Music News

I Prevail to Play Exclusive NYC Show For SiriusXM at Gramercy Theatre on 2/1


Exclusive performance at Gramercy Theatre on February 1 to air on SiriusXM’s Octane channel

SiriusXM today announced that GRAMMY Award-nominated rock band I PREVAIL will perform a special concert for SiriusXM on Thursday, February 1 at the Gramercy Theatre in New York City. From the start, SiriusXM has been dedicated to amplifying I Prevail’s music with continued airplay on Octane, and now this intimate show will bring fans an exclusive and unique concert experience.

SiriusXM Octane Presents I Prevail, hosted by SiriusXM Octane’s Jose Mangin, will feature the band performing music from their latest album TRUE POWER, including popular songs “Bad Things,” “Deep End,” and “Closure,” as well as many other fan favorites that Octane has been first to break like “Hurricane,” “Bow Down,” and “Scars.”

SiriusXM was an early supporter with Octane breaking the band and having the world premiere of almost every single they put out. Over the years, I Prevail has continued to dominate Octane’s airwaves with the number one Big Uns Song Of The Year in 2019, exclusive performances for Octane Unleaded and Octane’s Home Invasion Festival, and multiple guest DJs and weekend takeovers.

SiriusXM subscribers can enter for a chance to win tickets to see I Prevail, PLUS have their chance to meet the band at the show. For all entry details and official rules visit and listen to Octane on the SiriusXM app. No purchase necessary to enter or win. U.S. only/18+.

I Prevail said, “Our love and appreciation for SiriusXM’s Octane goes back nearly a decade. When we were just starting out and finding our voice, Octane gave us a chance to be heard. As we grow and evolve, Octane continues to give us unwavering support. Playing this show is the least we can do for Octane. What better way to give back than to play a show for their incredible listeners.”

SiriusXM Octane Presents I Prevail will air in its entirety on SiriusXM’s Octane (channel 37) on March 1 and will also be available to stream on the SiriusXM app.

Eligible customers can get their first three months of SiriusXM streaming for free. Click here to sign up and experience all that SiriusXM has to offer. See Offer Details.

I Prevail have established themselves as the forerunners of the genre in the 21st century. Their latest release TRUE POWER, once again produced by Tyler Smyth, features the sort of stadium-sized riffs that will rattle your teeth loose from your gums and unforgettable, supremely catchy melodies that will camp out in your brain for weeks at a time. The band also alternately mixes screamed vocals that sound as though they crawled from the depths of hell with soaring, emotional vocals and heartfelt, intimate lyrics that go so deep, they hit marrow. The end result is an album that resonates with the listener in the most personal way. Rising to an arena level and receiving two Grammy nominations — Best Rock Album for Trauma and Best Metal Performance for crushing lead single “Bow Down” — I Prevail proved that they were built to last. To date, they’ve racked up more than 4.1 billion global streams, are approaching 700 million YouTube views, and saw both “Hurricane” and “Bad Things” singles top Billboard’s Mainstream Rock Airplay chart in 2020 and 2022 respectively. A number of their singles and album Lifelines have now been certified Gold and Platinum, and they have been praised by press far and wide, including Forbes, Billboard, The Hollywood Reporter, and NPR. I Prevail have affirmed their position among the genre’s elite.

Music News

Whitechapel To Release Live In The Valley Digitally January 26, 2024 Via Metal Blade Records


Whitechapel is:
Vocals: Phil Bozeman
Lead Guitar: Ben Savage
Rhythm Guitar: Alex Wade
Guitar: Zach Householder
Bass: Gabe Crisp

Whitechapel has announced a new live album, Live In The Valley, which will be released digitally on January 26, 2024 across all digital platforms. The album contains songs from the albums “Kin” and “The Valley” and was recorded live at the band’s 7th annual Christmas Benefit Show on December 22, 2022 at The Mill & Mine in their hometown of Knoxville, TN.

Here’s what guitarist Alex Wade had to say about Live In The Valley:

“We decided to record the audio from our 7th annual hometown Christmas benefit show in 2022 where we played a mixed set from our albums ‘The Valley’ and ‘Kin’. We thought this would be a good way to close the chapter on these albums before we start recording our 9th album. The audio was recorded, engineered, mixed and mastered by our very own Zach Householder and we are excited about the way that it turned out. Along with the audio we shot 2 live videos to accompany the live album release.”
Check out a live video for the track “Lost Boy”off the upcoming live album that was created by Marshall Wieczorek below.

Whitechapel wrapped up 2023 on the road, taking to the stage with Meshuggah and In Flames for four weeks including a pair of headline shows. The band then headed home where they headlined their 8th annual Christmas Benefit Show at The Mill & The Mine, marking the band’s final show of 2023.

About the band:

At this stage in the game, the name Whitechapel commands respect. Already sitting on one of the most enviable catalogs in contemporary metal, in 2019 they dropped The Valley, showcasing a confident evolution in their sound and standing as a true landmark release that sets a new standard for the genre. “To me, it was like the stars aligning for us to create our almost perfect record in regard to songwriting, vocal performance, the mix and master, and the artwork,” says guitarist Alex Wade. “We like to look at our albums as chapters of our career, and that is one chapter I will never forget. I think it really solidified that we can embrace a new sound, and if we execute it properly, then the fanbase is going to support and enjoy it.” In 2021, they return with that album’s successor, the mighty Kin, which is an even more dynamic and diverse collection, further advancing the band’s sound into new territory without losing sight of what brought them to this point. “I feel with every album, we learn what worked best on the last one and try to utilize that in our writing. Early in the writing, there was some discussion of the album being like ‘The Valley’ part II, not literally called that, but in how the songs sound and flow through it. It’s very much a storytelling type record like ‘The Valley’ was,” adds vocalist Phil Bozeman, “Musically, we just want to create what we vibe with at the given moment. We write music with how we feel and not what is expected of us, while lyrically the idea of continuing from the story of ‘The Valley’ was always the goal.”

Track Listing:

1.When a Demon Defiles a Witch (Live) 2.Forgiveness Is Weakness (Live) 3.Brimstone (Live) 4.Hickory Creek (Live) 5.Black Bear (Live) 6.Doom Woods (Live) 7.I Will Find You (Live) 8.A Bloodsoaked Symphony (Live) 9.Anticure (Live) 10.Lost Boy (Live) 11.Orphan (Live) 12.This Is Exile (Live) 13.The Saw Is the Law (Live)

“For a generation of fans, Whitechapel are the most legitimately brutal band of the deathcore movement” – Kerrang!

“Their music attacks from the first track, and they draw you in, commanding your attention with their performance and presence. This is how I’ve always felt about Whitechapel” – Metal Nation

“Whitechapel has certainly become, in my opinion, one of the more unique metal bands still making music today” – Metal Injection

Music News

Job For A Cowboy Unveils A Transformative Journey in Their Latest Dark And Surreal Concept Album, “Moon Healer”


Jonny Davy – vocals
Al Glassman – guitar
Tony Sannicandro – lead guitar
Nick Schendzielos – bass
Navene Koperweis – drums

The iconic extreme experimental death metal lineup of Job For A Cowboy had some long-awaited unfinished business. After nearly nine long years of silence, they have awoken from their slumber, forging Moon Healer,the follow-up to their previous landmark album, Sun Eater.

But why the extended wait? “I had to take a step back in the band for family. It was the catalyst that eventually created a fork in the road for all of us. We all drifted into our separate paths,” explains frontman and band co-founder Jonny Davy. “Fatherhood, additional music projects, academic degrees, and careers outside the band took priority and life’s focus,” so the band agreed on a prolonged hiatus, but with the door open for a return. “Everything lined up for us to collaborate on a new project together, it was time to cross the threshold for something new,” states Davy.

Originally based in Arizona, the band’s long-awaited album, Moon Healer, is a vivid illustration of what happens when creativity, aggression, and volatility tangle for the first time in years. Like Sun Eater, Moon Healer is musically multifaceted, unabashedly brutal, and compellingly conceptual. The first single, “The Agony Seeping Storm,” is a mathematically mind-blowing hybrid of bludgeoning death metal specializing in unconventional riffing that echoes the resemblance of legendary experimentalists like Cynic, Atheist, and Gorguts. A newly refreshed and reinspired lineup–Davy, guitarists Tony Sannicandro and Al Glassman, bassist Nick Schendzielos, and drummer (since 2020) Navene Koperweis–all seamlessly pick up the mantle where their previous album, Sun Eater, left off. “The Agony Seeping Storm” unequivocally signifies Job For a Cowboy’s triumphant return. “The Forever Rot” stands in stark contrast, delving into a lonesome and haunting guitar melody, then evolving into shimmering reflections of Obituary, Coroner, Voivod, and even hints of Neurosis. In other words, forget about your preconceived perceptions of what this band was. This twists vocal tropes, chord forms, and melodies into loops of razor wire.

“The evolution of our sound has become a big part of the band,” Davy says. “As we mature as musicians, our tastes and interests naturally expand. With age comes more experience and ideas that we wouldn’t have considered in our earlier years.”

Compared to past offerings, Moon Healer is as bone-crushing as Job For a Cowboy has ever been. But it’s more consistent and conceptual – composed with the utmost enthusiasm and confidence.

“As most bands have at one point or another found themselves in the situation of having to meet strict deadlines, this was not the case for Moon Healer,” Davy says. “We started laying the groundwork for this album in 2018. Being as busy as we were in life, we managed to slowly chip away. This slow pace gave us significantly more time to analyze and dissect what we were doing, which in turn helped make a better album.”

When discussing the lyrical genesis of songs like “Beyond the Chemical Doorway,” “Grinding Wheels of Ophanim” and “Into the Crystalline Crypts,” Davy’s writing gets cryptic and elliptical–sounding, part Philip K. Dick, part Timothy Leary. “I envision this as a death metal album born from the mystical confines of an alchemist’s laboratory. The music acts as potent potions, inducing hallucinogenic journeys that unlock the secrets of the universe.”

Right when it seems like Davy is suffering from some particularly strong psychedelic trip that went wrong, the vocalist explains that the entire album is the second part of a dark, surreal concept that began with 2014’s Sun Eater (hence, that “unfinished business” the band needed to complete). “Sun Eater was an arrangement of melodies inspired by a close friend of the band who lost touch with reality due to excessive hard drug use,” Davy says. “This person was predisposed or was already experiencing symptoms of bipolar disorder and/or schizophrenia. They believed the drugs were providing them with eye-opening epiphanies. They believed that the drugs allowed them to cross into a reality closer to God. Likewise, they didn’t have the self-awareness that they were falling further down the depths of their own mental illness. The songs reflected the thoughts, ideas, and situations this person encountered.”

Moon Healer offers Job For a Cowboy’s fresh perspective on the protagonist from Sun Eater. Instead of descending into madness, the character achieves transcendence through chemical indulgence.

“The concepts in the album follow someone attempting to explore a different human existence,” explains Davy. “They considered themselves a pseudo-alchemist. They obsessed over esoteric methods to access altered states of consciousness through various pathways, including a focus on the pineal gland, a small endocrine gland within the center of the brain is believed to potentially play a role in entheogenic experiences. They cooked mind-altering consumables. But contrary to what others viewed as their descent into delusion, they were under the belief that they were unlocking the gateway to some form of profound enlightenment.”

Davy creates vivid, startling, and otherworldly imagery reminiscent of Edgar Allan Poe, H.P. Lovecraft, and Aleister Crowley through a combination of studied composition and stream-of-consciousness writing.

“Take me to the divine concept that is not understood by the human eye / The place where only a transcendent image will reside / The walls softly breathe with life as my heart shudders with misery / Cells throughout my flesh vibrate against a devolving visual periphery,” Davy shouts over a vortex of snarling guitars and mind-melting bass work with “Into the Crystalline Crypts.” In “The Agony Seeping Storm,” he immediately references the Emerald Tablet, the ancient text attributed to Hermes Trismegistus: “As above, so below / As within, so without / As the universe, so the soul / I find myself infectiously waiting for a glimpse at the dismal sun.” Later references include Carl Jung’s philosophies on the death of ego and its relation to drug use.

And in “Beyond the Chemical Doorway,” Davy explores Gnosticism (an occult teaching based on Gnosis, a state of transcendence achieved through intuitive, unconventional means) by way of Hieronymus Bosch’s art. “Horrors of lower Gnostic realms have been crusted shut and are never to be unsealed / A crystallized coating obscures unraveling hells from my occultic eye, forever to be congealed / But this membrane decalcifies, it exposes the organ of souls It bestows an immense gravity, weaving subatomic black holes / I rot in repetition, an eternal decomposition.”

Explaining his morbid wordplay, Davy credits his efforts to tap into the brain’s ability to tear down inhibitions and produce horrific visions. “When under the influence of these drugs, this individual claimed to encounter entities and find themselves in indescribable worlds that defy rational comprehension. Many who undergo such experiences draw intriguing parallels between diverse facets of Gnostic philosophy, biblical depictions of angels, and the stages of Bardo delineated in the Tibetan Book of the Dead.”

Job For a Cowboy delved deeply into the music of Moon Healer, as Davy did for the vocals and lyrics. The band traveled to Sanford, Florida to record with producer Jason Suecof (Death Angel, Black Dahlia Murder, Deicide) at his Audiohammer Studios. Having already collaborated on three previous records with Job For A Cowboy, the band had developed a strong rapport with Suecof, establishing a level of trust and familiarity.

“Jason Suecof has a supernatural ear in the ability to find hidden potential in music,” Davys says about the time in the studio. “We’ve gone through this same ritual with Jason for a multitude of reasons. But the most obvious one is that he’s a masterful songwriter, guitar player, and even vocalist. He has an ear for ideas that very few seemingly have. He totally understands where we’re coming from as a band.”

Moon Healer is the first Job For a Cowboy album to feature session drummer Koperweis (ex-Animosity). Davy previously worked with Koperweis in the progressive death metal side project Fleshwrought, which released the Metal Blade album Dementia/Dyslexia in 2010. Koperweis has also worked as a session drummer for Machine Head and Whitechapel and is currently in the band Entheos, whose third full-length came out on Metal Blade in March 2023.

“Navene and I shared a bond that goes back to my late teens when we became comrades in the metal scene,” Davy says. “Some of Job For a Cowboy’s earliest shows and tours were with Animosity. So, reaching out to Navene to play a major part in this project was a no-brainer.”

Although Job For a Cowboy worked tirelessly on their new batch of complex, multi-faceted songs, recording Moon Healer was ultimately a labor of love that reminded Davy why he wanted to be in a band in the first place.

“There’s so much spontaneity and fun experimentation that occurs when we work with Jason Suefcof,” Davy says. “It’s a nostalgic energy that brings you back to the days when you were teenagers writing riffs in garages.”

With Moon Healer, Job For a Cowboy has woven the thematic qualities of Sun Eater and used them as a platform to launch deeper into inner and outer space, using fictional situations to ponder the possibilities of existence outside the carbon-based form. For fans of experimental, progressive, and extreme death metal, Moon Healer is a satisfying, transformative metal journey unlike any other. And for those who wish to dig a bit deeper, it’s a sonic epiphany, with or without psychoactive substances.


1.Beyond the Chemical Doorway
2.Etched in Oblivion
3.Grinding Wheels of Ophanim
4.The Sun Gave Me Ashes So I Sought Out the Moon
5.Into the Crystalline Crypts
6.A Sorrow‐Filled Moon
7.The Agony Seeping Storm
8.The Forever Rot

Moon Healer will be released on February 23, 2024 Via Metal Blade Records. You can buy Moon Healer here:

Job for a Cowboy album discography:
Genesis, 2007 (Metal Blade)
Ruination, 2009 (Metal Blade)
Demonocracy, 2012 (Metal Blade)
Sun Eater, 2014 (Metal Blade)
Moon Healer, 2024 (Metal Blade)

Music News

METAL DE FACTO Unveils “Rise Amaterasu” Off New Album “Land Of The Rising Sun Part. 1” Out Feb 2024 Via Rockshots Records

Exploding onto the metal scene in 2019, Finnish power metal band Metal De Factomade their debut with “Imperium Romanum”, a full-length with a theme-driven collection of songs about Ancient Rome that was bombastically nostalgic old-school power metal. These fresh but familiar songs quickly caught the attention of metal listeners worldwide, notably with the first single ‘¨The Conqueror’ amassing over 200,000 video views and over 600,000 streams on various streaming platforms.

In early 2020, the band held their first headlining show in Helsinki, which attracted fans from all over the world to attend the show in a packed On the Rocks club. This success quickly led the band to continue performing live, opening for prime moving metal bands Ensiferum and Beast in Black.

Consisting of guitarists Esa Orjatsalo (ex Dreamtale) and Mikko Salovaara (Kiuas), bassist Sami Hinkka (Ensiferum, ssSHhh), keyboardist Benji Klint-Connelly (Everfrost) and drummer Atte Marttinen (ex Kivimetsän Druidi). It was announced however in 2022 that former vocalist Mikael Salo (ex Thy Row, ex Dyecrest) would no longer be the band’s singer. On the same day, the band’s new vocalist Aitor Arrastia hailing from Spain was announced along with the announcement of the band’s upcoming second full-length album, “Land of the Rising Sun Part 1.” The album will be the first of two parts, themed after Japanese culture.

Metal De Facto‘s latest single, “Rise Amaterasu” is a triumphant anthem that showcases their distinctive power metal sound. With robust and resonant tunes, the track captures the core of the band’s celebrated style. This release introduces the band’s new vocalist, Aitor Arrastia, highlighting their musical craftsmanship.“Rise Amaterasu” assures an engaging and dynamic expedition, maintaining the band’s legacy and enthralling listeners with its compelling storyline and impressive expertise, embodying the enduring essence of power metal. Together, let’s revive the grandeur of Power Metal!


YouTube –

“Land of the Rising Sun Part. 1” will be released on February 9th, 2024 in CD Jewel Case, Vinyl Black and Transparent Splatter Vinyl.


CD –

Vinyl –

Vinyl Transparent Splatter –

Previous single – “Code of The Samurai” –

Track Listing:
1. Rise Amaterasu
2. Code of the Samurai
3. Heavier Than a Mountain
4. Slave to the Power
5. Divine Wind
6. Tame the Steel
7. Superstars
8. 47 Ronin

To celebrate this momentous occasion Metal De Facto will play shows on the release weekend with Dreamtale and Everfrost (Everfrost only in Helsinki) in Finland!

Show Dates:
Feb 9, 2024 – Yo-talo, Tampere, FIN (with Dreamtale) – Ticket info here.
Feb 10, 2024 – On the Rocks, Helsinki, FIN (with Dreamtale and Everfrost) – Ticket Info here.



Music News

HIDEOUS DIVINITY Announces New Full-Length Album, ‘Unextinct’, Releases New Single

Photo by Novakova

Enrico Di Lorenzo – Vocals
Stefano Franceschini – Bass
Enrico Schettino – Guitars
Davide Itri – Session Drums

HIDEOUS DIVINITY Announces New Full-Length Album, Unextinct, Starts Pre-Order And Releases New Single For Aggressive And Epic “The Numinous One”

Unextinct will be released March 22nd via Century Media Records
New Single “The Numinous One” premieres today!
Album Pre-Order Starts today!

Watch “The Numinous One” HERE

Unextinct, the latest full-length album from HIDEOUS DIVINITY, will be made available via Century Media Records on March 22nd. Their newest track “The Numinous One” invites you into a sonic odyssey, transcending mortal boundaries. It unfolds a cosmic tale where the numinous being challenges life’s constraints. Dirges echo the mourning of mankind, and shadows embrace the divine horror. Stream it HERE; the awesome music video (produced by Kinorama Studio) can be watched here:

Pre-Order Unextinct here:

HIDEOUS DIVINITY comments on the new single: ‘The Numinous One’ is the perfect paradigm of our new album. Everything you will find on Unextinct is there. Visually, a relentless descent into a new dimension of horror where, in a world that just survived a shipwreck, we evoke and reawake an entity that escapes our control and… bites us back. Like Lucy, we freeze in awe and horror and succumb to this impersonal, uncontrollable predator that brings extinction. Like the rat soldiers, we kneel in front of the abyss of pestilence, unable to look away. Musically, a new version of the appalling death metal monster that continues the path of Simulacrum. Join us in this first chapter of the most brutal horror soundtrack you’ll ever experience.

They add on the album announcement: “Unextinct sets a new milestone for HIDEOUS DIVINITY, another step towards musical unspoken terror and frenzy. Every song has become a world with its own dissonances and rules made to be broken. A soundtrack of a shipwreck with the best sound production we’ve ever had: our brother Stefano “Saul” Morabito at 16th Cellar Studios really outdid himself. The new creature is coming at you on March, 22nd”

Artwork by Adam Burke

Unextinct Tracklist:

1. Dust Settles on Humanity
2. The Numinous One
3. Against the Sovereignty of Mankind
4. Atto Quarto: The Horror Paradox
5. Quasi-Sentient
6. Hair, Dirt, Mud
7. More Than Many, Never One
8. Der Verlorene Sohn
9. Mysterium Tremendum
10. Leben Ohne Feuer

Pre-order Unextinct now at:
The album will be available in the following versions:

Ltd. CD Digipak

Ltd. CD Jewelcase (US Edition)

Ltd. Gatefold Transparent Sun Yellow 1LP 180g Vinyl – Limited to only 1200 copies worldwide

Digital Album

Situated in Rome and comprised of members from Aborted, HIDEOUS DIVINITY sound is firmly grounded in the old school yet possesses technical elements, coupled with a touch of blackened atmosphere. “The Numinous One” serves as an initial preview of what the band has prepared for listeners this year.

Remember to catch HIDEOUS DIVINITYon their first shows and festival this year and in their record release parties:

Gothoom Open Air Fest, Slovakia, May
Lions Metal Fest, France, June
Laurus Nobilis, Portugal, July
Eresia Metal Fest, Italy, July
Hellsinki Metal fest, Finland, August
Deathfeast Open Air, Germany, August
Metal Mine Festival, Poland, August
Březovská Metalová Noc, Czech Republic, August
Rape The Escape, Austria, December

Watch the previously released videos below:
“Mysterium Tremendum”:



Music News

ROTTING CHRIST Announce New Album Inspired By Ancient Pagan Wisdom ΠΡΟ ΧΡΙΣΤΟΥ (Pro Xristoy) Via Season of Mist

Photo by Chantik Photography

Sakis Tolis: Guitar/Vocals
Themis Tolis: Drums
Kostas “Spades” Heliotis: Bass
Kostis Fouk: Guitar

Rotting Christ have stood the test of time. While their name has caused plenty of gatekeepers to clutch their pearls, Sakis Tolis and his brother Themis is have risen from Greece’s blackened catacombs to one of metal’s most formidable bands.

This year, Rotting Christ are celebrating 35 years of evil excellence with their 14th album. ΠΡΟ ΧΡΙΣΤΟΥ (Pro Xristoy) is bound to hold a revered place in the band’s heretical history. Always true to their name, with Pro Xristoy (“Before Christ”), the band pay tribute to the last of the Pagan kings by offering up more towering, gothic, melodic black metal.

Now that Rotting Christ are closing in on four decades, some followers might’ve wondered if there was any sacred ground left for them to conquer. But Pro Xristoy is a testament to a band that’s still on the rise.

“This album was inspired by the might of ancient pagan wisdom”, says Sakis. “It’s a tribute to those who resisted the coming of Christianity, which destroyed all the values, traditions and knowledge of the ancient world”.

Pro Xristoy comes out May 24.


1. Pro Xristoy (Προ Χριστού) (1:29)
2. The Apostate (5:01)
3. Like Father, Like Son (4:35)
4. The Sixth Day (3:56)
5. La Lettera Del Diavolo (4:01)
6. The Farewell (6:15)
7. Pix Lax Dax (4:33)
8. Pretty World, Pretty Dies (4:51)
9. Yggdrasil (5:04)
10. Saoirse (6:17)
11. Primal Resurrection (Bonus Track) (5:32)
12. All For One (Bonus Track) (3:37)
Total runtime: 55:17
Pre-orders for the new album will start next month.

To kick off what’s shaping up to be a year’s worth of devilish festivities, Rotting Christ are heading off on a tour of Latin America. Fans from Mexico to Argentina will have the pleasure of banging their heads to an unholy litany of the band’s greatest hits. They’ll also be treated to new songs off Pro Xristoy that are bound to become setlist staples.

Rotting Christ 35 Years of Evil Existence Tour

February 6 – Monterrey, MX
February 7 – Torreon, MX
February 9 – Chihuahua, MX
February 10 – Ciudad Juarez, MX
February 11 – Guadalajara, MX
February 13 – Leon, MX
February 14 – San Luis Potosi, MX
February 16 – Queretaro, MX
February 17 – Mexico City, MX
February 18 – Toluca, MX
February 21 – Bogota, Colombia
February 23 – Santiago, Chile
February 24 – Buenos Aires, Argentina
February 27 – La Paz, Bolivia
February 29 – Sao Paulo, Brazil
March 2 – Brasilia, Brazil
March 3 – Belo Horizonte, Brazil

Guest Musicians
Amdroniki Skoula – Vocals (on ‘La Letra Del Diavolo’)
Nikos Kerkiras – Keyboard
Christina Alexiou – Choir
Maria Tsironi – Choir
Alexandros Loyziotis – Choir
Vasilis Karatzas – Choir

Andrew Liles – Narration (on ‘The Apostate’, ‘Pretty World, Pretty Dies’)
Kim Diaz Holm – Narration (on ‘Ygdrassil’)

Recording Studio
Deva Sounds Studios (Athens, Greece)

Sakis TolisSound Engineer
Fotis Bernando
Aggelos Karatzas

Jens Borgen at Fascination Street Studios (Örebro, Sweden)

Tony Lidgren at Fascination Street Studios (Örebro, Sweden)

Artwork Artists
Thomas Cole – Artwork
Adrien Bousson – Digital Processing

Sebastien Gamez

Music News

Black Metal: Evolution of the Cult – Restored, Expanded & Definitive Edition’ first excerpt available online; purchase now via Decibel Books

Decibel Books celebrates the official release of Black Metal: Evolution of the Cult—Restored, Expanded & Definitive Edition by revealing the first excerpt from this massive hardcover black metal history (over 800 pages!), authored by Dayal Patterson. The following passage (also online here) transports readers to—you guessed it—Norway: the waning days or the underground death metal craze, the messy beginnings of the second wave of black metal and the genesis of scene legends Immortal.


One of the earliest bands to emerge during the rebirth of black metal in Norway, Immortal have gone on to become one of the genre’s most popular and iconic artists, and probably the most recognizable to those outside of the scene. Despite creative conflict and commercial success, Immortal’s music stays remarkably true to the vision crystalized on their early albums, one inspired by the legends of the 1980s, yet nevertheless bearing the combination of searing aggression and rich atmosphere that characterized the 1990s.

For many years, Immortal was centered on two men: guitarist Harald Nævdal (who adopted the pseudonym Demonaz Doom Occulta) and vocalist/bassist Olve Eikemo (Abbath Doom Occulta), both of whom grew up in the west of Norway. Like so many of their peers, the two had discovered heavy metal in their childhood—thanks in no small part to KISS’s highly effective promotional campaign—and hungrily explored the genre as they grew older.

“It was a very small community,”recalls Demonaz of his youth in an interview I conducted in 2023. “I was tape-trading demos, and that opened up the world and offered new possibilities, because in Norway it was very hard to get music. Whenever I wanted an album, I had to order from the U.K. or Sweden; in Norway there was nothing. You had to trust the reviews in the fanzines, and there was also a Swedish record club where you would get a monthly magazine; you saw a cover and hoped the album was great. Sometimes it was horrible. You bought five at a time—it was cheaper because of the postage—and there would be one or two that were killer; the others you just throw away or swap for something else.

“Coming from the place I did outside Bergen, there was nobody listening to rock ‘n’ roll. I had no friends, none whatsoever, that were listening to the same music when I was 12 years old listening to Black Sabbath, or when I was 10 listening to the Rolling Stones, trying to play ‘Satisfaction’ on a borrowed acoustic guitar… which was impossible.”

Demonaz would meet a like-minded soul in the form of Jørn Tunsberg, and together with drummer Jan Atle “Padden” Åserød—and initially a guitarist named Truls Kvernhusvik—they would begin creating their own music, Demonaz handling vocals and guitars, Tunsberg on drums and Padden on bass. Initially known as Sacrecy, and then Amputation, the band recorded two demos—Achieve the Mutilation and Slaughtered in the Arms of God, released in 1989 and 1990 respectively—Tunsberg and Padden curiously swapping instruments for the second demo.

“I got to know Demonaz at school when he moved to my area,” recalls Tunsberg. “We were 15 or 16 years old. We started to hang out a lot and started Sacrecy, then Amputation. Then when we were around 17 or 18, we met Abbath and his friends—they played in Old Funeral, and we started to hang out with them around ’88/’89.”

Like Sacrecy/Amputation, Old Funeral were a death metal band that had formed in 1988 and released demos in 1989 and 1990. The two bands crossed paths regularly since Padden was the drummer for Old Funeral and Demonaz played guitar in the band for a time, while Abbath would eventually contribute to Amputation. The local scene was very small, and Bergen was far from the metal-centric city it is today, meaning support was in somewhat short supply.

“People were saying, ‘You can never go anywhere with this music,'” Demonaz sighs. “That’s what you always were told, and that was just adding fuel to the fire, I think that was helping us in a way to work harder. I remember I was driving myself and Abbath to the rehearsal place—I’m three years older and he didn’t have a license yet—and when we arrived, there were some people coming to watch us because they heard that there were some people playing in the basement. And they didn’t understand it. They were asking, ‘What kind of music is this?’ They thought we were just fooling around maybe, I don’t know. But there was a contest half an hour from the rehearsal place, this Norwegian music contest, and there were just rock bands and punk bands, no [other metal] bands. We came in, we’d rehearsed all we could, and we won the fucking contest. It was like, ‘What happened?!'”

Padden would soon end up “out of the picture,” and so Demonaz, Tunsberg and Abbath formed Immortal, taking on a new drummer, Gerhard Herfindal, then known as Gædda and soon Armagedda. The first result of this union was the band’s only demo, a self-titled effort recorded at a youth club on July 5, 1991 and released soon after. Featuring cover art by Dead of Mayhem and a logo by Jannicke Wiese-Hansen (soon to be known for her work with Burzum and Enslaved), the music was undeniably death metal in nature, with deep guttural vocals—courtesy of Abbath, who immediately became the band’s frontman—pummeling drums and plenty of simple, nasty riffs.

“Morbid Angel’s ‘Thy Kingdom Come’ demo was a huge inspiration,”says Demonaz. “Also, ‘Altars of Madness’ is my favorite death metal album ever, or one of them. It has this haunting voice, those great guitar riffs, and the songs are just flowing; there is some sort of magic in the production, near to perfection in death metal. Also, the first Entombedalbum—very different to what I do, but it has some sort of heavy death metal rock ‘n’ roll type of songs. Death metal was very inspiring in the beginning when we made the demos, no doubt about it.”

Released just three months later on Listenable Records, the band’s self-titled 7-inch demonstrated a marked shift from death to black metal, reflecting the wider conversion taking place in the Norwegian underground. Listening today, the riffs themselves are pretty chuggy and death metal in flavor, but the cutting treble-heavy guitar sound (mirrored by the higher-pitched and more malevolent-sounding vocals) hints at the new direction to come. The band was also using pseudonyms for the first time and had stripped down to a three-piece, Tunsberg leaving to play in Old Funeral before going on to form the Viking black metal band Hades.

The band was promptly signed by another French label, Osmose Productions, which issued debut full-length Diabolical Fullmoon Mysticism in July of 1992, making it one of the very first Norwegian black metal albums. Though the songs still bear some remaining traces of death metal, the album offered a much clearer picture of what was to come, its songs characterized by demonic shrieked vocals and a combination of long, epic riffs and shorter, busier hooks. The drums generally stick to an upbeat, galloping rhythm à la Viking-era Bathory, the songs periodically dipping into nastier, more foreboding passages, the trio piling on the atmosphere wherever possible. The overall experience is a blend of ’80s and ’90s black metal, with a few hints of death metal and thrash, and remains a popular opus.

“My main inspiration, my heroes, were Conan the Barbarian, Quorthon and Tom G. Warrior,” laughs Demonaz. “And, of course, Cronos from Venom. That was a magic time for these three-piece bands. The first time I saw the ‘Blood Fire Death’inner sleeve with the three-piece band, I thought, ‘This is it; the three-piece band is the shit.’ That was the main influence, not only musically. The Bathory style of singing and most of the riffs came from early Bathoryalso—I was born in 1970 and I think ‘The Return……’ was the first Bathory album I bought, and the expression he made on ‘The Return……’ with the full moon… obviously, ‘Diabolical Fullmoon Mysticism’ was inspired by that.

“But we weren’t good enough musicians, we learned on the way. We weren’t that technical; we could play, but we couldn’t play like Slayer with a very technical style. But we had a driving force. We were very motivated, and you can learn a lot from that, so we focused on the writing and finding the right moods for the album. Bathory was a big influence, but also Manowar—even if it doesn’t sound like Manowar, you can feel the influence there—and bands like early Metallica, some riffs inspired from Celtic Frost, it was a mix of all of that.”

Though the band had not quite found the distinctive sound for which they would ultimately be known, many of the fundamentals were already in place, not least in the overall aesthetic. Having a corpsepainted band photograph on the cover would become a hallmark of the group (and to some degree, the genre)—for many years to come; and lyrically and thematically, the band was already largely eschewing the Satanism of their peers, despite “Unholy Forces of Evil” featuring talk of burning pentagrams and the devil.

For the most part, though, the band painted fantastic tales of wintry Northern landscapes and sinister sorcery on songs such as “The Call of the Wintermoon,” “Cryptic Winterstorms” and “A Perfect Vision of the Rising Northland.” They also openly rejected Satanism in interviews, a fairly ballsy move at the time, especially for a group approved by Euronymous. “I don’t believe in ‘Satan’ himself,” Abbath stated in 1993 in Black Montanas zine. “I have never seen him and I don’t think anyone ever has. I believe in the sign of evil: pentagrams, inverted crosses, etc. It stands for the evil in life, that’s my opinion.”

“We never were inspired musically by the other Norwegian bands; that was a wrong thing to do in a way,” says Demonaz. “When we did our first album, it was more inspired by the surroundings. I never wanted the lyrics to be political or religious; I wanted to find an expression, and I found it on ‘The Return……’ album by Bathory, where he was singing about the cold and the wind and all that. I thought that would be our signature, to sing about where we came from, the nature and everything. Of course, the makeup was a KISS/Mayhem thing. Mayhem had already started to do that, so that was an influence, but not the music.”

This fascination with cold Nordic landscapes would be crystallized in the “Blashyrkh” concept, which has provided a thematic base for every album that followed. The word actually only appears once in the lyrics on each of the first two albums, but the third LP, 1995’s Battles in the North, explores the idea much more explicitly in the popular track “Blashyrkh (Mighty Ravendark),” embedding this mythical land into the consciousness of fans. Later albums would feature the songs “Gates to Blashyrkh” and “Blashyrkh My Throne,” the band also releasing a live album entitled The Seventh Date of Blashyrkh (a sly nod to heroes Venom) and a box set called Under the Banner of Blashyrkh. Even the early band address started with the line “Immortal ‘At the Gate of Blashyrkh’ Fan-Club.”

“From the beginning I wanted the band to be a phenomenon, to be different from the others,” considers Demonaz. “So doing Immortal, it was an obvious thing from the start. I made this word ‘Blashyrkh,’ which means ‘the realm of the dark and cold.’ There is a word for winter, there’s a word for snow, for wind, for frost, but there was never a word for all this and the dark together, so this word was to describe this feeling, this dark cold atmosphere which nobody can touch, which is a bit uncontrollable. This is nature; we can control most things, but we can’t control nature. The universe is powerful, and it doesn’t care about us. We are on this earth, traveling through this universe which doesn’t care about us, which is interesting, and I always thought that would be the Immortal perspective.

“But there was never a mission behind it. I never try to preach anything, what people should do with their lives or what they should believe in. It’s part of how we present the band, and it’s also for the listener to escape into that mood. It’s something you can only find in Immortal, and I think that’s important for a band: to have a signature, to believe in what you do and stay true to it and just try to improve it. One fan told me, ‘When I want to listen to Immortal, nothing else works; it’s like I can’t find that in any other band,’ and maybe that’s because I stick to that recipe that became the signature of an Immortalsong. And I still want to do that, and I still try and do that better and better and better.”

Black Metal: Evolution of the Cult—Restored, Expanded & Definitive Edition is available exclusively in North America now via:

Music News

LUCIFER – Release Video For New Single ‘Maculate Heart’


Johanna Platow Andersson (vocals)
Nicke Andersson Platow (drums)
Linus Björklund (guitar)
Martin Nordin (guitar)
Harald Göthblad (bass)

Heavy rock megalith LUCIFER are kicking off the new year in style with a brand new single called ‘Maculate Heart‘, which is yet another preview to be released before their magnificent new album, Lucifer V, drops on January 26th, 2024.

Consisting of nine unholy hymns, LUCIFER‘s fifth offering can easily be regarded as their magnum opus and sees the band channeling all their strengths known from previous records into one monumental mass of electrifying heavy rock and roll.
Infectious and hook-heavy stunner ‘Maculate Heart‘ might be the most accessible song LUCIFER have ever recorded and it’s being released today as a slightly trimmed radio edit for your listening pleasure. Bring it on!

In case you missed the announcement of LUCIFER‘s upcoming Satanic Panic European tour with Angel Witch, Attic, The Night Eternal and Crank, please scroll down to the bottom for all dates and more infos.




LUCIFER V – Tracklist

1. Fallen Angel
2. At The Mortuary
3. Riding Reaper
4. Slow Dance in A Crypt
5. A Coffin Has No Silver Lining
6. Maculate Heart
7. The Dead Don’t Speak
8. Strange Sister
9. Nothing Left To Lose But My Life


‘Slow Dance in A Crypt’ Official Music Video:

‘At The Mortuary (Halloween Edit)’ Official Music Video:

‘A Coffin Has No Silver Lining (The Sistine Version)’ Promo Music Video:


Since its inception in 2014 In Berlin, the highly prolific band led by charismatic singer Johanna Platow Andersson has released four electrifying albums on Rise Above (LUCIFER I) and Century Media Records (LUCIFER II-IV), as well as and numerous stand-alone singles infused with 1970s hard rock, proto heavy metal, doom and occult rock, with a nod to their main influences such as Black Sabbath, Pentagram & Blue Öyster Cult. They have played over 200 shows in the Europe, Japan, North & South America, including festivals such as KISS Kruise, Psycho Las Vegas, Hellfest, Wacken and many more, most recently supporting the band GHOST on their European tour in spring 2023. Two of their shows have been recorded and broadcasted by prestigious German national TV program Rockpalast.

LUCIFER, now located in Stockholm, have been nominated twice for a Swedish Grammy in the category ‘Best Hardrock/Metal Album’ as well as the Swedish Radio Award P3 and several GAFFA nominations. Amongst others, they have graced the cover of the leading US metal magazine, Decibel, before their first album was released.

The group has concluded recording their fifth studio album, LUCIFER V, the first one to be released by their new label, Nuclear Blast Records, due out on January 26th 2024. Although LUCIFER is known to notoriously deliver critically acclaimed albums, supreme songwriting and quality recordings, LUCIFER V is rumored to be their best album yet. Combining elements of all their previous albums into one monumental mass of electrifying heavy rock and roll. Eerie landscapes shaped by soaring guitar riffs, the thunderous pounding of bass and drums from some sort of groovy inferno, haunted melodies to weep into your drink to, the screeching tires of a 1971 Cadillac hearse, the humorous morbidity and tragic wit of Johanna’s lyrics. If death had a best friend, it would be LUCIFER and they would hang out together at the local cemetery, shooting the shit. In November 2023, LUCIFER embarked on a full North American co-Headline tour with occult rock legends, Coven. Catch LUCIFER live in February 2024 when LUCIFER brings The Satanic Panic Tour to Europe together with Angel Witch and guests Attic and The Night Eternal.

Guests: Attic & The Night Eternal

01.02. SE Gothenburg – Musikens Hus (w/ Crank)
02.02. DE Flensburg – Roxy *
03.02. DE Kassel – Goldgrube *
04.02. DE Berlin – Lido *
06.02. NL Utrecht – De Helling *
07.02. NL Maastricht – Muziekgieterij *
09.02. BE Antwerp – Kavka *
10.02. DE Weiher – Live Music Hall *
11.02. DE Munich – Backstage *
14.02. FR Dijon – La Vapeur **
16.02. FR Paris – Le Petit Bain **
17.02. FR Limoges – CC John Lennon **
18.02. CH Aarau – KiFF **
20.02. DE Stuttgart – Im Wizemann **
21.02. DE Leipzig – UT Connewitz **
22.02. DE Hamburg – Bambi Galore **
23.02. DK Copenhagen – Stengade **
24.02. SE Linkoping – Skylten **
25.02. SE Stockholm – Debaser **

* Co-Headliner: ANGEL WITCH
** Guests: ATTIC
Support on all dates: THE NIGHT ETERNAL


20.04. GR Athens – Temple
28.09. SE Karlskrona – Ultimate Rock Fest

More dates to be announced soon.

Worship LUCIFER:

Music News

Australian Dark Folk/Blackgaze Act SULDUSK Announces New Album “Anthesis”

Photo Credit: Naomi Baker

Emily Highfield – Vocals, Guitars
Shane Mulholland – Vocals Guitars
Daniel Green – Bass
Josh Taylor – Guitars
Hayley Anderson – Violin
Frankie Demuru – Drums

Australian Dark Folk/Blackgaze Act SULDUSK Announces New Album Anthesis + Presents Music Video for Title Track

Watch the Music Video for SULDUSK’s First Single HERE

Anthesis out March 1, 2024 via Napalm Records
Pre-Order HERE

Following their much acclaimed 2019 debut album, Lunar Falls – an album that not only stunned listeners and international press, but also rock and metal empire Napalm Records – Australian dark folk/blackgaze project SULDUSK will herald the new year with the release of their sophomore studio offering, Anthesis, out March 1, 2024! In celebration of today’s announcement, the band has revealed the album’s captivating title track and its accompanying music video.

While SULDUSK started as a one-woman project founded by the highly talented Emily Highfield, for Anthesis, she recruited incredibly talented musicians to help elevate the vision of their acoustic-based music to the level of an intense, powerful and heavy record. Anthesis continues where SULDUSKleft off with their transfixing debut, yet proves musically more complex. The album will take you into a gloomy, magical world where the Melbourne-based project combines a high variety of dark and extreme sounds within its very own sonic universe.

Emily Highfield offers:
“We are very excited to finally release ‘Anthesis‘, which is the title track and first single off the upcoming album. Lunar Falls was a one woman project, but the new album is a band venture. This has enabled SULDUSK to delve even deeper musically, lyrically and as a live experience. Many thanks to the loyal fans for being ever so patient, and to the great team at Napalm Records.

Much love, Emily.”

Watch the music video for “Anthesis” now premiering HERE:

On Anthesis, SULDUSK shines with dark folk, blackgaze, post-rock, prog, doom and even black metal elements – flowing together to create one very unique synthesis of sound. Emily’s voice is a strong highlight, impressing with softness and fragility at times, and turning over to demonic screams in the very next moment! For the first time in SULDUSK‘s young history, there are also male vocal harmonies contributed by Shane Mulholland. Anthesis was produced and mixed by Troy Mccosker, and was mastered by Thomas “Plec” Johansson (Soilwork, Opeth, Katatonia). The album also features guest appearances from Raphael Weinroth-Browne (Leprous) and Rachelle Harvey on cello.

With their second album, SULDUSK are more than ready to embark on another journey into the depths of primeval forests, where emotions are hidden under the thickets to reveal what’s not meant to be seen. The album is a stunning and enthralling masterpiece – highly recommended for fans of Myrkur, Oathbreaker and Chelsea Wolfe – and one that unconditionally needs to be seen, felt and heard!

Pre-Order Anthesis HERE:

Anthesis track listing:
1. Astraeus
2. Verdalet
3. Crowns Of Esper
4. Crystalline
5. Sphaera
6. Anthesis
7. Mythical Creatures
8. Leven
9. A Luminous End

Anthesis will be available in the following formats:
– 1 CD Digisleeve
– 1 LP Gatefold RED
– Digital Album

SULDUSK online:
Napalm Records

Music News

August Burns Red Announce 20th Anniversary Livestream Event Plus Double Live Vinyl



Grammy-nominated, Lancaster five-piece AUGUST BURNS REDJB Brubaker [lead guitar], Brent Rambler [rhythm guitar], Matt Greiner [drums], Jake Luhrs [vocals], and Dustin Davidson [bass] — are extending the celebration around their 20th anniversary!

At the May 3 performance from last year’s anniversary tour at Stage AE in Pittsburgh, the band had a crew come out to film the entire show. The multi-cam footage has been edited into a 90-minute, full-show performance, with professionally mixed audio. It will air on Saturday, February 3 at 9pm ET/6pm PT. The band members will be interacting with fans during the event, so you can “ABR and chill” on the couch.

Go here for more information.

“Winter sucks so let’s do something together,” the band says. “Join us on Saturday, February 3, for a special livestream of our 20 Year Anniversary show from Stage AE in Pittsburgh, PA. We filmed and recorded the entire show, and had the footage and audio professionally edited and mixed. The five of us will be hanging out with everyone in the chat during the stream, so let’s share memories, reminisce, and have a great time together.”
ABR will also release a double LP live album, 20 Year Tour Live, taken from dates across the 20 Year Anniversary Tour from 2023.

The LP is available to pre-order now in three different variants, and will begin shipping in mid-to-late February. Pre-order it here.

“Also, we’re stoked to announce that we’ve put together a new live album from our 20 Year Anniversary Tour,” ABR shares. “Every night on tour, we recorded the audio for each set. Then, we picked our favorite songs from different cities all over North America and put together the album. It was the perfect way for us to wrap up our 20-year anniversary, and be able to relive those shows forever.”

“Fault Line” (Tempe, AZ)
“Truth of a Liar” (Toronto, ON)
“Marianas Trench” (Nashville, TN)
“Empire” (Denver, CO)
“Martyr” (Dallas, TX)

“Ancestry” (Atlanta, GA)
“Eleventh Hour” (Quebec City, QC)
“Carpe Diem” (Philadelphia, PA)
“Invisible Enemy” (Worcester, MA)
“Meddler” (Anaheim, CA)

“Your Little Suburbia Is in Ruins” (Salt Lake City, UT)
“Backfire” (Detroit, MI)
“Laniakea” (St. Louis, MO)
“Provision” (Portland, OR)
“Ghosts” (New York, NY)

“Meridian” (Cleveland, OH)
“Back Burner” (Richmond, VA)
“Spirit Breaker” (Seattle, WA)
“Composure” (Charlotte, NC)
“White Washed” (Montreal, QC)

August Burns Red is likely the only metal act ever described as “thrillingly empathetic” (Kerrang!). It’s a testament to the ferocious band’s ability to recognize and connect with the mixture of brokenness and hope found in their audience and within themselves. A hard-working collective with a shockingly stable lineup for the vast majority of their career, August Burns Red pour every ounce of themselves into their music. Atmospheric, riff-laden, aggressive bursts of controlled chaos, filled with shifting time signatures and tempos, deliver confessional, self-reflective, and authentic emotion.

Tour stops with Lamb of God, Killswitch Engage, Parkway Drive, and Bring Me the Horizon; several major international hard rock festivals (Rock Am Ring, Download, and Aftershock, to name a few); and the Vans Warped Tour are among the destinations around the world to witness ABR’s live prowess. Massive headlining treks celebrating 10-year anniversaries for Constellations and Leveler demonstrated the enduring relevance of the band’s catalog, nearly 20 years into ABR’s storied career. 2020’s Guardians debuted at No. 1 on Billboard’s Hard Music, Rock Albums, and Vinyl Albums charts.

Revolver, who put the band on their cover the same year, observed August Burns Red “embrace the pain so well.” It’s a truth never more evident than on Death Below, their stunning ninth studio album. Recorded with longtime producers Carson Slovak and Grant McFarland, Death Below encompasses all of the pissed-off strength of the band’s past without sacrificing an ounce of catchy, melodic might. Death Below boasts guest appearances from ABR allies Jesse Leach (Killswitch Engage), Spencer Chamberlain (Underoath), Jason Richardson (All That Remains), and JT Cavey (ERRA). “It’s getting difficult for the members of August Burns Red to keep one-upping themselves,” marveled Billboard shortly before Guardians arrived. With Death Below, they emerge victorious again.

Music News

Portland Death Metal Outfit DRIPPING DECAY Premieres Wormridden Piety From Ripping Remains EP To Be Released Next Month Via Satanik Royalty Records

Photo by Rhea DeCaro

Listen to Wormridden Piety” from Portland deathgrind quartet DRIPPING DECAY. The ravaging new single comes by way of the band’s forthcoming Ripping Remains EP, set for release on January 26th, 2024 via Satanik Royalty Records

Unwilling to rest on their laurels while waiting for Festering Grotesqueries to be released, vocalist Eric Stucke, guitarist “Maniac” Neil Smith, bassist Jackson Jordan, and drummer Jason “The Machine” Borton spent the Summer of 2023 composing Ripping Remains. The six-song concatenation of casket-crushing brutality sees the band mesh their trademark blend of Repulsion, Autopsy, and Terrorizer with facets of thrash and grindcore both new and old. The result is a fast and furious yet well-rounded listen, proving the band’s technical prowess without sacrificing mosh-worthy hooks and moments of crawling, ominous dirge.

Latest single, “Wormridden Piety,” consists of every element that makes the band memorable: furious blasting, a grinding d-beat edge, hooking, moshable riffs, and a mid-section that will make you want to fight a house. Throw in a manic solo and lyrics describing the gastrointestinal pyrotechnics created in the intestines of Benedictine monks riddled with tapeworms, and you’ve got yourself a bonafide death metal classic!


Tracked in the familiar confines of Portland’s legendary Falcon Studios, Ripping Remains was put to tape by DRIPPING DECAY’s unofficial fifth member Derek Leisy, who also assumes mixing duties after the retirement of Festering Grotesqueries mixing engineer Vincent Detto. Leisy lends a more vicious, grind-centric edge to the proceedings, contrasting the grotesque, gut-punch production of the full-length with a sharp slice of the metal-phoric scalpel, proving himself more than worthy of the producer’s role. Mastering engineer extraordinaire Dan Lowndes, alumnus of both previous DRIPPING DECAY releases, returns to round out the recording, which also features a guest vocal appearance by August “Gurge” Ivanoff (Lord Gore) and a rightfully “ripping” cover of “Trick Or Treat,” originally penned by Detroit speed metal legends Halloween for their 1985 debut Don’t Metal With Evil.

Ripping Remains will be released on all streaming services as well as CD, cassette, and vinyl in Black, Orange/Green, and Yellow w/ Lime Splatter.

Find preorders at the Satanik Royalty webshop HERE or Bandcamp HERE where the band’s cover of “Trick Or Treat” can be streamed.

1.Ripping Remains
2.Emanating Necrosis
3.Lead to Kill
4.Wormridden Piety
5.Oppressive Repulsive
6.Trick or Treat (Halloween Cover)



Music News

ENSLAVED release ‘Sequence – Live’ single/video taken from ‘The Otherworldly Big Band Experience’

Enslaved are:
Ivar Bjørnson | guitars
Grutle Kjellson | vocals
Arve ‘Ice Dale’ Isdal | guitar
Håkon Vinje | keyboards, clean vocals
Iver Sandøy | drums

The Winter Solstice is a significant day in the Pagan calendar marking the symbolic death and rebirth of the Sun. In the Northern Hemisphere it is the single day of the year with the longest period of night, with the days after becoming increasingly lighter.

In celebration of this special day, left-field metal luminaries Enslaved are proud to reveal their single and video for ‘Sequence – Live‘. The track, which originally comes from their 2020 record Utgard, sees a live recording detailing a new interpretation of the song, with nuanced accompaniment by fellow psychedelic Norwegian prog band Shaman Elephant. This extraordinary performance took place during the 2021 Winter Solstice, via the stunning streaming event ‘The Otherworldly Big Band Experience‘.

Watch the ‘Sequence – Live’ video here:
Listen to the ‘Sequence – Live’ single here:

The Otherworldly Big Band Experience‘ was an Enslaved show like none other, their biggest, boldest project to date – a colossal, kaleidoscopic stage show featuring a stellar setlist covering their career, both past and present. Including some tracks never previously performed live.

Enslaved recently announced a UK and European headline tour for Spring 2024. The 16-date run will take place in March 2024, taking the band across 10 different countries, with support coming from British post-hardcore quartet Svalbard and US metallers Wayfarer.

Tickets are on-sale now from

w/ Svalbard + Wayfarer
06/03 – UK London, Islington Assembly Hall
07/03 – UK Leeds, Brudenell Social Club
08/03 – UK Manchester, Club Academy
09/03 – UK Glasgow, Slay
10/03 – IE Dublin, Opium
12/03 – NL Helmond, Cacaofabriek
13/03 – FR Paris, La Machine
14/03 – CH Geneva, PTR/l’Usine
15/03 – FR Montpellier, Victoire 2
16/03 – IT Milan, Legend
18/03 – CZ Prague, Futurum
19/03 – AT Vienna, Szene
21/03 – DE Cologne, Club Volta
22/03 – DE Leipzig, Taubchenthal
23/03 – DE Berlin, Hole44
24/03 – PL Warsaw, Proxima

Enslaved have also been announced for some festivals in 2024:

31/07-03/08 NO Beyond The Gates, Bergen
11/08 UK Bloodstock Festival, Derby
14/08-17/08 DE Summer Breeze, Dinkelsbühl
16/11-17/11 MX Mexico Metal Fest, Mexico City

Enslaved recently played their final live show of the year at Damnation Festival, following on from a hectic festival season with performances at the likes of Midgardsblot,ArcTanGent, Brutal Assault, Beyond The Gates and Desertfest Antwerp, on-top of a co-headline tour across the USA and Canada earlier this year with Insomnium.

Enslaved’s latest avant-garde creation, Heimdal, was released earlier this year. Their breathtaking 16th studio album is both a departure and a communion with roots forged over three decades ago in the turbulent birth throes of Norway’s black metal scene. It’s a record that points towards new beginnings, and a dawn that’s on the other side of the apex of the land. A psychedelic journey through arcane Norse folklore, connecting with one’s ancient ancestors and our future selves.

You can order/stream Heimdal here:

Never faltering, Norway’s iconic Enslaved continue to exist as one of the most original and dependable components in our scene’s indestructible backbone. Possessing the reputation as one of the most riveting live acts around, they never fail to offer us talent of the highest calibre, always doing justice to their signature black/progressive sound. Enslaved was formed in 1991 by Ivar Bjørnson and Grutle Kjellson, releasing their first demo Yggdrasill in the summer of 1992, their legendary mini-album Hordanes Land coming out in 1993, and with their debut full-length Vikingligr Veldi arriving in the spring of 1994.

Enslaved in 2023 are a band in stellar form – a band at its most existentialist and self-conscious, proud Bergeners bearing the torch of their hometown’s extraordinary musical history. Their most recent material shows Enslaved at their most unleashed and thought-through – a lethal combination unfurling a potential that’s easily rekindling the furor of their early works while dancing gracefully through their most ambitious, most haunting and most musical tunes yet. A contradiction? Life itself is a contradiction. And yet we all live to prove it wrong.