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Amor Fati Productions is proud to present Osgraef’s striking debut album, ‘Reveries of the Arcane Eye’, on CD and vinyl LP formats.

Osgraef’s debut full-length, ‘Reveries of the Arcane Eye’, showcases an unbridled Black/Death metal assault yet firmly rooted in the tradition of the genre’s parameters sonically, aesthetically, and philosophically – in the spirit of Teitanblood, Archgoat, and the Black metal essence of Armagedda. Focusing on Luciferianism, ‘Reveries of the Arcane Eye’ stands as a testament to unholy veneration and worship of the mighty destroyer and liberator. Composed over the course of several years, Osgraef have honed in on their craft and created this monument to the occult in its purest form, creating a world-eating torrent of sound as flawlessly executed as it is barbarically performed. All-consuming, all-liberating, above all and below all: ‘Reveries of the Arcane Eye’ is truly titled!

A true covenant of evil by these veterans of the Devil’s métier, Osgraef stand alone as a singular force of Black/Death gnostic Black magick. Hail Lucifier and blind thyself to the ‘Reveries of the Arcane Eye’!

Invictus Productions and Dark Descent Records are proud to present Grave Infestation’s highly anticipated second album, ‘Carnage Gathers’. Invictus will handle the album’s release in Europe and the Uk while Dark Descent will handle North America.

Grave Infestation pulled themselves out of the Pacific Northwest’s primordial decay in 2018 with the release of their first offering, ‘Infesticide’, with Invictus Productions and Parasitic Records. Originally formed as a three-piece, the band expanded to a four-piece with the release of their follow-up ‘Infestation of Rotting Death’. Since then, Grave Infestation have spread their relentless aural filth and toured throughout Canada, Usa, Mexico, Japan, and Europe.

Having released their debut full-length ‘Persecution of the Living’ in 2022 once again with Invictus and two additional split 7″”s with Me Saco Un Ojo and Carbonized Records, the band is poised to unleash their sophomore full-length, ‘Carnage Gathers’, Returning to work with Invictus for this release and teaming up this time with Dark Descent, the album was recorded and mixed with engineer Greg Wilkinson at the infamous Earhammer Studios, producing a vile record that is a sonic push forward. Eight tracks and 40 minutes of violent, unrelenting Death Metal: the fast parts are faster, the slow parts are slower, and everything is just plain nastier. Grave Infestation continue to pull influences from the likes of Autopsy, Grave, Nihilist, Repulsion, and Finland’s Abhorrence and mold them into a sound that is their own. Combined with Misanthropic Art Illustration’s ominous artwork, this release will be sure to stay glued to your turntable.

2025 will see Grave Infestation tour Europe for the first time with fellow Canadians, Quebec City’s Sedimentum – a strong recommendation that you don’t miss either band when they pass through your hallowed grounds. Live, the band delivers an unrelenting set with no reprieve between songs and a disgusting display of primitive death.

Cult Swedish maestros Wombbath return both with album number 7 ‘Beyond The Abyss’ and Pulverised Records ten years after first working together.

Back in 2015, when it was announced that a recently reformed Wombbath had signed to Pulverised Records and would soon release their first album twenty-two years, fans weren’t sure what to expect. After all, after their cult 1993 debut on Thrash Records, the band last sign of life until then was the ill-fated Death n’Roll inspired and ill-received ‘Lavatory’ EP and only main songwriter and guitarist Håkan Stuvemark remained from the original line-up. Little did they know that the aforementioned ‘reunion album’ ‘Downfall Rising’ was to be such a roller-coaster. With then Syn:drom / Skineater and future Massacre Jonny Pattersson in their ranks on vocals, Wombbath 2.0 proved to be a meaner, faster and far more menacing entity. Fast forward a decade: Four more extra full-length later and armed with a recently revamped line-up, the Swedes (plus one Brit, mind you) are back on Pulverised Records with what Stuvemark himself simply describes as the “first album since ‘Downfall Rising’ we’ve been welded together this good musically.  It’s just there!”

After a digital EP in profit of the UNHCR (‘The Weight Of Reality’) in the wake of the invasion of Ukraine, work began in the spring of 2022, a little over six months after the mammoth that was the sixteen tracks, 72 minutes that was their last album to date ‘Agma’ had been released. “I had a bunch of songs written and so did Jonny, and Thomas (van Wachenfeldt, who joined on guitar in 2018) was about to. But our then drummer Jon Rudin decision to leave the band after one last show at the Symbolic Open Air Festival in Czech Republic forced us to change our plans. It’s only once we found his replacement, former Dead Shape Figure Antti Silventoinen, that we resumed our course.”

After ‘Agma’ onslaught, it’s back to a more reasonable length as ‘Beyond The Abyss’ includes ten tracks, former Amon Amarth and close comrade Anders Biazzi once again helping them out with the final sequencing. Four songs were written by Håkan and three by Jonny and Thomas each. Three studios were used, mainly Jonny’s own Studio Unbound (vocals, drums, mixing and mastering) but also Thomas’ Bowstead studios and Stuvemark’s Necrotic Audio Productions, with now four out five members living in Sweden. “The sound and vibe on this album followed from ‘Agma’ yet it turned out more evil and angrier, although I reckon this wasn’t exactly planned. Often when creating the output depends on where you are in life at the moment…  We all knew how good this album would be but I don’t think any of us actually understood that until we heard the final mix with everything on it.  It was a ‘cowabunga moment’! Every time I listen to it, it puts a smile on my face and I have butterflies in my belly. Death Metal happiness!”

Although both he and Pettersson may be the busiest men in Scandinavian metal with a dozen projects/bands each (Consumption, Heads For The Dead, Reek, Rotpit etc.), for the guitar player there’s definitively only one Wombbath. “I would say the foundations were laid with ‘Downfall Rising’ and we’ve been building upon it ever since. My main inspirations remain Carcass, Entombed, Dismember and Edge Of Sanity but there’s always nice additions being made, like harmonies, odd notes, violin etc. In a way, each album is an extension from the previous one and ‘Beyond The Abyss’ is no exception but as I’ve said already, it’s the most aggressive and bad-ass album we’ve ever done!” Besides contributing guitars, von Wachenfeldt once again peppers few of the songs with his violin, a big plus according to Pettersson. “The symphonic element started off on ‘Agma’. Since Thomas is one of the foremost violin players in the folk music scene, he was able to bring those elements alive, as we didn’t want it to sound like another keyboard driven metal band.”

Yet the most surprising element will probably the presence of Rotpit and Left Hand Solution drummer Erik Barthold, guesting here on the track ‘Malevolent’ on… Saxophone and even Stuvermark wasn’t exactly ready for it at first. “It’s one of Jonny’ songs and it was his idea and vision. I’ve never been a huge fan of the instrument yet it turned out great, the one part where the sax comes in is one of my favorites on the album actually.” For Pettersson, it’s just the proof that they’re well aware of what their roots are, yet without forgetting we’re not living in 1993 anymore: “with this album, we wanted to push the progressive elements first displayed on ‘Agma’, but at the same time make the album our most old school since the early days of Wombbath. Where ‘Agma’ was fairly clean, ‘Beyond The Abyss’ is dark, filthy and, in a way, more organic. With one foot in the early days of Death Metal and one foot in the future, ‘Beyond The Abyss’ is the sound of us bringing our legacy forward.”

Signal Rex is proud to present Ventr’s highly anticipated debut album, ‘Ubique Diaboli Voluntas’, on CD and vinyl LP formats.

Ventr hail from Portugal, the reigning hotbed of raw Black Metal. However, with their ‘Numinous Negativity’ debut mini-album in 2020, the mysterious entity soundly proved their strident Black Metal was of a palatably professional constitution: fully formed, expertly executed, “orthodox” in the classic sense, and emitting a bewitching melodicism that hauntingly recalled the mid ’90s.

Now Ventr unveil the full fathom of their powers with ‘Ubique Diaboli Voluntas’, their long-awaited first full-length. Released in conjunction with their live performance at this year’s Howls of Winter fest, ‘Ubique Diaboli Voluntas’ retains the noble foundation of its shorter-length predecessor – grim & ghastly intensity, haunting lead-lines, cobwebbed atmosphere – but the duo step up their songwriting to an even-higher plateau. Across the album’s six-song / 42-minute duration, Ventr build upon forward momentum, everything always moving but nothing ever staying static; with those medieval / malodorous melodies painting a poignant picture in the foreground, underneath the rumble roils a rhythm attack that’s incredibly nuanced but never overbearingly so. It’s only when one focuses on the details of ‘Ubique Diaboli Voluntas’ does Ventr’s sheer songwriting mastery come into stark relief…and only when the listener has become acclimated to the album’s alternately ancient / fresh stench, which should be the central focus anyway. Fancy words or none, Ventr have truly arrived from the darkest past!

Disfigure was a band that came from the south-west of the Netherlands. They started out in 1989 and released only one demo during their existence. Perhaps they’re most known for their contribution to the infamous DSFA sampler ‘Where Is Your God Now…?’ where they were featured among some of the bigger Dutch Death Metal bands of those days like Gorefest, Sinister, Acrostichon and Dead Head.

‘The Desecration Of Tombs’ demo was recorded in the picturesque coastal town of Vrouwenpolder in the Ron Konings Studio. I can imagine this name doesn’t mean much to most but what if I tell you that in that same studio a certain masterpiece called ‘False’ was recorded a year later! Now bells must be ringing!

A big thank you goes out to the former owner of the studio for helping out to digitize the original recordings directly from the mastertapes.

So, if you dig Autopsy influenced Death Metal you will for sure like this piece of brutality! And good news for the wax-lovers cause Misanthrophia Discos from Germany will do a limited run on viny.

Hells Headbangers is proud to present Caustic Phlegm’s highly anticipated debut album, ‘Purulent Apocalypse’, on CD, vinyl LP, and cassette tape formats.

One of the most disgusting Death Metal newcomers in many a year, Caustic Phlegm are aptly monikered: while not strictly goregrind by definition, their gooey-thick pummel sounds like a mountain a slime guided forth by a Panzer tank. The work of erstwhile Chestcrush mainman Evan Vasilakos, this UK entity released their debut demo, ‘Putrefying Flesh’, during the summer of 2022. Two tape versions followed in the fall, but Hells Headbangers stepped forward in 2023 to release this slab of rot on 7″ vinyl. And for good reason: with pulsing double-kick drums guiding the ungodly heavy riffing, Caustic Phlegm found that hallowed ground between Sweden’s Carnage, Finland’s Abhorrence, and the almighty Impetigo, resulting in something that could’ve hypothetically been released on Seraphic Decay Records way back in the day.

Just getting started, Caustic Phlegm are now set to unleash their debut album, displaying ever-sicker sides of their authentically ancient aesthetic. Titled ‘Purulent Apocalypse’, the band’s first full-length sees Vasilakos going deeper into his influences – the first-two-albums era of Carcass, Pungent Stench, and Entombed to Undergang, Cryptworm, and Cerebral Rot more recently – and arriving with a monolithic slab of crushing darkness. More measured in its tempo, almost coolly cruising at times, ‘Purulent Apocalypse’ doesn’t need to blast away at every opportunity to accomplish its goal; the riffing is likeliest the absolute HEAVIEST you will hear all year on a Death Metal record, and the below-the-abyss vocals are slimed to the extreme. But more than the execution of such is the songwriting: straightforward and streamlined, hammering yet atmospheric, and on the right side of “caveman.” “I wanted to utilize my HM2 and RAT pedals, which I love, and play something simple, to have fun without overthinking it like I do in Chestcrush,” says Vasilakso, “just plug in, record the first riff in mind, and gurgle.” While that seems to undersell the primitive brilliance of ‘Purulent Apocalypse’, there’s no discounting the sum effect, which is enhanced by an undercurrent of creepy vintage synth in spots – something that also earmarked that first demo, with its lost-VHS interludes.

Fittingly completed by psychedelic-horror cover artwork by Gorey Corey Tornlimbs, ‘Purulent Apocalypse’ pushes Caustic Phlegm further ahead of the pack – “old school,” “goregrind,” and any other pretenders!

Iron Bonehead Productions is proud to present Nyktmyst’s striking debut mini-album, Nyktmyst, on CD and 12″ vinyl formats.

A brand-new formation somehow ages old, Nyktmyst hail from the ever-thriving Dutch Black Metal scene. Like many of their modern countrymen, the duo exhibit some of the same hallmarks – heroic riff-surge, austere execution, a propensity toward pagan-oriented placidity, and an altogether refreshing recasting of ’90s-rooted tropes – but as evidenced by their self-titled debut mini-album, Nyktmyst excel in the art of songwriting. The three main Black Metal tracks on Nykmyst – the other two tracks are no-less-stirring interludes – revel in straightforward simplicity, building upon linear trajectories and thoughtful detours, with the overall movement being breathless and passionate but not without nuance or especially dynamics. Simply witness the closing epic ‘Portal Tomb’ to inhale that nostalgic, ancient air…in fact, “epic” handily describes those three central tracks, as each feel a lot larger than their sub-six-minute runtimes suggest. Through their equally haunted music and vocals, Nyktmyst incinerate your soul with the torch of devilry, death, and mysticism.

Finally, after their last release back in 2022, Season of Mist announces Drudkh’s upcoming full-length studio album, ‘Shadow Play’. An evocative experience that challenges the listener to confront their inner shadows and embrace the intricate dance of light and dark.

Born from the whispering winds and brooding landscapes of Ukraine, this album presents rich atmospheric textures, blending Black Metal and folk elements, crafted meticulously to ensure complete Drudkh authenticity.

Born from the whispering winds and the brooding landscapes of Ukraine, a realm steeped in history and draped in the enigma of folklore, emerges Drudkh – a beacon of profound expression in the vast expanse of Black Metal. In their essence, Drudkh are the custodians of a narrative, combining atmospheric and pagan influences into a mesmerizing portrayal of their homeland’s soul. Their journey is one of introspection, seeking to create music that evoke a profound emotional resonance that stirs the depths of the human experience.

With the unfolding of ‘Shadow Play’, their latest album, Drudkh invites the listener into a realm where the boundaries between the corporeal and the ethereal blur. This album emerges as an ode to the contrasting forces that shape existence: light against shadow, silence against storm, ephemeral beauty against the decay of oblivion. A story untold, exploring themes of exile, the cycle of life and death, and the perpetual yearning for a return to origins—both personal and collective.

Through ‘Shadow Play’, Drudkh transcends the conventional expectations of music, engaging in a dialogue that is both personal and universal. They challenge us to confront our own shadows, to find beauty in desolation, and to appreciate the intricate dance of light and darkness that defines our existence. This album is another chapter in Drudkh’s storied discography – it represents an invigorated exploration into the myriad facets of human emotion, the relentless pursuit of truth, and the undying passion for unearthing the hidden threads that connect us to the past.

Drudkh continues to illuminate the path for those who dare to wander, to question, and to dream.

On March 7th, 2025 internationally, World Eater Records is proud to present the highly anticipated debut of France’s Mortuaire, ‘Monde Vide’.

Formed in 2021, Mortuaire are a Death Metal band hailing from Bordeaux. Comprised of musicians from well-established bands on the national and international scene – Year of No Light, Bombardement, The Great Old Ones, Monarch! and Faucheuse among them – Mortuaire deliver a powerful and visceral sound. After releasing a three-song demo in 2023 under the French label World Eater Records, the band is now set to unveil their debut full-length, ‘Monde Vide’.

An extension and intensification of that no-less-stout demo, ‘Monde Vide’ comprises five songs with a total runtime of 36 minutes, fully displaying Mortuaire’s considerable power and potential. Those quick with math will note similarly extended song-lengths here, just like on the demo, but the quintet’s patient-yet-propulsive songwriting make those generous minutes just melt away; Mortuaire are nothing if not urgent in their intensity. Still, the world-eating and sometimes-stomping tank-grooves they construct here draw reverent influence from such iconic bands as Bolt Thrower, Autopsy, Finland’s Demigod, and Corrupted with their execution – “locked in yet loose,” to put it pithily – really rendering Mortuaire a tasteful aspect. Additionally, the subtle infusion of doom makes these mountains of miasmic darkness seem even larger than they already are, particularly the nearly ten-minute title track. The final dusting on an already acidic cake is the production: absolutely pro, absolutely punishing, total Dread and Death in 3D. Prepare to both drown and be crushed by ‘Monde Vide’!