Death Metal icons DEICIDE announce the release of their 12th studio album, “Overtures Of Blasphemy”, their first album after 2013’s critically acclaimed “In The Minds Of Evil”.
“Overtures Of Blasphemy” was produced by Jason Suecof (The Black Dahlia Murder, Trivium) at Audio Hammer Studios and comes with a brilliant artwork by Zbigniew Bielak (Watain, Ghost, Paradise Lost).
The album will be released through Century Media Records worldwide on September 14th, 2018.
Benton states: "This album came together over time, meaning we didn't want to rush it. A few people might remember an interview where Steve Asheim (original member, drummer/songwriter) said 'the material is done, but it's just not there yet.' Well, that was the jumping off point of when this album truly started taking shape and the songs became what they are now...complete, compact and effective. As the band pushed forward, so did the writing process and a few other processes which made the record and the band stronger. The result is Overtures Of Blasphemy, perhaps the group’s strongest release to date. Jason Suecoff lended his considerable talents and attention to detail in making the tracking of the songs as great as they can be and the final mix as sonically brutal, yet as listenable as possible. An arduous process, but one well worth the time and effort."
Cover artist Zbigniew Bielak comments on his artwork for “Overtures Of Blasphemy”: “If you experienced the death metal boom of the early 90s first hand, you know why Deicide's flaming logo was the ultimate threat in the sanity department. Working with Glen Benton was a great honor and a throwback to the time, when death metal aesthetics were at their vilest. Satan Spawn the Caco Deamon is alive and well.”
Glen Benton (vocals, bass)
Steve Asheim (drums)
Kevin Quirion (guitars)
Mark English (guitars)
Today, Iron Bonehead Productions sets September 21st as the international for Cosmic Void Ritual's highly anticipated debut mini-album, Grotesque Infections of Planetary Divide, on CD and 12" vinyl formats.
The sole work of one Unknown Entity, in its short lifespan, Cosmic Void Ritual has already released three demos, each one as provocatively titled as the next - Gateways Through Septic Flesh, Transcendence Through Galactic Death, and the Iron Bonehead-released Vitriol Tablet Instructions: Rehearsing Speeches For When You Die - as well as a split with Mark Riddick's Fetid Zombie, most recently. Across all those works was a decidedly bizarre yet resolutely raw form of death metal, harkening to short-lived cults of the '90s yet exhibiting a totally terrifying identity all its own. Alas, all coalesces into Cosmic Void Ritual's Grotesque Infections of Planetary Divide.
Once again, Unknown Entity has exercised keen judgment in titling this work Grotesque Infections of Interplanetary Divide: its four songs are indeed grotesque, and most certainly do they impart a cosmic aspect that's as primordial as it is post-futuristic. Utterly raw and rotten, here Cosmic Void Ritual shapeshift all sorts of vulgar shapes, its death metal filth turned inside out as tendrils of lurking dread encase the listener in a cocoon of nameless horror. Just like its evocative cover art, Grotesque Infections of Interplanetary Divide resides within a monochromaticism that's paradoxically visual; the ceaselessly slipstreaming sturm und klang of it all imparts a madness that's seemingly random, but comes into clearer focus the deeper one drowns within the cavern of said cocoon. The question, then, is not simply whether you will eventually emerge but, rather, how.
"Intestinal Rituals," "Interplanetary Seeds," "Cataclysmic Brutality," and especially "Charred Asteroid Fields": these are the four Grotesque Infections of Interplanetary Divide that Cosmic Void Ritual conjures. How will YOU emerge?
Begin the plunge with the aforementioned new track "Intestinal Rituals"
While we await the arrival of the fifth full-length album to this planet, we have prepared for you a special drug to deaden what values within you remain or to induce madness preemptively to prepare you for the dark aeon that hurdles now toward you, whichever.
Including one new song, a regular opening staple of our live performances, several songs from throughout our entire discography have been woefully revisited and administered tortures to sharpen their edges, the better to gash you with from the inside should you choose to listen.
This compilation is called, "Veneration of Profane Antiquity", and is consumable at your peril via our official bandcamp site, at the cost of whatever you may wish to tithe should you prefer that we continue our evangelism and build our mighty church upon the rock of this fine planet of yours. Nightmare extraction, in it's purest form, lovingly curated for you, the avid listener, and furnished with original artwork by Matron Thorn.
Today, Iron Bonehead Productions sets November 1st as the international release date for Abyssous' long-awaited new recording, Mesa, on CD and 12" vinyl formats. This new mini-album shall be released on November 1st, in conjunction with the Iron Bonehead / Nuclear War Now!-curated Never Surrender Festival set to take place in Berlin on November 1-3. Abyssous will be giving an exclusive performance at this fest.
It's been six long years since the original release of Abyssous' debut recording, ...Smouldering. What was first a demo soon became something of a debut album, aided by two newly recorded tracks and a cavernously 3D mastering job by P. Engel at Temple of Disharmony: Iron Bonehead was so impressed by this fresh take on a rotten sound that it released ...Smouldering on vinyl LP in 2013. Anchored in the ancient ways of the Metal of Death yet exuding a bold, flowing flair for songcraft, here Abyssous compositionally ran the gamut from teeth-gnashing, tempting-the-corners-of-chaos violence to slowly simmering, doomed-out dementia, taking the listener on a journey to eldritch depths...and beyond, and back. Not for nothing was it titled ...Smouldering.
Then came silence, but during that interim, Abyssous have been patiently perfecting their craft. It finds full bloom on the aptly titled Mesa, which presents ten tracks across a surprisingly expansive 35 minutes. With such a setup, one would think a record of quick-hitting constructions; instead, Mesa is more like five proper songs buttressed by just as many no-less-crucial interludes. As such, Abyssous weave a more mind-melting tapestry than before, painting a fever dream in more gangrenous hues of ancient death metal and dizzying tension. It all very much sounds like the band who left us ...Smouldering, but whipped into a delirium of fractured angularity and even-more-fractured sanity. Mesa is no less rotten, but paradoxically more regal. Even the language the power-trio is using here - "Fissurge," "Aerosoils," "Perlurkural," "Vesspense," and especially the climactic "Congealed Lores" among them - suggest that they're indeed operating on a mesa all their own.
Or, one could simply gaze deeply into the cover art of Mesa and see where Abyssous are going now, and where they're arriving. Will you step beyond The Beyond? Dare to find out with the new track "Ocaeon" HERE