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"‘Thieving From the House of God’ was almost a statement of defiance from us. After successful (but gruelling) tours of the US, Japan and Europe to support ‘Coup De Grace’, we lost a guitarist when Pete left to pursue his career in art. This could have spelt the end for the band but if anything, it just made us stronger and I think this album is the perfect combination of the 4 previous records. Being trimmed down to a 4 piece gave Joe the freedom to express himself more as a guitarist and Martyn and Chris both upped their game as well. We worked with Billy Anderson again to create an album that earned great reviews all over the world and established Orange Goblin as part of the UK metal hierarchy (albeit as the black sheep of that hierarchy!)" BEN Ward

In many ways, Opeth’s Blackwater Park can be considered as their answer to The Beatles’ Revolver, both uncompromising and experimental, but equally commercially viable and unfuckwithable masterpieces. Twenty years on, Blackwater Park remains a breath-taking piece of work, dense with extraordinary melodic moments, spine-tingling atmospherics and agile but crushing heaviness. It is also arguably still the most cherished album in the Swedish metallers illustrious catalogue as a rising progressive influence kicked open prog’s ornate doors, fed death metal through the cosmic kaleidoscope and introduced a generation of music nerds to a world of limitless musical possibilities. After four albums of imaginative and immersive heavy music, the band were primed and ready to make a career-defining statement. At the time, the metal world was flailing in a state of post-grunge confusion, meanwhile, Opeth were forging an entirely unique and fearlessly creative path. Back in 2001, prog was steadily being rehabilitated in the eyes of the mainstream, but there was still something audacious about Opeth’s rise to prominence. With several songs passing the ten-minute mark, Blackwater Park was no kind of commercial compromise. Instead, its popularity and acclaim proved a couple of valuable points: that music fans (and metalheads, in particular) are often vastly more open-minded than they are given credit for, and that depth, subtlety, sophistication and imagination were all credible selling points.

Heavy Psych Sounds is really proud to announce a brand new series of split albums that will be called Doom Sessions !!We are going to release a bunch of compilations with doom bands from Heavy Psych Sounds roster featuring some of the heaviest bands of the world doom scene. Each volume will host two bands.This record you are holding is VOL. 666 – a split album between the UK occult-doom riffers Dead Witches and the french doom sensation Witchthroat SERPENT.All the tracks are new and never released before. An occult-doom explosion !!! Awesome artwork by the one and only Branca Studio.

Origin of the Alimonies is Liturgy’s fifth full-length album and their first to fully integrate Hunter Hunt-Hendrix’s vision of total art, or what she calls Perichoresis, with her musical compositions. The music amplifies a dramatic narrative addressing the question of the origin of all things, which itself aesthetically grounds the content of Hunt-Hendrix’s ongoing philosophical YouTube series on her System of Transcendental Qabala.

The album is by far Liturgy’s most meticulous and radical statement, pushing their characteristic synthesis between black metal, minimalism, experimental club music, and 19th–century romanticism to new extremes. Exploring microtonality, free improvisation, polymetric structures and Richard Wagner’s ideas of musikdrama and leitmotif, Hunt-Hendrix employs her unique “burst beat” technique to bind together the rhythmic signatures of metal, experimental club and classical music in the service of speech patterns and narrative flow.

Featuring the virtuosic playing of bandmates Leo Didkovsky, Tia Vincent-Clark and Bernard Gann, the entire album also includes flute, piano, harp, strings and horns performed by a 8-piece chamber ensemble drawn from New York’s various avant-garde music scenes.

Influenced by kabbalah, German Idealism and French post-structuralism, the opera tells the story of a cosmogonical traumatic explosion between Oioion and Siheymn, a pair of divine beings whose thwarted love tears a wound from which civilization is generated, producing the Four Alimonies of the intelligible universe and the task of collective emancipation.

Outside the narrative frame, the piece is meant to foster productive discord between the modes of attention and political commitments that implicitly accompany its various genres, as well as to hover in the liminal territory between the music industry, the art world and the contemporary philosophy community, reiterating the message of Jesus via William Blake by belonging nowhere, only half-comprehensible within any established framework, puncturing hypocritical ideologies while crying out in the name of love.

The album is accompanied by a new, eponymous album-length operatic video written, directed, shot, edited by and starring Hunt-Hendrix, who uses her evolving body, in the wake of her recent gender affirmation as a trans woman, as the medium for the story.

The beginnings of Grave Digger date back to 1980. After various appearances at small festivals, the band recorded a song for the compilation album “Rock From Hell” in 1983. A year later, Grave Digger released their debut album “Heavy Metal Breakdown”, second album “Witch Hunter” in 1985. Then some changes happened in the line-up. Further festival appearances, a tour as the supporting act for Helloween, and a triple headlining tour with Celtic Frost and Helloween, followed before the release of the third album “War Games” in January 1986, still on Noise Records, as the previous ones. Then Uwe Lulis on guitar joined the band in 1987 and the band's name was changed to Digger, the name under which they released the album “Stronger Than Ever”. This album hardly had anything in common with the earlier music of Grave Digger. It was more an attempt to reach the masses with mainstream rock like that of Bon Jovi or Van Halen. The album flopped, as it was not readily accepted by fans nor the mainstream. As a result, Chris Boltendahl declared the break-up of the band at the end of 1987. However, the band partially reformed in 1991. Chris Boltendahl and Uwe Lulis, along with two newcomers, Tomi Göttlich and Jörg Michael (Rage, later in Running Wild, Stratovarius), released a comeback record, “The Reaper”, returning to the true roots of Grave Digger. “Symphony Of Death” followed in 1994, with the same line-up of “The Reaper”. In the meantime, Grave Digger, now with new drummer, Frank Ullrich, toured Germany, playing as the supporting act for Manowar. In 1995, the album “Heart Of Darkness” was released, considered one of the best of the band. In 1996, Stefan Arnold became the new drummer. This year also marked the release of the concept album “Tunes Of War”, which dealt with the early history of Scotland. The second album, “Knights Of The Cross”, with Jens Becker (Running Wild) on bass, was completed in 1997 and was about the rise and fall of the Knights Templar. The third and final part of the middle-age trilogy, “Excalibur” (1999), explored the legend of King Arthur and the Knights of the Round Table. Shortly after the band embarked on a world tour and was joined by keyboardist Hans-Peter Katzenburg, who later became a permanent bandmember. In 2000, Grave Digger celebrated their 20th anniversary. To mark the occasion, they performed a sold-out concert at the Zeche in Bochum. This concert marked a defining chapter in the band's history, as Uwe Lulis left the band shortly before the show due to both personal and business-related differences. A replacement was found in ex-Rage guitarist Manni Schmidt, who first appears in “The Grave Digger” (2001) with lyrics of the album inspired by Edgar Allan Poe's books. Their first live album, “Tunes Of Wacken”, was released in 2002. About a year later new album followed, entitled “Rheingold” inspired on the opera “Der Ring Der Nibelungen” by Richard Wagner. After the successful Rheingold-Tour the band recorded a new album, “The Last Supper” (2005). All these last 4 albums were released under Nuclear Blast. 2007 saw the release of “Liberty Or Death” (on Locomotive Records) and later that year, Grave Digger performed at the legendary Wacken Open Air. In October, a new member joined the Grave Digger family, Thilo Hermann (Running Wild) became the second guitarist. Grave Digger split with Locomotive, dealing with Napalm Records. “Ballads Of A Hangman” was released in the summer of 2009 entering the charts in Austria and Switzerland, it reached number 31 in the German Media Control Charts. Fueled by the tremendous feedback, they embarked on an extensive tour, also playing selected shows at numerous European festivals. Due to personal and musical differences, both guitarists Thilo Hermann and Manni Schmidt left the band, prior to entering the studio. Axel Ritt took over all guitar duties on “The Clans Will Rise Again.” With lyrics returning to the Scottish Highlands. To mark their 30th anniversary, Grave Digger invited many guests on stage at the Wacken Open Air 2010 to join in the celebration. The amazing reaction of the fans and the outstanding chemistry of those involved led to the fantastic double package “Ballad Of Mary” and “The Clans Are Still Marching”. On their latest album “Clash of the Titans”, Grave Digger entered the legendary realm of Ancient Greek and its gods and creatures. After this release the band recorded, always for Napalm Records, 3 more albums "Return of the Reaper", "Healed by Metal", "The Living Dead" and "Exhumation, The Early Years" compilation.The new recording is planned for 2020. With this long discography in over 35 years of career, Grave Digger shows to be one of the most longeval and appreciated band devoted to classic and old school HM.

You can probably feel it already. Amid the shimmering haze of dusk. In the marrow of your bones. The darkness is getting darker. Malevolent forces are on the prowl. The wasteland is beckoning. Uncle Acid is on his way home. A disorientating journey through Kevin Starrs (AKA Uncle Acid)’ wonkiest dreams, Wasteland glides majestically from punchy and direct psych-rock anthems like "I See Through You" and "Shockwave City" to the viscous, somnambulant ooze of the eight-minute "No Return" and the twinkly-eyed bad trip of the album’s mesmerising title track. Recorded at the legendary Sunset Sound studio in Los Angeles, Wasteland boasts the kind on irresistibly raw and exuberant sound that only the greatest bands can generate. Yet more confirmation that Uncle Acid exist in their own musical universe, Wasteland is also a powerful cautionary tale: one rooted in the alien landscapes of Starrs’ imagination, but with a very clear connection to the deranged chaos of today’s political world. As humanity cheerfully circles the plughole, Dystopian visions and present-day horrors have become more-or-less interchangeable, making Wasteland’s ghoulish surrealism a lot more pertinent and disturbing in the process. While most musicians seem content to chase their own (or other people’s tails), Uncle Acid & The Deadbeats remain proud and resolute individualists and Wasteland is simply their most powerful and memorable spurge of creativity to date. Masterfully echoing the magical atmospheres of heavy music’s turbulent past while sounding entirely unlike anything else available to human ears, this is what happens when the shadows come to life and suffocating darkness, Uncle Acid & The Deadbeats style, is the only show in town.

The Gates of Slumber return with a new album out in November on Svart Records

“I never intended to pick up with The Gates of Slumber ever again in 2014. While I did start the band and wrote most of the first album it was never intended to be a one man show.” -Karl Simon, 2024

Indiana’s True Doom Metal legends The Gates of Slumber return with their sixth album out in November via Svart Records. The self-titled album is the band’s first full length offering since The Wretch from 2011.

The Gates of Slumber was formed by Karl Simon in 1998. Various people were in and out of the group between 1998 and 2001, when the Blood Encrusted Deth Axe demo was recorded with Jamie Walters aka Dr. Phibes/Athenar (Boulder, Midnight) on drums and bass. In 2003 Jason McCash took over the bass duties and was a long-time member of the band until his untimely demise in 2014, after which Simon decided it was time to call it quits. That was until 2019 when the renowned metal festival Hell Over Hammaburg wanted to bring the band back on stage to perform at the festival’s 2020 edition. Simon reformed the band with its original member Chuck Brown on drums and Steve Janiak on bass and got back to work. “We’d been asked several times to play Hell Over Hammaburg. But there was no “we” to play. The germ of the idea started. We started re-learning songs from the first LP. It wasn’t too long into the rehearsals that we started coming up with new songs.”, states Simon.

After a reunion tour was finished, Covid kicked in to slow down the process. Half of the album was already written but the remaining half took its time, and the songs were left to stew in their juices. With bastard heavy songs honoring the Doom Metal greats Saint Vitus and Penance, straight forward bangers, lyrics inspired by the Black Death and John Carpenter’s The Fog, The Gates of Slumber is a truly crushing album and a must listen to any Doom Metal fanatic.

Having toured with Pentagram, Reverend Bizarre, Cathedral, Slough Feg, Earthride, and Weedeater in addition to getting praised by Decibel Magazine such as “The Gates of Slumber have quietly gone about the business of becoming one of the best heavy metal bands in the world.”, it’s safe to say The Gates of Slumber play some of the heaviest metal on this planet.

Leaving, who hail from Oakland, CA, meld the heavy distortion of doom metal with the ethereal textures of shoegaze, forging an audio landscape that is devastatingly hypnotic and dripping with sorrow. Founded in 2021, they are a seasoned group of sonic architects who include members of Noothgrush, Amber Asylum, Graves AT SEA, Lycus, and Funerary among them. Leaving weaves a musical tapestry that plunges listeners into the abyss with shadowy vocals adding emotional depth and somber undertones to their enormous sound. Lyrically they delve into themes of desolation, depression, loneliness, introspection, and the shadows that lurk within the human psyche. Leaving’s music paints a bleak but vivid, almost gossamer picture of a world consumed by decay. This interplay of light and shadow, coupled with an underlying heaviness, creates an atmosphere that is bound to envelop the listener in a shroud of mesmerizing gloom. With each note, the band invites you into the liminal space they've crafted - a space between worlds, emotions, and musical genres.

Göden, the spiritual successor of Death Doom legends Winter, returns with a new album out in May 2024

Göden is back, and on their latest album the sound is heavier than ever. Creator Stephen Flam is best known for his previous work with the band Winter, whose sludgy dirge earned a cult following for decades to come. Göden is the spiritual successor to Winter. One could say Celtic Frost is to Triptykon what Winter is to Göden. Their debut album, “Beyond Darkness” stood on its own in creating a distinctive world.

Now, four years later, they explore new sonic territories with their second album, “Vale of the Fallen”. While "Beyond Darkness" was a concept album that propelled listeners into space, whether inner or outer, “Vale of the Fallen” brings us back to twisted reality. Their more in-your-face approach should only intensify the experience-much like a walk through a post-apocalyptic landscape in the bleakest imaginable conditions.

Sound-wise, Stephen Flam's heavier-than-life riffs, Vas Kallas' sardonic delivery and Tony Pinnisi's keyboards create oppressive atmospheres atop Jason Frantz's powerful drumming, while in contrast Margaret Murphy’s violin weaves ghostly motifs. Like its predecessor, “Vale of the Fallen” features interludes which provide brief respites between some tracks, only to return to the crushing heaviness in yet another avalanche of sound.

This might be your favorite album of 2024.

Cursed to ride forever on this mortal plane after partaking in a satanic drug ritual, THE Death Wheelers pledge allegiance to the god of hell and fire. However, in order to prove themselves to their newly anointed leader and for the spell to take effect, the band will need to engage in a series of lewd acts of sex and violence across the country. Immortality comes at a price and the listener is about to pay for it… The beating heart of The Death Wheelers is a rumbling engine. Since their self-titled debut in 2015 and in 2020’s cinematic-storytelling breakout, Divine Filth, the Canadian outfit have tapped into wind-through-hair freedom and careened down open roads of groove, not a cop in sight. Their third record, Chaos And The Art of Motorcycle Madness, more than lives up to its name on all fronts. With songs like “Morbid Bails” and “Lucifer’s Bend,” the in-the-know references abound, and The Death Wheelers draw from classic underground metal, scummer heavy rock and cast themselves into a cauldron of cultish biker devil worship, reveling in any and all post-apocalyptic dystopias with genuine glee at having just seen the world eat itself. One might hear some surf guitar. Crazy things can happen.

A concept of ultimate finality doused in cosmological inevitability. A sound of world-building/destroying immensity shrouded in otherworldly dissonance and suffocating atmospherics. Visions of eons ahead, evoking the ultimate fate of matter and as such of existence. All this is the Abyssgazer, the immense debut album by Italian atmospheric post-death/doom metal oracle Aphotic. The four piece from northern Italy which features current and past members of bands like Fuoco Fatuo, Blashphemer and Ekpyrosis, has set out to create the ultimate extreme metal clairvoyance into the death of our universe, through an audio, visual and conceptual experience of unparalleled evocative power.

Roadburn festival is arguably the world's most cutting edge boutique music festival out there, and has been a fertile breeding ground for innovative acts from a broad spectrum of musical genres for many years. Last year saw the unique collaboration of Danish electro-industrial duo John Cxnnor and Hungarian doom-folk artist The Devil's Trade take the stage to deliver a sonic journey into the void of deep space. Today, we are ex- cited to release this iconic set on vinyl to immortalise this one-time convergence of three akin artistic minds. John Cxnnor is made up of one half of Danish sci-fi-sludge metal juggernaut Llnn and sees the brothers Rasmus G. and Ketil G. Sejersen collaborating with numerous fellow artists to explore the synth side of their main project. Inspired by the Terminator-franchise and the scores of other sci-fi movies, the Sejersen brothers have been creating menacing industrial electronic opuses, the frst of which a crushing rendition of a The Devil's Trade track. "We've been enjoying the music from The Devil's Trade for quite some time now," commented the duo on the release of «Dead Sister Merope», describing it as "an interesting match of musical expressions formed by the same DNA." Indeed, the haunting atmospheric folk compositions of The Devil's Trade mastermind Da'vid Mako' carry a similarly cavernous quality which, when taken to the stage of Roadburn, is only reinforced by the sonic violence of John Cxnnor. Unlike many other live records, this set is captured and excellently produced down to the finest level of detail. On centrepiece «Lullaby», the trio seem to have perfected their definition of heaviness, with heavy bass blasts beyond anything you've heard before booming from the speakers. Together John Cxnnor and The Devil's Trade reach new heights in their respective trades capturing both the pressing darkness that gathers `round a bonfire at night as well as the void darkness of deep space. FOR Fans OF Author & Punisher, Godfesh, Lustmord, Llnn, The Devil's Trade, The Body, Uniform

Scandinavian jawbreakers Harmagedon offer up a nightmare future on their debut album Dystopian Dreams, with a refreshingly modern concoction of melodic death metal and crust punk.

Three piece riff machine from Stockholm Sweden, Harmagedon is a raw festering carcass of dynamic grind and roll. Featuring members of Martyrdöd and Freedom raising hell once again, Harmagedon’s debut record Dystopian Dreams is a fusion of heaviness that is difficult to pin down but makes all the damn sense in the world! With focus on primal minimalism but maximum animalism, Dystopian Dreams is the ground zero of an explosive power trio summoning raw energy into being. With no frills and no gimmicks, just relentless heaviness, Harmagedon is a matured brew of “crust punk” or “d-beat” (“kängpunk” for the diehards) infused with ravishing death-metal. Dystopian Dreams is made by adepts of distortion and grime to be imbibed by connoisseurs of rage and chord-fury.

Recorded live at their own studio, Dystopian Dreams was conjured with the help of Fred Forsberg of Mass Worship at the controls, capturing Harmagedon’s wildfire and blending this dense stew together. With the addition of Magnus Lindberg of Cult of Luna mastering it, Dystopian Dreams has that exceptional flavour of a future classic, where all the cogs and wheels of this merciless weapon fire on all cylinders.

Black Sabbath, Entombed, Neurosis & High on Fire spring to mind, as the calibre of Harmadgedon’s riff whirlwind is of the finest quality, the antithesis of royalty but epic and majestic in delivery. Dystopian Dreams’ hulking magnetism leads you expertly to headbang and worship at the altar of timeless metal, without the slightest remnant of doubt.

Songs like Reptilian and Controlled Chaos groove and churn, but pack a hell of a concrete punch, with nihilistic, gravelled guitars and spewing vocals of molten brimstone.

Guitarist and vocalist Tim Rosenquist says:

“Controlled Chaos is about propaganda actions and distractions but Reptilian is about how hard work makes you into this emotionless beast of a being. That song is best served blasting on the factory floor or in the car on your way to the office! Reptilian’s themes are at the core of what Harmagedon is about”.

Look to the masters to deliver true heavyweight metal when the current scene lacks enough muscle and teeth. From a band made up of underground titans, Harmagedon is drawn from the well of eternal heaviness, living in death forever, what nightmares are made of.

Harmagedon is:

Tim Rosenquist - Guitars & Vocals

Magnus Berglund - Bass

Jens Bäckelin - Drums

Nightbearer's second full -length album "Ghosts Of A Darkness To Come" seamlessly ties in with the virtues of its reclaimed predecessor. This time, focussed on more depth concerning songwriting but also more focussed and consistent in terms of atmosphere, melodies and the underlying lyrical concept, Nightbearer do not only stick to the harsh sound and trademarks of the Old School Death Metal they love but give it a decent modern twist. They take the listener for a phantastic, yet bloody and brutal journey through the world of Robert Jordan's "The Wheel Of Time". And once again it is the renown artist Juanjo Castellano who is in charge of the epic cover art which reflects sound and lyrics perfectly.

Italy’s Red Rot is the new extreme metal band of Luciano Lorusso George and Davide Tiso, formerly of Ephel Duath, and their debut Mal de Vivre, is a relentless opus of technical beauty and bludgeoning grace.

Dubbed after a French expression to describe a sense of profound discontentment, the idea of losing the taste for life, Red Rot’s Mal de Vivre was written, recorded and mixed between October 2020 and May 2021 as the world was reeling in the throes of pandemic. Featuring eclectic drummer Ron Bertrand and bass virtuoso Ian Baker to flesh out their powerhouse of cutting-edge extreme metal, Red Rot are an emerging force to be reckoned with.

The seventeen songs in Mal de Vivre are musically intense, raw and passionate, but with a multi-faceted elegance that envisages Red Rot appealing to fans of radical and heavy music right across the spectrum. Engorged with elements of Death Metal, Doom and Thrash: Mal de Vivre sounds like a twisted blend of the roots of early Morbid Angel and Paradise Lost with the experimental discord of Voivod and the hardcore clash and klang of bands like Converge. Lorusso’s lyrics on Mal de Vivre explore themes of mental illness, psychological deviance, rage, gloom and paranoia, all delivered with agonized and emotional conviction.

Clocking in at the perfect 38 minute mark, the songs on Red Rot’s Mal de Vivre alternate between one minute bursts and three minute nightmares resulting in a fervent but cathartic listening experience.

That Mal de Vivre is such a well developed and conceived debut album should be no surprise to fans of Tiso and Lorusso’s earlier work, but newcomers to Red Rot’s fungal network of dominating putrefaction have oozing spoils to savor once this album drops.

Two years after their sophomore "Cosmic Terror", Germany's THE Spirit once again delve into the vast nothingness of the universe, while capturing the fear of the unknown and humanity’s insignificance within our cosmos in their sound. On their upcoming third offering, "Of Clarity and Galactic Structures", the duo, consisting of Matthias Trautes (vocals, guitars, bass) and Manuel Steitz (drums), hold on to their black/death metal roots yet take the progressive elements to a whole new level. Whilst the predecessor from 2019 already contained some prog elements, the brain twisting rhythm changes and virtuosic instrumental performance became an essential part of the band's universe. Once again recorded and mixed at the Woodshed Studio, Germany by V. Santura (with the drums being tracked at Iguana Studios by Christoph Brandes), THE Spirit’s lyrics usually mix a general misanthropic view on the world with cosmic metaphors and the call to see our often narrow-minded and egocentric existence in the larger context of our whole universe, where none of our daily struggles and vanities ever matter. To distance oneself from this attitude and see the bigger picture can often lead to new clarity, and this thought inspired the album title.

Ever Since The Release Of Their Acclaimed Debut Ep P'eau (2018) These Mechelen-Based Musicians Have Been Honing Their Craft In Songwriting And Production, Building A New Home Studio To Record Future Material While Also Expanding From A Three-Piece To A Five-Piece Ensemble. By Adding Singer/Percussionist Stefan De Graef (Psychonaut) And Guitarist/Singer Sander Rom (L'itch) To Their Ranks, Hippotraktor Have Become A More Versatile Outfit Able To Employ A Broader Palette Of Sounds, Taking The Band's Earlier Instrumental Prog Metal Sound To New Heights.Taking Notes From The Best Moments In Contemporary Progressive And Post Metal, Hippotraktor Capture The Awe-Inspiring Power Of Nature_from The Delicacy Of The First Falling Leaf To The Massive Cosmic Energy Of The Sun. By Combining The Big, Catchy Riffs And The Rhythmical Prowess Of Gojira With The Relentless But Equally Groove-Loaded Complexity Of Meshuggah, Meridian Delivers An Overwhelming Experience Of Sound, Presenting The Listener With Sentiments That Are Recognisable, But With An Intensity That Seems Larger-Than-Life. "Meridian Tells The Story Of A Solitary Wanderer On The Earth In The Absence Of Other Beings," Explains Stefan. "Without Anyone To Share Knowledge And History With, The Protagonist Is Forced To Create His Own Truths And Stories About The Nature Of Life, Consciousness And The Universe. The Protagonist Begins To Personify And Deify His Surroundings, Assigning Sentience To The Trees, The Mountains, The Wind, The Waters Etc. For They Are His Only Companions In This Desolate World."Essentially, Meridian Is An Exploration Of The Evolutionary Theory Of Naturism, Which Was Put Forth By German Scholar Max Mu"Ller In The 19th Century, And Which Argues That Religion Finds Its Origin In The Deification Of The Forces Of Nature By Early Human Beings. By Juxtaposing This Sociological Theory With Seven Tracks That Unfailingly Conjure Images Of The Earth, Sea And Sky, Hippotraktor Have Created An Analogy That Enlarges The Imaginative Quality...

Cold Spring presents two Swedish titans - Nordvargr (MZ.412) and (trepaneringsritualen) - teaming up for a bludgeoning dose of Death Industrial majesty. Det Kätterska Förbund, consisting of the two giants dominating the Death Industrial world - Thomas Ekelund (Trepaneringsritualen, Dead Letters Spell Out Dead Words) + Henrik Nordvargr Björkk (MZ.412, Pouppée Fabrikk, Folkstorm etc) - has been slowly and methodically working for almost 5 years to finish the first album of this double-headed abomination. Patience richly rewarded. You can instantly feel the presence of lurking unease as the album slowly opens up a distorted world of familiar sounds and voices, but there is something special about these recordings; the menacing aura that has been created adds new elements to the otherwise rigid tropes of the genre. Punishingly heavy rhythmic tracks, with savage incantations from both Thomas and Nordvargr, gratifyingly familiar to fans of the artists' main projects, are flanked by these death-scarred lamentations.