Monday 30 December 2019

666 PACK REVIEW: The Best of the "666 PACK REVIEW" 2019

By: Nikos Mixas

If you’ve been paying attention, the 666 Pack Review is an abbreviated review column mostly focused on very new bands or bands that have submitted demo material to THE SLUDGELORD.  The basic premise is that 6 bands are critiqued using only 6 words and on a scale from 1 to 666.  What you see below is the best of the year 2019 for the “666 Pack Review”.  There were 8 bands that received the highest of ratings so please go show them some love by revisiting their music and their web pages.  We at THE SLUDGELORD hope great things come to them.  Congrats and hails to those bands that made the list!  May 2020 be sludgier and heavier!

January – There were two 666’s! (Does that make it 1332 or 121212?)

ILS “Pain Don’t Hurt” (Portland, U.S.A.)

This band won the Portland trophy. 

Yuxa “Yuxa” (Brighton, United Kingdom) 

If Godflesh kicked the industrial habit…


Seed of the Sorcerer, Womb of the Witch “Spell Book I: Ceridwen” (Denver, U.S.A.)

Guitar tone alone worth the 666!  


Mireplaner “A Mountain of Saola Hooves” (Finland)

Guaranteed to cardiac arrest old people.


Inhuman Nature “Inhuman Nature” (London, United Kingdom)

Sexy thrash ala the Bay Area!


Old Horn Tooth “From The Ghost Grey Depths” (London, U.K.)

God-doom fucking-tastic start to the month!


MUNT “Towards Extinction” (Melbourne, Australia)

Fucking hate on the barbie mate!


Adliga “Kali Paćjače Njeba” (Minsk, Belarus) 

Belarus for the win!  Отлично comrades!

Saturday 14 December 2019

ALBUM REVIEW: Nile, “Vile Nilotic Rites”

By: Richard Maw

Album Type: Full Length
Date Released: 01/11/2019
Label: Nuclear Blast

“Vile Nilotic Rites” CD//DD//LP track listing:

1. Long Shadows of Dread
2. The Oxford Handbook of Savage Genocidal Warfare
3. Vile Nilotic Rites
4. Seven Horns of War
5. That Which Is Forbidden
6. Snake Pit Mating Frenzy
7. Revel In Their Suffering
8. Thus Sayeth the Parasites of the Mind
9. Where Is the Wrathful Sky
10. The Imperishable Stars Are Sickened
11. We Are Cursed

The Review:

Four years on from “What Should Not Be Unearthed”, Nile return with a new guitarist and bass player, with Karl Sanders and George Kollias still in place. However, it really is business as usual as far as the record's sound and approach are concerned. “Long Shadows of Dread” is, as always, impossibly dextrous and fast. Oxford Handbook of “Savage Genocidal Warfare” is brutal, the title track is a welcome change of tempo and offers up some excellent dynamics and song writing. The sound is excellent- the vocals are particularly well mixed and recorded.

What, then, what can Nile offer a couple of decades into the game and having rejuvenated the genre with their earlier albums? Well, the band sounds enthusiastically focused and are technically incredible, of course, and the Egyptian themes remain. Nile, at this stage in their career have entered into a similar strata as Obituary or Cannibal Corpse. They will no longer innovate- they have their own sound and style- but they will remain at the forefront of the genre and some albums are better than others! I found “Vile Nilotic Rites” to be more instantly gratifying than “What Should Not Be Unearthed”- insofar as that the songs are somehow less wilfully tech-y and seem to be a little more natural in their composition and delivery.

Whether it be the excellent scene setting intro of “That Which is Forbidden”, the epic “The Imperishable Stars are Sickened” or the straightforward aggression of “Snake Pit Mating Frenzy”, there is a lot to listen to here; the individual instruments, the superlative production and even... the song writing. It's not perfect; there is nothing here that can match Deicide for memorable 'tunes' and there is nothing to trouble a listener who heard “In Their Darkened Shrines” years ago and was blown away... However, this is a perfectly serviceable entry into Nile's musical canon and is, I think, better than their last album (which I loved at the time, but after exploring other albums rate a little lower these days) while not being up there with “ITDS” or “Annihilation of the Wicked”.

For fans of technical and brutal death metal, any Nile album is a must, for those who are new to the band- why not start here? For connoisseurs of Nile... well, it's solid and the band sound fully engaged and committed. On that basis, it's one of the best death metal albums you will hear this year but only time will tell how this fares in the overall Nile discography. A classic band have thus delivered a good album. No complaints here.

“Vile Nilotic Rites” is available HERE

Band info: facebook

Thursday 12 December 2019

EP PREMIERE: Oriza deliver politically charged noise fest on self titled EP

Hailing from Margate, Kent and Utilizing a slightly unorthodox line up of drums, two basses and noise setup with no guitar and minimal use of pedals, Oriza's politically motivated amalgamation of D Beat, Sludge, Black Metal and Powerviolence is getting its debut at THE SLUDGELORD, with the exclusive stream of their self-titled EP which is set for release on 15/12/2019 via Astral Noize Records & Halfmeltedbrain Records.  Check it out in full and preorder a copy HERE

Tuesday 10 December 2019

ALBUM REVIEW: Avatarium, "The Fire I Long For"

By: Richard Maw

Album Type: Full Length
Date Released: 22/11/2019
Label: Nuclear Blast

“The Fire I long For” CD//DD//LP track listing:

01. Voices
02. Rubicon
03. Lay Me Down
04. Porcelain Skull
05. Shake That Demon
06. Great Beyond
07. The Fire I Long For
08. Epitaph Of Heroes
09. Stars They Move

The Review:

Avatarium, originally Leif Edling's brainchild, are back here with album number four. Over the course of the last six years, the band has produced some top quality dramatic doom with the excellent vocals of Jennie Ann Smith being a huge selling point beyond the huge riffs and sometimes ethereal music offered up by both Edling and more so Marcus Jiddell.

“The Fire I long For” is not as immediate as “The Girl With the Raven Mask”, and not as hard rocking as “Hurricanes and Halos”. It is not really akin to the debut either- if that helps at all. It's ambitiously structured and is a rather downbeat listen- maudlin rather than dreamy. The first three tracks offer up plenty of melodrama but it's a very different type of melodrama to, say, The Door To Doom.” by Candlemass

Opener “Voices” is a dark one- with a rather disappointing snare sound, but after that things pick up via “Rubicon” and “Lay Me Down”- reaching a first half peak with the sublime “Porcelain Skull”- great riffs and songwriting! There is also rock n roll aplenty here- “Shake That Demon” is hard driving rock of the best kind, bridging the two halves of the record and blowing away any atmospheric cobwebs. The BOC, Rainbow and Sabbath influences remain, of course, but Avatarium sound different to all other doom bands operating.

The epic “Great Beyond” and the title track share similar DNA; dark and spacey soundscapes of five minutes plus. The black as tar “Epitaph of Heroes” is the record's longest and darkest listen with no small amount of dramatic riffage. “Stars They Move” closes this intriguing and abstract record with varied instrumentation and an excellent vocal performance from Smith. The press release refers to Leonard Cohen as a writing influence and I can see and hear it here. This is a different album for Avatarium; progressive and ethereal, hard to grasp and a grower. You'll get a great record out of repeated listens. Another sublime record.

“The Fire I Long For” is available HERE

Band info: facebook

ALBUM REVIEW: Pist, "Hailz"

By: Richard Maw

Album Type: Full Length
Date Released: 08/11/2019
Label: APF Records

“Hailz” CD//DD//LP track listing:

1. Ex-Nihilo
2. Wreck
3. Mind Rotter
4. Fools Gave Chase
5. If I Was You.....
6. Strangle The Sun (feat. Elephant Tree)
7. Skin Your God

The Review:

It was with high expectations that I pressed play on this sophomore effort from Pist, the North West's finest purveyors of... metal/blackened-stoner/sludge/what-have-you. With its respectful nod to a Manchester underground legend for the title and the contents herein only glimpsed via watching them support Orange Goblin back in January, I thought this would be a cracker. I wasn't wrong.

This lands somewhere between Raging Speedhorn, Bast, Orange Goblin and Sabbath. It's not really categorisable and all the more appealing for it. Pist have carved out their own niche. They are a brutal proposition live and on record they have not disappointed. Opener “Ex-Nihilo” has pretty much all elements present and correct- big riffs, rolling blast sections, vocals of several types and it all works wonderfully.

As the album progresses on via “Wreck” (ATG and Swe-Death influence present), “Mind Rotter” with dynamic sections and more unusual rhythms combined with very catchy riffing and onwards, it's clear that the record doesn't stick with any one genre for long and is best summed up as quality metal- there is some fire forged blood running through the very veins of this album.

The aggro-metal of “Fools Gave Chase” gives way to spooky atmospherics and black metal type progressions thereafter. “If I was You” is a dark journey through extremity and with only “Strangle The Sun” and “Skin Your God” to go, the record has shown itself to be richly varied and unique.

The former of the aforementioned pairing is dark and dreamy- imagine Tricky doing a metal track, perhaps? “Skin Your God”, meanwhile, is a riff heavy beast of grooves, a dreamlike mellower and a fetid blast of extreme metal by turns. Overall, this album has a lot of parts and somehow manages to be more than the sum of them. Where Pist will go from here is anyone's guess, but hopefully it will be out of Bury on a regular basis to pulverise more stages. The British metal underground is alive and well, with Pist making their claim as the best of the lot.

“Hailz” is available HERE

Band info: bandcamp || facebook

Tuesday 26 November 2019

6 NEW BANDS: THE SLUDGELORD's "666 Pack Review" (October 2019)

By: Nikos Mixas

Welcome to THE SLUDGELORD’s October’s “666 Pack Review”.  This time of year is often referred to as “Rocktober.”  The reason?  Tours…lots of them.  It’s difficult to keep track of and actually go to all the shows you want to because there are so many and that shit costs $$$.  Are any of the bands in this month’s “666 Pack Review” touring?  How the fuck would I know??? I just review them!  So, if you’re new to this, each and every month we handpick 6 review submissions and critique them by only using 6 words, then we rate them on a scale from 1 to 666!  Check out our tour themed rating scale below: 

1 – I’d give this band four flat tires so they couldn’t tour!
2 – Your band is in the equivalent of a ditch, you can get out, but it’s going to take some work.   
3 – Breaking even on tour isn’t satisfactory, nor horrible…sort of like this band. 
4 – Not having any shows fall through on tour is important, in fact, it’s considered a positive.  Congrats, this submission was pretty decent.  
5 – The best thing about touring is a packed house.  I’m pretty sure this band will have no problems doing so.

666 – This band sounds like they’re already chomping at the bit to tour.  THE SLUDGELORD abides…

Caveat:  Even though the “666 Pack Review” is meant to offer humorous critique, there are no safe spaces here and your gripes will only make you sound like a bellyacher.  THE SLUDGELORD is a picky listener…and doesn’t care what you think of his opinions….

1). Leaden Fumes “Abandon Ship” (Basel, Switzerland) Rating: 3

Swampy instrumentation, vocals have Pentagram feels.

2). Misleading “Misleading” (Portugal) Rating: 2

Venom meets an Electric Wizard interlude…

3). Wyoming Young and Strong “Death and Ruin” (Seattle, Washington, U.S.A.)    Rating: 4

Has a strong Big Business vibe.

4). Cattiva “Cattiva” (Buenos Aires, Argentina) Rating: 3

Cattiva needs some sativa. Chillax dudes…

5). Iffernet “Iffernet” – France   Rating: 4

Le black metal traditionnel…oui oui!

6). Adliga “Kali Paćjače Njeba” (Minsk, Belarus) Rating: 666!

Belarus for the win!  Отлично comrades!

Friday 22 November 2019

TRACK PREMIERE: The Osedax debut the cavenous "Beacon/Ox Eye"

Virginia is a hotspot for bands moving within sludgy circles, but one band who excel within the newer class are The Osedax. Named after a bone-burrowing deep sea worm, their music is similarly infectious as it worms its way into your system. Now on their third major release, “Meridians”, the group push their blend of atmospheric sludge/doom/post-metal to new heights, and the results are devastatingly effective.

Each track takes its sweet time to warm up, but once the drums kick it’s worth the wait. The Osedax perfectly capture the deep-water experience in all its forms, whether floating in a wash of guitar static, trudging through muddy riffs and melancholic synths, or - the pièce de résistance - when the band kick “Beacon / Ox Eye” and “White Horse / Tempest” in the guts with frantic blast beats akin to black metal like Downfall of Gaia. In addition, slimming down to a trio has had no ill effect on the band’s potency - the shared vocals flow between harrowing yells à la Neurosis and creature-like shrieks. The overall effect is cavernous, a sound that envelops and simultaneously destroys eardrums.

If you weren’t already familiar their previous albums “Delayed Response” or “Titans Lament”, then “Meridians” should be mandatory listening for fans of the above-mentioned genres, and who like floating at the bottom of the ocean.  Get your first taste of their new record today with the worldwide premiere of “Beacon/Ox Eye” below.  Preorder are being taken HERE

Band info: bandcamp || facebook 

Monday 18 November 2019

ALBUM PREMIERE: "Pain Clinic" by The Disease Concept

Way back in 2012, a group  of season musicians who have featured in the ranks of Fistula, Solace & Blood Farmers formed The Disease Concept.  Described as “the best sludge metal garage band you’ve never heard”, the band issued their debut EP, “Liquor Bottles & Broken Steel’ via their own Goatskull Records imprint, following it up a year later with their debut full length “Your Destroyer” and then silence.  
As time passed the likelihood of another release seemed improbable, however with talk of a long proposed final album having been recorded, fast forward 6 years and despite the band’s creators seemingly not in communication with each other and with the project long laid to rest, 2019 will finally be the year when that final album isreleased and today at THE SLUDGELORD, we’re excited not only to announce the release of “Pain Clinic” but stream the album in full, which you can check out below. Preorders are being taken at Totem Cat Records HERE  

Wednesday 13 November 2019

ALBUM REVIEW: Gatecreeper, "Deserted"

By: Garrett A. Tanner

Album Type: Full Length
Date Released: 04/10/2019
Label: Relapse Records

Deserted” CD//LP Track listing:

1. Deserted
2. Puncture Wounds  
3. From the Ashes              
4. Ruthless                            
5. Everlasting                                       
6. Barbaric Pleasures        
7. Sweltering Madness     
8. Boiled Over
9. In Chains
10. Absence of Light

The Review:

What happens when you have an amazing band that dropped an amazing record, they set about work on another record? You have high expectations. What happens when the band proceeds to smash those expectations in a million beautiful pieces to become one with the sand? Sonic euphoria. 

Holy Bolt Thrower Batman, does Gatecreeper achieve this and then some, with “Deserted”!

Sonoran Depravation was such a blisteringly beautiful offering to the world that when word finally came about on a new release, the hype train began to charge full-steam ahead. The speeding locomotive never stopped, as Gatecreeper stoked the fires to 88mph, and transcended to a whole other dimensional timeline of metal magnitude. The whole album is on the same level of mind-bending inanity as anything by Tomb Mold or Triptykon. Gatecreeper unloads a blitzkrieg of riffs that rip open the mind like a bunker buster smashing into its target, and not giving one iota about defenses. Everything is just ripped apart and reduced to hot shrapnel in the sonic blast. 

Gatecreeper’s Deserted” delivers from top to bottom, but there are specific awe inspiring points of brutal intensity. “Puncture Wounds” is the second track on the album that is preceded by a glorious invitingly bleak opening in “Deserted”. However, where the riffs pierce the ground and explode into a riff factory of hellish design is track two. These are grooves Bolt Thrower would approve of, and in many ways have that punishing feel that The IVth Crusade” has. The album chugs along with spine shattering heaviness until “Ruthless” unloads a magazine full of rapid-firing picking into the ears of the listeners and assaulting the listener into a mesmerized sense of awe. After one’s body is left riddle to the bone, the onslaught continues. 

Deserted” culminates with “In Chains” and “Absence of Light”. Not say that the album does not have philosophical inclinations, but Gatecreeper poured out the depths of existential dread in complete isolation to end the album. This is not just any means of isolation either, as the portents of both tracks fall into the realm of absurdity that Søren Kierkegaard resides in. The sacrifices we make to better uplift ourselves act oppositely and shackle us in servitude be it to our minds, or dogmas, material things, or those around us. They leave us a psychologically and emotionally deserted before us, and we do not realize until it is too late. 

Deserted” is available HERE

Band info: bandcamp || facebook

Monday 11 November 2019

ALBUM REVIEW: Phil Campbell, "Old Lions Still Roar"

By: Richard Maw

Album Type: Full Length
Date Released: 25/10/2019
Label: Nuclear Blast


“Old Lions Still Roar” CD//DD/LP track listing:

01. Rocking Chair (feat. Leon Stanford)
02. Straight Up (feat. Rob Halford)
03. Faith In Fire (feat. Ben Ward)
04. Swing It (feat. Alice Cooper)
05. Left For Dead (feat. Nev MacDonald)
06. Walk The Talk (feat. Danko Jones & Nick Oliveri)
07. These Old Boots (feat. Dee Snider)
08. Dancing Dogs (Love Survives) (feat. Whitfield Crane)
09. Dead Roses (feat. Benji Webbe)
10. Tears From A Glass Eye (feat. Joe Satriani)

The Review:

Phil Campbell has had quite a life after Motorhead- his Bastard Sons band, with his sons (!) made a good quality hard rock album and are touring pretty relentlessly. It is surprising, then that he has found time to record a solo album- one infused with some heavyweight guests; Rob Halford, Dee Snider, Nick Oliveri, Whitfield Crane, Ben Ward, Matt Sorum, Joe Satriani... the list quite literally goes on.

Make no mistake, Motorhead was a collaborative effort. The riffs and the arrangements on all those Motorhead albums post 1986? Campbell's (with Wurzel for the first nine years, of course) and Dee's. Lemmy was a lyricist, a melody writer and a songwriter, but Campbell put in the heavy lifting from “Overnight Sensation” onwards. It's no surprise, then, that the songs here are strong. They are also somewhat surprising.

Opener, “Rocking Chair” is an autobiographical tale of fulfilling destiny and played in a blues/country rock style... acoustically. After that, the swagger of “Straight Up” (Halford on vox) hits a sweet spot, Ben Ward pops up on the low slung “Faith in Fire” and smashes the ball out of the park- surely a bucket list job for Ward, being as he is a huge (literally and metaphorically) Motorhead fan.

The guests keep coming. The riff on “Swing It” is great- pure attitude- and the vocal from Alice Cooper is just as good. Golf has never before sounded this rock n roll. Things slow down on “Left For Dead”; bluesy vocal from Nev Macdonald- for me, it is a lesser track and perhaps reminiscent of the early 90's Motorhead penchant for a ballad, but as Nick Oliveri guests on “Walk The Talk” with its  barrelling groove, all is right again.

Dee Snider puts in an athletic performance for “These Old Boots” which is another mid tempo rocker with a big chorus and a big cowbell. There is old Motorhead collaborator Whitfield Crane on “Dancing Dogs”- with a surprisingly dark and grunge like feel and Wales' own Benji Webbe on the piano led “Dead Roses”! As a ballad it is a winner and nothing like what you might expect from the ex-Motorhead man. It's straight faced and all the better for it.

By the time the tenth and final track, “Tears from a Glass Eye” smoothly spins out of your speakers, you'll probably have a view about this album.  It's a wistful instrumental and one of the best things on the record. It's not a Motorhead album, that's for sure; the tempos are conservative and with half the album surprisingly quiet and restrained it's quite a curveball for Campbell's fans. It's one I enjoyed hugely, though. There are some real insights into Campbell's psyche and his musical loves and inspirations. He delivers wonderful guitar playing throughout and no small amount of great songwriting. For any fan of his work with Motorhead, it's a must. For any fan of any of the artists featured, well, give it a try. You'll be surprised at the very least and more than likely impressed.

“Old Lions Still Roar” is available HERE


Band info: Official

Wednesday 6 November 2019

ALBUM REVIEW: Rorcal, "Muladona"

By: Eeli Helin

Album Type: Full Length
Date Released: 08/11/19
Label: Hummus Records

”Muladona” CS//CD//DD//LP track listing:

1. This is how I came to associate drowning with tenderness
2. She drained you of your innocence, and you poisoned her with it
3. I’d done my duty to my mother and father. And more than that, I’d found love
4. A sea of false smiles hiding murder, jealousy, and revenge
5. Carnation were not the smell of death. They were the smell of desire
6. The only constant in this world is blackness of the human heart
7. I was the Muladona’s seventh tale

The Review:

Little did I know how big of a treat I was in for, when I was asked to scribe up the track premiere for the Swiss blackened death/sludge/doom/noise quartet Rorcal earlier this autumn. Prior to that, I recall coming across the band a few times, but never gave them enough attention to fully comprehend what I was ingesting. When the premiere opportunity came along, I quickly and quite profoundly realised how big of a mistake I've made by not really giving the band a chance years earlier. In fact, not doing so proved to be one of the biggest blunder I've made in my entire life, in terms of my music listening habits. The track we premiered over here at THE SLUDGELORD, "A sea of false smiles hiding murder, jealousy and revenge", was so impactful and effective that it plunged me harshly into a very overwhelming Rorcal binge for weeks. Those weeks were full of amazement, awe, and sound-inflicted pleasure that felt otherworldly altogether, and all that time I kept kicking myself for being neglectful towards the band before. I'm certainly glad that has forever changed as of now.

"Muladona" is Rorcal's fifth full-length releasing on November 8th through Hummus Records, thematically based around a novel of the same name by Eric Stener Carlson, mirrored through the bleak and violent whirlwind of dissonant and abrasive death metal, borrowing flavours from blackened aesthetics and noise (quoting myself like a champ here). The author also lends his voice to the band as a narrator throughout the album. The close interaction between the two makes up an extremely transcendental experience, tying the whole epos together in an unprecedented manner, capable of engulfing your focus fully for its entire duration.

Opening with an intro track "This is how I came to associate drowning with tenderness", it's clear right from the beginning that this is something else. The haunting atmosphere created by the amalgamation of drones and the narration, along the drum and bass hits pave the way to a half an hour's worth of godless and violent, utter satisfaction. "She drained you of your innocence, and you poisoned her with it" spews forth an overly sorrowful and dramatic atmosphere, commencing with a slow and airy pace for a good while. Amping up constantly, the track picks up speed and force for a five minutes before exploding into its black metal-esque, blast beat driven final moments. Ending to some insect samples and gasps, it's easy to picture yourself on the narrators position, as you're surely trying to catch your breath before the next track kicks in.

"I'd done my duty to my mother and father. And more than that, I'd found love" is an apocalyptic piece drawing influence from a lot of places. One of the best things on the album is that how seamlessly all influences, all these different tones blend in together. The almost folk-ish approach to some leads join the most abrasive kind of death-flavoured crushing beating while being viewed through a very blackened lens. The vocals also take the spotlight here, as the desperate yet powerful screams carry the story onwards with the narration. The following and the first pre-released track "A sea of false smiles hiding murder, jealousy and revenge" packs in the kind of fury and agony that makes it perhaps the most effective and interesting cut on "Muladona". This shortest and most vile track acts also as a perfect bridge to the second half of the album, being placed right to the middle and having the sinew to capsize the listener's well-being due to its disgusting but fascinating and enveloping nature.

The following pair, "Carnation were not the smell of death. They were the smell of desire" and "The only constant in this world is blackness of the human heart" push Rorcal's musical limits right to the edge of being unbearable noise, but right when the hypnotizing chaos starts to dare getting too much, they change the direction and let you breath. Although most of the album is pretty relentless and suffocating, the short moments of quietness and tranquillity filled with samples and dynamics give just enough air to the album to avoid getting nauseating. The narrative takes a stronger weight towards the end, and the story gets more interesting and compelling throughout, despite being very uneasy and even deranged at times.

The culmination point of the album lies at the pinnacle of it, the magnificent closer that is "I was the Muladona's seventh tale". There's a sense of closure found here, fittingly similar to the last twenty pages of an extremely immersive and rousing book. The tale is brought to its dismal end in a sentimental fashion, picking along the tastier spices from across the album and grinding them into one very eloquently. Massive breakdowns follow each other consecutively, leading ultimately in a mental one. The narrative is brought to an end over few minutes of noisy drones, while you're left in a state of mind that's infuriatingly hard to describe.

It takes time to fully grasp and figure "Muladona" out, let alone to depict it in sensible words. "Muladona" is a grand piece of music portrayed in a setting that hasn't been done before in this extent. It quickly became obvious that not only this album is amongst the top ones of this year for me, it's also amongst the best albums I have ever heard. And all that from a band who's history was completely out of my view before hearing this album. I sincerely hope that some of my blabbering above made even the slightest of sense, and if not else, at least peaked your interest to give it a listen. The feelings that Rorcal is able to generate with "Muladona" are ponderous and many, that should be dealt with accordingly. Long after the album's finished, it'll echo in the silence you need to surround yourself with after experiencing it, calling and alluring you back into its black embrace.

”Muladona” is available HERE

Band info: bandcamp || facebook