In a world where iron meets scripture and rhythm becomes a weapon it detonates like a celestial war drum. Born from the ashes of Saturn’s crucible it tears through silence with ritualistic precision as an anthem for the fallen faithful and the heretics who refused the light. The bass convulses like it needs an exorcism and the synths scream like angels burning in reverse. It’s a rite. This is not a song. Like its covenant sealed in distortion and defiance.

The Crucible Ekklesia - Unsanctified Ascension

CASSETTES AVAILABLE ON BANDCAMP
Tracklist:
1. FINAL FATE
2. NEVER LET ME OUT
3. CREEP AT NIGHT
4. KICK DIS SHIT
5. BORN IN HELL

2025 VOID CARTEL RECORDS
Thanks to anyone who listens, I spent so much damn time on this project. Cassettes will be available 11/18

UNIVERSAL DREAD

MERCH/SUPPORT

Descent

Nebulark

Spooked

Drow

Lush

Clouds

Severance

Paul Abraham Dukas ( 1 October 1865 – 17 May 1935) was a French composer, critic, scholar and teacher. A studious man of retiring personality, he was intensely self-critical, having abandoned and destroyed many of his compositions. His best-known work is the orchestral piece The Sorcerer's Apprentice (L'apprenti sorcier), the fame of which has eclipsed that of his other surviving works. Among these are the opera Ariane et Barbe-bleue, his Symphony in C and Piano Sonata in E-flat minor, the Variations, Interlude and Finale on a Theme by Rameau (for solo piano), and a ballet, La Péri.

In the first decade of the 20th century, following the immense success of his orchestral work The Sorcerer's Apprentice, Dukas completed two complex and technically demanding large-scale works for solo piano: the Piano Sonata, dedicated to Saint-Saëns, and Variations, Interlude and Finale on a Theme by Rameau (1902). In Dukas's piano works critics have discerned the influence of Beethoven, or, "Beethoven as he was interpreted to the French mind by César Franck". Both works were premiered by Édouard Risler, a celebrated pianist of the era.

In an analysis of the work in The Musical Quarterly in 1928, the critic Irving Schwerké wrote:

The Sonata is classical in structure and in four movements, connected more by mutual formal perfection and nobility of thought than by cyclic procedures. The first movement … is built on two sharply contrasted themes, developed according to the sonata-form.
[Bartje Bartmans from YT @bartjebartmans]


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