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BLACK VINYL

CD in digipak with 8-page booklet

Brutal death metal entity BRODEQUIN is now reissuing all three of its full-length records via Season of Mist!
The trilogy of ‘Instruments of Torture’ (2000), ‘Festival of Death’ (2001), and ‘Methods of Execution’ (2004) is a cohesive collection of the relentless, neck breaking brutality that define the Tennessee's vicious sound.

For fans of DEVOURMENT, MORTICIAN, DISGORGE, INTERNAL BLEEDING.

CD in digipak with 8-page booklet

Brutal death metal entity BRODEQUIN is now reissuing all three of its full-length records via Season of Mist!
The trilogy of ‘Instruments of Torture’ (2000), ‘Festival of Death’ (2001), and ‘Methods of Execution’ (2004) is a cohesive collection of the relentless, neck breaking brutality that define the Tennessee's vicious sound.

For fans of DEVOURMENT, MORTICIAN, DISGORGE, INTERNAL BLEEDING.

CD in digipak with 8-page booklet

Brutal death metal entity BRODEQUIN is now reissuing all three of its full-length records via Season of Mist!
The trilogy of ‘Instruments of Torture’ (2000), ‘Festival of Death’ (2001), and ‘Methods of Execution’ (2004) is a cohesive collection of the relentless, neck breaking brutality that define the Tennessee's vicious sound.

For fans of DEVOURMENT, MORTICIAN, DISGORGE, INTERNAL BLEEDING.

'Six Songs With the Devil', the savage 1994 demo from DESTROYER 666, remains to this day the most vicious blast of black metal to ever come from Australia.
Each track is a white-knuckled rip ride of volume and violence, and this recording set the tone for the career of one of metal's most infamous and uncompromising bands.
This true underground classic is available once again via the band's longtime home Season of Mist.

For fans of DESASTER, GOSPEL OF THE HORNS, AURA NOIR, NOCTURNAL GRAVES, BESTIAL MOCKERY, RAZOR OF OCCAM.
Cover illustration "Fohat" by Rosaleen Norton.

Jewelcase

CD jewel case

*TSJUDER* deliver Norwegian Black Metal in the classic raw and rattling style, yet without ever giving in to the temptation of wallowing in nostalgia. On their fifth full-length 'Antiliv' not a single note has to be dyed black, because the roots that are clearly showing are all glistening with the abyssal musical non-colour pioneered by BATHORY, CELTIC FROST, and VENOM as well as those Northern masters MAYHEM, DARKTHRONE, and EMPEROR. The venomous and vicious throat rendering by bassist Nag and guitarist Draugluin entwines with thorny, relentlessly driving riffs and an infernal rhythmical ice storm unleashed by drummer Anti-Christian over majestic melodies. When the Norwegians returned with 'Legion Helvete' in 2011, it became obvious that they had honed their songwriting to razor sharp perfection since splitting up after the release of the live DVD 'Norwegian Apocalypse' in 2006. Now *TSJUDER* stand proud with an impressive demonstration that they are still growing stronger and the hellishly fierce masterpiece 'Antiliv', which the band modestly describes as "raw and uncompromising black metal". No post, no progressive, no whatever!

_Recommended if you like_: MAYHEM, GORGOROTH, DARKTHRONE, CARPATHIAN FOREST, 1349, TAAKE
 

Influences drawn from the esoteric realms of death, black, doom metal, dark ambient, and arcane literature converge to shape Spectral Voice’s most realized manifestation. Featuring the sonic prowess of M. Kolontyrsky (guitar), P. Riedl (guitar), and J. Barrett (bass)—also of Blood Incantation fame—alongside the drummer / vocalist E. Wendler, Spectral Voice weave a sonic tapestry with a level of excellence that surpasses even their own formidable standards.

Sparagmos unquestionably stands as a definitive death metal highlight of 2024.

Drawing frequent comparisons to mind-altering progressive death metal acts, Artificial Brain have distinguished themselves from their peers through an emphasis on rich, melancholic melodic figures, contextualizing the harmonic and emotive qualities of black metal within a more aggressive death metal framework. Dissonance is threaded through elegiac, otherworldly chordal structures; saturnine tremolo melodies float along in the high registers of the instruments; guitars and bass traverse distinct paths before locking into harmonic orbit. These elements, anchored by blast beats and bellowing guttural vocals, create a sense of contrast that has come to characterize the band’s sound over the past decade. 
Artificial Brain, the group’s final recording with original vocalist Will Smith (Afterbirth), is the terminal instalment in a trilogy that includes 2014’s Labyrinth Constellation and 2017’s Infrared Horizon. Smith’s lyrics on this eponymous album take a retrospective look at the sci-fi mythology developed on the previous records, using these ideas to explore themes of isolation, madness, and the inexorability of nature. Rounding out the recording is an impressive roster of guest performers, including death metal legends Mike Browning (Nocturnus A.D.) and Luc Lemay (Gorguts) as well as long time collaborators Paulo Paguntalan (Miasmatic Necrosis) and Colin Marston (Krallice).

Witch Vomit’s two previous releases, Abhorrent Rapture and Buried Deep In A Bottomless Grave, solidified and elevated their position as one of current US death metal’s most potent and direct sources of expertly crafted cacophonous carnage. With a methodically relentless fervor and merciless aggression Witch Vomit have carved out a formidable reputation for barbarism with hooks so catchy they rend flesh from bone.

On new album Funeral Sanctum, Witch Vomit expand the dark melodicism buried within the butchery of past releases, now sharpened into black obsidian and causticly fused with the band’s hallmark brutality. The DNA within tracks such as “Blood Of Abomination” and “Dominion Of A Darkened Realm” invoke not the upbeat harmonies one hears in typical melodic death metal, but something more akin to the demonic evil might of early Dissection, gleaming in frozen darkness. The gore-soaked USDM ferocity remains the rotted core of the band’s foundation.

Witch Vomit’s dominant stretch of dynamic evolution within the scope of their concentrated stylistic framework has reached a new pinnacle with Funeral Sanctum. The album’s intense focus and ceaseless riff storm unleashes a wave of bloodfreezing gratification carved with permanence into the blackest depths.

After releasing three albums in three years and then spending the next four in the wilderness, Tomb Mold has been reborn on fourth album The Enduring Spirit, a thoroughly unabashed step into vast new territories. Yet for all its frenetic daring and audacious exploration, it is never anything other than unmistakably Tomb Mold.

While the expanding Tomb Mold architecture could be heard on last year’s self-released Aperture Of Body tape, it comes into clear focus throughout The Enduring Spirit. Certainly Derrick Vella’s time creating within and expanding the doom genre in Dream Unending has seeped into the flesh of Tomb Mold, not to mention Payson Power and Max Klebanoff’s explorations in their own Daydream Plus project.

With album opener “The Perfect Memory (Phantasm of Aura)” the band’s angular dimension shifting riffing appears right out of the gate as the track travels through varying degrees of progressive death metal and some of the band’s most extreme material yet. “Will Of Whispers” enters with a jazz-like fantasy sequence before careening into a blinding white light barrage, tasteful guitar leads and back to a dreamy serpentine pattern, encompassing whole universes in its nearly seven minute run-time.