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NWN RELEASES - COMING SOON
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NWN PROD



Joined: 10 May 2006
Posts: 23089
Location: SF Bay Area

PostPosted: Mon Apr 09, 2018 6:27 am    Post subject: Reply with quote

OUT NOW

Discharge and aqueous ink on Gildan brand LS. Available in sizes S to XXL while supply lasts.





Click here to order.
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NWN carries all IBP releases.
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NWN PROD



Joined: 10 May 2006
Posts: 23089
Location: SF Bay Area

PostPosted: Thu Apr 12, 2018 9:42 am    Post subject: Reply with quote

OUT NOW!
Grave Upheaval “Untitled 2nd Album” Double LP
ANTI-GOTH 387












(Description by J. Campbell)
Grave Upheaval opened the black womb with their 2010 demo and further excavated the catacombs with the following split EP releases and 2013 debut LP. This latest offering—the band’s first release in five years—demonstrates evolution without abandoning the signature elements that have defined its sound thus far. Once again, Grave Upheaval creates a dense, chthonic, death-laden atmosphere, and this album preserves the air of mystery and anonymity surrounding the band. There is no discernible album title, just an array of sigils scrawled on the cover and throughout the booklet. Grave Upheaval emerges from the shadows, albeit only slightly, with clearer production than previous efforts but with a sound that remains draped in malevolent ambience. The same hazy, hallucinatory effect that characterizes all of the band’s previous work remains intact, but the tonality of the riffs and structural elements of the songs are more vividly apparent. The sound is spacious, yet enclosed, like terrified screams reverberating through halls of death. Compositionally, the album shows the expansive sweep of Grave Upheaval’s abilities: long, slow, and sombre Death Metal punctuated with passages of savage ferocity, faithless movements among (un)holy sites with a devotion to nothing except the majesty of lifelessness. Structural and temporal inversions abound, with the guitars played furiously in comparison to the slow motion of the percussion, or vice versa, giving the songs a stretched-out effect, like ghostly movements captured in time-lapse photography. The compositional and stylistic variations are arranged in such a way as to keep the album intriguing and unpredictable, making this one of the most impressive Death Doom albums since diSEMBOWELMENT’s “Transcendence into The Peripheral.” Perhaps what most sets Grave Upheaval apart from their contemporaries is the ability to cultivate atmosphere, making the record more experiential for the listener. It is not a passive setting; the music engulfs the listener in an environment, one that is oppressive, ominous, and devoid of light—the spectrum of colour is reduced to infinite blackness. A nullity and an emptiness. One hears the beckoning call of the seething, faceless void. The black womb opens again…

Regular Black Vinyl DLP: DLP, gatefold jacket, booklet.
Die Hard Clear Vinyl DLP: gatefold jacket, booklet, wooden slipcase, poster flag, sticker, live CD.

Click here to order.
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NWN carries all IBP releases.
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NWN PROD



Joined: 10 May 2006
Posts: 23089
Location: SF Bay Area

PostPosted: Thu Apr 12, 2018 9:57 am    Post subject: Reply with quote

Pseudogod "Sepulchral Chants" Double LP
ANTI-GOTH 393




(Description by J. Campbell)
Since 2004, Russian Bestial Black Metal masters Pseudogod have been trudging through the infertile landscape of the underground, malevolent soldiers of apocalyptic ruin. Pseudogod’s output, however, has remained sparse in comparison to the band’s longevity—an effect of the tyrannical control the band has maintained over the quality of its work. Aside from the band’s 2012 full-length, “Deathwomb Catechesis,” Pseudogod has released just one demo, along with a handful of EPs, split releases, and comp tracks. The “Sepulchral Chants” compilation, originally released as a CD, in 2015, by Sekt Ov Gnozis Productions, collects all of Pseudogod’s non-album tracks. Presented in nearly chronological order, these tracks trace the steps of Pseudogod’s development, beginning with the wretched and relentless violence of the “Illusion of Salvation” demo. First released in 2006, “Illusion of Salvation” was Pseudogod’s first blasphemous proclamation. As a first release, it was virtually unparalleled among the band’s peers in the Black/Death style, and it set a high bar for Pseudogod to live up to for future releases. But any doubt that Pseudogod would be unable to surpass the demo was quickly dispelled with the 2009 split release with Blaze of Perdition. Pseudogod’s three tracks on that release (which were later released on the “Triumphus Serpentis Magni” MLP), represented a substantial step forward, and a deeper descent into the dimmest regions of the soul. Mixed and mastered by M. Żentara (MGLA), the sound is full, but severe, demonstrating the band’s stunning balance of sonic severity and precision songwriting. Pseudogod clearly possessed something that their contemporaries at the time sorely lacked; they created atmosphere but without sacrificing the melody and structure necessary for good, memorable songs. The band continued to refine this approach over the next few years on the Russian “Four Wings of Blasphemy” four-way split CD and the split 12” with Morbosidad. As it evolved, Pseudogod’s music became more immense, exhibiting a rarefied understanding of, and an unyielding devotion to, the malefic forces underlying Black Metal. This collection—released on vinyl for the first time—includes all of the tracks Pseudogod released prior to the recording of the debut album (as well as a few previously unreleased rehearsal tracks). It is a remarkably consistent body of work and remains one of the best representations of this style produced in the last 20 years.

SIDE A:
01. Bleeding With Pus Of Black Plague
02. Illusion Of Salvation

SIDE B:
01. Branded By Hornz
02. The Firstborn Of Abhorrence
03. Illusion Of Salvation

SIDE C:
01. Awakening Of Archdaemon
02. Diving Merging
03. Azazel
04. The Gate Of Nanna (BEHERIT cover)
05. Muerte

SIDE D:
01. Blood War III (ANTAEUS cover)
02. Bleeding With Pus Of Black Plague
03. The Firstborn Of Abhorrence
04. Necromancy Of The Iron Darkness
05. Azazel

Click here to order.

Band will be selling these on tour.



Sunday 4/29: Brooklyn, NY (Rage Of Armageddon fest.) *

https://www.facebook.com/events/667240620130816/?ti=cl

Monday 4/30: Philadelphia, PA*

https://www.facebook.com/events/395137807602953/?ti=cl

Tuesday 5/1: Washington, DC*

https://www.facebook.com/events/412866605835882/

Wednesday 5/2: Buffalo, NY*

https://www.facebook.com/events/202731620471980/?ti=cl

Thursday: 5/3: Cleveland, OH*

https://www.facebook.com/events/293273911201672/

Friday 5/4: Chicago, IL (Invoking Black Death Fest)~

https://www.facebook.com/events/1322431611197819/

Sunday 5/6: Minneapolis, MN~

https://www.facebook.com/events/354073215091501/?ti=cl

Monday 5/7: Rapid City, SD~

https://www.facebook.com/events/1993669680955216/

Tuesday 5/8: Denver, CO~

https://www.facebook.com/events/612792919072971/

Wednesday 5/9: Salt Lake City, UT~

https://www.facebook.com/events/546782542373064/?ti=cl

Thursday 5/10: Boise, ID~

https://www.facebook.com/events/502155216845137/?ti=cl

Friday 5/11: Portland, OR~

https://www.facebook.com/events/1641633175894885/

Saturday 5/12: Oakland, CA~

https://www.facebook.com/events/2002897419924388/?ti=cl

Sunday 5/13: Los Angeles, CA~

https://www.facebook.com/events/384063535370762/

*ULULATUM TOLLUNT
~ABYSMAL LORD
_________________
Contact: nwnprod@gmail.com
Web: https://shop.nwnprod.com/collections/new-arrivals

NWN carries all IBP releases.
IBP carries all NWN releases.



Last edited by NWN PROD on Thu Apr 12, 2018 11:58 am; edited 1 time in total
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NWN PROD



Joined: 10 May 2006
Posts: 23089
Location: SF Bay Area

PostPosted: Thu Apr 12, 2018 9:59 am    Post subject: Reply with quote

OUT NOW!
Sect Pig "Crooked Backs" MCD
ANTI-GOTH 381




(Description by J. Campbell)
With their two previous albums, Sect Pig established an unorthodox and decidedly unique sound and aesthetic. On“Crooked Backs,” the band’s third album, Sect Pig intensifies their approach. Violent and repetitious, frenzied and hallucinatory. Sect Pig’s sound on this album is disorienting and extreme. Precision guitar attacks and tumultuous percussive abuse characterize the band’s instrumental approach. Sect Pig utilize delay and other effects with intention, augmenting the tracks to add dimension and foster confusion. “Crooked Backs” displays a greater degree of compositional nuance than its predecessors, with unanticipated riffs, temporal shifts, and eccentric effects and sounds embedded within the tracks. The strange confluence of elements is emphasized as disparate due to the fact that the band consists of a conglomerate of unknown international members whose identities remain shrouded in misguided speculation. But perhaps the most salient aspect of Sect Pig’s music are the human voices, which assume a prominent role, both in the form of the heinous barrage of vocals and the intermittent use of narrative samples between the songs. The vocals are contorted andwretched; they are barked, snorted, and snarled. Like the previous Sect Pig releases, “Crooked Backs” is thematically tethered to a particular subject, framed by the use of voice samples that shape the psychological experience of the listener. “Crooked Backs” is an anti-meditation on eugenics, on man’s efforts to selectively breed the best human specimens and eradicate the diseased and feeble minded. Whereas genocide has long been universally condemned, more subtle and pernicious ways of modifying the gene pool persisted. Though many believe that forced sterilization is a practice confined to the distant past, in the United States it occurred until the early 1980s. Sterilization was accepted a way of ensuring that individuals whose minds were mentally deficient or criminally inclined, or whose bodies were physically mangled and misshapen, were precluded from corrupting the genetic trajectory of the human race. “Crooked Backs” is the most cohesive of the three Sect Pig albums, but it also draws together the band’s entire body of work and confirms patterns in the band’s approach, with each album clocking in at under 20 minutes and featuring similarly stylized two-tone artwork.

Click here to order.
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NWN PROD



Joined: 10 May 2006
Posts: 23089
Location: SF Bay Area

PostPosted: Fri Apr 13, 2018 8:00 am    Post subject: Reply with quote



"Live Ritual - Friday The 13th"
LP / CD / MC / Digital
ANTI-GOTH 004

"Victory (Son Of The Damned)"
2LP / CD / MC / Digital
ANTI-GOTH 395

First official reissue of the legendary recording that sounded the triumphant return of the gods of war, Blasphemy. Recorded in July and August 2001, these albums captures the unmatched violence of Blasphemy’s live and rehearsal performances.

July 2018

===========================================

July 13, 2001 marked Blasphemy’s third live ritual following a six-year torpor. The performance was part of a fest that took place in Burnaby, BC, just east of Vancouver. I still recall the moment The Desecraters took the stage, opening their set with “War Command”:

Together proclaiming war
The worlds ending forever more
A nuclear power plant scare
Breathing out the flame of doom
Cursing all evil on the land
Nuke metal sinning calling of war
Angel's blood dripping from the sky
Hailing in the sign of Satan

While I didn’t think about it at the time, the lyrics to that song—the references to nuclear annihilation—prefigured the relationship that began that night and would persist through the years between Blasphemy and Nuclear War Now!. The live album that resulted from that show would be my label’s first vinyl release, although I could never have predicted at the time that the label would be thriving after nearly two decades. Back then, I had no aspiration to create a “successful” label; my decision to release Blasphemy’s “Live Ritual: Friday the 13th” LP was motivated solely by my intense appreciation for the band.
I first heard Blasphemy when I was in high school in Northern Virginia. I had a close friend at the time named Vaughn Currier who was a few years older than I was and already deep into Death and Black Metal. One night, sometime in 1993, as we were driving to a Carcass show in Washington D.C., Vaughn played “Fallen Angel of Doom….” on the tape deck in the car. I was immediately drawn to the violent, cacophonous roar I heard on that tape. Later around that same time, Vaughn and I took a bus trip from Northern Virginia to New York City, and I recall he bought several Wild Rags titles (including Nuclear Death and Order From Chaos) while we were at Bleecker Bob’s. Listening to those records after we got back to Virginia further deepened my exposure to the metal underground. Over the next several years, as I delved deeper and deeper into Black Metal, I always found myself drawn to the early bestial sound of bands like Sarcofago, Holocausto, Beherit, Impiety, Abhorer, and, most of all, Blasphemy.
In the late 1990s, the more extreme sounds of those bands fell out of fashion to some extent. Norwegian and Swedish-style Black Metal was ascendant, yielding a flood of bands playing poorly recorded raw Black Metal, much of which, at least to my ears, sounded incredibly weak by comparison. Fortunately, at the same time, a second wave of more aggressive Black Metal appeared, with bands like Black Witchery, Conqueror, Bestial Warlust, and others carrying the torch.
By 2000, I had gotten the idea to start a record label but had no clue how to go about releasing music on my own. I had a digital MiniDisc recorder that my uncle sent me when they were becoming popular in Japan, but were not yet in use in the U.S. In August of that year, I used it to surreptitiously record an Enslaved show, and “released” about 30 copies as a bootleg CD-R called “Vikings Cometh Through the Fog.” I later regretted bootlegging the show and eradicated it from my official release catalog, but it showed me that I could get a decent live recording simply from using that MiniDisc device.
In July and August of 2000, Blasphemy played their first shows since 1994. I desperately wanted to travel to Vancouver to attend one of the gigs but was unable to at the time. I was 25 years old and having just finished school and started a new job, I was too broke and too busy to contemplate traveling to Canada. The following year, Blasphemy announced two more shows. I thought it would again be impossible for me to attend, but chance intervened.
Earlier that year, I went to Chicago for business. The airline overbooked the flight on the way back to San Francisco, and when I heard they were asking people to give up their seats in exchange for a $500 travel voucher, I jumped at the opportunity so that I could use the voucher to go to Vancouver. It proved to be one of the most significant decisions I’ve ever made.
This was around the dawn of widespread email usage and the early days of the Full Moon Productions forum, and I was already deeply involved in trading tapes and records with other metal fans. A year or so earlier, around the time “Hellstorm of Evil Vengeance” came out, I began corresponding with Ryan Förster of Conqueror, who, in 2000, had been initiated into Blasphemy as DeathLord of Abomination & War Apocalypse. I was also in communication with Jay of Godless North (who would later appear on the NWN! release “An Ode to Sin” by Rites of Thy Degringolade) and Justin of Allfather, a band which also played at the same fest where “Live Ritual” was recorded.
I booked my flight to Vancouver so that I arrived the day of the gig and planned to leave the following day. Jay allowed me to stay at his apartment; it was also the location of the after party, so there were plenty other people there as well. I wanted to document the show for a possible release, but I wasn’t quite sure how to go about doing it. A few weeks before the show, I asked Förster if I could record Blasphemy’s set with my MiniDisc player, although I didn’t really know what I intended to do with the recording. Neither he nor anyone else in the band objected. I also brought a disposable camera with me to take photos, but I couldn’t move around during the performance because I wanted to hold the microphone steady, so I asked Jay to take some photos of the band while they played.
The show exceeded my expectations. Allfather and Blasphemy were both exceptional. Even if the record had never come out, it would still be one of the most powerful live rituals I have ever seen. Back at Jay’s after the show, inspired by what I had witnessed, I asked Black Winds and Caller of the Storms for permission to release the recording in some form. To my surprise, they agreed. I went back home the following day committed to finding a way to accomplish this task. Interestingly, that same night, Jay played an advance copy of Revenge’s “Attack.Blood.Revenge” that he received from J. Read. I didn’t know it at the time, but this early exposure to Revenge foreshadowed another of the label’s most significant long-standing relationships. In fact, in 2014, I had the honor of reissuing “Attack.Blood.Revenge,” which has long been one of my favorite recordings of all time.
In those early days of the internet, it was not a simple matter to just put out a record. CDs were still the dominant format, and pressing and distributing vinyl was an expensive and time consuming process. Having cut my teeth in the hardcore punk scene, vinyl retained a special significance to me, and, although it would have been far easier to just put out CDs, I really wanted to honor the tradition of releasing metal on vinyl. Mike Meacham and James Fiala of War Hammer records offered to split the release with me, with the understanding that I would be responsible for the layout. War Hammer’s involvement was helpful, both financially and because they had already some experience running a label.
Although I had an idea of how I wanted the record to look, I enlisted the assistance of Jim Kapsalis from Cult of Daath to help with the layout, since, at the time, I knew nothing about graphic design, especially the technical aspects. Back then, there was no “one-stop shop” for pressing and packaging records, so I had to assemble the records piecemeal, ordering the vinyl, posters, and LP jackets from three different vendors and putting them together myself in the tiny apartment where I lived. I decided to do 666 copies, which seemed like a lot in that era. (The LP jackets had to be done in batches of 1,000, so I had several boxes of them left over that I used as packing material for a long time after.)
Inspired by Iron Pegasus’ “Die Hard” editions, I decided I wanted to add bonus material to the first 100 copies of the release, which were on red vinyl. I printed extra copies of some of the photos and included a silkscreened poster of a promo picture taken in May 2001 at the Ross Bay Cemetery. Most significantly, I also included with the Die Hard edition a CD-R of a rehearsal the band did in August 2001, just prior to their August 29, 2001 performance at the Anza Club in Vancouver. Although no one knew it at the time, that show would be the last one Blasphemy would perform until 2009. (They would also play at the NWN! fest in 2010 and 2012.)
A few weeks prior to the rehearsal, I shipped the same MiniDisc recorder to Förster with instructions on how to use it. The band held the rehearsal session in the basement of then-bassist Bestial Saviour of the Undead Legions. Förster set up the MiniDisc recorder on the top of a washing machine and captured the entire session, from beginning to end. The members of Black Witchery were also present and can be heard in the background of the recording. Notably, the set included what was, at the time, a new song called “Victory (Son of the Damned),” which they actually played twice in a row during the rehearsal and performed for the first time at the August 2001 gig.
Looking back on it, the original “Live Ritual” LP feels very naïve, and it was. I nevertheless remain proud of it because it was a pure, passionate endeavor, unmotivated by the sorts of deadlines and expectations that characterize my work with NWN! now that it is a much larger operation. It also set into motion the project—Nuclear War Now! Productions—that has consumed my life ever since. Releasing “Live Ritual” taught me that I had the will, dedication, and vision to run the label. Feeling emboldened, the following year, I released Black Witchery’s “Desecration of the Holy Kingdom” LP, the self-titled Morbosidad LP, Goatvomit’s “Chapel of the Winds of Belial” EP, and Abigail’s “Intercourse and Lust” LP. For Blasphemy, “Live Ritual” was the first new material the band had released in years, exposing many new listeners to the music for the first time and foreclosing any dispute as to Blasphemy’s claim to its throne.

YK Insulter
March 25, 2018
Oakland, CA
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Contact: nwnprod@gmail.com
Web: https://shop.nwnprod.com/collections/new-arrivals

NWN carries all IBP releases.
IBP carries all NWN releases.



Last edited by NWN PROD on Fri Apr 13, 2018 2:08 pm; edited 1 time in total
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NWN PROD



Joined: 10 May 2006
Posts: 23089
Location: SF Bay Area

PostPosted: Fri Apr 13, 2018 8:07 am    Post subject: Reply with quote

Not sure why but imgur.com is making the background gray. It's definitely black in photoshop. Anyone know how to fix this?
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raskolnikhilov



Joined: 26 Apr 2012
Posts: 798

PostPosted: Sat Apr 14, 2018 7:59 am    Post subject: Reply with quote

That made for great reading, thanks for sharing it !
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EARLGREYTEA



Joined: 04 Oct 2011
Posts: 933
Location: New Jersey, USA

PostPosted: Mon Apr 16, 2018 7:13 pm    Post subject: Reply with quote

raskolnikhilov wrote:
That made for great reading, thanks for sharing it !


+1
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NWN PROD



Joined: 10 May 2006
Posts: 23089
Location: SF Bay Area

PostPosted: Tue Apr 17, 2018 7:08 am    Post subject: Reply with quote

EARLGREYTEA wrote:
raskolnikhilov wrote:
That made for great reading, thanks for sharing it !


+1


Thanks
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Shiru



Joined: 04 Feb 2007
Posts: 3377
Location: Finland

PostPosted: Tue Apr 17, 2018 10:18 am    Post subject: Reply with quote

btw i saw that Necrosic going to record album in March or May.. are they still on NWN?
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NWN PROD



Joined: 10 May 2006
Posts: 23089
Location: SF Bay Area

PostPosted: Tue Apr 17, 2018 10:51 am    Post subject: Reply with quote

Shiru wrote:
btw i saw that Necrosic going to record album in March or May.. are they still on NWN?


I'm not sure. They haven't said anything so maybe not.
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PostPosted: Wed Apr 18, 2018 7:09 am    Post subject: Reply with quote

OUT NOW!
Morbosidad “Corona de Epidemia” LP
ANTI-GOTH 370






(Description by C. Conrad)
For twenty-five years, Morbosidad has been a stoic pillar in the black/death metal underground. Guided by the relentless dedication of demonic mastermind and vocalist, Tomas Stench, the band has maintained a level of consistency in its recordings and live performances that has not been rivaled by many over the course of such an extended tenure. Even more impressively, it has achieved this feat in the face of numerous lineup changes, including those resulting from the untimely deaths of two drummers and an ensuing three-year hiatus following the first of these tragic setbacks. Throughout Morbosidad’s history, Nuclear War Now! has supported its nefarious cause by releasing all of the band’s full-length albums on vinyl, CD, or both, along with two EPs and a split EP. In fact, the seminal self-titled debut album was one of the very first that the label released, and it has been repressed a number of times, including in the limited “Onward//Ascendant” series of picture discs that NWN! made available in part to commemorate the most long-standing partnerships it has had with a select number of bands on its extensive roster. This conspiracy continues anew with the release of “Corona de Epidemia,” the fifth album in Morbosidad’s unyielding discography and one which reaffirms the band’s revered status. Unlike many highly-respected bands who release an acclaimed masterpiece along with an additional solid album or two before fading into the obscurity of forgettable later recordings, “Corona de Epidemia” maintains the same degree of songwriting, musicianship, and overall hostility that have characterized Morbosidad’s previous recordings. The most unmistakable constant between this album and the others is Stench’s signature vitriolic vocal assault, which is as potent as ever. As always, his lyrics are written in Spanish, which is an appropriate vehicle for his venomous blasphemies, given the language’s history as a direct descendent of the Latin tongue spoken by the crucifiers of Jesus Christ. Joining him on this album is a lineup once again partially revamped since the “Tortura” EP, which is comprised of Joe Necro (guitars/bass), Matt Mayhem (drums), and Ded Ted (bass). Like “Tortura,” this album was recorded by Irving Lopez at Imperial Mind Engineering in Dallas, Texas. The result is a production that, much like “Tortura,” is deeper and fuller than that of the preceding album, “Muerte de Cristo en Golgota,” and thus enhances the violent delivery of the vocals and drums in particular. Continuing a practice also established on the “Tortura” EP, on which the infamous Chris Reifert of Autopsy joined the band for guest vocals on the final track, Sodomatic Slaughter of Beherit was invited to record the drums on the closing track of “Corona de Epidemia.” These appearances by such honored guests are a testament to the respect that Morbosidad has earned from its peers and fans alike. Originally released jointly by NWN! and Boris Records as a limited-edition LP with alternate cover to celebrate the band’s performance at the Mass Destruction Metal Fest in Atlanta in November of 2017, “Corona de Epidemia” is hereby released with a more comprehensive layout featuring yet another work of art from Chris Moyen, who has served as the illustrator-in-chief for many of the band’s recorded works and has once again perfectly captured in image the band’s doctrine of contempt for the Bastard Son and his meager flock.

Regular black vinyl LP: Gatefold jacket, double sided A2 poster.
Die Hard red vinyl LP: Gatefold jacket, double sided A2 poster, sticker, woven patch.

Click here to order.
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NWN PROD



Joined: 10 May 2006
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Location: SF Bay Area

PostPosted: Wed Apr 18, 2018 7:13 am    Post subject: Reply with quote

OUT NOW!





Discharge ink on Hanes brand 90% cotton hooded sweatshirt. Available in sizes S to XXL while supply lasts. Printed by Inferno Screen Printing of NOLA.

Click here to order.
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PostPosted: Thu Apr 19, 2018 12:25 pm    Post subject: Reply with quote

OUT NOW!

Oksennus “Kolme Toista” CD
ANTI-GOTH 374



(Description by J. Campbell)
Active since 2010, Finland’s Oksennus have already produced a staggering body of work. Through a series of demos and full-length cassette releases, the band painstakingly carved out a place in the underground landscape that has been largely untouched and uncorrupted. Stylistically eccentric, Oksennus’ music is a controlled departure from the constraints of genre, and, yet, the band nevertheless remains properly steeped in tradition. With this new album, Oksennus’ ambitious tendencies are on prominent display. “Kolme Toista” is as bold an artistic proclamation as one could expect in metal without stretching the fabric of the genre so thin as to leave it threadbare. With nearly a decade of work behind them, the members of Oksennus are proficient and meticulous about the presentation of their ideas, and this album showcases the merit in their approach. As with all of Oksennus’ work, the album cover features the austere and abstract style of illustration that is an aesthetic hallmark of the band’s vision. The album’s title means “Three Others,” but, in Finnish, it is also a play on words, simultaneously evoking the number “thirteen” (“kolmetoista”). Intentionality and purpose characterize every aspect of this release, and the wordplay of the title is no exception. The album consists of a single 39-minute composition, broken into three 13-minute movements, seamlessly woven together, guiding the listener through a sprawling array of mercurial states of consciousness, calling to mind the complex compositions by fellow NWN! act Chaos Echoes. The album begins joltingly—a frenzy of ecstatic guitars, cycling and clashing, order and chaos held in restrained and tenuous equipoise. The drums and bass, active and aggressive, accentuate the commotion while providing musculature for the composition, as the vocals call out above the fray, invocations of of dark intent. It is disorienting—a warped, whirling, death dervish hymn. As the first movement ends, the compositional filaments become increasingly unraveled, the elements broken down, splayed, ripe for examination. The second movement is more unified; almost hypnotic, but melodically complex. Notes contrast and collide, and although the passage is rhythmically consistent, the sequences of melody never quite repeat. The track slows to near stasis, like atoms as liquid freezes to solid. At the 26-minute mark, the track erupts into unbounded territory. Vocals spill over the mix, summoning and directing the music, which is increasingly freeform as the final movement gets under way. The vocals die out, and the drums dominate the track, with the guitars receding, forming a roiling undercurrent of distortion. Extraneous sounds produced by an array of sources, including a number of unusual instruments (piano, trumpet, accordion, harmonica, kantele) emerge to fill the space and lull the listener into a nearly transcendental state as the third movement winds down. Before the album ends, however, the blissful cacophony of the third movement is interrupted by the same frenetic force with which the album began. Indeed, the same drum pattern that opens “Kolme Toista” recurs to provide the foundation for the confounding mania of the final minute of the track before suddenly disintegrating into the welcome serenity of silence.

-LISTEN-

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snakenuts



Joined: 05 Dec 2014
Posts: 1457
Location: Land of the Rising Man-Bun

PostPosted: Thu Apr 19, 2018 3:48 pm    Post subject: Reply with quote

black metal carrots? brakku ninjin would be a cool name for a Finnish BM band.
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