full Length (2017)

Serbia

Grom Records

"Primitive Goat Worship" is Angelgoat's second full length, and was released by Grom Records in 2017. I like all the band's releases, but this is my favourite from them. This is also their heaviest and most evil sounding record in my opinion. If you look at the band's song titles and imagery, it's quite evident that the band is about one thing and one thing only: the adoration of Satan and darkness. Now to the average person this might seem like some cheap gimmick, although I can assure you, the band is deadly serious about their craft. Fortunately, the music also speaks for itself, as "Primitive Goat Worship" offers a style of no-frills black metal that's about as true to the genre as it gets. A very raw and apocalyptic atmosphere permeate this album, with songs comprised of heavily distorted guitars, maniacal screams, and an incredibly menacing bass tone. The drumming is also very well-performed and vigorously drives the music at militant speeds, but also switches it up enough to keep it interesting. This is master-class black metal and while there's nothing really “innovative” about it, the music has a propensity for sounding deliciously and fiercely evil. Musically, Angelgoat can be compared to bands like (old) Darkthrone, Maniac Butcher, (old) Mayhem, Goat Semen, Archgoat, etc., without actually sounding like those bands. Sure, there's a commonality as far as playing black metal, but Angelgoat has a distinct sound that also borrows a lot from classic speed metal and thrash. I love the guitar tone on this album. Worth mentioning is the fact that all instruments were performed by one sole maniac known as Unholy Carnager. That being said, he definitely did a terrific job. All in All, this is an essential album and recommended for maniacs into primitive and ugly black metal. (HT)

https://www.youtube.com/watch?v=UeAfepszsfw

EP review: Irradiated Marrow - Ruined Forms (2021)

Irradiated Marrow - Ruined Forms

USA

Speed Ritual Records

 

This EP is pretty sick. Irradiated Marrow is one of those unknown projects that definitely deserve more attention, simply because their music fucking kills. This is high-octane, hateful Black/Death Metal that borders on War Metal. In essence, you could say this is War Metal, but without the imagery. The simple, yet cool layout gives the music a sort of primitive aesthetic which is complimentary to the band's cavernous brand of hate-noise. Everything was recorded by one individual, a multi-instrumentalist known as Jared Moran aka Cave, and he definitely did a phenomenal job. The devastatingly raw production brings to mind Conqueror's "War.Cult.Supremacy," but also give nods to bands like Bestial Raids, Amputator, and Baphomet's Horns, etc. Enough with the name-dropping, if you like ultra-violent Black/Death that will tear you a new one, then this EP is for you. Recommended.

Review: Abstersion - Mors Vincent Omnia - Demo (2020)

Abstersion - Mors Vincent Omnia (2020)

Canada

Darker Than Black

From the first moment you hear the feedback, this demo doesn't let up. It's vicious and demands your attention. Abstersion's "Mors Vincint Omnia" tape is a 15 minute onslaught that is a pleasure to the ears and the best thing musically I've heard come out of 2020. The guitar riffs are fast, tremelo picked in the style of Bone Awl, but down tuned and with a more clean production, so it will remind me of punk occasionally. The drums don't particularly stand out as they are nonstop alternating blasts for the majority but they are good and do their part. As we get to the vocals, they are definitely something that stood out to me. It's not often you hear a black metal band using low-pitched growls throughout their entire songs but here it seems to work perfectly. There was no stand out song as they all meshed and flowed into one another ending way too soon. If you're into relentless hateful black metal with a punk edge, I would recommend checking this out. (LR)

https://www.youtube.com/watch?v=kJDbQCbsSpI

Review: Skelethal - Unveiling The Threshold (2020)

 

Skelethal - Unveiling The Threshold (2020)

France

Hells Headbangers

French Death Metal heavyweights Skelethal return with second full length, "Unveiling The Threshold," which will see the light of day on the 20th November, 2020, under the banner of Hells Headbangers. There's no doubt these maniacs took a hefty amount of inspiration from the old Swedish scene, but closer analysis will also reveal nuances of styles like thrash and crust incorporated into their sound. The music delivers a myriad of intense, groove-laden riffs interspersed throughout like a whirlwind of blades hurled at the listener. I found the vocals somewhat muted, but well done and decidedly abrasive. The production is clear, but not too polished, which works. A few deadly solos are scattered throughout like chunks of meat. One of the things Skelethal does exceptionally well is their ability to seamlessly weave heaviness with groove. Essentially, this is an death metal album, and if there's one thing paramount about this style, then it's hooks. Having said that, "Unveiling The Threshold" delivers all the hooks; it's heavy, intense, merciless, but somehow lacks a bit in the memorability department. However, it's one of those albums I can always come back to when I'm in the mood for some high-octane, pummeling death metal. Recommended. (HT)

https://skelethal-france.bandcamp.com/

Review: Witchbones - Goaty (2020)

Witchbones – Goaty (2020)

USA

Morbid Chapel Records

Witchbones from Oregon, USA, plays crushingly heavy death/doom that radiates despondency and evil. This is the kind of music that you would listen to before blowing your brains out. The atmosphere tone is bleak, ritualistic, heavy and powerful. The music constantly assaults the listener with its monolithic heaviness and oppressive aura. The cover art for this album does a good job at capturing the album's foul essence. Worth mentioning is the fact that Witchbones is a one-man project. Some of the most haunting music ever recorded were by one-man bands. It could be the isolationist factor, or maybe these people are too messed up to work with other musicians? Whatever the case may be, Witchbones' music perfectly captures that state of darkness, mania and isolation. The music strikes an interesting balance between death/doom and dark ambient, which sounds almost like an amalgamation of bands like Impetuous Ritual, diSEMBOWELMENT, and Gnaw Their Tongues. Maybe my references doesn't do the music justice, but that's the best I could come up with. There's a lot of creativity on this album and the band manage to create a very dense and chaotic atmosphere. "Goaty" is quite experimental and shows a multifarious range of elements, but remains a death/doom album in essence. Conclusion: If you like any of the above-mentioned bands, including music that sounds like it was spawned from some unholy abyss realm, then definitely check it out. (HT)  

https://morbidchapelrecords.bandcamp.com/album/goety

Review: Aliicide - First Prayer EP (2020)

 

Aliicide – First Prayer EP (2020)

USA

Independent

Aliicide is a black metal duo from California and First Prayer is their debut EP. There's  quite a few variants of black metal nowadays; ranging from orthodox, raw, depressive, atmospheric, etc., – that being said, it's really not difficult for someone to get confused with all these sub-subgenres not thoroughly acquainted with the evolution of the genre. In this case, the band plays a style of black metal that's sort of like an amalgamation of some the above-mentioned styles and it works surprisingly well. The sound here is quite evolved for a first release and emits an ominous atmosphere that brings to mind the likes of Vassafor, Brown Jenkins and Creeping. I can also hear a touch of death metal in the riffs, particularly on the third track Banished. These songs pack a powerful punch and I like the use of samples in the tracks. Overall, this EP is pretty sick, even though there's still room for improvement in terms of finding a voice and evolving their sound. On that note, Aliicide is an interesting prospect that I'll be keeping an eye out for. An auspicious first entry from these guys. (HT)

https://aliicide.bandcamp.com/releases

Review: Infesticide – Envenoming Wounds (2020)

 

Infesticide – Envenoming Wounds (2020)

Mexico

Blood Harvest

Every now and then I like to check out some newer death metal bands that will kick me on my ass, and that is exactly what these Mexican maniacs have done with their latest album called Envenoming Wounds. The name itself is a testament to all things rotten and impure. The music is very well played and exudes a repertoire similar to bands like Repugnant, Beyond, and Superstition. Every song is packed to the brim with intense sledgehammer riffs and the production really hits the nail on the head as far as giving everything a clear sound without it sounding sterile. This is basically an old-school death metal album drenched in modern production. The raspy mid-range growls are fierce and complimentary to the band's style. In fact, they kind of remind me of Mike Browning's vocals (Abominations of Desolation era), but more aggressive. The band is signed to Blood Harvest, so that itself should attest to the band's quality. Envenoming Wounds doesn't reinvent the wheel or anything, but that's hardly a negative trait when the execution is this thorough. The album starts off at a steady pace and batters you with insane riffs and monstrous rhythms from the get go, but what makes it work is how cohesive everything sounds. The album isn't exactly on the slow side either, with various mid to fast tempos scattered throughout. So if you want to hear some killer new death metal that is guaranteed to beat your brains into a pulp, this is it. For its 29-minute duration, this album sure packs a meaty wallop. (HT)

https://bloodharvestrecords.bandcamp.com/album/envenoming-wounds

Review: Satans Carrion - Rehearsal MMXVII (2017)

 

Satans Carrion – Rehearsal MMXVII (2017)

USA

Independent 

Satans Carrion is a band from Oxnard, California, that plays raw black metal in the vein of Xasthur, Mütiilation, and Black Funeral. The release I'm reviewing Rehearsal MMXVII is a collection of three songs captured live in their rehearsal room. The songs may not be very lengthy, but the band does a terrific job at capturing the essence of black metal in all its glory. The atmosphere generated by the guitars is unsettling and haunting, whilst the drummer does a good job at securing the misanthropic flow. The vocals are tortured and exudes hatred and despair. I don't really hear any bass, but the music sounds good without it. The release under review is good for what it is and was made by two maniacs with an obvious love for the genre. Overall, Rehearsal MMXVII is a solid entry into the plateau of black metal. So lets hope the project continues and manifests to its full potential. For the diehards.

https://satanscarrion616.bandcamp.com/album/rehearsal-mmxvii

Review: Apochryphal Revelation - Primeval Devilish Wisdom (2020)

 

Apochryphal Revelation – Primeval Devilish Wisdom (2020)

USA

Nuclear War Now!

Apochryphal Revelation is a Kentucky-based black metal band that shares members with Catacomba, Master's Curse, and Pyromancer. "Primeval Devilish Wisdom" is their second full-length album and follow-up to 2017's "Reverence For The Kings of Hell." The band plays an old-school style of black metal redolent of bands like Mortuary Drape, Mystifier, Master's Hammer, etc. The music does a good job at channelling that ancient, arcane atmosphere which made the aforementioned bands such an enigma in the first place. I like the hefty bass sound in the mix, it adds a really menacing edge. The band also added keyboards, but whereas some bands use it in a predominant way, Apochryphal Revelation only use them sparingly to add depth to the music. The cavernous production is complimentary to the music and does in no way feel faux. The vocalist emits a deep, bestial grunt, supported with an array of ominous riffs and primitive, yet effective beats. My only beef with this album is the fact that there's more interludes that actual songs. I think it would've been better to merge some of them into one song as they tend to flow into each other. So now you have like three tracks that could've been basically one song. Consequently, the interludes are all well done, I just think there's too many of them. All in all, the music is killer, as Apochryphal Revelation is a band that expertly conveys that old occult feeling reminiscent of the bands mentioned earlier, including Acheron, Varathron, Von, etc. Nuclear War Now has a tendency to put out some generic stuff, although Apochryphal Revelation is certainly not. Definitely check them out if you like any of the aforementioned bands. (HT)

https://nuclearwarnowproductions.bandcamp.com/album/primeval-devilish-wisdom

Review: Into Oblivion - Winds of Serpentine Ascension EP (2020)

 

Into Oblivion – Winds of Serpentine Ascension EP (2020)

Canada

Hessian Firm

Into Oblivion is a band that has flown under my radar for quite some time. That being said, I feel highly indebted to the fact that I was recently appointed to review their music. Into Oblivion is one of those bands that seamlessly weave melody with aggression, coupled with their predilection for classical music and the foundation of their sound built on the romantic period. All this makes for a rather engaging listen, especially when the execution is as auspicious as it is on Winds of Serpentine Ascension. Musically, you could say there's a great of deal of inspiration taken from the early '90s Gothenburg scene, with bands like At The Gates, Sacramentum, Eucharist and the like; however, it is also worth mentioning that Into Oblivion's music is acutely well balanced in the sense that they do not compromise heaviness for melody. Winds of Serpentine Ascension is definitely an EP in the proper sense, as it only contains 3 songs, yet clocks over 30 minutes. The songs are epic, lengthy, and engaging – you could listen to it several times, yet come back after a while and discover something new. If it's compelling and well-crafted black/death metal you seek, then look no further – this EP packs a meaty punch. (HT)

https://blackdeathtriumphant.bandcamp.com/

Album review: Communion - At The Announcement (2018)

                                          

Communion - At The Announcement - Full Length (2018)

Chile

Hells Headbangers

Those with a penchant for evil, raw, South American metal ― will no doubt rejoice upon hearing Communion's debut album, "At the Announcement." I remember getting my hands on their demo tape when it came out and being blown away by the sheer intensity and sinister atmosphere, particularly the track 'Black Metal Dagger'. The songs on "At the Announcement" gives me that same vibe, except it's like that with every track. Musically, Communion shares a lot of idiomatic traits with countrymen like Force of Darkness, Hades Archer, Invincible Force, etc., but mainly take cues from older bands like Sodom, Destruction, Bathory, etc. The album opens with 'Impalement to Destroy' ― a three-minute onslaught of throat-slashing riffs and possessed vocals that rage like burning steel, while songs like 'Secret Rites' and 'At The Announcement' batters you into the floor with brutish intensity and thrash-like ferocity. The drums are excellent too, fast and hard-hitting. If I'm not mistaken, the band released two albums around the same time (the other one which is called The Communion), although the tracks on "At The Announcement" was recorded between 2014 - 2017, which makes it the first full-length. Definitely Check it out if you have a fondness for bands like Slaughtbbath, Funeral Winds, and Bestial Warlust. (HT)

https://communion-chile.bandcamp.com/album/at-the-announcement

Interview: MEFITIS - 2020

The following interview was conducted with Pendath and Vatha from US Black/Death band Mefitis. 

Hails! To inaugurate this interview, please give us some details about the inception of the band.

P: Mefitis began in 2007. Vatha and I both were part of youth music program where you could use reserve rehearsal spaces and attend weekly community “jam sessions”. Once a week, there was something called “Metal Shop”, where metalheads would meet up. It was mostly deathcore kids (to give you an idea of the times back then). Vatha and I met, and got to talking about black and death metal. We both knew the alternate guitar parts to The Somberlain, and played it in unison. That was when I asked if he wanted to come join a thrash band I had been in for a few weeks. When he came to practice, he started adding parallel minor 3rd harmonies to the riffs, and growls, making the music far more extreme. I was pleased, but the other bandmates were not and ended up quitting. That was when Mefitis began. Our goal was to write music that incorporated our favorite elements from classic black and death metal into a detailed, and unified sound. Although we only put out a couple demos back then, our modus operandi remains steadfast.

Music-wise, who are your biggest influences?

It is difficult to say. There are comparisons that have been made to our debut that run across the whole extreme metal gamut. The timeless metal classics formed our tastes and musical intuition. Additionally, we look at the promising elements of more obscure, 2nd tier releases throughout the years, and contemplate techniques from those that can be better harnessed. There are obvious fundamentals that can be recognized on Emberdawn. However, there are a few bands that we were particularly enthralled by during the composition process of this album, such as early Septic Flesh, early At the Gates, and Dawn. Outside of metal, Vatha and I both listen to a range of classical, traditional folk, electronic, post-punk, and anything that is stimulating. While we mostly try to maintain a traditional extreme metal aesthetic, and don’t intentionally bring in outside influences, they have all surely made an impact on our sensibilities.

How long were you working on your debut album, “Emberdawn,” and how do you feel about the final result?

P: The meat of it spawned from a year and a half of overwhelming inspiration and disillusionment, but we spent a good three and a half years on Emberdawn. It is hard to quantify exactly. Some ideas came from our teenaged years, and were re-purposed/revamped. Does that count? …Because then it would be a decade’s worth of work. We also spent a hell of a lot of time on the production end; re-recording songs, adding fx, layering extra guitars, and other general mixing experimentation. Although all of the tracks were designed to function together, each one was recorded in separate sessions, which lent to them their own respective sonic idiosyncrasies, strengths, and weaknesses. This posed quite the challenge for mixing them into a unified package, and considerably delayed the release. No one has commented on inconsistencies between the tracks though, so I suppose our efforts were not unfruitful. Emberdawn is really where we figured out how to effectively produce music ourselves. It needed to be perfect, and we eventually got as close to that standard without delaying it for another half decade. There are very few elements I would change in retrospect, and absolutely no artistic choices we regret. It became much larger than we had ever intended it.

What can you tell us about the promotion regarding “Emberdawn”? Did the feedback meet your expectations?

V: There really was not a whole lot of promotion. We put out a single release that included two b-sides from Emberdawn, in order to garner some attention before releasing a full-length. Other than that, we maintained a meager social media presence, and sent our music out for review via e-mail (cold calls, more or less).

P: Vatha and I did not have specific expectations for feedback. We simply hoped that a few would truly “get” Emberdawn, and appreciate the painstaking compositional techniques and arrangement details we imbedded into each song to enhance the album’s overall meaning. We knew that some people would write it off, and others would show temporary, superficial interest. All of these perspectives have come to fruition; we were just unsure of what the ratio would be. I am grateful for how many people have resonated with our music, in spite of not having big label backing. Some of the “hot takes” were unanticipated, like people calling us “Demilich worship”. Jesus. Goes to show how much visuals inform people’s auditory perception. We could have played goddamn Radiohead cover songs and people would still say that from seeing our album cover. Looking at the metal community, it is difficult to ascribe any rhyme or reason to the hype-machine. Wholly mediocre releases are praised to no end, and there seems to be a lack of active listening and compositional understanding when I look at this community’s dialogue (even the reviews!). There is a race to formulate “year end lists”, all predicated on cheap, boneheaded platitudes like, “This shit is fucking filthy”. Such a “compliment” would be an insult to us. Prolonged time seems to be the best metric for meaningful feedback.

Tell us a bit about the artwork for “Emberdawn” and why you chose to work with Turkka G. Rantanen – Is there a theme behind it?

When Emberdawn was still in its formative stages, intended to be an EP, we had originally planned to use a piece by Vernon Hill from The New Inferno (1911). You can see the drawing behind the tray on our CD release. Vatha and I first saw this in an art book we found at a flea market, and it spoke to us. As Emberdawn grew in scope, we grew concerned over copyright, and desired something original to represent it visually. Considering the grotesque mass of bodies on Vernon Hill’s piece, there was an obvious artist that excelled at that aesthetic: Turkka Rantanen.  We are very happy with his paintings for us. It has unfortunately resulted in people making gratuitous comparisons to the Finnish bands that preceded us, even though our musical influences from them are negligible. But that is separate from the paintings themselves, and how they relate to the theme of Emberdawn.

Nowadays, he mainly does digital artwork, but we asked him to do a physical painting for us, and he reluctantly agreed. After many digital drafts, and long-winded e-mails on my behalf about what we were seeking, he worked his magic with the paint brush. I could go on and on about the creative process, but it might bore the reader. I’ll leave it at this: The use of digital modeling allowed him to incorporate a finer level of detail than was present on his old-school paintings. This is especially evident on the double painting. I’ll let Vatha explain the theme, as he’ll be able to better connect it the lyrics.

Where does the inspiration for your lyrics stem from and what are they about?

V: I tend to avoid allegory, the lyrics are more parables describing possible worlds similar to our own. They draw from a well of discontent that filled our thoughts and discussions during the album’s inception. If there is a general theme to the album, it is the portrait of a people whose actions abet their own undoing. It is arrogance and defiance in the face of unending decay, it is self-immolating to feel warmth.

Stylistically, I like fairly simple words and devices, internal rhymes and alliterations. My lyrics tend not to be overlong, I do not force additional stanzas simply to have more words on the page. I find it highly irritating when a band has too many lyrics, often causing every moment of the song to be littered with barking (what I call “bored vocalist syndrome”). When writing lyrics for Emberdawn I was very much drawn to words derived from Old English (or “Anglish”) as a source for archaic and uncommon expressions. The album title itself is one of these Germanic sounding compound words, and other oddities such as “widdrim” were also found while delving into Anglish vocabulary. The aesthetic of it is personally appealing, and I also feel it sets us apart from most metal bands out there. Each song title was deliberated over as methodically as each riff, evenings were spent poring over strange words until they somehow fit into a phrase both elegant and incisive.

What are your top 10 albums?

V: I think we can roughly agree on a top 10 metal records, at least of the death and black variety. A few others I’d like to highlight of my own personal liking are Scott Walker “3,” Mercyful Fate “Don’t Break the Oath,” XTC “Drums and Wires,” Stara Rzeka “Cień chmury nad ukrytym polem,” Robbie Băsho “Songs of the Stallion,” Django Reinhardt “Djangologie,” Muzsikas “Prisoners’ Songs,” Aria “Игра С Огнём,” Yes “Close to the Edge,” American Music Club “California.”

P: Vatha mentioned a lot of gold outside of metal. I can’t possibly make a canonical top 10 list in any meaningful way. We revere the great classics of black and death metal, many of which are so obvious it would be pointless to even mention––There is not some unknown band from Latvia or something that is going to make it’s way into our most esteemed records. I’ll just throw in a few standouts off the top of my head: At the Gates “The Red in the Sky is Ours”, Sacramentum “Far Away from the Sun”, Emperor “In the Nightside Eclipse”, Kvist “For kunsten maa vi evig vike”, Septic Flesh “Mystic Places of Dawn”, Pestilence “Consuming Impulse”, Morbid Angel “Altars of Madness”, Immolation “Here in After”. I am probably missing dozens of candidates that I’ll regret later.

What’s your opinion on the current state of the underground? Are there any bands you find worthy of support?

V: The utter glut of underground music out there is to me largely inconsequential. I think there is a lot of cheap praise tossed at dozens of new records each month, which are quickly forgotten at the turn of the calendar page. To be sure, there are bands out there doing great things, but either they are a very small subset of metal musicians or I am lazy in my musical expeditions. I rather like the bands coming out of the Netherlands at the moment, like Sammath and Kjeld. The Greek scene too has held up over the years, producing works which if not revolutionary are true to their own impetus and aesthetic. Macabre Omen produced one of my favorite albums from the last decade, I look forward to whatever they do next.

P:  Overall, I am unimpressed with the current state of metal. This is not to say there aren’t a few artists that are creating worthwhile music,  but the prevalence of uninspired rehash bands is disheartening. 10+ years ago, when plastic deathcore, Myspace DSBM, retro/pizza-thrash seemed inescapable, I would have relished in the OSDM revival. Now that it’s here…meh. Vatha mentioned some worthy acts, but Polemicist cannot be excluded. I also have high hopes for a band residing near us called Enshrouded. Bands like Thantifaxath and Yellow Eyes have stood out to me, if rather tangential to us, but I have not made my mind up on them yet. The community has become ever more focused on vapid year-end lists, soon moving on to the next batch to consume like a single-use-water-bottle with nice packaging. Journalists use the same old buzzwords to describe music with the same old techniques. There is not an obvious path for metal to embark upon, like there was a couple decades ago. The low hanging fruit has all been harvested, so it takes a lot more to make a meaningful statement nowadays. I would like to hear more bands that manage to move me, while showing true ambition in their compositions and arrangements. Innovation in mere aesthetics, or sounding like bands I like, is not enough.

How would you describe your music to those who haven’t it heard it before?

V: Heavily dynamic song structures, a sense of progression or what I might call “adventure” from beginning to end. In this timespan, chaos may give way to structure, or dissonance may erupt from graceful harmony. It is ultimately very dark music, but not nihilistic. Each song grows as a forest fire, spreading and consuming with its cackling din, giving way after some time to charred woods and fertile earth.

P: Vatha summed it up well enough. I’ll just add this: in spite of our album cover, we are not Finndeath/Demilich worship. My following description of dark metal will give any newcomer a better idea of our stylistic essence.

Can you please specify on why you chose to label your music as “Dark Metal”? Are you, by any chance, fans of Bethlehem?

Yes, though I am the bigger fan of that particular album while Pendath prefers “Dictius Te Necare.” I have always admired Bethlehem for endeavoring to coin a new style of metal with their debut. Acknowledging their use of “dark metal” to describe a hybrid of black, doom, and death metal, we decided to adopt the tag as well. Though our brand has far more death in it, of course.

P: It’s funny to see how removed so-called “dark metal” bands are from Bethlehem’s declaration on their debut, playing a tacky sort of symphonic goth metal that we call “corset-core”. This iteration of the subgenre never really took off, so we decided to reclaim it, and carry the torch of Bethlehem (even though we sound quite different). “Blackened death metal”, or worse, “deathened black metal”, are clunky titles that point toward bands that only lean toward one of the two, while utilizing a cheapened aesthetic from the other. One might consider “dark metal” a mere hybrid, but we seek to form it into a unified identity. There is no good reason to keep the different techniques used by black, death, and doom metal in separate boxes. Dark metal should take the most compelling elements of each, and purge the tropes.

What kind of films/books are you into? Cite some of your favorites.

V: I am currently delving heavily into The Silmarillion, reading and re-reading each chapter to fully appreciate the world-building (particularly the invented language). Also, current events have inspired me to re-read McCarthy’s The Road. I enjoy the movie adaptation of The Road, and other dark fare like Stalker, The Ascent, Pathfinder (1987), The Thing, The Wicker Man (1973).

P: Just finished reading Voltaire’s Candide, and rather enjoyed his sarcastic and satirical take on semi-historical accounts of the New World. Now I am re-reading Dostoyevsky’s Crime and Punishment. Ken Follett’s Pillars of the Earth is a modern fantasy classic. John Steinbeck’s work, especially East of Eden, stirs deep Romantic longing in me for a more pastoral America. Obviously Tolkien’s work is sacred, although I can’t lay claim to trekking The Silmarillion like Vatha! However, I did force myself to read Homer’s Odyssey in a non-highschool setting, which was rewarding. All in all, I ought to read more great literature, but I don’t write the lyrics for Mefitis, so who cares?

To wrap things up, tell us about your future plans for Mefitis, and how people can get hold of your merchandise. Thanks for answering my questions.

V: We are working steadfastly on a new EP of material for release this year. The songs are quickly approaching completion, at which time we will record and mix the release at our studio. This is not the same place where Emberdawn was recorded, which due to rather interesting circumstances is no longer available for our use. That tale may be told another time. For now, expect the most truly Dark Metal work from Mefitis yet. It incorporates concepts and influences perhaps too wild to have been written into the debut.

P: That’s right. Not to mention our second album, which is already recorded and took over 10 years to complete, with many failed attempts and full revamps on the compositions. Emberdawn was originally intended to be a short release to get us unstuck from such a large project, and free us to write new music. Of course, that ended up turning into its own monster. Since the fundamental ideas of the second album were written as teenagers, it contains a somewhat different ethos than Emberdawn. Therefore, we decided to release an EP that extends on our debut’s direction, in order to fortify our “dark metal” statement before we throw a curve-ball at everyone.

We put over $500 into upgrading our Emberdawn vinyl release into a gatefold, along with art for the second album, etc. We want to make merchandise, but it is not at the top of our priorities right now. As a new band, our money is limited, and will go into serving our music. Perhaps one day, we’ll get around to shirts and patches, and whatever else that we can print our logo on now. For now, if any labels are willing to make the investment, you’re welcome to do it! Hell, if you want to make a bootleg, go right ahead.

Thanks again for the review of Emberdawn, and for putting these questions together. Cheers!