VM-UNDERGROUND

Extreme Metal Fanzine est. 2012

Latest Updates

News

Sepulchral Voice Records to release anticpated new album of Black Curse: "'Burning in Celestial Poison' is not only a statement and lesson in audio-violence, it is a 44 minutes long manifest of radical DEATH Metal causing mental lacerations and chaos!"

September 13, 2024

Behold ye disciples of sepulchral darkness, with utmost pride Sepulchral Voice Records annunciate Black Curse’ sophomore album, entitled ‘Burning in Celestial Poison’, to be released internationally on the 25th of October 2024.

4 years have passed since ‘Endless Wound’ left stigmatas on mankind, but be sure, the quartet will cut even deeper now. ‘Burning in Celestial Poison’ is not only a statement and lesson in audio-violence, it is a 44 minutes long manifest of radical DEATH Metal causing mental lacerations and chaos!

A record supposed to shock, because of its ecstatic ruthlessness and massive fanatical malevolence, hovering deep below the compositions. It opens the doors to a world that is so unbelievable vast, that you risk to lose yourself in it, its depths defy exegesis.
4 curses are woven into 4 hymns of utter death-magic, which will lead you into the black abyss of the grand divine. ‘Burning in Celestial Poison’ truly is an agonized infernal within, shattered and re-jointed into the darkness of the physical. Extreme intensity pointed cruelly towards the soul to extinguish the spirit.

The album was again produced by master Arthur Rizk, who cuts through all expectations with extraordinarily dense and destructive fidelity and production. ‘Burning in Celestial Poison’ sounds like created with the magick, formulas, codes and keys of a world beyond.

In order to understand the dark sublimity of this album, maybe other perspectives must be considered, which are not yet defined properly. In our world, it will be considered ugly and oppressive by those, who are not able to succumb to its glorious depths.

Intentionally breaking with modern listening habits (and avoiding all rules of songlength and structure), it achieves the best result when experienced in darkness and at maximum volume. ‘Burning in Celestial Poison’ meanders and finishes with a prophetic roaring sound that surely comes from the world we have to face, which is the world in fire.

More info: Black Curse; Sepulchral Voice Records;

Into It Records will re-release Ceremony's debut demo 'Victims of Morbidity': "...you’ll hear 4 tracks of brutal, slightly technical Death Metal done the America way!"

September 10, 2024

Ceremony formed in 1989 in the Rotterdam area of the Netherlands and recorded their debut demo ‘Victims of Morbidity’ in 1991. On this demo you’ll hear 4 tracks of brutal, slightly technical Death Metal done the America way! 2 of the tracks would later appear on their debut album ‘Tyranny From Above’ (tape release scheduled for next year!).

Although this demo didn’t have the best sound we had it remastered which sure improved things a lot! The original demo came in 2 different covers and we chose the one drawn by Mike Chung, who was the guitarplayer for the band for a short period of time.

Ceremony are still active today although they’re a different sounding band now, playing a cool form of Blackened Death Metal. A new album is on the way!

More info: Ceremony; Into It Records;

Shaarimoth back with new album: "Grounded in esoteric philosophies and dark spiritual doctrines, the music acts as a conduit to an otherworldly domain..."

September 6, 2024

On October 31st internationally, W.T.C. Productions is proud to present Shaarimoth’s highly anticipated third album, ‘Devildom’, on CD and vinyl LP formats.

Formed in 2004 but tracing its origins back to 1998, Shaarimoth emerged from the then-barren Norwegian Death Metal underground, and along with it, so did new incantations of darkness, death, and destruction. Both dark and ecstatic, furious and violent, defying genres, but at the same time paying tribute to its predecessors of the black arts, Shaarimoth’s goals were firm from the very beginning.

To date, Shaarimoth have released two albums, a full 12 years apart: 2005’s ‘Current 11’ and 2017’s ‘Temple of the Adversarial Fire’. Indeed not ones to rush things, the Norwegians maximize “delayed gratification” and embrace bold & brazen reinvention. Such was the case for the universally celebrated ‘Temple of the Adversarial Fire’, which saw Shaarimoth evoking the album’s namesake: a wholesale stripping-down their aesthetic to its barest essentials, only to be rebuilt into an incendiary, black-smoke-billowing monolith of blackened Death Metal majesty. Rarely in the nowadays metal underground will one hear a Death Metal record this pure and reverential in its intent whilst being so suffused with the blackest of blood…that is, until the arrival of ‘Devildom’.

Almost elegantly simple in its title, ‘Devildom’ nevertheless reveals the fullest depth(s) of Shaarimoth’s ever-entrancing vision. The template remains unyielding and limitless – technical Morbid Angel-esque Death Metal given unique twists in texture, ambience, and authentically occult lyrical content – but the execution of such is taken, impossibly, up to yet another level. ‘Devildom’ delves into themes of darkness, death, rebellion, and the acosmic forces of the infernal, guiding the listener on a journey through the boundless abyss, beyond the illusions of creation. It reveals a path to transcendence, returning to the true darkness from which all things arise and to which they will eventually return. Grounded in esoteric philosophies and dark spiritual doctrines, the music acts as a conduit to an otherworldly domain where reality’s limitations are cast aside to embrace the forbidden light of the dark gods. More than just a collection of songs, ‘Devildom’ offers a ritualistic experience meant to invoke the Devil’s presence and power, immersing the listener in a realm of liberating madness. This journey celebrates the sinister and the spiritual, inviting exploration of the shadow self and crossing the boundaries between the mundane and the mystical to confront the darker aspects of existence.

Thankfully, a dozen years were not necessary for Shaarimoth to continue the glorious new epoch they ushered in with ‘Temple of the Adversarial Fire’. Patiently and painstakingly crafted all the same, ‘Devildom’ soundly cements Shaarimoth’s status as the Devil’s Death Metal ELITE.

More info: Shaarimoth; World Terror Committee;

Bütcher announces long-awaited follow-up for '666 Goats Carry My Chariot': "On side A of the new album, they continue their very own legacy. On side B, they double down on that premise."

September 4, 2024

Belgian Speed Metallers Bütcher have exploded onto the scene and have been making a name for themselves internationally. Their music caters to the blackened souls who love old-school Speed, Thrash, Heavy, and Black metals. Cuts such as ‘Iron Bitch,’ ’45 RPM Metal,’ and ‘666 Goats Carry My Chariot’ are now part of the canon of the old-school Metal community.

After an avalanche of successful shows and festivals throughout Europe, Bütcher are proud to present their third album, ‘On Fowl of Tyrant Wing’. After the rabid debut ‘Bestial Fükkin’ Warmachine’ (Babylon Doom Cult Records, 2017) and the heralded sophomore album ‘666 Goats Carry My Chariot’ (Osmose Productions, 2020), they delve deep into their specific mixture of the golden ’80s and extreme ’90s.

Bütcher have always mixed ancient Speed and Thrash metal with NWOBHM, classic Hard Rock and Black Metal. On side A of the new album, they continue their very own legacy. On side B, they double down on that premise. It’s a concept side with an overarching unique story (written by R Hellshrieker) and a fully composed tour de force (by KK Ripper) where tempo changes, interwoven melodies, sitars, organs, and various percussion instruments create an unexpected musical journey.

Heavy, Death, and Black Metals counter the Speed Metal, and nobody will see it coming. Both progressive and very traditional, this album is sure to opiate fans and critics alike.

More info: Bütcher; Osmose Productions;

Paganizer re-signs with Xtreem Music and announces new EP: "...that continue the band’s legacy of relentless Death Metal"

September 2, 2024

Veteran Swedish Death Metal band Paganizer has officially signed with Xtreem Music for the release of their new EP, ‘Forest of Shub Niggurath’, which will serve as a prelude to their forthcoming album in 2025. ‘Forest of Shub Niggurath’ is set to be released on September 10th, 2024, in both CD and digital formats.

Paganizer was formed in the late 1990s from the ashes of Terminal Grip, Rogga Johansson’s first band, where he recorded two demos in 1994 and 1995. In 1998, Paganizer recorded their first demo ‘Stormfire’, followed by their debut album a year later.

With an extensive discography that includes 12 full-length albums, 9 EPs, 13 split EPs, 14 compilations, and 2 live albums, Paganizer has firmly established themselves as one of Sweden’s most prolific and respected Death Metal bands. Their unwavering commitment to their crushing sound has earned them a loyal following over the past 26 years.

In 2024, Paganizer returns to Xtreem Music, the label that released their 3rd album ‘Murder Death Kill’ (2003) and ‘No Divine Rapture’ (2004). The new EP, ‘Forest of Shub Niggurath’, features six tracks, with titles like ‘The Outer Gods’, ‘R’Lyeh Ascends’ and the title track, that continue the band’s legacy of relentless Death Metal, setting the stage for their next full-length album in 2025.

More info: Paganizer; Xtreem Music;

Sentient Horror's new album 'In Service of the Dead' to be released by Redefining Darkness Records: "Going into the writing process for this record, I wanted to try to apply our brand of OSDM to more traditional Metal song structures"

August 25, 2024

Since 2014, Sentient Horror have been churning out high quality Death Metal so authentic to the original “Swedish sound” of the 90’s that it led Swedish mastermind Dan Swanö (ex-Edge of Sanity, ex-Bloodbath, Witherscape) to remark:

“..One of the best SweDeath bands I have come across in 20 years! The perfect blend of all the highlights from the Swedish scene from 89 to 91. Truly awesome!”

How surprising then, that Sentient Horror hail not from Scandinavia, but from northern New Jersey, USA.

The band was formed in 2014 by lead guitarist/vocalist/songwriter Matt Moliti. With the goal in mind to record death metal in the vein of the early 90s Stockholm scene, Matt self-released the three-song demo Beyond the Curse of Death under the original name, Sentience. The demo made waves in the underground and the band were quickly signed by Redefining Darkness Records (N.America) and Testimony Records (EU).

The band have stayed busy the last 10 years, releasing 3 stunningly great albums – ‘Ungodly Forms’ (2016), ‘Morbid Realms’ (2019) and ‘Rites of Gore’ (2022) – and 1 EP, ‘The Crypts Below’ (2018).

Never ones to rest on their laurels, Sentient Horror have continued to work non-stop and are now ready to release their 4th full length album, ‘In Service of the Dead’! When speaking to Matt about the direction of the new album, he shared,

“Going into the writing process for this record, I wanted to try to apply our brand of OSDM to more traditional metal song structures. I grew up with bands like Maiden, Priest, Dio, etc, and because of that, I’ve always been a fan of songs with strong, catchy choruses, guitar harmonies, and hooky, memorable riffs. So with ‘In Service of the Dead’, the result is an album of very 80s NWOBHM/Thrash inspired song forms, but made with proper death metal riffing. As for the lead work on the album, I was heavily inspired by the Megadeth record, ‘Rust in Peace’. I love Marty Friedman and Dave Mustaine’s solos on that album and tried to capture that vibe throughout ‘In Service of the Dead’.””

Matt also mentioned a slight shift in the lyrical content, explaining,

“Lyrically, while the general theme of the album is a pretty standard topic for death metal, the undead, I actually took a lot of inspiration from horror video games on this one. I’ve been a huge horror gaming fan for a very long time. I would argue many of those games impacted me just as much or more than any horror movie. So you’ve got songs like our first single, ‘Undead Mutation’, that are about the G Virus from Resident Evil 2, for example.”

Matt, typically the band’s sole songwriter, continued,

“While I did write most of the material on this record, it also features the first co-write from our drummer, Evan (Dead and Dripping), who contributed riffs to the title track, which wound up becoming one of my favorite tracks and a killer closer to the record.”

As for the artwork, Juanjo Castellano once again conjured another masterpiece and has become a part of the band’s identity, having created every cover for the band since their 2018 EP, The Crypts Below! And making a bold step, moving away from the only mastering engineer they have ever worked with, Dan Swanö, the band opted for a change and entrusted engineer, Noah Buchanan, known for his work with Midnight, Obscene, Oxygen Destroyer and more, to both mix and master the album which has resulted in the most ​savage and vicious the band have ever sounded on record!

To support the album, the band just wrapped up a number of dates with labelmates, Oxygen Destroyer, and they will be embarking on a 2 week tour in late October/ early November! Tour poster included below. The first single, Undead Mutation, is now streaming everywhere accompanied by a live shot video shot and edited by Nameless Cvlt Productions.

‘In Service of the Dead’ is truly Sentient Horror’s magnum opus. Everything they have worked for in the past 10 years has culminated to this moment and is reflected on this album. While it may not shock anyone in it’s overall direction, it’s a mature work from a band that knows exactly who they are, and do what they do better than anyone else!

More info: Sentient Horror; Redefining Darkness Records;

Aethyrick eager to reveal new album: "Rooted in the melodic and atmospheric side of mid '90s Black Metal, their music evokes a time when the genre first captured their imaginations."

August 22, 2024

On September 13th internationally, EAL Productions is proud to present Aethyrick’s highly anticipated fifth album, ‘Death is Absent’.

Aethyrick’s longstanding partnership with The Sinister Flame ended when the label closed its doors for good. However, the flow of inspiration could not be halted, and the fervent work on the new album continued in the shadows. By the summer of 2024, the process was complete, and the duo found a new home abroad under the banner of EAL Productions.

Musically, ‘Death is Absent’ builds on Aethyrick’s signature style, pushing it further while occasionally increasing the tempo. Rooted in the melodic and atmospheric side of mid ’90s Black Metal, their music evokes a time when the genre first captured their imaginations. They craft a soundscape that is both familiar and fresh, embodying the mysteries of the existential nightside.

Revelations within both the sacred circle and the dreamlike realms have infused this offering with deep emotion, draped in the regal mantle of Finnish Black Metal. The lyrics acknowledge and honor the Reaper’s role as the extinguisher of mortal life, yet deny his authority over the flames of eternal faith.

Paths come to an end. Voices fall silent. Hearts cease to beat. But the song of Spirit continues, and thus, death is truly absent.

More info: Aethyrick; End All Life Productions;

New album Paganizer will be released by Transcending Obscurity Records: "'Flesh Requiem' has some of the best songs written by the band, a varied mix of the kind of music you've come to expect from the band and some refreshing epic ones..."

August 19, 2024

Swedish Death Metal veterans Paganizer only seem to get better with age. Where most bands mellow down or start repeating themselves in a mechanical way, Paganizer’s music has increasingly become more nuanced.

They are able to express themselves far more effectively, both when swinging the axe and also when conjuring up the soul-tearing melodies out of thin air. They’re stepping out of their own shadow and imbuing their music with emotive tunes which work exceedingly well because of the contrast with the heavier parts. It’s naturally done too, part of taking the sound ahead rather than forcibly altering it. The result is a sound that is superbly tempered; a glorious, progressive alternating between the bone-splintering music and tuneful expressions of the innermost feelings.

‘Flesh Requiem’ has some of the best songs written by the band, a varied mix of the kind of music you’ve come to expect from the band and some refreshing epic ones, and with so many of them getting seared in your memory after listening to it, it’s easy to regard the album as among the finest in their extensive discography.

More info: Paganizer; Transcending Obscurity Records;

Horna ready with 11th album called 'Nyx - Hymnejä Yölle': "...simply, it's Horna. Their legendry continues to be written..."

August 16, 2024

On September 13th, W.T.C. Productions is proud to present Horna’s highly anticipated 11th album, ‘Nyx – Hymnejä Yölle’, on CD, Cassette and vinyl LP formats.

Horna need no introduction. Formed in 1994 when they were but teenagers, the band soon began creating a vast, prolific catalog – and, since the early 2000s, began asserting considerable influence over the Black Metal underground both in their native Finland and abroad. And while there are three distinct eras of Horna – the Nazgul-fronted version during the late ’90s to early 2000s, then the feverish Corvus-fronted years from 2003 to 2009, and finally, the Spellgoth-fronted lineup that began the 2010s and which has seen a few lineup shifts but has patiently parceled out recordings ever since – stellar songwriting and impassioned playing have always been their hallmarks. Their sound may’ve undergone subtle shifts of texture throughout those many years, but Horna’s vision of unapologetic Black Metal has never faltered: proud and pure, familiar yet unique, and undeniably eerie and emotive.

Fitting for their 30th anniversary, Horna now unveil a new full-length that bridges past, present, and future: ‘Nyx – Hymnejä Yölle’. While the preceding Kuoleman Kirjo challenged with its sheer length – then again, so did 1999’s classic ‘Haudankylmyyden Mailla’, which retroactively wielded influence on that album and this next one – it nevertheless comprised 13 mostly-compact rippers emblematic of the Spellgoth era: nightsky melodicism conjured forth by founding guitarist Shatraug and longstanding six-string foil Infection, with the new rhythm section of drummer LRH and bassist VnoM creating blistering speed that was somehow swinging. That lineup carries forward to Nyx, and largely does that songwriting schematic. But whereas its predecessor touched upon a moodier aspect, on Nyx do Horna expand upon that in conjunction with longer tracks; six songs in 44 minutes should be easy math for most people. However, the album’s structure is unique in that the first five tracks are Roman numeral variations of ‘Hymni,’ and thus fit a framework of crisp, mystical Black Metal both nostalgically ancient yet somehow surprisingly ‘modern.’ Then comes ‘Kuoleva Lupaus,’ which features former bassist (and currently Kryptamok mainman) Hex Inferi. Solemn and stripped back unlike anything else in their extremely deep discography, this nine-minute closer is essentially neofolk, but unmistakably done the Horna way. A haunting end to a majestic catharsis…

Of especial note is the production across ‘Nyx – Hymnejä Yölle’: arguably the ‘cleanest’ production Horna have yet had, it only heightens said mysticism and adds a palatable sheen to these raging wraiths of song – the latent emotion brought to a boil, the hypnotism pulling heartstrings in magickal collusion. It speaks to the strength of their songwriting, once again, which somehow manages to become ever more focused yet varied as time marches on. And although nods to the Nazgul era are noticeable – the Corvus era stands cold ‘n’ alone in its righteous, ragged filth – this synthesis of peak performance and professionalism with spectral songwriting becomes its own new ‘era,’ in effect. Or, simply, it’s Horna. Their legendry continues to be written…

More info: Horna; World Terror Committee;

Barathrum to release 10th album via Hammer of Hate: "...seven years pass, but the Barathrum sound & vision are eternal..."

August 13, 2024

On October 11th internationally, Hammer of Hate is proud to present Barathrum’s highly anticipated tenth album, ‘Überkill’, on CD and vinyl LP formats.

Barathrum should need no introduction. Formed in 1991, the band remain one of Finland’s very first Black Metal bands – and, more importantly, one of the longest-running. While Finland’s history of Black Metal often revolves around Beherit, Impaled Nazarene, and Archgoat during the ’90s and then Horna, Satanic Warmaster, and Behexen at the dawn of the millennium, during all this have Barathrum remained steadfast in their vision of bulldozing, bass-heavy Black Metal that indeed features TWO bass guitars. The band’s first two albums – Hailstorm and Eerie, both released in 1995 – remain absolute classics of dark & unsettling art, but thereafter did the band take on a rowdier, more concertedly METAL aspect that’s made that vision all the more unique and their legacy all the more enduring. And while they more or less went on hiatus following 2005’s ‘Anno Aspera’, Barathrum returned rougher and rowdier than ever with 2017’s gutted ‘n’ glorious ‘Fanatiko’.

Alas, seven years pass, but the Barathrum sound & vision are eternal, and they return to prove it once again with ‘Überkill’. Here, previous-bassist / now-guitarist Ruttokieli (also mainman of Sielunvihollinen and White Rune) composed all but one of the songs on this, amazingly the band’s tenth album; drummer Vendetta makes his composition debut with the telltale, scene-setting opener ‘Death by Steel.’ As always, founding frontman Demonos Sova wrote all the lyrics, and his signature full-throated rasp leads with devilish glee these alternately stomping / surging anthems, all with equally telltale titles like ‘Mountain of Bones,’ ‘Dark Sorceress,’ ‘Black Magick Rites,’ and perhaps best of all, ‘Spark Plugs of Purgatory.’ And yet, for as much as Barathrum are very much (still) a pure & proud Black Metal band, ‘Überkill’ proves that the Finns are, above all, a very great Heavy Metal band – just one that’s jet-black, asskicking, and bass-driven as fuck. Simple-yet-sublime pleasures, now and forever: again, Barathrum are eternal!

More info: Barathrum; Hammer of Hate Records;