There are consequences to all evil actions, even if that comeuppance takes a little while to sink in its teeth. You can only get away with being terrible and dishonorable for so long before that disease works its way into your life and begins to eat away at who you are. You can try to avoid it or reverse your course of action, but you know your day is coming.

That’s a major theme of “Last Bastion of Cowardice,” the monster new record from Milwaukee-based sludge pounders Northless. To call this band heavy is almost an insult. No shit they’re heavy. They’ve been that way from the start, and over the course of their first two full-length records and several smaller releases, the band has made sonic punishment and destruction part of their DNA. On this new album, they unfurl a record-long story for the first time, a 10-track, hour-long opus that examines a protagonist who can’t overcome the darkness that has been life. There are elements of revenge and sorrow, and eventually the redemption the person was seeking disappears. That’s a sad story, but it’s one that ultimately is human and realistic, something that actually happens in real life, movies be damned. The band—vocalist/guitarist Erik Stenglein, guitarist Nicholas Elert, bassist Jerry Hauppa, and drummer John Gleisner—also adds new wrinkles to their style, with more melody, different shades of darkness, and an expanded style that makes them more well-rounded and heavier. This record is so massive it’s taking four labels to handle it, so please find your way to the hilarious amount of links at the end of the story.

“The Origin of Flames” starts the record with a doomy smudge before working into terrain that borders on hardcore. Black metal-style melodies then barrel in, while the track remains burly and muscular, bleeding off at the end. “Godsend” has devastating playing and massive torment that run headlong into thick melodies. Singing slips behind the crushing growls, while the guitars bleed emotion, and the song comes to a tumultuous end. “The Devil in Exile” is faster, with shrieky vocals and a dinosaur stomp. The pace chugs along as the song simmers in doom fires, and clean group vocals arrive, feeling Viking-like. The song trudges on in a fury, leading the way toward “Slave to a Scorched Earth,” the shortest cut on here, and more of an interlude. Drone chants and group singing swell, even letting in some harmony, and that pushes right into “Their Blood Was Always Mine” that kicks off with downright swaggering guitar work. The growls are grisly, as fresh colors blast into the scene, and the final moments are savage and sinewy, yet oddly vulnerable.

“Never Turn Your Back on the Dead” starts clean, though noise buzzes, and then we’re full bore into anguish and power. Strange chanting becomes a part of the picture, chilling the flesh, while the band delves into some unexpected weirdness coupled with machine-strength intensity. “Extinction Voices” changes up the scene, going more in the noise rock route and adding a new element to the band’s game. The guitars lay waste, while the drums topple buildings, while Stenglein howls, “All my best years, sold to the highest bidder,” while the song dissolves into disorientation. The title track follows, and it soars through spacious atmosphere before bursting open and starting its assault. Brawny doom and lumbering singing unite, while massive clouds move in, and the guitars burn off. The back end is somber at first, but then the hammers are dropped, leaving everything buried in a cloud of dust. “Our Place in Dirt” drubs and leaves you dizzy, while the singing is deeper in spots, desperate and in pain at others. There’s a nice psyche edge to the song that contains monstrous singing mixed with shrieks and guitar work that sounds like it worships at the altar of Kim Thayil. Closer “Rotten Days” is the longest cut, ripping over 9:01 and letting coldness encapsulate the room. The singing haunts and the pace stings before they tear through the heart and begin smashing barriers. Emotions caterwaul here in every element, while guitars mix with gothic pianos, and the track comes to a gut-wrenching finish.

Northless’ might never has been questioned, and they unload like never before on “Last Bastion of Cowardice.” The more I listened to this album, the more it worked its way into my blood, and that’s simply from a musical standpoint. When you consider the story and the immense tragedy contained within, it’s enough to give you both a swollen face and a serious reality check.

For more on the band, go here: https://www.facebook.com/northlessmke/

To buy the album, go here (vinyl): https://gileadmedia.bandcamp.com/album/last-bastion-of-cowardice

Or here (vinyl): http://www.halooffliesrecords.com/releases/

Or here (cassette):  http://errorrecords.storenvy.com/

Or here (CD): http://initrecords.corecommerce.com/

For more on the label, go here: https://gileadmedia.net

And here: http://www.halooffliesrecords.com/

And here: http://initrecords.corecommerce.com/

And here: http://www.initrecords.net/

Like all of metal’s subgenres, doom has so many different colors and tastes that’s it’s sometimes tough to keep them all apart. But that’s part of what makes it such a rich form of extreme music. There is such a wide variety of manners to play the music and express this style of darkness that it’s likely to keep evolving forever.

A new split EP from Crown and Thorne Ltd. and Battleground Records brings together CHRCH and Fister, two bands that approach doom from very different avenues but do come together in styles now and again. This release brings songs from two groups whose profiles are swelling underground that only can be found on this limited-edition vinyl, and it’s probably a good idea to jump on this soon if you want a copy for yourself. And considering each track the bands bring to this effort is a mammoth, you’re practically getting a full-length-worth of material

CHRCH

We last heard from CHRCH with 2015 debut record “Unanswered Hymns,” a revelation of an album that inserted this promising band into the bubbling bustle that is doom metal. They presented three tracks that spread over nearly 45 minutes, and they powerfully mixed aggression and pained beauty on an album that opened a lot of eyes and ears. Here they are now, two years later, and they have this one monster track “Temples” that continues what the band—vocalist Eva, guitarists Shann and Chris, bassist Ben, and drummer Adam—planted in 2013 and lets the roots take hold until they’re practically cemented into the ground. It’s an awesome piece that should swell their pull and keep mouths frothed for whatever they have next.

“Temples” runs 16:46 and begins quietly and solemnly, letting the darkness take hold. Once the song opens, we’re into glorious melodies that glimmer, smothering heaviness, and downright savage growls from Eva. Vicious black vibes rumble the ground, as the elements rain down unmercifully, and the noise elements spread and sting. We’re then into a heavy mud pit, as the tires spin, sending filth flying, and desperate cries float above the muck. Ghostly apparitions rise and stretch over the atmosphere, as violent cries pierce the flesh, the music halts to a trickle, and the final remnants of blood splatter, with everything heading down the drain.

Fister

St. Louis doom trio Fister long have brought the darker, more sinister elements of metal to their sound. Ever since their formation in 2009, the band has brought evil and shadowy terror to the proceedings, as if Fister have opened up hell and let it pour forth into the Earth. The band pounds and grinds you with their sound, as they’ve torn up wounds on their three full-length records (their most recent is 2015’s “IV”) as well as their smaller releases and other splits with groups such as Primitive Man, Teeth, and Everything Went Black. Here, the band unleashes “The Ditch” a lurching, punishing, unforgiving track that these guys—vocalist/bassist Kenny Snarzyk, guitarist/backing vocalist Marcus Newstead, and drummer Kirk Gatterer—use to melt down your psyche and let it drain into the sewers.

“The Ditch” is a 20:29 skull-dragger, bludgeoning immediately, crushing you in ugliness and letting the dirt coat your skin. The growls are feral, as they are for the bulk of this animal, and a devastating pace leads into a strong solo that provides a glimpse of melody and sets fires that burn toward a psychedelic chill that fills out the middle section. That coldness lasts for a stretch before it’s interrupted by a long, hypnotic section of guitars that searches and slithers over several minutes. Out of that, the song tears through the crust again, as the tempo returns to reckless wildness, and the vocals are a threatening diatribe. That display lingers, shreds, and concusses, as the noise wrenches and grinds to a finish.

CHRCH and Fister are two of doom’s most varied and interesting bands, and their contributions to this devastating split release should be enough to keep their listeners going until each return with new records. This is a feast’s worth of music that is violent but also thought provoking, and each group has something different to offer on their gigantic contributions. This is well worth your hard-earned dollars, because few records you’ll pick up this year will both punish you and excite you about metal’s future.

For more on CHRCH, go here: https://www.facebook.com/chrchdoomca/

For more on Fister, go here: https://www.facebook.com/fisterdoom/

To buy the album, go here: http://crownandthroneltd.bigcartel.com/product/fister-chrch-split-12

Or here: http://www.battlegroundrnr.com/product/chrch-fister-split-album

For more on the label, go here: https://www.facebook.com/crownandthroneltd/

And here: http://www.battlegroundrnr.com/

Just because it’s late in the year and most of all the vital music has been consumed doesn’t mean all the surprises have been packed away. Falling asleep on late November and December releases is not something any responsible writer can do, and our schedule is pretty jam packed for the rest of the year, which is a really nice problem to have.

So, we’re getting this new EP “Pulsing Dark Absorptions” dropped into our laps by new Philly-based powerhouse Daeva. I was first clued into the band’s existence during a recent visit to 20 Buck Spin’s new Pittsburgh compound, and sure enough, days later, the music was up on the label’s Bandcamp. As promised, this record is a sinewy, violent combination of all sort of dark arts, from death and black metals to thrash, and these five songs (four originals and a massive Mayhem cover) is yet more proof that metal keeps giving well into a year’s dying days. Formed from members of notable bands such as Crypt Sermon, Trenchrot, Infiltrator, and Unrest, this trio lights shit on fire and takes pleasure in watching it burn to the ground. Its members—vocalist EG, guitarist/bassist SJ, drummer JB—unleash torment and violence over this introductory offering, an indication that the metal world has a new underground force with which to contend.

“No Effective Banishing” pretty much meets you at the gates with a bloody knife, as the song gets off to a blistering start, the growls are raw, and even some trippy/echoey effects work their way in and trick your mind. The song drubs heavily, as the pace rips apart, the song hits a nasty arc, and everything fades into violence. “Clenched Fist of the Beast” tells you everything you need to know, steamrolling over you right as proceedings get under way. The growls crush, and the fast playing tramples you underneath their gears. The guitars explode with energetic tension, and the assault is downright animalistic. The title track follows, jamming the gas pedal and getting it stuck in the floor, while the pace bristles and the riffs roll. The growls are monstrous and virulent, and the attitude is violent. “Wipe that smirk off your fucking face,” EG howls snottily, bringing the song to an aggressive, grinding finish. “Descending the Miasmal Void” has a damaged, warped start, as the guitar work blinds, and the song heads into a thrashy, smashing fit. The vocals shred the skin, while the music takes on a tasty old school death metal vibe, mixed with bone-destroying punk flares. The closer is an awesome take on Mayhem’s “Deathcrush,” complete with their psyched-out treatment that makes your anxiety level shoot through your brain, leaving you a quivering mess.

The arrival of Daeva turns an already darkened metal terrain into a thing of horrors. “Pulsing Dark Absorptions” is one of those late-year entries that serve as a reminder that it is wise to consume all music planned for a certain year before handing out the accolades. This EP is a scorcher, one that hints that deadly days are coming on the capable backs of Daeva’s experienced members.

For more on the band, go here: https://www.facebook.com/daevablackthrash/

To buy the album, go here: https://www.20buckspin.com/products/daeva-pulsing-dark-absorptions-mlp

For more on the label, go here: https://www.20buckspin.com/

If you lived in Pittsburgh (like I do) and spent years reading local media (like I have), you’d barely know there was a metal scene here. I literally was told by a local music writer that he has conducted surveys, and there is no interest in metal coverage. See, you have to expand that survey beyond white guys in their 50s and 60s. Yet, metal thrives in the city streets, so fuck the local media.

Anyway, one band that has garnered some attention, and rightfully so, is throwback metal band Lady Beast. They were just featured on Anthony Bourdain’s “Parts Unknown” episode on Pittsburgh, and they recently signed with indie metal powerhouse Cruz del Sur. They now are coming back at us with their third record “Vicious Breed,” one that should expose them to a much wider audience and help Pittsburgh’s metallic reputation grow even further. If you’ve ever seen the band in a smaller room, you know they have an energy and presence that extends well beyond that. Vocalist Deborah Levine is a powerhouse who has that gift of projecting to the person standing in the very back of the room, making that individual feel just as big a part of the show as those up front. The rest of the band—guitarists Andy Ramage and Chris Tritschler, bassist Greg Colaizzi, and drummer Adam Ramage—are just as mighty, delivering massive, NWOBHM-influenced metal that is heavy, energized, and a load of fun to absorb. This new record is a wisely timed effort of eight tracks over 36 minutes, and it’s impossible not to get swept up in their assault.

“Seal the Hex” is an ideal opener, as after its somber first few minutes, it begins trucking and unloading. The pace speeds up, while Levine is in total command, and while the chorus is a simple callback of the title, it’s one that should have show-goers yelling it back to them in unison, “The Way” has guitars chugging, a huge, rousing chorus, and Levine defiant that she will not be taking orders from anyone but herself. That empowerment bleeds through every element of this song, causing your blood to surge through your veins. “Lone Hunter” is arguably the strongest song on the record, with blazing riffs and Levine calling over the infectious chorus, “My story’s frozen in time, my body’s no longer mine!” A classic-sounding gallop rips through the final minutes and gives this a hammering end. “Always With Me” pays honor to fallen souls, as the tempo is a little slower but still powerful, and Levine laments, “I wish this reality wasn’t true.” But there’s no time to wallow, as the song kicks into higher gear, and Levine vows, “You will always be remembered in my heart and in my soul.”

“Get Out” brings back the attitude, where, once again, Levine promises that anyone standing in her way will be flattened. The track sounds like one that would make a road warrior explode with strength as he or she rides into the sunset. “Every Giant Shall Fall” has razor-sharp dual guitar lines, setting the stage for a bloody battle. “They’ll turn to stone and we shall crush!” Levine promises, while the guitars glisten, the rhythm section throws punches, and the cut comes to a victorious end. “Sky Graves” is an instrumental piece, one that has no problem handling the storytelling without the benefit of words. After a clean start, the band hits a stretch of emotional metallic melodies. The guitars form a twin beast, while the song comes to an earth-shaking finish. The title track closes the record, getting a vicious start to things and dumping a ton of thrashy goodness. “Formed from seeds of a man and a beast!” Levine wails as the band hits the gas pedal, the melodies swelter, and the track comes to a punishing end.

Lady Beast have a huge opportunity to explode past the city limits and capture the rest of the world with “Vicious Breed.” This is metal that unites, reminding listeners that we can be one under this music’s banners, and that everything else doesn’t matter. They are helping carry the torches lit by Iron Maiden, Judas Priest, Warlock, and Dio before them, and in their capable hands, the fires can remain burning brightly for years to come.

For more on the band, go here: https://www.facebook.com/ladybeastofficial/

To buy the album, go here: https://www.cruzdelsurmusic.com/store/

For more on the label, go here: http://www.cruzdelsurmusic.com/

It’s been dark and dreary here the past few days, just weeks after I complained in one of these very opening paragraphs that it was way too bright and warm for this far into the autumn. Now, cold rains fall, the skies are thick and ashy, and it’s time soon for hibernation while the darkness envelops everything, and the lush green shrivels and dies.

These morbid times provide a perfect setting for dark, destructive music, and the new record from Finnish death metal unit Desolate Shrine is about to land in our laps. “Deliverance From the Godless Void” is the band’s fourth record in just a six-year span, and it continues their terrifying blackness and drilling far into the Earth’s crust. The band’s three members—vocalist/lyricist M.T., vocalist R.S., and multi-instrumentalist L.L.—have been the backbone of this unit ever since their 2011 debut “Tenebrous Towers,” and as they spill into this new record, their death gets deadlier, the doom elements are murkier, and there even are some forays into more adventurous terrain. These eight songs sprawl over nearly 57 minutes, and you are taken for a skull-bashing trip as they spread their horrifying tidings over songs that demand your attention and that do their best to maul you over their ample running times.

“The Primordial One” tears the roof off this record, as growls rumble and dark cloudy shifts make the earth move beneath you. The band then slides into a furious death groove, complete with murky crashing, wild yells behind the feral growls, and smearing death that disappears in a cosmic cloud. “Lord of the Three Realms” has a gruff, almost sludgy start, with guitars boiling over and the punishment coming due. Dark mashing leads its way into a blinding storm, while the guitars go off on an exploration, giving a proggy edge. From there, crazed growls and manic playing send the song out in terror. “Unmask the Face of False” is the longest cut, stretching over 10:15 and beginning with moaning guitars before the assault touches down. A doomy, funereal ambiance is laid out, while synth swells, and the feeling of morbidity is impossible to shake. Out of the shadows come spiraling guitars, grinding vocals, and an attack that just stops all of a sudden.  “The Waters of Man” is pulverizing and spindling, with the riffs chewing and disorienting, and the pace giving off steam. Guitars swim in the chaos, monstrous growls emerge, and the final moments crush the soul.

“The Graeae” is another beast at 9:06, with acoustics rising from the swamp and eerie whispers sending chills up the spine. The music smears soot, while the growls are vicious, and the pace swelters in a calculated heatwave. Melody and darkness mix as the band finds a new level of heaviness, flooding the violent ending with dark misery. “Demonic Evocation Prayer” has death riffs destroying, the pace pummeling, and an eerie cold coming in suddenly and leaving frost. But it’s not long until the temperature rises again, with the playing heading into sludgy death, the pace drilling, and a guttural strike bleeding away. “The Silent Star” releases disorienting playing and a mashing death assault, leading the song toward total obliteration. The band turns into a thrashy dose of death, while the vocals smother faces, a doomy path is taken, and the nightmare rushes out. Closer “…Of Hell” is spooky and unsettling at first, as it lets music drip like blood before things get ugly. The band goes in an unexpected trippy corner, with the growls lurching and getting strange, the horror piling up, and the music blending into a nightmare of noise and organs.

Desolate Shrine remain as beastly and dangerous as ever, and the songs on “Deliverance From Godless Void” sound like they originated in a black pit of goo filled with pestilence. They’ve been a rather prolific band since their formation, and each new chapter provides more violent twists and turns into oblivion. This is as ugly as Desolate Shrine have sunk, and this record will match those dark nights and frigid temperatures perfectly.

For more on the band, go here: https://www.facebook.com/desolateshrine/

To buy the album, go here: http://www.darkdescentrecords.com/store/

For more on the label, go here: http://www.darkdescentrecords.com/

The worst thing that ever happened to Earth is the human race. Yeah, I know. All the technological advancements, the rise of the industrial age, all the things we have learned about ourselves and other worlds. Where would that be? It likely would be a place without wars, pollution, rising climate change, defaced forests, you name it. We kind of suck.

When we humans are out of here, the Earth likely will go through a phase of inactivity, when the land is unkempt and unseeded, a sort of recovery period after what we did with the place. Hopefully we leave something behind worth re-growing. The concept is called “Tyndir” in the old Norse language, and it’s the name of the second record from progressive black metal band Barrowlands. Formed six years ago from the remnants of black metal band Mary Shelley and prog-infused band Lykaia, this group formed about six years ago, and their debut record “Thane” was released in 2014. This new record is a five-track offering that enraptures your mind, violently at times, and allows you into their portal to be immersed in their world. The band—guitarist/vocalist David Hollingsworth, guitarist Jay Caruso, bassist Chris Gaye, cellist Ray Lorenz, and drummer Martti Hill—spreads their power over 43 minutes and mangles your guts, spinning back and forth from violence to introspection, chaos to melancholy.

“Hyperion” gets the record started with a prog-fueled black metal mind frame, as strong melodies and carving growls chew their way into the scene. The track then gets ugly and vicious, as the pace swims back and forth, and the guitar lines twist and turn, potentially giving you vertigo. Nasty vocals return as the hammer drops, and though a moment of calm rises at a point, we end in more pain and a tornadic final few moments. “Light of a Dead Star” opens calmly, letting you soak in serenity before everything bursts wide open. The pace enraptures, while the growls crush your soul, and from there, the guitars catch fire and begin revolving around you. Hollingsworth’s vocals scrape the ground, while the tempo just detonates and drubs harshly. The low end rumbles like a storm, but caught up in that are infectious melodies, guitars that just go off, and an assault that rips hard until it reaches its end point.

“Wind and Rain” begins a run of three nine-minute-plus songs that end the album, this one coming in on acoustics before the drums rumble, and the vocals tear holes all over again. The cello slips into and then behind the chaos, adding different textures, while the band group shouts behind Hollingworth’s fierce shrieks, which push this thing over the top. Atmospheric pressure returns, letting the music get spacious, and heavy emotion pours over the back end, as rustic beauty adds character, the leads cut through, and the melody flows away. “Woodland Rebirth” gives a chill at first before sunbeam-emblazoned lead guitars burst through, and then the bottom drops out. The band pushes their might forward, as the music floods the senses and destroys any hint of calm. The pace later changes and slips into a slow-driving mauling, as clean guitars drip over the pit of sludge and then catch fire and burn through that. The band hits hyperdrive for the final blast, ending in thunderous fashion. “Empty Hands Grasping” closes the record, getting off to a rousing start, as Hollingsworth’s growls lacerate, and the storm comes to a head. The intensity falls back a bit for a while, as the cello work rises, the melodies mesmerize, and then everything erupts anew. The vocals wrench while the music pummels, and their penchant for overwhelming you with melody again becomes a factor. Moody playing rolls in, the fires rage high, and the grisly power gives way to quiet acoustics and fades into the trees.

Barrowlands journey to where they are now hasn’t been the smoothest one, as they’ve re-sown their own field a few times to get where they are today. The band paints a volatile picture between nature and humankind on “Tyndir,” one that posits we are not long for this place in a struggle the Earth eventually will win over one of its main inhabitants. That, itself, is a morbid thing to think about, and this music adds volatility and imagination to that topic in a way that could have your senses quaking.

For more on the band, go here: https://www.facebook.com/barrowlands/

To buy the album, go here: http://vendettarecords.bigcartel.com/

For more on the label, go here: https://vendettarecords.wordpress.com/

I’ve never been to Iceland, but a lot of my friends have. From what I’ve been told, it’s a beautiful, picturesque country that gets in your head and makes you feel like you’re in a dream. That makes some sense when you hear the country’s brand of black metal. I know the music is supposed to be ugly and violent, but so much of the Icelandic brand arrests the heart.

That trend continues with AUƉN, another wise signing from Season of Mist and one that feels apropos coming to us right now. It feels like a fog is covering this entire record, one that enraptures you, tricks you, perhaps enlightens you. Maybe it really is their homeland, but black metal from this region always sounds interesting and emotionally invested, not always paying mind to violence and morbidity but instead using the style to expand their dream world. This band very much is the same, which they prove on their sprawling, powerful second record “Farvegir Fyrndar,” the follow-up to their 2014, self-titled debut. The band—vocalist Hjalti Sveinsson, guitarists Aðalsteinn Magnússon and Andri Björn Birgisson, bassist Hjálmar Gylfason and drummer Sigurður Kjartan Pálsson—creates sounds that should make your blood and mind soar, with their deep, spacious energy powering these nine songs forcefully.

“Veröld Hulin” begins with drums rumbling and clean guitars trickling before the eruption comes and sends rock and debris everywhere. The song takes on a Primordial feel, which is a great thing, as raspy growls, heavy atmosphere, and even some speed come into play. The clouds lower and get thicker, while strong soloing cuts in, and the song grinds out. “Lífvana Jörð” sounds like a black metal flood as it starts, with growls gashing, the drums crushing, and melodies ripping like a hurricane. A gazey fog hovers over the chorus, while the front holds up and saturates the ground. “Haldreipi Hugans” is like a cold, dreary morning before the tempo kicks into gear, and the shrieks begin to devastate. Heavy emotion plays a major role, but then things get chilly and aggravated. Out of the cold, wrenching growls chew into flesh, while the song blows apart, colors pour, and there’s a thunderous end. “Prísund” is a sound gush, as guitars begin to smear, and the growls come in hard. The music is compelling and huge, with the song kicking into high gear, raw howls carving, and the track blasting away.

“Ljósaslæður” has a drizzling, frosty beginning before the ground ruptures, and the band pounds the earth. Growls rip open gaping wounds, while the savagery meets up with a driving rain, and the intensity is applied in thick layers. The back end of the song is a monstrous display, leading toward “Blóðrauð Sól” and its glorious collection of riffs. Deeper growls give a meatier edge, while blood and violence spread, the guitars rouse the emotions, and the track comes to a sudden, bristling end. “Eilífar Nætur” starts like so many others, in a frigid gaze that reaches out its arms, letting the song blow up in your face. The music starts to destroy, while the growls sink in its teeth and gnaw away. A gazey deluge floods over, pouring toward a tidal wave of guitars and a gigantic finish. “Skuggar” spits energy, as the growls engorge, and the music overwhelms the senses. The music here is huge, with a heaving heart, and the song twists and contorts your senses as you writhe on the ground. Closer “Í Hálmstráið Held” has a relentless start, as melodies blister, the blood rushes, and the growls inflict pain. The massive assault eventually eases, while the journey approaches a trudging fog, settling into serenity. But that’s not for long. The song rages back to life, the band unleashes every ounce of their humanity, and the blazing continues until it finally fades into the background.

AUƉN provide even more promise from the Icelandic black metal scene, and “Farvegir Fyrndar” is a massive introduction to the band for newcomers, and a rousing new serving for those who have followed the entire path. The song rushes with atmospheric glory and dark emotions, and the music here is smothering and fiery. They do their homeland proud and prove that they can be one of the most formidable bands Iceland has produced the past few years.

For more on the band, go here: https://www.facebook.com/audnofficial/

To buy the album, go here (North America): https://shopusa.season-of-mist.com/

Or here (International): https://shop.season-of-mist.com/

For more on the label, go here: http://www.season-of-mist.com/