Rot Fester conjure a mortuary liturgy of torment, where grinding riffs, guttural hymns, and pounding drums hammer rust, bone, and decay into sound.
Extreme Metal
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Antiquus Infestus conjure a nightmare liturgy of decay and judgment, where blackened cries, crushing riffs, and ritual percussion bind Salem’s hysteria to sound.
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Flesh Remains summon a liturgy of chaos and grandeur, where symphonic death metal becomes ritual invocation, each guttural chant and orchestral surge a voice from the abyss.
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Draculum’s debut conjures a liturgy of shadows, where spellcraft becomes sound and the void sings back. “Each verse is a vessel”
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Vomitile’s sonic assault channels death metal’s martial fury, where riffs march like legions and every blast beat is a curse.
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Sardonic, a sonic purge: raw, blackened, and deliberately unpolished. Riffs tear through flesh, vocals curse like broken sermons, and drums strike like a dark rite.
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Crux Ex channels depressive black metal into ambient ritual, summoning grief, decay, sonic introspection, and ceremonial weight.
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Norkh, old school rules in their music. Raw, untainted black metal of the early 90s — occasional hint at thrash, death, doom, or even crust.
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Bastard Skull, guitars slice like jagged blades, the drums bark orders, and the vocals spit curses. All of it sits in a mix born from that bunker feel grit.
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Abadir, a sonic fracture—carved in pagan fire and mythic defiance, a rupture that scorches through cosmic architecture with raw intent.