taken from the "Verses in Regicide" LP/CD

Runespell - Structures Of Collapse

PAIEN

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"This DVD contains footage from the infamous and controversial show which took place in Kraków, Poland on February 1, 2004."

Gorgoroth - Profetens Åpenbaring (Live Black Mass Kraków 2004)

Track #4 from the forthcoming Oranssi Pazuzu album Värähtelijä, to be released February 26th, 2016 by 20 Buck Spin and Svart Records.

ORANSSI PAZUZU - Hypnotisoitu Viharukous

From the album "Blood from the Lion's Mouth". Release Date: September 16th, 2016.

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Blood from the Lion's Mouth

Barishi - Grave of the Creator

Invictus Productions and Iron Bonehead Productions announce April 7th as the international release date for the massively anticipated debut album of Belgium's Possession, Exorkizein. Invictus will handle the album's CD release while Iron Bonehead will handle its vinyl LP version.
One of the hottest bands in the modern black/death metal underground, Possession's ascent has been rapid but never exacting, and more than rightly earned. Forming in 2012, their debut demo, His Best Deceit - released jointly by Invictus and Iron Bonehead, in 2013 - exploded with excitement, showing an incendiary charisma rarely heard, not to mention a veteran's grasp of engaging songwriting. But for however filthy 'n' furious His Best Deceit was, less than a year later, the band released the Anneliese EP: a catacombed dirge that proved there were yet more haunting depths to this still-young band.
Between the two records, Possession's name was already on the tongues of legions worldwide - which is all the more remarkable considering their canon, to that point, consisted of six songs. Alas, in 2015 arrived the 1585-1646 mini-album. The band's longest work to date at 25 minutes, 1585-1646 studiously explored more concerted lyrical themes, marrying the conceptualism of the Anneliese EP to a still-unfolding, still-unholy synthesis of ancient Metal of Death and the pitchest-black metal. It was the band's boldest move to date, teasing their now-rabid fanbase with greater glories to come...and now they have arrived with Exorkizein.
Effectively a summation of Possession's powers and prowess they displayed across their first three recordings, Exorkizein is the bold and brazen first-album statement that will fully write the band's name into black/death legendry. Its fury is more feral and unchained than ever, its downshifts into doom more swirling and fatal, and its recording is as rounded and robust as a highly anticipated debut requires. And yet, for however much this is all unmistakably Possession, Exorkizein marks a change in lineup: vocalist Mestema is out of the band and has been replaced by Viriakh, while S.Iblis enters as new bassist. Far from a disabling blow, this lineup shakeup has resulted in a stronger Possession than ever before, brimming with madness and mystery, slavering with sin and ever prepared to strike. The youthful discordance has slightly, subtly given way to an ageless confidence, without one sacrifice of the core ethics of authentic, deeply-felt black/death METAL.
More or less written in one year, with no stopping doing gigs, Possession's Exorkizein was recorded once again at Blackout Multimedia with Phorgath (Enthroned, Emptiness). Artwork was also once again created by underground icon Chris Moyen. And Possession once again chose Invictus and Iron Bonehead to release the album because they're "a loyalty-above-all kind of band, and that is part of our identity and strength." Hear the first manifestation of Exorkizein, appropriately titled "Infestation - Manifestation - Possession," exclusively at Iron Bonehead's Soundcloud HERE.

Possession - Infestation -Manifestation - Possession

Abnormality "A Catastrophic and Catalyzing Event" from the album "Sociopathic Constructs"

Sociopathic Constructs

Abnormality "A Catastrophic and Catalyzing Event"

The reference points for Patrick Walker's emotionally searing, purely melodic brand of doom metal are Justin Broadrick's Jesu project, Bob Mould's bleak rock (à la Black Sheets of Rain), and Michael Stipe's singing at his most nakedly confessional -- though he sounds like no one but himself. Walker's former band, Warning, released one of doom metal's classics in 2006's Watching from a Distance, which created high expectations for any subsequent project. The Inside Room doesn't disappoint. A trio fronted by Walker and featuring engineer William Spong on bass and former Warning drummer Christian Leitch, 40 Watt Sun deliver five songs (ranging from just under seven minutes to nearly 11) that draw on all of his strengths. His protagonists are tortured people; they're literally ripped apart by love, desire, the wish for deliverance, loneliness, and regret. He's unafraid to give them a clear voice, allowing their pain and vulnerability to give them dimension. The pace here is slow to very slow and the guitar is as pronounced as anything in the doom or metal genre, without all the jive, "evil for it's own sake" or faux gothic clichés for lyrics. "I can't see my way when shame is covering my eyes" are the opening words in the album's first track, "Restless." As Leitch's drums plod, accenting each sung line, Spong's bassline adds an element of danger to the clarity in Walker's voice. His guitar lines, from one snail-like chord to the next, reveal the coiled power of chaos that lies just under the surface of his character's frailty. The riff in "Open My Eyes" is spun out one layered, distorted string at a time, with well-placed rim shots and a steady thrumming bassline. The protagonist seeks to express his gratitude to his beloved, all the while seeking to pull her from sinking under the same emotional depths she's pulled him from previously. A subtle second melody creates another series of tensions as the singer finds himself powerless to help affect this change. "Between Times" is the most representative doom tune here, with its words "Carry me over between times/In your red room on quilted blankets/Laying awake in this low light." The gorgeous lyrics (printed in the booklet) are murkier on "Carry Me Home," wrapped in a blanket of fuzz and melancholic menace. "This Alone" is seemingly pastoral in contrast to the rest, but its twinned guitars and basslines underscore the funereal pace of Leitch's drums. It rings, on and on, seemingly forever, even as Walker's voice expends itself, professing love even as it expresses terrible loss and projects total loneliness. The Inside Room is almost monstrously great even as it pushes doom metal to its margins and over them. (via allmusic.com) 
