Not that founder and vocalist Peter Clemens hasn’t been busy.  We have covered his other projects right here in the mean time, Yellowtooth and Nocturnal Torment. Both solid projects, But I was particularly excited for Invasion’s return.

Well, even though armed with some of the guys from Bezerk Artillery Barrage, Invasion has steered away from the Swedish guitar tone of the last 2 albums and gone for a more direct. traditional US and even British death metal sound (think Benediction). And with the war themed still intact you can look no further than the likes of Jungle Rot, Bolt Thrower, Humiliation with some added classic USDM speed thrown in.

Not quite a full on tank-like trundle as the above peers, but with plenty of mid paced, thunderous double bass rumbles and chugs mixed with ample Floridian death/thrash (I’m getting a heavy, thrasher Malevolent Creation vibe on this one) and beefy Mid West  death metal blasts make for a satisfying death metal assault that checks all the boxes. Throw in ample, perfectly placed WWII movie and historical samples to start almost all the tracks and you get a damn solid effort and the shift in guitar tone from the suddenly trendy (yet still enjoyable HM boss sound), is less of an issue.

All 9 WWII themed songs hit home. None of them suck , but none of them are truly stunning-this is no Hail of Bullets, but just all around good solid burly death metal. Tracks like opener “I am the Enemy”, The Divine Wind”, “Dying on the Beaches of Normandy” (with a very effective Saving Private Ryan sample) and personal favorite “A Satisfying Death” are all enjoyable and re-playable, so long as you are not expecting world changing death metal.

Also, with current Blood Red Throne drummer, Emil Wiksten in their ranks, that also give you some basis for Fetus Stench’s sound and while it’s a energetic, tight and deftly played listen, it fails to really grab me or be anything other than a solid slab of US styled death metal.Of course, this type of no frills death metal has its time and place, and I’m perfectly content to listen to Stillborn should it randomly play on my Ipod, but I’m never actively craving it. Much like this years efforts from Deadborn, Fisthammer, Marasmus , Deserted Fear and such, it’s just competent but run of the mill, intense death metal, nothing more, nothing less.

Wiksten certainly has a presence behind  kit, the production is full and clear, the riffs are razor sharp and vocals of Bjorte are a solid, throaty almost thrashy mid range growl making all the elements of death metal here in spades. But there’s nothing that makes Fetus Stench stand out. The songs both structurally and thematically are all culled from Cannibal Corpse with the likes of “Meat Grinder Flesh Obliteration”, “Severe Suffering”, “Bashed, Defaced and Disfigured”  and “By Butchery Divorced” all blasting and grooving by with B movie stylings and a well delivered American tone.  A few squeal-y solos and a couple of slower marches break up the pummeling, but they are nothing too memorable.

In all, a competent if disposable Floridian styled death metal album that does everything it sets out to, but nothing more.

Basically, take the simple, catchy riff-driven rock a la AC/DC and The Zodiac Mindwarp, and then throw in some deep Chris Barnes -ish death metal vocals along with some traditional Danzig-y clean vocals (sometimes together, sometimes separate), all wrapped in Zombie/horror themes and there you have it – real Death ‘n’ Roll.

It is, as you’d expect, an odd mix, and it takes some getting used to, but I have to admit- there are some catchy little tunes contained on the aptly titled Rock ‘n’ Rott. The guitars are nice and beefy and the death vocals are plenty deep, even if the clean vocals are a bit off for me. But some of the songs themselves deliver as a whole. After the intro, the first track “Up From The Grave” is pretty much all you need to hear to determine if the rest of the album is worth your ear.

That formula is pretty much adhered to throughout the album; bluesy rock riffs, deep death growls and a clean croon-y chorus. Admittedly, it gets a bit old after awhile, and some of the riffs lose their catchiness. But if you are looking for a mindless, catchy style of metal to play with your windows open and still be a metalhead, you could do worse than “Necropolis,” super groovy “Take a Whiskey,” “Life for a Life,” the rollicking title track, “Necrophiliacs”,  the more uptempo closer “Dead End” (where the clean vocals take a turn into Lemmy territory) and even goofy “925” (the verse sounds like a zombie grunting incoherently in the background comically). And Rock ‘n’ Rott is still a far better option than Six Feet Under‘s take on Back In Black and even though at times it’s just laughable and silly (i.e “In the Dead of the Night”), and feels a bit like a joke or gimmick band,  I could not help myself from tapping my foot to any of the tunes.

Oh and don’t bother looking for this band at metal-archives/Encyclopedia Metallum – they aren’t deemed ‘metal’ enough to be there.

You’d think with a name like Southwicked, a confederate flag on the cover and even the opening bars of the title track, that this would be a swampy southern take on death metal, which might be pretty cool. But instead, Death’s Crown is totally identifiable Allen West riffs laced with a few more burly chunky Belgian throes. It’s not terrible, but is as basic, bare bones as death metal gets, and it’s hard not to think that most of these riffs are merely Obituary cast offs (” Killing Spree”, “The Phantom Prince”, “Graveyard of Bones”, “Charming Karma” .) But by the same token, the guy wrote some of Obituary‘s most classic stuff, so it’s hard not to dig some of them, as he really hones in on that The End Complete/Back from the Dead era sound.

But other than those nostalgic Obituary moments, Southwicked offers up little else. Vocalist Sven Poets does little more than a monotone Chris Barnes impression and the rest of the material (“Craving for Blood”, “Green River Killing Fields”, “The Only Living Witness” etc”) is little more than uninspired, serial killer inspired, mid paced death metal that offers up no more than Six Feet Under‘s early stuff, which West was responsible for also penning, but its as uninspired as he was in that band. The production also comes across as a mere rumbling Six Feet Under clone.

If you are really craving simple death metal that sounds exactly  like The End Complete or Haunted, go ahead and give this ago. But if you want something a little more from your death metal, I’d avoid this. Or actually, I’d recommend actually going back and listening to The End Complete and World Demise, as this is pretty much the same riffs.

But that’s not a cart blanche catch all, just a starting point as Eternal Helcaraxe has released a stunning album that takes all of the great things about Primordial (long songs, epic, craggy riffs, melancholic acoustic moments, gaunt sense of national pride) and gives it a a touch of their own character by way of delicate symphonics, more of a 90s black metal back bone and a somber sense of rangy melody and atmosphere that make Against All Odds one of the most alluring and engaging black metal releases of 2012.

After the enthralling real opening track, “Invictus” rumbles with a somber but staunch Celtic march and subsequent canter. The vocals of Thule are a decipherable, witchy rasp though hes often aided by his band mates with a plethora of other growls, understated clean croons and screams. And about 4;10 into the track it takes a gorgeous, melodic tangent with some sumptuous synths complementing the majestic gallop. It’s an absolutely riveting few minutes to end the song. ” We Assist Death” is initially the album’s most direct, virile black metal track relying in militant frosty riffs rather than atmosphere or synths, but the song’s last third is a more doomy, rangy and somber shade.

“Shadow of the Wolf” is the albums shortest, catchiest track with a rousing canter and classically arranged chorus that recalls the likes of mid era Immortal and other 90s black metal. “As the Snow Gathers” takes a little bit to get going and is the albums respectable down turn, but pick with a hypnotic mid song clean vocal segue and glorious symphonic close out. However, the closing duo of “Echoes Through Our Blood” and eleven minute title track more than make the album worthwhile alone. The prior a 6 minute stern war anthem of steady war metal riffage and explosive Celtic tinged black metal before the absolutely sprawling title track shows how good and varied Eternal Helcaraxe is. It contains everything- delicate orchestral intro, tremolo picked melodies, rousing marches, harmonic solo, atmospheric acoustic bridge and subsequent Primordial like explosion of steady, moody, epic riffage.

The production is clean but nor overly so, having a nice organic texture and hues that fits the epic visage the band is going for. And with only being their debut full length, i look forward greatly to future releases from this new jewel of the Emerald isle.

A Celebration of Death is, indeed, an homage to the extinguishing of life’s flame, though in not such an overt manner as initially thought. It seems that Fester, living up to their namesake, take a unique and uneasy approach to layering, building, and ultimately burrowing under the skin of their listeners. Unsettling elements of distortion, feedback, gritty vocals and industrial sections grate and squeal over melancholy and oft dissonant guitar work, creating a dark, hazy atmosphere likened to a macabre stroll through a glossy mausoleum.

To fully appreciate (or abhor) the poison that Fester dishes out, it must be taken in its full dose. Listen to A Celebration of Death in its entirety and allow yourself to become absorbed by its ambiance…anything less would be futile. Tracks like the intoxicating and bleak “The Black Tower” and the crunchy and battle-torn “Jeg spytter på deg (I spit on you)” help to construct the palpable sense of dread which permeates the album. Continue on with “Last Day of Battle,” parts I and II, a solemn and somber two-part affair that marches through thrashy blackness with the subtlety of a tank. Of note is closer “Rites of Mortiis,” an industrial remix of opening track “Rites of Ceres” by fellow Norwegian Mortiis. It’s an appropriate come-down from an album’s worth of weird, atmospheric filth.

A Celebration of Death is not for the queasy or closed-minded. Its liberal fusion of elements from various genres, metal and non, make it a mixed bag that many metal purists may turn their noses up at, but Fester have certainly created a unique atmospheric beast in it that leaves an undeniably new and odd-shaped dent on the landscape of extreme metal.

While Joha provides the face and voice of Desultor with his varied and emotive clean croons, the back bone of Desultor is provided by the incredibly tight and frenetic drumming of Ibrahim Stråhlman (of  late 90s early 00s melodic death metal act Auberon)  and when the two come together it somehow works.  Partly because the music is so high octane and often relentless with its polished assault, but partly because Joha’s vocals deliver just the right mix of epic, memorable clarity and gravelly emotion. A few gruff bellows and screams here and there also help to remind you of the albums underlying extremity, which can be often overlooked with the presence of the vocals.

Only recently discovering Strapping Young Lad, I hear some of Devin Townsend’s more insane balls out moments here (i.e “You Suck”) as the energy of the music is pretty impressive. And the duo balance everything perfectly. Even not being a huge fan of this vocal style, the music more than makes up for it, and Joha (who also does the guitars and drums) does a good job of making the vocals even more effective by making the choruses pretty damn catchy also.

After the atmospheric intro “Chapter 1- New Era”, “Black Monday” explodes from the speakers with a throttling salvo of double bass intensity and beefy crystal clear riffing. Admittedly, “Black Monday” is pretty much the receipt for the rest of the album, but with a confident, catchy delivery and attention grabbing intensity, the likes of “Another World”, “Division Insane”, “Luxury of Pain” and particularly ferocious “As So We Bleed”  will get your neck snapping and fingers shredding.

Another two instrumentals “Chapter 2- The Phoenix” and “The End” offer some respite, but make no mistake the goal of the album is pure shred, and the interludes merely serve as breathers between hard and fast sprints. Add a tight, crisp production and package is complete, even a little repetitive towards the end, but certainly a very pleasant surprise for 2012 and a bit of a welcome break from all the growling and gurgling I usually subject myself to.

Aaaannndddd… I should just leave it at that. I kind of wish they had, because nothing else on the album quite lives up to it. The problem is that a fair portion of the material on Holy Wrath is kind of bland doom that doesn’t strive to have much of an identity. The crawling riffs of “Holy Wrath,” “Sinner,” and “Agony” should be either crushing or atmospheric, but achieve neither. Every one of the doomier songs has some more upbeat sections to try to give them some life. It works a little, but as a fan of doom and sludge I shouldn’t be looking at my watch during the slow riffs, waiting for an upbeat chorus to come along.

The more aggressive songs are mostly mid-paced and not terribly creative. “Pyromania” and “Insanity” are serviceable, old-school death metal songs but just feel sort of lifeless. Some guitar solos would really provide a spark, but there aren’t any at all.

The only songs that come close to the quality of “Black” are “Son of the Winter,” and “Witch.” The former has a driving, sinister quality with great riff variation and more passionate vocals than there are on most of the rest of the album. “Witch” has their best, most stomping doom riffs followed by some upbeat thrash.

Holy Wrath has a very old-school and analog sounding death metal production, which is a double-edged sword. As you would expect it sounds simply terrific on the death metal songs but then it’s just too thin on the doomy stuff. Part of this is probably how the bass guitar is EQ’d. It has a really thwonking attack that makes it as clear and audible as the guitars when everything is blasting away, but the sustain just isn’t there to give the slow parts the depth they need. On the other hand, I love how the drums are mixed, with booming kick drums you feel more than hear.

I just wish that the things that work were used more. What’s frustrating is that Holy Wrath sounds half-assed. Diseim demonstrate how much they’re capable of with three of the songs but otherwise are content with mediocrity. That’s just too bad because they could have done a lot better. The album cover is cool, though.

When your first song has such a great title as “Fuckslut from Hell” you’d seriously better back that shit up. And after just under three minutes of Discharge-influenced riffing and strained, frenetic vocals that resemble bitching more than singing, I think it’s very clear that they have.

Septekh explore different moods and colors over the course of the EP. “Shoot Them All” and the title track are rollicking thrash songs punctuated with huge chunks of dirty groove, while “Not Quite What I Had in Mind” is filled with highly effective blast beats that work so well because they’re completely absent from the previous songs. They’re kept like an ugly secret until you’re not really expecting them and then unleashed in a frenzy.

But things get really insidious with “Blunt Force to the Head,” which begins with a deliberate, relentless stomp of a riff that seems to go on forever like a roaming dinosaur. The vocals and drums misdirect several times, giving fake cues that the riff is going to change, but it goes on for a full minute and a half, just drilling deeper into the mind. Then when the tension is at its highest, it erupts into blasting drums and fiery, hateful riffing.

But to me the highlight of the EP is “Eating the Maneater,” which despite its double kick drumming and lyrics that conflate cannibalism and cunnilingus, is really just a big, balls-swinging blues song. And although it’s totally contrived, it gives me a chuckle every time I hear Nils Meseke say “known to modern maon.”

Although not featured a whole lot, guitarist David Wikström’s bluesy, traditional solos provide a burst of energy any time things even begin to look like they might drag. Meanwhile the variation in riffing keeps things interesting. Let’s face it, the whole concept is juvenile, misogynistic, and… well… stupid. And you know it’s really easy for that sort of thing to get old even over just six songs. But with the shifting speeds and moods it’s never boring. The stupidity of it all doesn’t matter because it’s just so much headbanging, filthy fun.

In the end it’s the vocals that ultimately steal the show. Meseke uses a lot of pitch variation, which really enhances the intensity of the music. I’m not talking about high-low switching like Black Dahlia Murder, but rather a whole range covering all of the ground from a full-throated death bellow up to a piercing screech. He shows versatility that is uncommon to harsh vocalists and his delivery is just so volatile it’s infectious.

This collection of songs has made the rounds previously under the title Not What I Had in Mind, but has received some production enhancements for this retitled re-release. Honestly it gives me the impression that they’re spinning their wheels if they’re still pushing an EP from two years ago. I’d really like to see a full length from these guys because, as good a job as they’ve done keeping my attention for 22 minutes, I want to know if they can do it for 35 or more.

My initial, gut reaction comparison was mid-era Paradise Lost (Shades of God, Icon, Draconian Times), except The Gardenerz have traditional death/doom growls. The guitar work of Wilhelm Lindh has the somber, but melodic, rending hues akin to Gregor Mackintosh’s work as Paradise Lost transitioned from doom/death to more gothic tones. But with the vocals of Niclas Ankarbranth being far more extreme, The Gardenerz, even with a few more introspective moments, are a much more heavy hitting doom/death act.

Even though the band moniker doesn’t scream death/doom, (unless  I’m missing something), the song titles are a little more indicative of the genre as the likes of  “The Art of Suffering”, “Your Final Solution”, “The Lady in the Grave” and “Maybe its Time” display, even though the songs never delve into 8-10 minute dirges. Each of the songs are between 4-6 minutes and typically get right to it with plodding riffs, the occasional more up tempo rumble and lots of layers of melancholy, though not completely despondent tones. The Gardenerz aren’t going to open your wrists with dirges of woe or crush you with riffs, and that might be the only slight drawback to The System of Nature. It’s that it never fully commits to either doom or death and with a few injections of acoustics, the band’s overall direction is a bit indecisive.  The somber doom element, when done is indeed solid, as heard on “Born to Consume”, the start of “Incident” or elegantly doomy start of  “Flaw in the Axiom”, but the band’s slightly herky jerky shifts to more up-beat, almost jazzy or prog moments (“Shift in Thought”, “Confusion”), breaks some of the fluidity of the album.

But on the whole, the album is pretty well done.

The only other slight negative is the slightly tinny production which lessens the impact of some of the more rending, loping moments. It’s a production more suited to power metal or heavy metal, but it certainly gives The Gardenerz a bit of character, which, when mixed with two covers (Vulcano‘s “Bloody Vengeance” and Winter‘s “Servants of the Warsmen”) show The Gardenerz to indeed be more than a run of the mill doom/death band.

Well, one Hiram Lohr, an individual residing in Alaska, said “‘You know what? I fucking love Amon Amarth and Heathen Foray or Svartsot simply have not done a good enough job of paying homage so I’m going to do it, and do it really fucking well”‘. And by Thor, he has. But then again what else is there to do in  Alaska?

I could simply end this review by stating that Thousand Year War is a very good Amon Amarth cover band, but that would discredit Mr. Lohr and the surprisingly enjoyable album he has put together. Because not only has he (with the help of Kellen Sharp) done a great job of recreating a rousing, crunchy form big and burly but still melodic death metal full of Viking -ish chord progressions (though the themes and lyrics are not exclusively Viking based), he has written some really good, catchy riffs that Amon Amarth would actually be really proud of.

Opener “Defiance” could have opened any  Amon Amarth album, and it’s opening riff does actually come really close to pure plagiarism, but eventually develops a bit of its own character with a blast beat and some higher register vocals. Then the album starts to really finds its grove with a couple of really impressive numbers in the somber ebb of “The Sea” and high energy melodic gallop of “No Gods , No Masters” which also has a nifty little groove about 3:15 in. And that seems to be Hiram Lohr’s knack, despite obviously culling from Amon Amarth, he writes enough creative and memorable riffs to not care. And If I’m being completely honest, if you stuck this CD in an Amon Amarth CD case and told people it was a new Amon Amarth album, people would lap it up and say it was a damn fine addition to their discography.

The album is just as consistent, simple and unflinching yet head bangingly enjoyable as their peers as well. The likes of the energetic “Open Casket”, rousing “Spartacus” (my personal favorite) and even the cover of I’s “The Storm I Ride” (a good cover choice I thought as an obvious Amon Amarth cover would have simply blended in) are all bolstered with a big crunchy production and simple effective growls. The only this missing is that rangy , signature, sprawling epic number (none of the songs are over 4 1/2 minutes) that fans will clamor for live.

Certainly the best of Abyss Records recent slew of death/thrash releases and a promising debut from a artist who know his influence and performs it admirably.

Shortly after this release in April of 2008 we were joined by Kozel (ex-Mincing Fury)(cz) on bass, and the lineup was completed in July 2008 when were re-joined by our first drummer Tyrith who both added a new level of atmosphere and intensity to our sound.

Eternal Helcaraxe have performed full live assaults with such bands as Impiety, Shining,Spearhead, Abgott and Keep of Kalessin.

Unfortunately, due to personal reasons, Kozel parted ways with EH and in August 2009 we were joined by Thule, which set in stone the new path. We have completed and released our second and latest MCD which is entitled To Whatever End. Musically and lyrically, it was exactly what we wanted to achieve and it is available now.

Recently Eternal Helcaraxe have Joined with Abyss Records (USA) to release the upcoming full length album entitled Against All Odds, which will commence recording at Jam Studios in Kells, Ireland in August 2011.

Palest Kingdom and To Whatever End are both currently available via

Abyss Records at this location.

There’s nothing original to be seen here at all here. Solid mix of tangible Dissection/Dimmu Borgir/Naglfar/Dark Funeral worship with some deeper death metal vocals, some synths, and some well done, melodic but slicing riffs. All rendered with a nice polished production and just enough atmospherics and blazing riffs to keep me interested throughout. Albeit, I’m not blown away. Divided into three chapters (Chaos, Darkness & Emptiness — duh!), the nine songs (plus a cover of Dark Funeral‘s “The Dawn No More Rises” for this US release) comprise 38-minutes of well done music that comes across as purely Scandinavian — not Serbian.

Requisite atmospheric opener “The Awakening of the Evil Spirits” is your typical black/death keyboard intro  before “The True Insomnia” delivers some fairly standard black death blasts and growls. Nothing spectacular or attention grabbing. The third track, “Pandemonium”, is where Bane start to really pick things up with a really nice melodic blast and closing militant march that their Scandinavian peers would appreciate. “Lost Shadows” is an acoustic interlude, which should really cement how unoriginal these guys are. However, when the band deliver the vehement competence of “Abhorrence”, epic (read: long song with an acoustic mid-section) “Plague Upon Yourself” and terse melodic assault of “Inherited Infection”, it’s hard not to nod your head and think, “Hmmmm, not too shabby…” to yourself. “The Haunting Presence” is a slower somber track, showing that the band can step outside their box, but only barely as the closing atmospheric instrumental, “Dysthymia”, shows.

These guys know their niche and influences and wear them openly. There’s not an original note on the album, but each note is in fact pretty enjoyable and worth a look for fans interested in a solid take on a pretty same-y genre.

I can’t say what the response to the album was back in 1992 or if it’s some sort of unheralded forgotten classic, buried under all the great albums being released in that era — especially when you consider Norway was more known for its black metal than death metal around those times. But suffice to say, I wasn’t that impressed with the album the first time around and I’m still not overly impressed. Even more so when you compare it to the follow-up in 1996’s more experimental (but excellent) Silence.

Granted, Fester were maybe doing something a bit different for 1992, but when you compare Winter of Sin to other albums released in 1992, it just isn’t really up to par. The…ahem…festering hues and rough, gravelly guitar tone is suitably gnarly and primal–if relatively thin–and the whole affair has a very DIY, garage, demo feel with a scrawly, loose tone and some primitive solo work and to be frank, some rather I’ll fitting vocals, as like I said, they’d be more in line with Norway’s black metal scene.

The songs are all pretty long and drawn out, which is why some may have thrown the doom/death reference out back in the day — especially with the likes of “Liberation” and “As Swords Clinch the Air”. To me, it sounds like demo-quality Swedish death metal or a Celtic Frost cover band that’s been hit with a tranquilizer gun or overdosed on Nyquil, rather than some sort of forward thinking, genre defining sound that I’ve seen it touted as. And I’ll say it once again, the vocals that might have been considered ‘different’ for death metal in 1994, are actually pretty grating, notably when joined with the hokey synths of “A Dog Fight Leaves a Trace”. I’ll just let that song title sink in…and the bonus live track.

With so many reissues of some truly legendary and unheralded classics coming out as of late, I’m not sure this needed to come out with any of them. The Silence reissue that Abyss recently did is much more worthwhile and deserving. But in the end, just cause its from the ’90s and comes from Scandinavia, it doesn’t mean that it NEEDS to be reissued. Some albums simply deserve to stay buried.

To me, the major influence of Vortex of Death, the band’s second full length album is Abigor’s Veristung/Invoke the Dark Age without the medieval aura, Wrath of the Tyrant era Emperor sans synths and a less bassy Gorgoroth. The riffs swirl with a shrill, but melodic and controlled tremolo picked intensity, the vocals are a continual high pitched shriek with the occasional chant or spoken word, there are a few occult, atmospheric injections and the bass and drums are barely audible. It nothing that hasn’t been done to death, but in this era of black metal interbreeding with so many other genres, it’s actually refreshing to hear something this pure, and unashamedly old school. And it doesn’t seem forced or merely homage either, similar to recent releases by the likes of Cavus, Svartsyn and Sacrilegious Impalement, it’s like a record dug up from 1995 and released upon the world.

At 44 minutes in length and with only eight songs, each of the tracks is pretty lengthy but well crafted with just enough variety from the piercing maelstrom to keep you interested; whether it be a mid-paced march or slight atmospheric tangent or chant, the tracks manage to mount a surprisingly listenable primal black metal assault. That being said I’m not sure I could pick out the likes of “Innhumanus Revelatio”, “Overmenneske”, and “Slaves of Insanity” from each other or a crowd of Darkthrone, Mayhem and Immortal songs from the early ’90s. As for vocalist Undertykker–while certainly having an over the top, purist delivery–begins to grate after a while.

But like I said, for a fix of old school black metal that’s a welcome break from black metal that’s tainted with shoegaze, post, sludge or progressive and experimental elements (as much as I enjoy them), Vortex of Death fits the church burning bill.

Ars Vitae contains 17 tracks and will feature a mix of new material – recorded earlier this year at Necromorbus Studios – and previously unreleased recordings. The band has recently made one new song, “Eye,” available for download on their website (www.diabolical.se). The track can also be previewed on the band’s official YouTube channel –www.youtube.com/user/DiabolicalOfficial. “It’s an honour having a dedicated label like Abyss releasing the album over there, we are looking forward to that.” comments guitarist Carl Stjärnlöv.

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