apanthropy

Today’s update includes the following bands: Apokalyptic Raids (BRA), Deletere (CAN), Black Howling (PRT), Dragonlord (USA), Cemetery Urn (AUS), Curse Upon a Prayer (FIN), Abhorrence (FIN), and Fallen Empire Records (USA).

Apokalyptic Raids has revealed plans to release their fifth full-length through Hell’s Headbangers Records, slated for an unspecified Fall 2018 release on CD, cassette, and vinyl LP. The following press release has been issued:

Today, Hells Headbangers reveals the cover and tracklisting for Apokalyptic Raids‘ highly anticipated fifth album, The Pentagram. The album will be released this autumn on CD, vinyl LP, and cassette tape formats.

A veritable underground institution, Apokalyptic Raids have become a hallowed name among diehards the world over for one simple-but-special fact: they started as an unapologetic Hellhammer-worship band (and very early Celtic Frost, too) but have transcended their obvious influences into something that actually adds to that legendary canon rather than merely ripping it off. And, as of this year, they’ve been gloriously succeeding for 20 years now.

Although these Brazilian bastards have released a half-dozen EPs the last five years, it’s been a far-too-long eight years since the last Apokalyptic Raids album, Vol. 4 – Phonocopia, so to say that The Pentagram is long overdue is quite the understatement. And of course, they DELIVER, which is not surprising given that they’ve gone back to the classic 2004-2007 lineup of Leon Manssur “Necromaniac” on guitars and vocals, Vinicius Canabarro “Hellpreacher” on the bass, and Pedro Moraes Rocha “Skullkrusher” on the drums.

“The last 10 years have been a blast here,” explains Manssur. “We did extensive touring -Brazil three times, Europe twice, South America also twice, many one-off gigs – yet we stayed behind in renewing our discography. Don’t get me wrong – composition went on frantically. We took notes and demoed many ideas. Sincerely, this album is just a (new) beginning, and the next one is already on the make…”

Adorned with characteristically iconic artwork courtesy of close comrade Umberto, The Pentagram is indeed a new beginning, but one that reverently adheres to Apokalyptic Raids‘ iron-clad past. Perhaps not surprisingly, the album’s compositions span a good decade and a half – “There are songs from last year, and there are songs that were composed 10+ years ago,” Manssur reveals – but as always, it sounds 666% like Apokalyptic Raids. Tons of galloping hard-chargers, lots of dirtiness, more metal attitude than is healthy, and even a moody epic in closer “The Story of Pope Joan”: no fucking sellout, and no quarter given.

“With all the things that happened inside and outside the band, the idea of starting anew has grown up,” Manssur continues. “We hate those albums when the band thinks they have become more ‘mature’ and then…wimp out. Wimping out is a consequence of ego shit. No, not again in this scene today, not in 2018. Meanwhile, many bands of the 2000s generation went on to greatness, and that raised the ante in a way that pushed us forward.”

Within their now-sizable catalog, especially one so rich with rottenness, it’s both comforting and freshing that Apokalyptic Raids would make their long-awaited return to the full-length front one that’s purely “back to basics.” And it’s not just idly titled, either, as Manssur explains: “The new album being simply called The Pentagram is a statement of simplicity, less is more, keep it simple, rustic – whatever you call it. And yes, still tuned to E flat, so it’s safe to hear and being able to get the riffs. It’s all about the riff – old as fuck and fresh as fuck!”

He adds, “Of course we have took risks. There is an epic heavy metal song, like some pieces we did before, but with new twists. The planning was long, the execution was quick, and that’s it. We always try to get a good balance of ‘quick gratification,’ though not instant, and ‘risk.’”

Lastly, there are the lyrics to The Pentagram. Concludes Manssur, “Fenriz [Darkthrone etc] once wrote we were doing more personal lyrics. And that is true, given we are old metalheads full of shit, except that we don’t want to get stuck there and to preach too much. So, on this album, you will find statement after statement of ‘upward’ feelings – the words ‘victory’ and ‘triumph’ are recurring. Not that it could ever spoil the anger! Strange in a Hellhammer-worshiping band? Maybe, maybe not. And I love/hate playing a nameless style. It is and it is not black, death, heavy, speed, thrash, etc. It’s HELL. It’s HELL Music. Find that out, love it or hate it – danger is a good part of the fun.”

Release date, first track, and preorder info to be announced shortly.

Deletere are currently streaming their new full-length in it’s entirety. The following press release and links have been issued:

Today, Québecois black metallers Délétère stream the entirety of their highly anticipated second album, De Horea Leprae, at heavily trafficked web-portal IndyMetalVault.com. Set for international release today via Sepulchral Productions, hear Délétère‘s De Horea Leprae in its entirety exclusively HERE.

The disciples of The Crawling One are back with a monumental concept album devoted to Teredinis, a simple leper whose calling it is to become a prophet of Centipèdes as well as an incarnation of the Plague. On De Horea Leprae, Délétère offers 65 minutes of majestic and tortuous black metal full of furor, despair, and illumination, driven by a powerful production, memorable riffs, and an otherworldly vocal performance. A new Québécois black metal classic.

Hear all of it for yourself exclusively HERE, courtesy of IndyMetalVault.com.

Black Howling has debuted new material off their upcoming sixth full-length, Return of Primordial Stillness, to be released through Signal Rex on July 27th, 2018. The following press and links have been issued:

Today, Portuguese black metal titans Black Howling premiere the new track “Celestial Syntropy” at Decibel magazine’s website. The track hails from the band’s highly anticipated sixth album, Return of Primordial Stillness, set for international release on July 27th via Signal Rex. Hear Black Howling‘s “Celestial Syntropy” in its entirety exclusively HERE.

One of the oldest and most prolific bands in the Portuguese black metal underground, Black Howling have built up a staggering body of work of unparalleled anguish and misery. By no means strictly “depressive suicidal black metal,” the duo’s aesthetic often runs parallel to DSBM but fortunately evades all the usual cliches of such. More importantly, Black Howling‘s commitment to an unapologetically raw soundfield yet suffusing that misery ‘n’ anguish with a remarkably accomplished melodicism has largely shaped the modern Portuguese black metal paradigm that has received so much international fervor in recent years.

Now, after three years of silence, Black Howling return with Return of Primordial Stillness, a compact-yet-massive distillation of their enduring aesthetic. Comprising four tracks in an epic 40 minutes, Return of Primordial Stillness indeed sounds primordial and indeed invokes a crypt-like stillness, but there’s so much more going on here. The record is bookended by two mostly instrumental tracks, with the two central compositions – “Celestial Syntropy” and “Celestial Entropy,” which are 14 minutes and 16 minutes, respectively – canvassing a wide sonic landscape, howling and desperate and yet strangely triumphant and even perversely soothing, such is their catharsis sought. However, this is all BLACK METAL through and through, undiluted and uncompromising; it’s just that Black Howling possess a profound understanding of it and are thusly able to shape it in dazzling(ly malodorous) ways. Simply put, if you aren’t mesmerized by the conjurings contained within, then perhaps black metal isn’t for you…

Though their output has slowed in recent years, each Black Howling recording is a stained treasure unto itself. When their next recording shall reveal itself, no one knows but then, but hereby witness their Return of Primordial Stillness. In the meantime, hear the massive 14-minute “Celestial Syntropy” in its entirety exclusively HERE, courtesy of Decibel, North America’s only monthly metal magazine. Preorder info can be found HERE.

Dragonlord have released the first song for their forth-coming third album, Dominion. The album is set for a September 21st, 2018, release though Spinefarm Records. This is some ultra-polished hypermodern black metal, if that’s your thing. Track is below:

August 17th, 2018, is the scheduled date for Cemetery Urn’s next assault. Their fourth album, Barbaric Retribution, is being handled by Hell’s Headbanger Records for CD and vinyl release. The following press release has been issued:

Today, Hells Headbangers sets August 17th as the international release date for Cemetery Urn‘s highly anticipated fourth album, Barbaric Retribution, on CD and vinyl LP formats.

By now, Cemetery Urn should need no introduction. A staple of the Australian extreme metal scene, for over a decade now, the band have been a study in staunch self-reliance, self-booking two highly successful tours across the United States as well as releasing their first two albums on their own Cemetery Recordings. Although Hells Headbangers would release those first two albums – 2008’s Urn of Blood  and 2010’s The Conquered Are Burned – on vinyl in 2011, Cemetery Urn‘s spirit is fiercely independent. Not to mention that they’ve a deep history in that Australian extreme metal scene: founding guitarist and songwriter Andrew Gillon also hails from reactivated Aussie barbarians Abominator, and previously played in the final lineup of Bestial Warlust; original vocalist Damon Bloodstorm was renowned as the frontman for Bestial Warlust and for Abominator from 1996-2001; and drummer Matt Crossingham, who’s played with such bands as Belligerent Intent, Scars of Sodom, and Draconis Infernum.

Following up the momentum created by last year’s poised ‘n’ powerful Cemetery Urn, Cemetery Urn strike with arguably their most vicious record yet. Ever aptly titled, Barbaric Retribution indeed makes good on the band’s self-branded “Australian Barbaric Death Metal” tag, taking the martial foundation of their earlier work and locating a blood-red-raw humidity which makes their incendiary maelstrom all the more overwhelming. Cemetery Urn have never been short on powerful production – always, a balance between crush and clarity is sought – but Barbaric Retribution, perhaps due to its take-no-prisoners title, pushes the intensity to near-suffocating levels. But within that unremitting savagery lurks a greater number of doomed-out down-tempo twists and some truly demonic soloing, all ever suggestive of the very literal Armageddon at the heart of their aesthetic. Above all, Barbaric Retribution truly proves that unrelenting intensity and top-shelf songwriting need not be mutually exclusive terms – or, more to the point, that Barbaric Retribution is indeed BARBARIC RETRIBUTION!

Now scaled back to a lean ‘n’ mean quartet, Gillon handled bass in addition to his guitar duties on Barbaric Retribution, but the record sees the arrival of new vocalist S. Geoffery, who’ll also be handling bass for live performances. Says Gillon, “I’d worked with S. Geoffery in Abominator live, so I knew he was capable of total unchained barbaric hatred, but the vocals recorded on the new album went beyond our most brutal expectations. There’s definitely some continuity from the Bloodstorm era of Cemetery Urn to the new era of Barbaric Retribution! The decision to continue as a four-piece will enable Cemetery Urn to get back on the road again and continue to brutalize metal maniacs worldwide! Barbaric Retribution is our manifesto to the stench of existence through this final stage of global decay.”

Here’s the title track for the new album:

Curse Upon a Prayer are currently streaming their new EP in it’s entirety. The physical release date is set for June 21st, 2018, and is being handled by Saturnal Records. I hope you’re reading these press releases. Allah Akbar.  The following press and links have been issued:

Today, Finnish black metal nasties Curse Upon a Prayer stream the entirety of their highly anticipated new EP, The Three Woes, at heavily trafficked web-portal IndyMetalVault.com. Set for international release on June 21st via Saturnal Records, hear Curse Upon a Prayer‘s The Three Woes in its entirety exclusively HERE.

Hailing from the black metal hotbed of Finland, Curse Upon a Prayer was founded in Tornio in 2010 and have since released two albums – From The Lands of Demise in 2014, and Rotten Tongues in 2015. The band has gained some recognition for their strong, anti-Islamic themes, which are fiercely manifested in their live shows. During those well-received events, there has been multiple Quran desecrations, and the ruthless flame of Curse Upon a Prayer continues to grow without any hesitation.

Now, the Finnish infidels of Curse Upon a Prayer have decided to take another step towards the gaping abyss and thus present a new EP, thematically titled The Three Woes. Their third studio recording so far and a follow-up to the righteous Rotten Tongues, The Three Woes is another grand strike for Curse Upon a Prayer, albeit a quick-hitting one. No less satisfying despite its compact nature, this EP is merely a glimpse of the truly flagrant blasphemy that is yet come: a peaceful prelude for the next, Allah-raping Curse Upon a Prayer full-length set to be released in 2019.

Abhorrence (the one from Finland) have showed back up, after taking 28 years off to enjoy themselves. This was pretty surprising, I haven’t had a chance to listen to the new EP, but when this hit my inbox I was pleasantly surprised. The following press and links have been issued:

“Our macabre prayers have been answered: Finnish death metal eidolons Abhorrence took over Amorphis drummer Jan Rechberger’s Moon Unit studio to record a new EP.” –Decibel magazine, May 2018

The rumours are true: underground death metal legends Abhorrence are back.

Svart Records is proud to present to you “Anthem for the Anthropocene,” the first track from Megalohydrothalassophobic, an all-new Abhorrence EP, all full of old-school Finnish death metal.  The EP will be released by Svart Records on September 15th, and today, Decibel magazine premieres the new track. Hear Abhorrence‘s “Anthem for the Anthropocene” in its entirety exclusively HERE.

They promised you they were still vulgar and still brutal. And 28 years later, they are. The lineup is the same as back in 1990, with the addition of drummer Waltteri Väyrynen, of Paradise Lost and Vallenfyre fame.

The old Abhorrence sound, reaching from death to doom to black and psychedelia, is all there on the EP. This time, the pioneers of death metal horror have dug their claws into the deep abyss of the ocean. True to their roots of nightmare and terror, Abhorrence brings you a vision of Lovecraftian horror in the age of the ecological catastrophe. The lyrics fuse together the deeply unsettling tales of H.P. Lovecraft with the thought-provoking philosophy of Timothy Morton, arguably the most important thinker of the anthropoce, the current catastrophical age of human existence.

The first premiere from the EP is the opening number “Anthem for the Anthropocene.” It is a brutal, hard-hitting black roller that cuts deep into the sick heart of humanity in the year 2018. Hear it in its entirety exclusively HERE, courtesy of Decibel, North America’s only monthly metal magazine. “The stars will be right when the black stains all light” – “Anthem for the Anthropocene.” Preorder info to be announced shortly.

To end on a shitty note, Oregon’s Fallen Empire Records is officially ceasing operation sometime before the close of 2018. Fallen Empire Records was responsible for groups such as Axis of Light, Death Fortress, Slavehouse, and LVTHN, among others. They have announced a slew of future releases and nothing to come afterwards. Their older distro is currently slashed by as much as 33%, so check out their online store. Buy Death Fortress here.

Thanks for reading. I feel like people over the age of 60 shouldn’t be allowed to drive between the hours of 3pm and 6pm, EST.

-A.Krause