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Bathory Bio Book To Be Published For First Time in English

BATHORY biography book to be published for the first time in English!

Pagan Records and Monomaniax announce the English-language edition of “From Hades to Valhalla… BATHORY – The Epic Story” by José Luis Cano Barron

Pre-order via Pagan Records now!

Pagan Records and Monomaniax will release the English-language edition of “From Hades to Valhalla… BATHORY – The Epic Story”, the unofficial but definitive biography of one of the most influential metal bands of all time. Written by renowned metal journalist José Luis Cano Barron, this comprehensive tome delves into the band’s illustrious career, offering an uncensored and carefully researched account of its groundbreaking music and enduring legacy.

From Hades to Valhalla… BATHORY – The Epic Story” will be available from 29 May 2024, and can be pre-ordered via Pagan Records here:

Originally published in Spanish, “From Hades to Valhalla… BATHORY – The Epic Story” has been translated into English, making this essential work accessible to a wider audience. With 156 vibrant pages packed with rare photographs, illustrations, and reproductions, the book chronicles Bathory’s journey from their early black metal roots to their Viking metal mastery, painting a vivid portrait of a band that defied categorisation and shaped the very sound of black and extreme metal.

From Hades to Valhalla… BATHORY – The Epic Story” goes beyond mere biography, offering a deep analysis of Bathory’s music and its impact on the metal scene. Cano Barron draws upon his extensive knowledge and insider access to provide insights into the creative genius of Bathory’s enigmatic leader, Quorthon.

From Hades to Valhalla… BATHORY – The Epic Story” is an essential addition to the library of any metal fan. With its captivating narrative, wealth of historical detail, and stunning visuals, this book offers a unique and immersive exploration of one of metal’s most revered bands.

Book Details:

Title: From Hades to Valhalla… BATHORY – The Epic Story

Author: José Luis Cano Barron

Publisher: Pagan Records / Monomaniax

Format: Hardcover

Pages: 156

Language: English

Release Date: 29 May 2024

Pre-order Link:

About the Author
José Luis Cano Barron is a seasoned metal journalist, author, and producer with a deep passion for the genre. His previous works include Black Metal y sus antecedentes siniestros en el Rock y el Heavy Metal 1960-1994, Cry out for Metal! The GAMA Records bands, Banzai Records – The Power of Canadian Steel Blade, and Reporte de Guerra – 40 anos de SODOM 1982-2022.

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Darkthrone Release “Black Dawn Affiliation” The Only Track To Be Released From, It Beckons Us All, Ahead Of Release on April 26

Release “Black Dawn Affiliation” 
The Only Track To Be Released From It Beckons Us All,
Ahead Of Release on April 26.

With the highly anticipated launch of the new album ‘It Beckons Us All’ from the Norwegian black metal pioneers just two weeks away, Darkthrone have offered fans a glimpse of what is to come with the release of the track “Black Dawn Affiliation“.

The single release is accompanied by an animation created by Matthew Vickerstaff .

Watch The Lyric Video For Black Dawn Affiliation Here

Listen to it here

Fenriz comments of the song’s creation “Nocturno Culto sculpted BLACK DAWN AFFILIATION and as much as I writhe in woe trying to describe riffs I did not make, we are certainly rocking hard and dark around a dungeon of slow Kreator 1986-era riffs (think Awakening Of The Gods or Take Their Lives from the FLAG OF HATE 12”). 

The song is linearly constructed, which is bold for a single but we often write this way. One could say it is a two-pronged beast which after the intermission (filled with a choir of the damned that we sung ourselves, believe it or not: “Aaaaaa.”) continues with my favourite riff in the song since I first heard it appear early in the second part and it is there that I was given the reins to let the halls and chambers of stardust levitate with unearthly synth and a voice that still today, when writing this, strikes me as being influenced by the first rock album I heard back in 1973 – Morrison Hotel. Lyrics darker and more disturbed than ever solidify these halls now.

Nocturno Culto adds “It is not easy to describe the music you make, but for sure I will try…it´s heavy! Everything worked out as I hoped for this track. Some things are just forged in the studio, like as Fenriz´s excellent vocals at the end of the song; and the choir I wanted. Instead of just taking shortcuts, Fenriz and I recorded three vocal tracks each, and it was brilliantly mixed by Silje at Chaka Khan. There are many things one can say about riffs, but I make songs from a combination of a very methodical approach and happy accidents! And somewhere in the back of my head, it´s most likely there is something affecting a lot of my decisions on little details that shapes the riffing.”

And now, we must await…we must count down the days until It Beckons Us All, Darkthrone’s new masterpiece, is unleashed in full.

It Beckons Us All was recorded in April and May 2023 at Chaka Khan Studios in Oslo, the same location used for the Eternal Hails and Astral Fortress albums, mastered by Jack Control at Enormous Door, with artwork courtesy of Polish artist Zbigniew Bielak

It Beckons Us All tracklisting
1. Howling Primitive Colonies [06:30]
2. Eon 3 [05:43]
3. Black Dawn Affiliation [06:11]
4. And In That Moment I Knew The Answer [03:17]
5. The Bird People Of Nordland [07:27]
6. The Heavy Hand [04:18]
7. The Lone Pines Of The Lost Planet [10:03]

It Beckons Us All is available on the following formats and pre-orders are live NOW!

*Limited Edition Deluxe boxed edition: includes It Beckons Us All on CD, an exclusive corona vinyl LP & cassette and art prints all housed in a heavy duty lift off lid box
*Limited edition ‘Fenriz’ edition LP on blue marble coloured vinyl– exclusively via Peaceville.
*Limited edition ‘Nocturno Culto’ edition LP on grey marble coloured vinyl–available via Peaceville.
CD LP Digital
Plus other limited edition coloured vinyl LPs are available in stores across the world
cream white, crystal clear, petrol and .. a collectors dream .. if you can find them!

“A cauldron of old and epic metal beckons thee” – Fenriz

Watch an introduction from Fenriz

Watch the “It Beckons Us All” trailer


Follow Darkthrone:

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Norwegian black metal band Darkthrone’s latest album ‘It Beckons Us All’ Due April 26 via Peaceville

“A cauldron of old and epic metal beckons thee” – Fenriz

Watch an introduction from Fenriz

Watch the “It Beckons Us All” trailer

Pioneers of a sound that changed the world. Lifelong disciples of suspense and mystery. An enigmatic duo like no other, hell-bent on haunting souls through the eternities. There are many things Darkthrone have been called since forming in 1986 and these are but a few, having drawn from a creative well so potent and powerful it turned them into one of Norway’s biggest musical exports.

Following from their debut album Soulside Journey, the next  three full-lengths, often referred to as ‘the unholy three’, set the benchmark for black metal in the early 90s, though in truth they’ve never been the kind to rest on such laurels – distilling elements of vintage punk, doom, thrash and death into their own sonic fingerprint and continuing to test that equation throughout the years. It’s been quite the journey, having won cryptic pair Nocturno and Fenriz legions of loyal fans around the world. This tradition will only continue with latest masterpiece It Beckons Us All

Set for release on Peaceville on 26th April 2024, the new music is an intense observation of the world around them – exciting and challenging the listener in equal measure, in the way only they can. Some of the riffs howl across a gallery of ice and snow while others crackle like a volcano awakening from its timeless slumber, Nocturno’s demonic barks ricocheting across the intoxicating structures almost like it’s beaming from long-distant galaxy.

As Darkthrone have shown us so many times in the past, their music is as visual as it gets – evoking tangible imagery through the medium of sound. Whether the ideas are sombre, reflective or incensed, they exist as emotional concepts you can see and feel as much as you hear. “I am having difficulties putting into words my personal feelings around the existential title It Beckons Us All, I can only hope others out there can feel the darkness that encompasses it,” muses Fenriz.

Never afraid to venture beyond the confines of the extreme metal template they were paramount in creating, there are moments on It Beckons Us All that will dazzle and surprise, as well as satisfy fans of old. Nocturno comments: “We recorded in the manner we always do, live, meaning drums and guitar, with another guitar added later. We found a new twist during this process that surely benefited this album. Fenriz did stellar clean vocals on several songs, and his way of thinking creatively made it so good. We also shared the bass work this time around. We added a lot of extra layers like solo guitars… it was just a cauldron of ideas. Instead of finding a plug-in or choir synth patch, we both recorded four vocal tracks each. Darkthrone is an ever-evolving band, as many should know by now, and this album is touching a bit into the heavy genre. I have no idea what genre we are, and have really not cared much about it, but I know for sure it’s metal.

In that sense, It Beckons Us All is very much demonstrative of two visionaries at their world-commanding best. They know what works but more importantly they choose to grow, throwing every ounce of their hearts and souls into evolving the jaw-dropping whirlpool of noise that could only ever have come from their collective minds.

There are clean guitars, clean vocals and less typical instruments thrown into the mix, but the approach, intent and ethos at the heart of their fearless artistry remains very much the same. This is music for dreamers who find themselves paralysed by the contrasting beauty and ugliness in the world surrounding them. Never ones to appease the faint-hearted, Darkthrone are as real and human as it gets.

It Beckons Us All was recorded in April and May 2023 at Chaka Khan Studios in Oslo, the same location used for the Eternal Hails and Astral Fortress albums, mastered by Jack Control at Enormous Door, with artwork courtesy of Polish artist Zbigniew Bielak

It Beckons Us All  tracklisting 
1. Howling Primitive Colonies [06:30]
2. Eon 3 [05:43]
3. Black Dawn Affiliation [06:11]
4. And In That Moment I Knew The Answer [03:17]
5. The Bird People Of Nordland [07:27]
6. The Heavy Hand [04:18]
7. The Lone Pines Of The Lost Planet [10:03]

It Beckons Us All is available on the following formats and pre-orders are live NOW!

*Limited Edition Deluxe boxed edition: includes It Beckons Us All on CD, an exclusive corona vinyl LP & cassette and art prints all housed in a heavy duty lift off lid box
*Limited edition ‘Fenriz’ edition LP on blue marble coloured vinyl– exclusively via Peaceville.
*Limited edition ‘Nocturno Culto’ edition LP on grey marble coloured vinyl–available via Peaceville.
Plus other limited edition coloured vinyl LPs are available in stores across the world
cream white, crystal clear, petrol and .. a collectors dream .. if you can find them!

Follow Darkthrone:

Facebook | Instagram

Nocturno Culto photo courtesy of Peer Olav Kittilsen


ABBATH Announces North American Tour

Photo by Francisco Munoz

ABBATH Announces First North American Tour in Five Years

The last time Abbath touched his horned-feet on American soil was all the way back in March 2020. No one needs to be reminded of what happened next. Because at long last, the charismatic black metal icon is returning to North America!

Having toured relentlessly across Europe in the glorious wake of his most recent album, the former Immortal frontman is flicking his forked-tongue in devilish anticipation at treating Americans and Canadians alike to songs off Dead Reaver for the very first time. Get ready to raise your horns amidst the charred and sizzling solo of “Dream Cull” and other riff-roaring hits from his legendary crypt. 

The tour starts with a handful of shows in Canada before going on an extended run of dates in the U.S. leading up to Abbath’s performances at Dark Lord Day and Maryland Deathfest.  

Dread Reaver 2024 North American Tour Dates
with support from Imperial Triumphant, Black Anvil and Final Gasp

Local pre-sales start today. Tickets go on sale to the general public tomorrow, Friday, March 1.  

May 9  Quebec City, QC @ Capitole Theatre [TICKETS]
May 10 Montreal, QC @ La Tulipe [TICKETS] 
May 11 Kitchener, ON @ The Hub [TICKETS]
May 12 Toronto, ON @ Phoenix Concert Theatre [TICKETS]
May 14 Detroit, MI @ The Majestic Theatre [TICKETS]
May 16 Saint Paul, MN @ Amsterdam Bar & Hall [TICKETS] 
May 17 Bloomington, IL @ Castle Theatre [TICKETS]
May 18 Munster, IN @ Dark Lord Day * [TICKETS]
May 19 Cleveland, OH @ TempleLive at Cleveland Masonic [TICKETS]
May 20 Indianapolis, IN @ Deluxe at Old National Centre [TICKETS]
May 22 Buffalo, NY @ Buffalo Iron Works [TICKETS]
May 23 Cambridge, MA @ The Sinclair [TICKETS]
May 24 New Haven, CT @ Toad’s Place [TICKETS]
May 25 New York, NY @ Gramercy Theatre [TICKETS]
May 26 Baltimore, MD @ Maryland Deathfest * [TICKETS]* only Abbath

Cover art: Bjørn Stian Bjoarvik / Photos by Francisco Munoz

1. Acid Haze (04:51)
2. Scarred Core (03:29)
3. Dream Cull (04:15) WATCH
4. Myrmidon (04:33)
5. The Deep Unbound (04:05)
6. Septentrion (04:30)
7. Trapped Under Ice (03:59)
8. The Book of Breath (04:35) LISTEN
9. Dread Reaver (04:43) LISTEN

Available formats: Digital, CD digipak, CD digibox, vinyl black and coloured

The ravens gaze ominously from above. The seas roar in anticipation. The mountains creak yet again. Abbath’s remarkable new album, Dread Reaver, is upon us all. Two years in the making, Abbath’s third full-length is the culmination of everything before it. A fusion of debut Abbath (2016) and follow-up Outstrider (2019), the aptly titled Dread Reaver extends its fantastical fangs outward and drives its cloven hooves onward. Indeed, there’s nothing like an Abbath record. This is the darkest metal for epic journeys and ancient battles. Comprised of eight riveting tracks and a red-hot cover of Metallica’s “Trapped Under Ice,” Dread Reaver shows Abbath triumphing over all trials and tribulations, riding hard into merciless glory as the one and only “Lemmy of black metal.”
Abbath was formed by Olve Eikemo (aka Abbath) in Bergen, Norway, in 2015. After splitting with vaunted extreme metallers Immortal, the beguiling frontman and storied songwriter only had one path: Abbath. Years before, he had proven that venturing out of the Immortal constellation was not only plausible but doable with the I project, a short-lived, one-album (Between Two Worlds) band featuring notable musicians from Immortal, Enslaved, and Gorgoroth. Indeed, once Eikemo was free of Immortal’s shackles, he was able to assemble a cadre of like-minded conspirators for his solo debut album, Abbath. So crucial was Abbath that the Norwegian Embassy in the UK ran a music/culture piece, while in Norway, the album was nominated for a Spellemannprisen (Norwegian Grammy). Metal HammerGermany even gonged Abbath with its Best Debut award. Follow-up album, Outstrider, was equally lauded. Billboard’s coverage sent shockwaves through the rock/metal scenes, while Kerrang! labeled it “dominating and creative,” awarding it 4Ks. Decibel also heaped praise on Outstrider, giving it the Best New Noise trophy. New album Dread Reaver will yet again lionize Abbath as leader of the frost-bitten pack.
Powered by Abbath’s creative musical imagination, Dread Reaver runs riotously out of the gate. The album’s edifice affords tracks like “Acid Haze,” “Scarred Core,” “The Deep Unbound,” and the album’s closing title track ample room to champion the extremes of black metal, heavy metal, and hard rock. While there are nods to NWOBHM greats, thrash metal’s luminaries, and black metal icons, Dread Reaver is unmistakably Abbath. There is no other fingerprint. Paired with thought-provoking lyrics based on the historical figure of Othryades, Abbath’s new album not only shouts exultant but reads like an ancient pyrrhic tale steeped in violence, sorrow, and grit. The idea of a Dread Reaver—a fearless duelist—can also be read as a metaphor for life’s actions and subsequent struggles. Be warned: Dread Reaver is Abbath at his most menacing and accomplished.
Dread Reaver was produced by Endre Kirkesola, Abbath, and Dag Erik Nygaard at Dub Studio in Kristiansand and Bergen Lydstudio, respectively. Kirkesola and Nygaard also engineered. Mixing was performed by Abbath and Kirkesola, while the mastering was done by maestro Maor Appelbaum (Faith No More, Rob Halford) at Maor Appelbaum Mastering in Los Angeles. The goal was to field a storming production that sat firmly at the crossroads of Abbath’s heroes Kiss, Motörhead, Manowar, and Bathory. From the anthemic thrust of opener “Acid Haze” and the epic pound of “Dream Cull” to the rampaging “The Book of Breath” and the wicked cover of Metallica’s “Trapped Under Ice,” Dread Reaver sounds as massive as Norwegian mountain and as fiery as the depths of Hell. Truly, the recording lineup of Abbath (guitar, bass, vocals), Ukri Suvilehto (drums), Ole André Farstad (guitars), and Mia Wallace (bass) found their sonic muse.
Abbath and Season of Mist will release Dread Reaver on February 25th, 2022. The album features a Bjørn Stian Bjoarvik (Immortal) cover and will be supported by singles “Dream Cull”, “Dread Reaver” and “The Book of Breath.” Of course, it’ll all be powered by Abbath’s wry, larger-than-life persona. If “Ace of Spades” catapulted Motörhead to fame and notoriety, then Dread Reaver will find Abbath atop extreme metal’s gigantic heap, the spoils of icy blood, scorching sweat, and steely tears at his feet. As “Myrmidon” states, “Die with a smile, stare glassy-eyed up / At boiling skies! / Valkyries descend to gore-caked fen / Fallen warriors arise!” Lightning strikes thrice with Abbath’s incredible Dread Reaver!Recording line-up:
Abbath – Guitar, bass & vocals
Ukri Suvilehto – Drums
Ole André Farstad – Lead & acoustic guitars
Mia Wallace – Bass on Acid Haze, Scarred Core, The Deep Unbound & Dread Reaver
Simon Dancaster – Lyrics

Recording studio: Recorded in Dub Studio / Additional recordings: Bergen LydstudioProducer / sound engineer: Endre Kirkesola / Dag Erik Nygaard

Mixing studio and engineer: Abbath and Endre Kirkesola

Mastering studio / engineer: Maor Appelbaum at Maor Appelbaum Mastering – California – U.S.A
Biography: Chris Dick 



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


After their last two successful albums Abrahadabra and Eonian, DIMMU BORGIR herald their 30-year legacy by releasing, together for the first time, a collection of their cover songs. The album Inspiratio Profanus is being announced with the release of the thunderous first single, ‘Black Metal’ by the extreme metal pioneers VENOM. The album Inspiratio Profanus will be released on December 8th via Nuclear Blast Records.

Silenoz comments about the album Inspiratio Profanus: “We’re pleased to announce the Inspiratio Profanus release! We thought it was about time to finally compile the cover songs we’ve done over the years and give these renditions an updated mastering, all in one package, highlighting some of our many influences!”

Silenoz states about the first song ‘Black Metal’: “Black Metal, the track, and its origin, features something really primeval, raw and unhinged. There is lawlessness and danger connected to it. We did our best to capture the spirit of the ancient gods’ rock ‘n roll 24 years later. Did we do it justice? I think so.”

Pre-Order Inspiratio Profanus + listen to ‘Black Metal’ here:

Inspiratio Profanus Tracklist:
1. Black Metal (Venom)
2. Satan My Master (Bathory)
3. Dead Men Don’t Rape (G.G.F.H.)
4. Nocturnal Fear (Celtic Frost)
5. Burn In Hell (Twisted Sister)
6. Perfect Strangers (Deep Purple)
7. Metal Heart (Accept)
8. Nocturnal Fear (Celtically Processed) (Celtic Frost)


As they conjure new, dark compositions, DIMMU BORGIR take a retrospective look back, celebrating the band’s 30th Anniversary and the seminal artists that left a defining imprint on their sound.

Conceived in the heart of the Norwegian black metal scene in 1993, DIMMU BORGIR quickly broke free from the boundaries of the genre, daring to combine a traditional raven black sound with opulent symphonic orchestration. They became pioneers within their own field, forging groundbreaking albums such as Enthrone Darkness Triumphant (1997), Spiritual Black Dimensions (1999), & Death Cult Armageddon (2003), invading the entire world with headline tours and eventually turning into the most influential act of their genre after nine full-length studio releases.

After their last two successful albums Abrahadabra and Eonian and the remixed version of Puritanical Euphoric Misanthropia, DIMMU BORGIR herald their 30-year legacy by releasing, together for the first time, a collection of their cover songs. Inspiratio Profanusfeatures a cover of ‘Black Metal’ (VENOM), the genre-defining ‘Perfect Strangers’ (DEEP PURPLE), fan favourite ‘Burn In Hell’(TWISTED SISTER), and electrifying renditions from the legendary CELTIC FROST, as well as other immensely influential artists!


BLACK PESTILENCE Kick-Off Western Canadian Tour Dates (AB, SK, MB) w/ Citizen Rage New Album “Chaotic Wisdom” Out Now!

L-R – Daniel Toews – Guitar, Valax – Bass & Vocals, Davey Hellfire – Drums
Photo Credit – Wikked Twist Media

Tour Dates w/ Citizen Rage
Sept 15 – Calgary, AB – Dickens – info
Sept 16 – Red Deer, AB – The Vat – info
Sept 17 – Edmonton, AB – Starlite Room – Temple – info
Sept 18 – Drumheller, AB – Neighbours Pub – info
Sept 19 – Saskatoon, SK – D’Lish Cafe (All Ages) – info
Sept 21 – Prince Albert, SK – The Spice Trail – info
Sept 22 – Brandon, MB – East Side Eatery – info
Sept 23 – Winnipeg, MB – Bulldog Events Centre – info

Canada’s Black Pestilence returns with their ferocious seventh studio album “Chaotic Wisdom”. The band started out as very chaotic black metal with small hints of punk rock and lots of noise. After, it slowly evolved into a punk rock structure with black metal vocals. Now it is much more catchy with shorter song lengths. It’s difficult to pinpoint exactly the sound that Black Pestilence is now. There are more electronic samples, simple verse/chorus song structures, and much less traditional black metal elements other than occasional blast beats and tremolo picking. Vocalist/bassist Valax comments on the album:

“I knew that following up “Hail the Flesh” would be a tall order. “Chaotic Wisdom” is a Satanic d-beat. The music is formulated around typical punk rock song structures while being projected through the playing style of black metal. Greater emphasis was placed on the samples used on this album in the form of additional percussion and cacophonous electronics. Many of the song lyrics touch base on various themes related to Satanic philosophy, societal stratification, and general debauchery.”

“Chaotic Wisdom” contains seven Satanic d-beat anthems. It is the result of three years of writing and recording and is the pinnacle of the Black Pestilence catalog. Similar to previous releases, this album is fast, infectious, and straight to the point. However, experimentation with dissonant tones, industrial electronics, and auxiliary percussion was emphasized to a greater degree on this album. This is not a stylistic change from Black Pestilence, but represents an elevation to the next level of chaotic noise.

The album was mixed and mastered by Sacha Laskow and the album artwork by Juha Vuorma. It is recommended for all black metal fans especially those who enjoy Impaled Nazarene, Acidez, and Midnight.

Released on September 8, 2023, “Chaotic Wisdom” is available digitally plus CD and cassette at

Spotify –

Music Video – The Devil’s Connection –

Music Video – Mortal Rift –

album artwork by Juha Vuorma

Track Listing:
1. Mortal Rift (3:29)
2. A Life of Evil (3:06)
3. The Devil’s Connection (3:29)
4. Chaos and Carnality (3:18)
5. Aspect of Darkness (3:06)
6. Infernal Might (feat. Mark Russell) (2:35)
7. Animus (5:50)
Total Length: 24:53


““Crushing” is indeed the first word that comes to mind when hearing the massive mauling tones of the riffs, like rock being excavated by some humongous machine. That machine drives forward with snapping punk beats, laced with a sinister yet glorious guitar melody. The music itself also becomes more vicious as the riffs start rapidly jabbing and then seething. But the music also channels darker and more despairing moods, before those two solos kick up the pulse and transform the music into an experience of evil ecstasy. The thing turns out to be a very catchy beast too.” – The Devil’s Connection (single) – No Clean Singing

“I seriously can’t get enough of this. It’s big, nasty, and as rough as a badger’s arse. The black energy it creates is like a massive middle finger to the world and it says – you don’t like me, you don’t like my music or all the things I stand for – go and fuck yourself! This is real and this is as honest as it gets. Fantastic – more, please! 9/10” – My Global Mind”weave in some catchy hooks and melody especially on “Chaos of Carnality” and “The Devil’s Connection,” songs I can easily imagine crowds shouting along to.” – The Metal Crypt

“These Canadian metallers have returned with their seventh full-length offering, executing a unique blend of chaotic black metal and punk rock with electronic samples and catchy, shorter song lengths. This album, the result of three years of work, presents seven satanic-esque anthems that push the boundaries of their signature sound. While retaining their fast and infectious style, Chaotic Wisdom, also experiments with dissonant tones, industrial electronics, and auxiliary percussion, taking Black Pestilence’s chaotic noise to the next level. The album, mixed and mastered by Sacha Laskow, features artwork by Juha Vuorma, making it a must-listen for black metal enthusiasts, particularly fans of Impaled Nazarene, Acidez, and Midnight.” – Metal Insider

“While speed or thrash metal to the core, there’s a bit of punk about Black Pestilence. The band dances the fine line between thrash and punk with a destructive ease. That thrash punk blend can be heard in “Infernal Might” featuring Mark Russell and closing track “Animus”. And before one knows it, Chaotic Wisdom is over. It clocks in at a mere twenty-four minutes. Get distracted and you might not hear the entire album and that would be quite a shame. As fast as it is, Chaotic Wisdom is quick, melodic, and a great listen. MUST LISTEN TRACKS: “The Devil’s Connection”, “Aspect of Darkness”, “Infernal Might”, “Animus”” – Amplify The Noise

“Black Pestilence has its own approach to Black Metal, blending a raw, Punk-influenced base with strange futuristic elements. Chaotic Wisdom is very short, but provides a good overview of the band’s rage.” – Acta Infernalis

“Maintaining its Mad Max side, primitive and low-brow, Black Pestilence offers us a significantly more modern and exalted version of its furious mixture bathed in d-beat, Toxic Holocaust and Venom. Many new followers should easily join their cult.” – Eklektik Rock

Music News

Black ‘n’ Roll band GRAVE WITH A VIEW launch new single WOUNDS


‘WOUNDS’ is the new single from Finnish black metallers GRAVE WITH A VIEW. Just months after the release of the previous single, ‘MARROW,’ GRAVE WITH A VIEW continues to explore the bowels of the worst humanity has to offer with a raw, powerful song infused with galloping rock and roll rhythm prowess.

GRAVE WITH A VIEW was spawned in 2018, with their agenda being to preach the bitter truth of the meaningless of life and humanity in the face of the True Death. Their first official release crawled out of the abyss as a self-titled EP in November of 2022 and they have wasted no time in continuing their journey of archaic misery.

‘WOUNDS’, further explores the band’s penchant for vomiting out groove based blackened structures and focused but hammering rhythms, all wrapped up in a frozen, bleak atmosphere that speaks of our foreboding doom. The idea of the song is a nihilistic exploration of Scandinavian culture, including blood inheritance of Christian guilt that will lead to a self-destructive path.

Band Links



Metal Lair Reviews Marduk’s New Album Memento Mori

Daniel Rostén (Vocals)
Morgan Hakansson (Guitar)
Devo Andersson (Bass)
Simon Schilling (Drums)

In the eerie stillness of a moonless night, a chilling revelation began to creep over those gathered by the old, decrepit necropolis. The air grew heavy with a sense of foreboding doom. The words of an ancient, cryptic song echoed through the tombstones, like a sinister incantation. Shadows danced ominously, and the world seemed to shift. The realization struck like a dagger to the heart: Life resembled not a ticking timepiece but an ever-depleting sandglass. The atmosphere grew tense, as if Death himself were watching, playing a macabre game with the living. A blade drawn across the throat, a grotesque test of fate. Life slipped away through a sinister portal. In this cursed place, all certainty crumbled. Hopeless and helpless, they gazed upon the haunting expanse, as if staring into the abyss itself. The soil beneath them whispered of impending darkness, while the spectral flames revealed a truth long buried that no one can escape

The band proudly presents their latest single “Shovel Beats Sceptre,” off MARDUK’s 15th studio album, set to be unleashed on September 1st via Century Media Records offering a spellbinding glimpse into their forthcoming album.

Renowned icons of the pure black metal realm, Sweden’s Marduk have consistently traversed the tumultuous path of their genre, standing as both doyen’s and figures occasionally shrouded in controversy since their inception in 1990. Their fifteenth studio offering arrives as the audacious “Memento Mori.”

Marduk’s enduring forte has always been their unrefined, unwavering potency and unbridled wrath, the very foundation of their musical identity. Beyond the breakneck tempos and venomous guitar leads lies a belligerent, warlike spirit that barely abides by containment; their inherent violence is an insatiable element of their chaos.

Mortuus, known by his given name Daniel Rostén, remains the sole constant member since 1990, asserting that this new album both reflects their roots and takes bold strides forward. In essence, Memento Mori embodies unadulterated Marduk, an unrelenting onslaught of black metal that pushes the boundaries of extremity in every conceivable manner. Tracks like “Blood of the Funeral,” “Shovel Beats Sceptre,” and “Red Tree of Blood” epitomize the quintessential Marduk experience. While it may occasionally evoke a sense of familiarity, it must never be underestimated or taken for granted. The chaos within is meticulously structured, propelling the entire album with a sense of purpose and visceral energy that defines both the band and their craft. Time signatures shift, and a relentless sense of urgency propels tempos against a relentless onslaught of guitars and Mortuus’ ever-present antagonistic vocals.

The mechanical procession of the closing track, “As We Are,” heralds the resurgence of their industrial edge, a facet always welcomed by their fanbase. Coldly calculated, unapologetically confrontational, and dripping with hostile intent, “Memento Mori” is quintessential Marduk—an unyielding, merciless, and formidable force. It represents a menacing, thunderous return!

The renowned Swedish black metal band MARDUK is back with a new release entitled Memento Mori. Today, MARDUK release the video for their latest single “Shovel Beats Sceptre”.

  • Ltd. Deluxe Gatefold Ultra Clear-Black Splatter Vinyl With Alternative Cover Artwork (Incl. LP-Booklet, Art-Print & Poster) (Limited to 2,000 copies / All Outlets)
  • Red Gatefold Vinyl (Limited to 300 copies / Available at Century Media Shop)
  • White Gatefold Vinyl (Limited to 500 copies / Available via Century Media Shop)
  • Golden Gatefold Vinyl
    (Limited to 500 copies / Available at Levykauppa ÄX, Bengans, Supreme Chaos)
  • Silver Gatefold Vinyl (Limited to 500 copies / Available at EMP & Nuclear Blast)
  • Black Gatefold Vinyl (All Outlets)
  • CD Mediabook (All Outlets)

Commenting on the album, MARDUK frontman Daniel Rostén shares:
“Memento Mori is, all at once, a bold leap forward, a calculated sidestep, and a wistful backward glance. Meaning, we have broken new ground without forgetting our legacy or the journey that brought us to this point.”

Pre-Order Memento Mori Here:

Commenting on the album, MARDUK frontman Daniel Rostén shares:
“Memento Mori is, all at once, a bold leap forward, a calculated sidestep, and a wistful backward glance. Meaning, we have broken new ground without forgetting our legacy or the journey that brought us to this point.”

MARDUK online:



PROFANATICA Spreading Blasphemy Across U.S.

PROFANATICA just ushered in their sixth album with an unholy leviathan of a new single. Tomorrow, they’re taking up the cross on their first-ever full-length tour of the U.S. They’ll be snaking across the country with Canadian black metal band Panzerfaust, with a headlining set at Heavy Hell IV.

Tour dates
07/13 Cleveland, OH @ No Class [Tickets]
07/14 Columbus, OH @ Ace of Cups [Tickets]
07/15 Chicago, IL @ Reggies [Tickets]
07/16 Minneapolis, MN @ Turf Club [Tickets]
07/18 Omaha, NE @ Reverb Lounge [Tickets]
07/19 Salt Lake City, UT @ Aces High Saloon [Tickets]
07/21 Seattle, WA @ Substation [Tickets]
07/22 Portland, OR @ Bossanova Ballroom [Tickets]
07/24 Sacramento, CA @ Cafe Colonial [Tickets]
07/25 San Francisco, CA @ DNA Lounge [Tickets]
07/26 San Diego, CA @ Soda Bar [Tickets]
07/27 Los Angeles, CA @ Regent Theater [Tickets]
07/28 Phoenix, AZ @ Pub Rock [Tickets]
07/29 El Paso, TX @ The Dungeon [Tickets]
07/31 Houston, TX @ White Oak Music Hall [Tickets]
08/01 Austin, TX @ Come and Take It Live [Tickets]
08/02 Dallas, TX @ Trees [Tickets]
08/03 St. Louis, MO @ Red Flag [Tickets]
08/04 Nashville, TN @ Hop Springs [Tickets]
08/05 Atlanta, GA @ The Loft [Tickets]
08/06 Raleigh, NC @ Pour House [Tickets]
08/12 Indianapolis, IN @ Heavy Hell IV [Tickets]

Crux Simplex’ is out on September 22, 2023 via Season of Mist. Pre-save the album HERE. Pre-order it HERE.

Album artwork: Abomination Hammer

01. Condemned to Unholy Death (4:38)
02. Take Up the Cross (3:01)
03. The First Fall (3:24)
04. Meeting of a Whore (3:02)
05. Compelled by Romans (4:47)
06. Wipe the Fucking Face of Jesus (2:20)
07. The Second Fall (2:40)
08. Cunts of Jerusalem (3:35)
09. The Third Fall (4:18)
10. Division of Robes (6:51)

Total run-time: 00:36:76

Style: Black Metal
FFO: Sarcofago, Possessed, Necrovore, NME, Poison Idea

PROFANATICA are at the vanguard of the first wave of American black metal. Founded and led by infamous master of black perversion Paul Ledney (drums/vocals), they have purveyed primeval blasphemy for nigh on thirty-three years.

Ledney formed the band from the ashes of the first INCANTATION lineup when he split and took with him all of the members sans John McEntee. That early trio of ex-INCANTATION members reeled off three ground-breaking demos of some of the most extreme and blasphemic metal of its time in rapid succession. The band flyers that permeated the tape-trading circuit were no less shocking and featured the trio bloody and naked and in the throes of what was most certainly a primeval summoning of some kind. In short order, they had inked a deal with the fledgling Osmose Productions for what became one of that labels first releases (Osmose release #5); a legendary split with Colombia’s MASACRE.

Something so volatile could only last briefly, and after another brief recording session the band collapsed under the weight of its own extremity. but the recordings made in this two year window went on to see dozens of reissues in the coming decades, in a testament to how formidable and formative they are to the black metal scene worldwide.

After almost fifteen years spent with his equally polarizing solo project HAVOHEJ, Ledney reignited the flames of Profanatica in 2006. Reemerging with a new deal from Hells Headbangers, Ledney and his new band released ‘The Enemy of Virtue’, a collection of that vaunted early material, and a new full-length, ‘Profanatitas de Domonatia’. A triumphant return, ‘Profanatitas de Domonatia’ picked up right where these Kings of US Black Metal left off, delivering a savage stream of chainsaw guitars and relentless battery upon which they desecrated everything sacred.

This set-in motion another frenetic burst of work for Profanatica. The next decade saw them unleash four new full-length albums of blasphemous perversions, sacrilegious incantations, and furious black metal. In addition, the band issued six mini-albums and EP’s, a full DVD of early footage, and began touring internationally in Europe and in Central and South America. For the first time Profanatica were appearing near or at the top of the bill at festivals like MDF, Messe Des Mortes, Hells Headbash, Prague Death Mass (Czech Republic), Chaos Descends (Germany), Black Sun (Spain), Tyrant Fest (France), SWR Fest (Portugal) and many more.

In fall 2018, Profanatica joined forces with Season of Mist and undertook their biggest tour to date supporting WATAIN and ROTTING CHRIST across Europe. And a year later, the trio vomited forth a most vulgar strain of black metal ejaculate with their SoM debut album ‘Rotting Incarnation of God’.

The band embarked on an extensive twelve-country European headline tour in the album’s wake. Shortly after returning home that winter, the world ground to a halt in 2020. Save a live-streaming concert production for the legendary Rock al Parque in conjunction with BATUSHKA, little was heard from Profanatica.

That is until spring 2023, when Profanatica emerged from their den of iniquity on a European headline tour to promote a new album. ‘Crux Simplex’ is a ten-track offensive of sin and sacrilege, a nasty affront that bastardizes the first 10 stations of the cross. As per their legacy, Profanatica deals in bestial, first-wave black metal barbarity, and their eighth album unveils ungodly levels of bile and blasphemy.

Recorded at: Dead Lamb Studios

Mastered by: Arthur Rizk

Recording lineup
 Mayhemic Slaughter of the Heavens (drums/vocals)
– Destroyer of Holy Hymen (guitar/bass)

Touring lineup
– Mayhemic Slaughter of the Heavens (drums/vocals)
– Destroyer of Holy Hymen (guitar)
– The True Perversion of the Heavenly Father (bass)



Available formats
Vinyl (Black)
Vinyl (Blue)
CD Digipack
Digital download



London-Based Five Piece Blackened Hardcore Outfit CALLIGRAM Has Released Position|Momentum Via Prosthetic Records

Photo Credit: Andy Ford

Matteo Rizzardo – Vocals, Ardo Cotones – Drums / Vocals, Bruno Cambiaghi – Guitar, Tim Desbos – Guitar, Smittens – bass

I find myself reviewing yet another artist from Prosthetic Records’ arsenal of extraordinary minstrels. Their roster is brimming with luminaries. The musical offerings provided are unmatched and serve as a delectable feast for fans of metal.

Introducing Calligrams Latest Opus: “Position|Momentum”

Calligram unleashed their mordacious new album, “Position|Momentum,” presenting an axiom that finds solace and joyous moments within the depths of darkness. A departure from their debut, “The Eye is The First Circle.” This new record draws inspiration from a diverse range of musical influences.

The album’s Latin-titled compositions, such as “Sur Dolore” (meaning ‘In Pain’) and “Frantumi In Itinere” (translated as ‘Fragments on The Road’) eschew oddity in favor of a relentless infernal intensity. Matteo Rizzardo’s throat-ripping vocals, delivered in his native tongue, are the driving force behind these inexorable arrangements. While atmospheric noise, D-beat punk, and grindcore find their way into the mix, courtesy of seasoned producer Russ Russell (known for his work with Napalm death and At The Gates), the true essence of the album lies in its unyielding hellfire.

As “Position|Momentum” unfolds, it reveals its multifaceted nature. “Per Jamie” offers a cursed respite, that whips the listener from swashbuckling gallops to funeral dirges and sheer black metal bludgeoning. The mournful trumpet acts as a blinding thread, weaving through the shifting soundscape. “ Ex-Sistere” seamlessly blends these elements into a furious whirlwind that threatens to tear flesh from bone, an unstoppable force capable of overpowering all in its path.

The album’s second half truly opens up, inviting listeners to immerses themselves fully in Calligram’s dark aural tapestry. “Ostranenie” spans an ambitious seven minutes, guiding the audience through a tumultuous journey that transitions from relentless speed to sorrowful solemnity, punctuated by a melancholy trumpet. The closing track “Seminario Dieci” deliberately paces itself, interweaving heavy ascendancy and offering a sense of closure, leaving you torn between adoration and bewilderment.

Calligram’s “Position|Momentum” dictate a visceral antiphon. Its caustic chalice overflow’s with a sensory concoction that defies categorization. With every sip, the listener is challenged by the raw intensity and unapologetic tenebrosity that permeates the album. This is a record that will either repel or captivate, leaving you either lost in its labyrinthine corridors or kneeling at the altar of Calligram’s twisted brilliance.

The multi-national quintet, decamped to The Parlour Studios in Kettering to record Position | Momentum with Russ Russell (NAPALM DEATH, DIMMU BORGIR, AT THE GATES) during the summer of 2022. The follow up to 2020’s The Eye Is The First Circle doesn’t ease up on intensity; if anything, giving the chaos a little more room to breathe has shaped CALLIGRAM into something even more formidable than before.

Music is often seen as medicine; a balm to soothe what ails you. With no intention to use Position | Momentum as a crutch, CALLIGRAM has crafted the opposite – a caustic celebration of pain, death and chaos.

Position | Momentum is out now via Prosthetic Records.

Position | Momentum was recorded by Russ Russell in July 2022, at The Parlour Studio, and mastered by Grant Berry. Artwork is by Deborah Sheedy

Track Listing:
Sul Dolore
Frantumi In Itinere
Per Jamie
Seminario Dieci