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On April 21st internationally, Memento Mori and Me Saco Un Ojo Records are proud to present the highly anticipated third album of Finland’s Morbific, ‘Bloom of the Abnormal Flesh’. Memento Mori will handle the CD version while Me Saco Un Ojo will handle the vinyl version.

Finland’s Morbific is a rotten-to-the-core Death Metal trio deformed in the filthy and profaned boneyard of Kitee in early 2020, featuring Olli (guitar), Jusa (vocals/bass), and Onni (drums). The band’s ‘Pestilent Hordes’ demo was unleashed in the summer of 2020, and it rapidly gained them some following amongst the finest gourmets of the variety of festering, moldering, and disgusting Death Metal that’s malignantly influenced by Autopsy, Rottrevore, Deteriorot, Mortician, Grave, Maimed, Undergang, Impetigo, and ancient Finnish masters of death and decay such as Funebre and Disgrace. Shortly after, in the spring of 2021, the debut full-length ‘Ominous Seep of Putridity’ saw the odious light of day to unanimous praise by both the fans and the media. Just a year later – and now aligned with both Memento Mori and Me Saco Un Ojo – Morbific released their second full-length, ‘Squirm Beyond the Mortal Realm’. Aptly titled, the album quickly became a cult favorite of utterly uncomfortable, slimy Death Metal.

Now, Morbific are prepared to eclipse such a sewer-dwelling “highwater”(!) mark with ‘Bloom of the Abnormal Flesh’. Whereas its not-inconsiderable predecessor confronted the listener with a blown-out, almost demo-level feel, the Finns’ third full-length proves that they can move and mesmerize and maim no matter what the soundfield is. And on ‘Bloom of the Abnormal Flesh’, it’s a raw-yet-robust show of strength, “classic” Death Metal production in a most late ’80s fashion; just witness that gurgling, fuzz-tinged bass and feel its radioactive waves envelope you. But production is one thing and songwriting is another, and with the latter, Morbific are truly hitting their stride here. Lumbering and stomping, with well-timed bouts of disgusting gallop or even ragged blasts, their songwriting twists and indeed squirms with off-kilter insanity; some would call it chaos, if not for the exceptionally tight musicianship on display here, with the sum result being an uncomfortableness that bubbles up from a deeper gutter. Thankfully, ‘Bloom of the Abnormal Flesh’ conveys its dark, disgusting, and unconventional aura across every element – said chops simply heighten these sensations – and is, thus far, Morbific’s best melding of form and content.

Cro-Magnon as ever but somehow enlightened in the creepiest sense possible, Morbific continue their reputation as Finland’s filthiest and Death Metal’s untrendiest weirdoes. Vividly captured by Chase Slaker’s cover artwork, ‘Bloom of the Abnormal Flesh’ is the foulest stench only for the brave!

On April 21st internationally, Memento Mori and Rotted Life are proud to present Insineratehymn’s highly anticipated third album, ‘Irreverence of the Divine’. Memento Mori will handle the CD version while Rotted Life will handle the vinyl and tape versions; the vinyl version is slated for June 20th.

Hailing from Los Angeles, Insineratehymn have managed to position themselves in the taste of underground extreme metal fans with their powerful Death Metal clearly influenced by classic bands, giving a masterclass in ’90s Death Metal, from the spiraling vortexes of early Tampa to the sewage to come from New York, through to eerie emanations from Europe and the dissonance at the dawn of the new millennium. Naturally, the band bend those classic tropes in a variety of ways, all of which bespeak their own identity. Scuzzy, slicing, clanging, angular, brutal beatdown, ignorant stomp, or just straightforward killshot: no weapon is left aside. Simply, Insineratehymn are Death Metal for Death Metal maniacs, by Death Metal maniacs who understand and appreciate the rich-yet-codified history of the genre. Handy references to be made include Sadistic Intent, Monstrosity, Suffocation, Grave, Edge of Sanity, Demigod, Sentenced – and of course, Deicide, who provided their namesake.

And while it seemed – at the time, at least – that they had hit a fever pitch of Death Metalled perfection on 2022’s ‘Disembodied’ full-length, along comes Insineratehymn’s third album to set the gold standard that much higher. Evocatively titled ‘Irreverence of the Divine’, Insineratehymn’s third full-length goes all in on the evil that should be at the forefront of true, classic Death Metal. Right after its mood-setting acoustic intro, ‘Irreverence of the Divine’ sets forth an atmosphere of all-consuming, unmitigated diabolism and possession, put into sonic form as Death Metal of a most early ’90s vintage. In many senses, Insineratehymn here expand the extremes of their sound; their attack is tighter and more calculated but never sterile, while the songwriting itself steps over the threshold into berserker territory with increasing regularity. Eerily melodic solos likewise crop up more often, really plowing that furlough too often forgotten by nowadays “OSDM” bands. All those aforementioned tools are used – savagely, stylishly – and with the album’s eight central songs totaling 40 minutes, ‘Irreverence of the Divine’ never feels too short nor too epic.

Gracefully completed by unholy cover art courtesy of Edgar Roldan, Insineratehymn once again stake their claim as classic Death Metal masters with ‘Irreverence of the Divine’!

If classic outputs from Darkthrone, Enslaved, Emperor, or Isengard et al. make your blood boil, you should make sure to purchase Hersir’s album and immerse yourself in its Northern Black Metal excellence.

Despite having already been incepted in 2016 by Grim Vindkall, who is primarily known for his band Domgård, Swedish Hersir have up until this point kept a rather low profile. With only three demos to their name – none of which released physically – the horde has remained a rather obscure entity. Once released, chances are that the sheer quality of Hersir’s first full-length effort, ‘Hateful Draugar From The Underground’, will rectify that situation in no time, though. Completely devoid of unnecessary gimmicks of any sort, Hersir are all content and no show.

For a change, everything – the well-written lyrics dealing with Nordic spirituality of the shadow side, the music, the visual presentation – feels genuine and without any infantile pretence.

Amor Fati Productions is proud to present a new EP from Nightwalker, ‘The Eternal Flame of Death’, on CD and 12″ vinyl formats.

A prolific force in the always-interesting German Black Metal underground, Nightwalker has created its own dungeon of spectral experience over the past decade. With the new 19-minute EP ‘The Eternal Flame of Death’, mainman Noxathra concertedly returns to the band’s beginning. While last year’s ‘Grimoire Tenebrarum’ remained a straightforward old-school Black Metal album, ‘The Eternal Flame of Death’ shows the other (haunting) side of the coin. Here, Noxathra uses dissonant and eerie chords, piling high the reverb, and emphasizing grueling slow-paced passages again. This stylistic recipe was used on Nightwalker’s first EP, 2016’s ‘The Witches Sabbath’ – on the song “Shrouded in Darkness,” especially – and now Noxathra flexes those songwriting muscles again in a manner most morbid.

To coincide with the release of ‘The Eternal Flame of Death’, Amor Fati will reissue the aforementioned ‘Grimoire Tenebrarum’ on CD and vinyl formats as well as the EP compilation ‘Dark Sorcery / Witches Sabbath’ on vinyl. The time of Nightwalker is nigh!

Iron Bonehead Productions is proud to present an expanded version of Grotesque Bliss’ debut demo, ‘Grotesque Bliss’, on CD and vinyl LP formats.

Hailing from Australia, Grotesque Bliss feature vocalist/bassist Bjorn of the equally mighty Temple Nightside and Grave Upheaval; guitarist Chris Burton, whose credentials stretch back to the ’90s with Paramæcium, Cryptal Darkness, and then the successive The Eternal among others; and veteran drummer Matthew Southcombe, whose credits include Internecine Excoriation among others, filling out the lineup. In 2022, the trio promptly set about capturing their ancient Doom/Death. Two rehearsals followed, with a self-titled demo arriving in 2024.

Now, that demo sees international release in expanded form, concluding with a cover of My Dying Bride’s classic ‘I Am the Bloody Earth’. Thus padded out to a full-length, Grotesque Bliss’ first long-form recording is a dark and disturbing display of paradigmatic Doom/Death, and unapologetically so. Granted, some parallels can be drawn to Grave Upheaval’s bleakness as well as Temple Nightside’s cavernousness – and, of course, Paramæcium are a cult name among Doom/Death aficionados – but on Grotesque Bliss do they stick to a rigorous template of primeval lurch, caveman execution, and twisting, tendrilous songwriting that thankfully doesn’t wander into amorphous, all-atmosphere territory. Sometimes, almost fleetingly, will their stomp almost encroach upon the mid-tempo, but then Grotesque Bliss strip it back to bare-bones, suffocatingly slow. Vapor trails of leads add a touch of deeper melancholy, as do the tortured moans; otherwise, vocals plumb the abyss, and there is where you’ll stay.

No light, no hope, no fun: this is Grotesque Bliss.

Iron Bonehead Productions is proud to present the long-awaited debut album of Finland’s Moonfall, ‘Odes to the Ritual Hills’, on CD and vinyl LP formats.

Hailing from the ever-fertile Finnish Black Metal scene, Moonfall’s origins date back to 2008. The duo released one demo in 2010, ‘Ad Majorem Sathanae Gloriam’, before disbanding the next year. The band reactivated in 2020 and released a demo, with a split with Regere Sinister the following year.

However, this duo – Goatprayer and Black Moon Necromancer, both of whom handle multiple instruments depending on the recording – have been insanely prolific together, currently playing in the esteemed Witchcraft as well as other such cults as Necromonarchia Daemonum, Funerealm Gloom, Darkera, and Infernathan. Even separately, both men are notable: among many others, Goatprayer maintains the monolithic Ceremonial Torture while Black Moon Necromancer currently plays guitar for the legendary Beherit.

Still, Moonfall have yet to release a full-length display of their dark, defiant powers…until now. Fittingly titled ‘Odes to the Ritual Hills’, Moonfall’s long-awaited debut album encapsulates their ancient aesthetic whilst pushing it to more-depraved depths. With all the bands both Finns number between them, some sonic traits remain consistent – utterly gutsfucking bass, sewer-drenched vokills, an ominously lumbering gait, a wholesale defiance of modern “Black Metal” or even “Doom Metal” tropes – and some influences, such as old Necromantia and Barathrum as well Greece’s Lemegethon and Colombia’s Nebiros, figure prominently. And as tempting as it is to liken Moonfall as an aesthetic counterpart to the mighty Ceremonial Torture, ‘Odes to the Ritual Hills’ proves that the duo are digging their own, absolutely ancient earth.

The album as a whole comprises four songs across nearly a half-hour, with two songs at ten minutes each; its song sequence is such that atmosphere is incredibly heightened, akin to a moonlit walk across misty moors. Of course, burly bass guitar guides these mystical journeys with an insistent, almost-sexual throb – some could point to domestic underground deviants Ride for Revenge here – but the vintage synths, sensually swirling with their own dark magick, really put Moonfall in rarefied territory. That ‘Odes to the Ritual Hills’ is bookended by two shorter, all-synth instrumentals does not undersell the album’s intrinsic power; in fact, their strategic placement is integral to the record’s all-engrossing journey.

With these ‘Odes to the Ritual Hills’, Moonfall have at last returned from the darkest past with the year’s truly oldest record.

Unholy Domain Records proudly presents Larvae’s latest offering, ‘Arousal of the Crawling Creature’, a 13 minutes slab of the most disgusting and twisted Death Metal you’ll hear in your life, coming into putrid flesh both in Cassette and CD format, the latter featuring the previous EP ‘Acid Horror Cult’ as a bonus.

Larvae has established itself as a prominent force in the most obscure, unfashionable underground since it has raised its ugly head, taking in parts in some prestigious UG metal gatherings such as Old Grave Fest, Obscure Selections vol.1 (opening for Beherit and more), Finnish Fucking Death Metal Maniacs, and the upcoming edition of Obscene Extreme.

Their North Italian debut is set for Saturday 19th April at Black Inside, Lonate Ceppino, as national guests of the only Italian appearence of US Death/Doom force Excarnated Entity and Copenhagen’s Ascendency – a Necrotheism Prod. event.

Grabunhold posted the following statement:

We regret to inform you that our longtime drummer, Olog-Hai, will be leaving his post behind the drums. We look back at many successful years together and several releases that would not have been possible without his help and cooperation. Apart from the instrument, he has been responsible for all recording, mixing, and mastering duties with his studio, Klangdolch, since the EP “Under the Banner of the Dead”. We wish him all the best for the future! He will be heard on the upcoming release, so stay tuned!

Attached are a few lines from himself:

“Drums… Drumming in the deep. Faded away. Storyteller. Silence. But do not be deceived: they are coming! They are coming!…

For many years I beat the war drums for Grabunhold, now it’s over!

I thank everyone who has been a part of this journey and continues to faithfully support Grabunhold. I know that this is not an end but a beginning, from which Grabunhold will rise even more powerful and proud than it was before.

I wish only the best to my fellow travelers, Irrwycht, Morgoth, and Morgul.

With sadness, joy, and esteem in my heart,

Olog Shark – the fallen one”

We are looking for a new drummer from now on.

After a decade of silence, Danish Black Funeral Doom artist Nortt returns with ‘Dødssang’, a new full-length album set for release through Avantgarde Music on March 28th, 2025.

‘Dødssang’, Danish for death song, marks Nortt’s first release since 2017’s ‘Endeligt’, yet time has only deepened the artist’s dedication to sonic misery. With its suffocating atmosphere and unrelenting gloom, the album reaffirms Nortt’s place at the forefront of Funeral Doom’s bleakest expressions.

Originally released 2 years ago on now defunct Aussie label, Bitter Loss Records, we are excited to announce the re-issue of Australia’s up-and-coming heavyweight contenders, Ashen, and their monstrous debut album, ‘Ritual of Ash’, for the first time worldwide!

While harkening back to Death Metal’s heralded past, ‘Ritual of Ash’ sees these fine blokes conjuring an infectious combination of Swede-inspired tone with pummeling groove and sonic superiority courtesy of mixing/mastering engineer, Marko Tervonen of Studio-MT (The Crown). The album rolls along like a bulldozer at a mid-paced dirge, highlighted by moments of rolling double bass, blastbeats and melodic passages that would satisfy any extreme metalhead. Critics have previously praised the album for its dynamic compositions and the band’s ability to infuse traditional Death Metal with a fresh, modern edge.

Drawing inspiration from both Swedish and American Death Metal traditions, Ashen delivers a sound that is unapologetically heavy yet meticulously crafted. Their music is characterized by relentless energy, intricate guitar work, and a rhythm section that drives each track with precision. As they continue to evolve, Ashen remains committed to pushing the boundaries of Death Metal while honoring its rich legacy. Ashen and ‘Ritual of Ash’ is for fans of Bolt Thrower, Frozen Soul, Helslave, Graceless and Baest.