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Debut album of Philadelphia unholy metal band after several EP releases

For fans of Vastum, Krypts, Phrenelith, Master, Incantation, Abhorrence, Funebrarum, Disembowelment

Gold vinyl

Three years after their crushing debut Defiled In Oblivion, Castrator return with Coronation Of The Grotesque, an album that not only exceeds all expectations but leaves them shattered in its wake, firmly cementing the band among the North American death metal elite. 

A bludgeoning autopsy of death metal, gore and deathgrind, the low-tuned grooves, discordant leads and mid-tempo rumble of Cerebral Rot is evident in tracks like “Spinous Forms Of Mortal Abhorrence” and the title-track while setting the bar for a melted transformation into more ghastly liquified forms. The gargling slime vox of Ian Schwab are dangerously radioactive, summoned straight from the sealed basement of a nuked morgue narrating a splatter-fest of morbid poetry, decomposing flesh, absurd experiments, and gruesome transgression. Each song plays out like a medical examiner’s case file crossed with the fevered ramblings of a psychopath—precise in its anatomical horror and repugnant in its bizarre depravity.

A bludgeoning autopsy of death metal, gore and deathgrind, the low-tuned grooves, discordant leads and mid-tempo rumble of Cerebral Rot is evident in tracks like “Spinous Forms Of Mortal Abhorrence” and the title-track while setting the bar for a melted transformation into more ghastly liquified forms. The gargling slime vox of Ian Schwab are dangerously radioactive, summoned straight from the sealed basement of a nuked morgue narrating a splatter-fest of morbid poetry, decomposing flesh, absurd experiments, and gruesome transgression. Each song plays out like a medical examiner’s case file crossed with the fevered ramblings of a psychopath—precise in its anatomical horror and repugnant in its bizarre depravity.

Icons of goth and doom, PARADISE LOST will release their long-awaited, 17th album Ascensionon September 19th. The band’s first album in 5 years, following 2020’s critically acclaimed Obsidian, was produced by guitarist Gregor Mackintosh and mixed/mastered by Lawrence Mackrory. Ascension is a testament to the band’s longevity and relevance over their 35+ year career, encompassing their signature styles of gothic, death and doom fans have cherished along the way.

Ascension’s album cover fittingly features the painting The Court of Death (1870-1902) by renowned British artistGeorge Frederic Watts, which hangs in the ate Gallery in London. The painting depicts Death as an enthroned angel flanked by allegorical figures of Silence and Mystery guarding sunrise and the star of hope, while a warrior surrenders his sword and a duke his coronet, showing that worldly status offers no protection. The painting’s bleak, prophetic vision embodies Ascension’s dark, tormented soundscapes as mournful verses collide with dire, foreboding riffs