FUNERAL BAPTISM sign with Loud Rage Music

Funeral Baptism, the Bucharest Black Metal duo that recently took the Romanian Extreme Metal scene by storm with the release of their excellent second EP, Gate, have just reached an agreement with Loud Rage Music regarding the upcoming release of the band’s debut album, scheduled for the second part of this year.

Gate, the band’s second EP and first in a duo line-up, is now available for free streaming and downloading here: https://loudragemusic.bandcamp.com/album/funeral-baptism-gate, a preview of what the full-length album will have to offer.

Funeral Baptism was formed back in 2014 in Villa Gessel, Argentina by guitarist Damian Batista. The same year, the “Blasphemous Desires” EP is released, showing a straightforward black metal style with an atmospheric twist.

In 2016 the band is relocated to Bucharest, Romania and with the inclusion of new vocalist, Liviu UstinescuFuneral Baptism releases their second EP named “Gate” in March 2017.

This new EP introduces a more aggressive style adding a death metal influence yet retaining the atmospheric overtones of the first release.

At the moment the band’s line-up is made of 2 members

Damian (ex-Akral Necrosis) – guitar/bass
Liviu (Din Umbra) – vocals/lyrics

Contacts:

Funeral Baptism:
www.facebook.com/FuneralBaptismBM
funeralbaptism.bandcamp.com
funeralbaptism@gmail.com

LAVA INVOCATOR – Mörk – Out Now!

LAVA INVOCATOR is a mystical black metal formation from Ukraine, the idea of which originated in the small Swedish town of Lund, near Malmö… Dark storm clouds over the Öresund strait, black rocks, high forests and whispers of mysticism mixed in an infernal whirlwind of emotions – so originated the concept of the band.

The band was founded in 2015 by members of another Ukrainian black metal band DEF / LIGHT, after which the team immediately began partaking in concert activities. Infrequent, but with powerful and atmospheric performances, the band quickly won the minds of the circle of audiences, the red-hot lava was deeply ingested and filled among the souls of metalheads. The sound of LAVA INVOCATOR is a dense and verified alloy of iron and steel – tough and uncompromising, and at the same time melodic and atmospheric.

“Mörk” (from Swedish – “Dark”) is the debut work of the band. With the 07 nefarious tracks, the generated music of this album walk the pathway of the traditional black metal, inspired by such icons of the genre such as Dissection, Mayhem, Dark Funeral, Ulver, Darkthrone, etc.  The presence of both malicious ferocity and dismal aura of black metal can be descried.

The Band Stated

“The album is conceptual in essence and puts the listeners in the picture of the story of an intangible essence, which is dark and gloomy in nature”

Label: Satanath Records (Rus) & More Hate Productions  (Rus)

Format: CD

Track – List:
01. Awaken
02. Empyrium Et Nihil
03. Gestapofallos
04. Black Dawn
05. Dark Thunder Sky
06. Totenkampf
07. Mörk


TOTAL RUNNING TIME:37:08

Members:

Guitars & Vocals – Ingvaar
Bass – Silent
Drums –  Yggr

Twitter: https://twitter.com/lava_invocator
Facebook: https://www.facebook.com/lavainvocator

THE SARCOPHAGUS (Turkey) Returns with Singles from New Album

Turkey’s one of the earliest black metal band The Sarcophagus was formed by Burak Sümer in 1996. At the beginning of 1997, the band released the first demo “Pagan Storm”, which was followed by an EP “Infernal Hordes of The Ancient Times”. In 2009, Niklas Kvarforth from Shining and Ozan Yıldırım from Raven Woods joined the band and The Sarcophagus signed with Osmose Productions for 7” ep “Hate Cult” and debut album “Towards The Eternal Chaos”. The new style was a little bit away from the earlier melodic black metal materials. Thus, The Sarcophagus had become more aggressive with the participation of Niklas Kvarforth. Both of the releases from Osmose Productions saw the light of very positive responses from the audiences and critics.

A couple of years later, Niklas decided to quit from all his other side projects to focus on Shining. With this decision, Morkbeast from Russian black metal band Todestriebe joined the band as the new vocalist and then after 7 long years, The Sarcophagus recorded a new album called “Beyond This World’s Illusion” in 2016 including 9 tracks to keep spreading the disease!

The track “Reign Of Chaos” is the opening track of the album, enshrouded with the harrowing riffs and endless melodies.

The Band Stated:

Beyond this physical world, behind the curtains of this illusion, there is a timeless and formless darkness rises… And this is The Reign of Chaos

LEGACY (Ger) has exclusively streamed the lyric video of the track, which can be found at this location 

THE SARCOPHAGUS
Beyond This World’s Illusion
(Full Length)
Lineup
Genre Black Metal Vocals Mørkbeast

Guitars, Synth –  Burak Sümer

BassOzan Yıldırım

Drums –  Oktay Fıstık (Session)

MasteredNecromorbus Studio (Swe)
Cover ArtPaolo Girardi

Location Ankara, Turkey
Release Date April 04, 2016
Label Satanath Records (Rus) in association with Death Portal Studio (USA), Fila Sophiae (Sweden) & Sphera Noctis Records (Brazil
Format CD

Track-List
01. Reign Of Chaos
02. Ain Sof
03. Dymadiel
04. The Profanity Rites
05. Sapremia Of Earthly Creatures
06. Triumphant Divine Terror
07. Armoured Death
08. Flaming Key To Divine Wisdom
09. Apocalyptic Beast
———————————————
Total Running Time: 45:51

FACEBOOK:
https://www.facebook.com/thesarcophagustr

 

Fist Of Satan 666 Podcast – Episode 009 – 2017 (So far!)

We’re not even three months in and already 2017 is shaping up to be an amazing year for new releases!  One of the benefit of running a metal promotion site is I get to hear promos before they hit the world!

So this week I’ve put together some of the best stuff released this year that’s hit my ears!

Be sure to support the bands and the labels releasing them!

In case you are wondering I didn’t get a podcast out last week. I was a bit under the weather… ok, I was really hungover. I blame the 9% Belgium beer!

0:00 – Lunatic Hooker – Fucks All

From the album Embracing The Filth released by Black Bow Record in April 2017.

Country of Origin: UK

Genre: Grindcore/Death Metal

https://lunatichooker.bandcamp.com/

https://www.facebook.com/LunaticHooker/

2:45 – Solitary – Anthem Of Regret

From the album The Diseased Heart Of Society released by UKEM Records in 2017.

Country of Origin: UK

Genre:Thrash

https://twitter.com/SOLITARYPRESTON

http://solitary94.bandcamp.com/

7:08 – Sons Ov Omega – Malleus Maleficarum

From the album Reign released by Black Lion Records in 2017.

Country of Origin: Sweden

Genre: Melodic Black/Death

https://www.facebook.com/sonsovomega

https://sonsovomegablacklion.bandcamp.com/

11:32 – Vorzug – The Ever Living

From the album Three released by Apollyon Entertainment  in 2017.

Country of Origin: USA

Genre: Death Metal

http://www.vorzug.info

https://www.facebook.com/vorzugmetal

18:03 – Cemetery Urn – A Requiem For Servants Aflame

From the album Cemetery Urn released by Hells Headbangers in April 2017.

Country of Origin: Australia

Genre: Death Metal

http://cemeteryurn.bandcamp.com/

https://twitter.com/CEMETERYURN

21:22 – Carpatus – The Cold Autumn Sunrise

From the album Malus Ascendant released by Witches Brew in 2017.

Country of Origin: Brazil

Genre: Black Metal

https://www.facebook.com/carpatus

https://www.youtube.com/channel/UC-dSJTAPna52uOg0XlwGU5g

28:52 – Blood Of Angels – The Final War

From the album Rise Of The Fallen Gods released by Hollywood Collective in April 2017

Country of Origin: USA

Genre: Melodic Death Metal

https://www.facebook.com/bloodofangels1/

https://bloodofangels.bandcamp.com

33:12 – Sigil – Death Unreal

From the album Kingdom Of The Grave released by Horror Pain Gore Death Productions in April 2017

Country of Origin: USA

Genre: Crusty Death Metal

https://www.facebook.com/Sigilmetal/

https://sigildeath.bandcamp.com

38:10 Misþyrming – Hof

From the split Ivory Stone / Hof released by Terratur Possessions in 2017.

Country of Origin: Iceland

Genre: Black Metal

https://misthyrming.bandcamp.com/

https://www.facebook.com/Misthyrming

45:20 – Memoriam – Surrounded by Death

From the album For The Fallen released by Nuclear Blast Records in 2017.

Country of Origin: UK

Genre: Death Metal

https://willettsio.bandcamp.com/

https://www.facebook.com/Memoriam2016/

40:32 – Mastectomy – Family Execution

From the album Hell On Earth released by Rotten Music in 2017

Country of Origin: Poland

Genre: Brutal Death Metal

https://www.facebook.com/Mastectomy666

52:38 – Merrimack – Apophatic Weaponry

From the album Omegaphilia released by Season Of Mist in June 2017

Country of Origin: France

Genre: Black Metal

https://www.facebook.com/merrimackofficial

http://merrimack.satanslegions.com/

58:58 – The Great Old Ones – The Shadow Over Innsmouth

From the album EOD: A Tale of Dark Legacy released by Season Of Mist in 2017.

Country of Origin: France

Genre: Post Black Metal

https://thegreatoldones.bandcamp.com/

http://www.facebook.com/thegreatoldones

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Hellfire – Goat Revenge – Out Now!

HELLFIRE was formed in late 2014 in Kremenchug, Ukraine. The band was created by Karagh (Guitar/voice) and Necrobafomet (Bass), former members of the black metal band Paranomia. Later, they were joined by drummer Skullcrusher and second guitarist Max, together they began rehearsing and writing original materials. Initially, it was decided to make black metal music with the influences from old-school thrash and death metal. October 31, 2015, the first live performance of the group took place. Shortly before this, guitarist Max left the band, and since then HELLFIRE continues to work as a trio format. Next, live performances took place in different cities of Ukraine and the response was always very positive from the audiences.

The recording of their debut release “Goat Revenge” was completed at the end of 2016 and later released on 31 July through German label Witches Brew. The EP consists of a haunting intro leads into 7 great songs, crafted into a fine dark brew of genuine Black Metal mixed with crushing Death Metal! An erudite listener will eventually find a lot of first wave black metal and speed metal influences on these tracks. These goat lords will appease all who crave heavy riffs, blasphemous vocals and attention to keeping the Heavy Metal in Black Metal, something sadly forgotten by a lot of today’s Black Metal bands. When it comes to comparison, Bestial Mockery and Impiety eventually come to mind. The vocal brings back the ravaging grim voice of Nocturno Culto, at the same time he delivers some gruesome death growls.

Currently, the group continues to work on new music and concert activities.

 

Track-List

1. Intro
2. Hellmass Attack
3. Goat Revenge
4. War Apocalypse Battery
5. Field of Screams
6. Unholy Cult
7. Unleash the Beast
8. Lord of the Mighty Horns
———————————————
Total Running Time: 24:27

Streaming on Bandcamp!

Purchase!

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Interview With Countess (Netherlands)

After just one listen of Countess’ latest album ‘Fires Of Destiny’ I was hooked. I wanted to know much more about this long serving band. Orlok was gracious enough to answer a few questions!
Fist Of Satan 666: Countess has been around since 1992 and, while continuously releasing quality black metal, is not generally on the tip of people’s tongue. I must admit I only recently discovered Countess.
 
With releases almost yearly your body of work speaks for itself. Why do you think Countess has flown under the radar for so long?
 
Countess: Well, there may be a few things that have contributed to that. When we started out, the so-called ‘second wave’ of black metal was exploding and we didn’t sound like that at all, sounding more like the originators of the style. People who checked us out back then and expected us to sound like the modern bands of the day may have been put off. Then, of course, there was a long period when the band was hardly active. Between 1997 and 2014, Countess was essentially a one-man operation and didn’t play live. There was a new album almost every year, but that was about it. And finally, of course we have always been an underground band, without any substantial promotion.
 
FOS: In the 25 years of existence Countess has progressed from very raw and primitive black metal to a more traditional metal sound with elements of black metal.
 
What lead to this progression? Was raw black metal too limiting for how you wished to express Countess? Or did it just sort of happen over the years?
 
C: I think this was a natural evolution. If you listen to all our albums in sequence (quite a task, by the way) you can hear his progression was gradual. We always loved traditional metal; it’s the music we grew up with and over time we incorporated more influences from traditional metal in our sound. The fact the really raw, primitive black metal has rather a lot of limitations may have played a part as well, but not really on a conscious level I think.
 
FOS: Throughout Countess’ history Orlok, has remained the one constant. The majority of albums were recorded by him alone. Does the prolificness of releases necessitate going it alone?
 
C: No, that has nothing to do with it. I just didn’t have a line-up in these years and didn’t feel like getting one together, so I worked alone for quite a while. Having a full line-up is pretty hard; you need to find exactly the right people to make it work and that’s not easy. After the band split at the end of 1997, I was just fed up with maintaining a line-up. In the years that followed, I often thought about getting a line-up again to be able to play live again, or maybe play live with session musicians, but for a variety of reasons that never happened until finally a few years ago everything fell in place again, so to speak.
 
FOS: Besides Orlok, Zagan has appeared most often contributing guitars to the 1997 EP Hell’s Rock and Roll, a guest appearance on 2001’s The Revenge of the Horned One Part I’ and most recently on 2013’s Sermons Of The Infidel and 2016’s Fires of Destiny.
 
Why has his contributions been somewhat sporadic over the years?
 
C: Well, after the line-up that recorded ‘Hell’s Rock & Roll’ split up at the end of 1997 we still stayed in touch. So when I was doing the ‘Revenge’ albums I asked him to participate and he played basically all the leads and also some rhythm parts on these records, as well as contributing a few songs (his involvement was more than a ‘guest appearance’). In the early 2000’s we also worked on some stuff together that was never released but after that, we kind of lost touch until we met again in early 2013 and we decided to work together again. He has been a full member of the band again since then.
 
FOS:  From a recording technology perspective things have changed greatly from the times of 1993’s The Gospel Of The Horned Ones to 2016’s Fires Of Destiny.
 
Have you embraced new technology over the years? Do you still retain any techniques from the old days in your latest recordings?
 
C: Well, I wouldn’t say I ‘embrace’ new technology but I do use it. Using modern recording equipment has a lot of practical advantages over using recording equipment from 25 years ago. Other than using modern equipment, we haven’t really changed the way we record.
 
FOS: On the subject of recordings can you talk a bit about the writing and recording of Fires Of Destiny? What is your writing process? Where do you record?
 

C: The album was recorded in our rehearsal room; as usual, we did everything ourselves. We wrote the songs in 2014 and 2015; basically Zagan and myself wrote everything together and recorded demo’s of the songs. Then we started rehearsing the songs at the end of 2015, shortly after our new drummer Mortüüm joined the band. We began recording in February 2016. That was done in a fairly conventional way: first a scratch guitar track, then the drums, then the bass, rhythm guitars, guitar solos, keyboards and finally the vocals. In May, we completed the process.

 

For those interested, we did a short film documenting the whole process that you can find on our official YouTube channel:https://www.youtube.com/watch?v=XRKh7aMQUkY
 
FOS: Countess began in the underground days of paper zines and tape trading. You’re still here in the internet generation. Do you feel some of the magic of discovering new music has been lost when all it takes is for someone to download your album instead of waiting weeks (or months) for a tape to arrive in the mail?
 
What are your thoughts on the resurgence of tape releases in metal?
 
C: Yeah, the emergence of the internet has significantly changed the way music is spread, but I doubt that this whole internet thing has changed the music itself. Of course, having been part of the tape trading scene back in the late ‘80s/early ‘90s I feel a bit nostalgic about those days. You really had to work to discover and find new music, especially underground music. Of course, you also got a lot of really special stuff through tape trading like live tapes, rehearsals, advance tapes and so forth.
Now everything is a click away. It’s not all bad, though, especially for underground bands, because spreading your music is a lot easier than it was in the past. Getting your music noticed is probably still as hard as it was, though. Anyways, things change. That’s life; it’s just the way it is.
As for tapes, I don’t mind the resurgence but I don’t really care for them. The cassette was probably the worst sound carrier ever invented. This whole tape thing may be a form of nostalgia or people just wanting something more underground now that vinyl is enjoying a mainstream resurgence.
FOS:  From where do you draw your influences when creating new music? What specifically lead to the creation of ‘Fires Of Destiny’? How has the reaction been from the fans?
 

C: My inspiration for writing music and lyrics comes from everything really: movies, books, music, paintings, history, religion, my own imagination, personal experiences, really everything. Most of our songs are inspired by different things; although there are a few that mainly drew inspiration from one specific source.

 

As for ‘Fires Of Destiny’, it was inspired by many things. The songs are all about somewhat different subjects. We didn’t really have a central theme in mind when we started writing for the album, we just focused on writing ten killer songs. The song ‘Fires Of Destiny’ was the first song written for the album and we quickly decided that would be the title track. We thought it sounded good and we also had an idea for the album cover almost immediately; to use the painting of the battle of Vienna – the subject of the song – by the 17th century Flemish painter Pauwel Casteels.
The response from the fans has been great, both to the album and to the songs from the album when we play them live.
 
FOS: Artists are often not limited to mediums. Do you express yourself in ways other than black metal? Painting? Poetry? Etc.
 
C: No, not really. Other than that lyrics can be seen as a form of poetry, maybe.
 
FOS: If you could collaborate with any musician, living or dead, who would that be and what would a Countess album sound like with them?
 
C: Well, I have a few musical ‘heroes’ but I don’t think I would want to work with any of them, even if it were possible. We prefer to create our own music; if we would collaborate with someone from outside the band (no matter how much we might admire the person in question) it would compromise the purity of our expression, so to speak.
 
FOS: In your long history there have been many trends and explosions of genres over the years. While the band’s sound has progressed over the years you have remained loyal to the spirit of the old days. Have you ever looked back and wondered what would have happened if you had taken the band in a different direction?
 
C: No, because there is no point in doing that. It never wanted to take the band in a different direction and I never did. I don’t care what might have happened if I had.
 
FOS: Based on your almost yearly release we’re probably due for a new album. Are you working on new material? When can we expect new material?
 
C: Not that quickly. We plan to write the next album this year and record and release it next year.
 
FOS: What music have you been listening to lately (metal or otherwise)? What books are you reading?
 
C: Well, while I’m answering these questions I’m listening to Rome’s ‘Flowers From Exile’ album. I listen to quite a lot of different stuff; currently mostly traditional metal, folk, outlaw country and classical music.
 
FOS: Other musicians will (hopefully) be reading this so I always ask about the gear bands use. Tell us about your musical equipment and how you achieve your sound.
 
C: Well, I’m still using basically the same equipment I have been using for the past quarter of a century. For recordings I use an Aria Pro II IGB-50 that I have had since 1992 and used on most recordings. It has an excellent sound so I record bass without an amp; I plug straight into the recorder. Other than a limiter, I don’t use any effects. For rehearsing I currently use an Ibanez SB900 and live I play a classic BC Rich Warlock. Amps differ, but I prefer to use Ampeg bass amps whenever possible.
 
FOS: As you have a solid lineup now do you plan to make touring a permanent part of Countess? How would you describe a Countess show for those unfamiliar with your live performance?
 

C: Well, we have been playing live again since 2014 but we have mostly been doing festivals since then and the odd one-off club show. Last week, we did a short tour for the first time since 1997, with Blackdeath and Barathrum. Hopefully we will be able to do some more touring in the future. We’re looking into that at the moment.

 

As for our live performance; we just go out there and play our songs to the best of our ability. We don’t have an elaborate stage show or whatever; we think a live show should be first and foremost about the music. For those interested, we have several live songs on our YouTube channel, including the full show we played at the ‘Veneration Of The Dead’ festival in 2015.
 
FOS: Final words are yours!
 
C: Thank you for the interview and keep the flame of real metal burning. Hail and kill!
Be sure to check out Countess’ YouTube channel for lots of live shows and promo videos!

Interview With Deeper Vileness (USA)


Fist Of Satan 666: Before we delve into things can you tell us what you’re currently listening to as you answer these questions?

Deeper Vileness: Camille Saent-Saens and Domenico Scarlatti. Brilliant Composers.

FOS: Let’s start at the beginning. Deeper Vileness came into being around 2012 while you were still in high school. What events or circumstances lead to the creation? Was it a need for personal expression? A reaction to circumstances?

DV: I was studying music at that time and I was also listening to many metal bands which I was discovering such as Venom and Bathory. I had originally wanted to do something along the lines of dark ambient, which is still present in the bands music. The ideas for the project were most definitely personal expression and exploring the darker side of music as a whole.

FOS: Once Deeper Vileness came into being it was a few years until the demo ‘Of Darker Realms’ was released. Can you describe the path from band creation to first release?

DV: The creation began with creating mock demo layouts, and song titles as well as an overall image of the band. I wanted to aim for a very dark and medieval type theme. I originally wanted to do a live trio but after a failed search for members locally I decided to do everything myself with the exemption of occasional session members. It took a while to put the instruments together and I had to borrow much of them. They were all very old ,thus the extremely raw sound on the first demo. My only regret is not recording while I was still at University.

FOS: In other interviews you’ve spoke of how your local scene is nothing more than people “jacking off to deathcore”. Black metal often is an expression of a musician’s emotions, philosophies, and beliefs. These are not generally things associated with a scene. Was a scene even necessary in the band’s formative years or was the lack of support just fuel for the fire?

DV: No a scene was never necessary,  I’ve had people message me from Austria and Romania that found the band’s demos at underground shows. My commentary in that interview was very tongue in cheek and was something of an inside  joke. I do not care for other people’s projects if they do not interest me.

FOS: As I write this I am listening to the ‘Dark Crypt Necromancy’ demo. Unlike a lot of black metal which often blends into the background your music constantly claws at the listener. Forcing itself to the forefront.

An unleashing of raw emotion seems to take precedence over more traditional song structure. Is this a conscious act on your part when writing music?

DV: It was indeed a conscious act for this release. I only compose while alone and often at night. The theme for the demo had to do with necromancy which is a very chaotic form of magick. Thus the sound was created to be chaotic.

FOS: Black metal, raw black metal especially, can be incredibly personal to the creator. Often the creators shroud themselves in an enigma with pseudonyms and mystery, creating a separation between the art and the person.

It seems you haven’t taken the traditional path and are more directly connected with music. Is there a place where Deeper Vileness ends and Kadesh begins? Or are Deeper Vileness and Kadesh one in the same?

DV: What others try to create an image of I already am. Some would try to present themselves in a certain way, I make my fantasies reality. I have no need to pretend.

FOS: On all your releases you go from ambient keyboards straight into raw black metal noise and then back again. It’s a constant shifting of gears from lulling the listener with a medieval dungeon like atmosphere to an unleashing of raw emotion.

Why do these styles work together for you? Why not make an entire dungeonsyth album and a separate raw black metal album?

DV: There will be less ambient and keyboard tracks on the next releases. There will be more of layers and breaks of keyboards in the song structure. As for making separate albums I would never call myself dungeon synth ,  I was making keyboard tracks before I even knew what that genre was.

FOS: You cite GG Allin as a big influence. GG was known for his confrontational and over the top personality more than he was known for his music. Is that something you strive for with Deeper Vileness? Have such actions affected how the people around you think of you?

DV: GG allin was never an influence to me. Artists that influence me change my perspective of music. But whether certain black metal bands existed or not I would still be making dark music. I’d  define myself as an intellectual who spends time reading philosophy and composing orchestral works. My personality is over the top in many ways but none of which I consider negative. More so …eccentric. I wear all black  and drink wine while listening to classical music. And often roam about the night through ruins and forests.

FOS: Where do you see Deeper Vileness going in the future? Do you have more plans for the journey rather than the destination?

DV: Well I definitely see the band gathering a following and releasing more intricate pieces of music. I have many plans, a destination is comfort and comfort breeds loss of ambition.

FOS: What else influences you to create? Do you have other creative outlets besides Deeper Vileness?

DV: It is pure artistic passion that befalls me. Once I have an idea I become obsessed with working on it.

I have many creative outlets. I’m working on literature, orchestral music, ambient music, art, and film at the moment. I hope to see much of it reach the public soon.

FOS: Final words are yours!

DV: It would please me to have any fans of the band look into my many other projects. There are related links on all my online pages. Come and hear all proper! Hear angel trumpets and devil trombones… you…are ..Invited!

Hails and thanks to Deeper Vileness for this interview. Their demos are on constant rotation so I enjoyed delving deeper into the Deeper Vileness mythos.

Check them out at:

https://deepervileness.bandcamp.com/