Black Metal

Expertly arranged keyboards enhance the atmosphere with both textural ambience as well as majestic melodies and riffs, and clean guitars and vocals bring a harmonic yet melancholic counterpart to the abrasive blasts and screams. Rocking riffs harken back to the primitive sounds of the 80’s, while the more symphonic and melodious parts rival the work the likes of BORKNAGAR, ARCTURUS and TARTAROS made in the 90’s.

Black Metal

“Skelepht” is elevated into the highest echelons of sinister music by Dråpsnatt’s mastery of controlling the liminal values. A bloodred thread binds together the highly varied output, and this horror’s tentacles writhe in many dimensions at the same time while still being connected to the main body of frozen, fierce and elegant symmetry. On “Skelepht”, all of Dråpsnatt’s many outstanding features came together, and assembled a rare beast. A farewell it might be, but its echoes still resonate through eternity. In death; is life.

Black Metal

Recorded and released in 2014, Dreadful Relic’s “Archaic Conjurations” demo established the sonic and thematic axes about which the band has expanded and evolved over the last decade. The specter of ancient civilizations lost to time haunts their music. Cities once teeming with people, tethered to their own relative sense of modernity, reduced to ash and dust. This is the fate of all men—for all their megalomaniacal lust they are ultimately nothing, their works obliterated in the darkness cast by time’s long shadow. Nowhere is this phenomenon more readily apparent than in Dreadful Relic’s homeland of Greece, its ancient ruins and monuments like the last crackling embers and ashen remnants where the fire of western civilization once blazed brightest, harkening back to a time when the veil between reality and magic was thin, translucent, and permeable. Dreadful Relic approach these concepts metaphorically, drawing heavily upon the mythopoeic works of Robert E. Howard, references to which abound in the band’s lyrics.

Black Metal

Less than a year after “Archaic Conjurations,” Dreadful Relic delivered their first vinyl release—an eruption of all the potential stored in the demo. Recorded after the summer solstice in 2015 and self-released later that year, the “Warlords of the Cosmic Sovereign” MLP showcased the band’s esoteric proclivities and potent songwriting, drawing inspiration from Hellhammer/Celtic Frost, Samael, and other progenitors of the black metal genre. Each side contains an atmospheric intro followed by a bludgeoning original composition. Additionally, the MLP closes with a cover of “In the Shrines of the Kingly Dead” by Treblinka/Tiamat, a song perfectly suited for Dreadful Relic in both style and substance.

Black Metal

“Was der Morast verschlang” is the 4th album and the lyrical themes are about the ugly face of the swamp … Grey mist rises from black waters!

Black Metal

Recorded in the dead summer of 2007 and released in the same year, “Of Celtic Blood & Satanic Pride” is a notoriously polarizing album from this Australian Black Metal entity. An album that awakens the dormant genetic memory in ones veins while exploring the esoteric and occult aspects of the past.
Strong willed and setting a blazing pathway towards all future releases from Drowning the Light.

Black Metal

This EP of raw, melancholic & bloodthirsty Black Metal is based on the painting and drawing of the same name by William Blake of a Vampyric entity that appeared before him during a séance with John Varley in 1819.
The two would often gather late at night in Varley’s house, and played a game in which Varley would attempt to summon the spirit of a historical or mythological person. On the appearance of the spirit, Blake would then attempt to sketch their likeness.
According to Varley, the imagery of a Flea came to Blake during an 1819 séance.
The Flea entity told Blake that “fleas were inhabited by the souls of such men as were by nature blood thirsty to excess.”
The flea communicated to Mr. Blake; “It was first intended,” said he (the flea) “to make me as big as a bullock; but then when it was considered from my construction, so armed – and so powerful withal, that in proportion to my bulk, mischievous as I now am, that I should have been a too mighty destroyer; it was determined to make me – no bigger than I am.”
The sketch and painting of the Flea, part human, part Vampyre and part reptile have led many to believe William Blake was communing with something far more sinister…