Amenra to Release Live II in June

Posted in Whathaveyou on April 30th, 2014 by JJ Koczan

I’m not sure if Neurot Recordings is going to handle a North American release for Amenra‘s new My Proud Mountain live album, Live II, which is due out in June. The two imprints have worked together before, on the Townes Van Zandt tributes, Songs of Townes Van Zandt Vol. I and II, but I’ve yet to come across concrete word one way or another on the Amenra. If you’ll recall, Neurot released the Belgian post-sludgers’ last studio offering, 2012’s Mass V, so I can’t think of a reason they wouldn’t want to also handle the live record, but I wouldn’t want to assume. Figured for those in Europe and those willing to shell out for imports, sure word of the release through My Proud Mountain was better than nothing.

Amenra also have a relatively-new video and some European tour dates that you can check out below, courtesy of the PR wire:

AMENRA to release live album via My Proud Mountain in June, plus Willy Vanderperre video collaboration made public

RELEASE DATE: 30/06/2014

My Proud Mountain are gearing up to release LIVE II, the second live cd, and first live 2xLP from AMENRA. The recording is the live audio from their MASS V release show of last year, mixed and mastered by Billy Anderson and released in beautiful handmade screen-printed covers. The LP and CD will be screenprinted by hand by Seriagrafie / Fabian Lauer. Below is the artwork and tracklisting…

The Pain It is Shapeless
Aorte.Nous Sommes Du Mème Sang
Nowena 9110
Silver Needle Golden Nail
Dearborn And Buried
A Mon Àme
Am Kreuz

In case you missed the news, AMENRA recently teamed up with top fashion photographer Willy Vanderperre and director of photography Nicolas Karakatsanis for a stunning video which features the band stripped of all that we know of them, and you can watch and share via the Church Of Ra YouTube channel…

Vanderperre has worked with a startling array of individuals, from Kate Moss to Kanye West, but his encounter with AMENRA sees both parties break formation to form a hesitant, powerful and revealing union. The video, set to À Mon Âme from their most recent album, MASS V, may not be what you have come to expect from the cult crafters of discordance – but what are AMENRA if not masters of defying expectation?

Says CHVE of the collaboration; “It is not at all like the sort of visuals we usually present, it is more a case study, or a visual interpretation of the band, a little piece of concept art, if you will. The idea they [Willy Vanderperre and director of photography Nicolas Karakatsanis] had was stripping us of everything we had – ‘what if we took it all away from them?’, ‘what if we took them from their comfort zone?’. No shadows or darkness to hide in, dark imagery, props or metaphors or symbols to use.”…

He continues…”Compare it to what we sometimes or mostly do with our music – stick to the mere necessary, take a minimalistic approach of a whole. What do we really need? To create a certain ‘feeling’ of emotion. For us, it was an extremely interesting cooperation. We normally keep our guard extremely high, never give something out of our hands, to keep it as close to our skin as humanly possible – that’s exactly what they did as well, literally…It was awkward, uneasy, and very confronting for us to see, yet one of the most interesting things we did lately, and an honour for us to be working with such talented and inspiring people. ‘Under a watchtower of punishing light.’”

Don’t forget that AMENRA are on the road and will soon head to the UK for two festival appearances, including Temples Festival this weekend. Here are the remaining dates…

SAT 10/05: BTR FESTIVAL, LONDON UK w/ Cult of luna

Watch the trailer for the Church of Ra European tour here.

Amenra, “À Mon Âme” Video by Willy Vanderperre

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The Obelisk Radio Add of the Week: Neptune’s Inferno, Abyss

Posted in Radio on April 30th, 2014 by JJ Koczan

If you like your sludge with more than a touch of the inhumane, Long Island resident Vincent Napolitano has got six songs and a name-your-price download with your name on them. Napolitano is the sole member of and driving force behind Neptune’s Inferno, whose debut long-player, Abyss, is out now through Death Valley Records. The album is a collection of thick, bludgeoning, misanthropic riffs, played slow and set to thunderous-sounding drum programming as a bed for Napolitano‘s layers of throat-ripping growls and screams. If nothing else, the 43-minute outing has the right title, since by the time the ultra-lumbering “Chiropteris” storms into its second half, you long since feel like you’ve been pulled down a well.

The largesse of sound is a big part of the album’s success. With a recording produced by Bleach Eater guitarist/vocalist Don Millard and engineered by Joe Cincotta at Full Force Studio, Napolitano pushes beyond one-man-project resonance and well into a full-band appeal. There are moments where the cymbal sounds are clearly programmed — the “hi-hat” in “Night Fever” and the “ride” in “Sonic Invasion” come to mind — but it’s not like Abyss is otherwise going for such a natural, accessible feel. Extremity is the purpose, and if there are flourishes of industrial at work in some of the material, that doesn’t necessarily detract from the album’s overall affect. “Vision Spell” sets a steady march and offers few frills around its riffing, screaming, lumbering approach, but the song’s victory is in the lack of restraint in its vomitous crawl. One does not get hit in the head with hammer and marvel at the nuance.

An 11:38 capstone arrives in “Frost Trails under the Blackened Sun,” feeding back into one last gleefully-repugnant plod. It finishes with the onset of gritty machine-noise drone, but it’s the march that makes the song a standout more than anything, a break around six and a half minutes in bridging the gap basically between the two songs it otherwise might’ve been. Whether it’s bands like Grime, or Wizard’s Beard or Morbid Wizard, Fistula or any of their depraved ilk, the world is not short on extreme sludge, and Napolitano has his work cut out for him in finding a niche for the massive tones he emits on Abyss, but especially for a first album, the clarity of intent served up here feels like forewarning of cruelties yet to come.

Hear Abyss now as part of the 24/7 stream of The Obelisk Radio, and get a sampling of the album via the player below, snagged from the Neptune’s Inferno Bandcamp:

Neptune’s Inferno, Abyss (2014)

Neptune’s Inferno on Thee Facebooks

Death Valley Records on Thee Facebooks

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Wolves in the Throne Room to Release Celestite in July

Posted in Whathaveyou on April 30th, 2014 by JJ Koczan

I’m not entirely sure I follow Wolves in the Throne Room‘s logic in putting out a companion to 2011’s Celestial Lineage instead of a new album altogether, but if time has proven anything about the Washington-based post-black metallers it’s that they’re way more concerned with expressing themselves on their own terms than with expanding their fanbase. Now that they’re working through their own label, Artemesia Records, I wouldn’t be surprised if the forthcoming Celestite is just the first of many experimental outings to come. They have a dedicated, open-minded audience, and there’s nothing to stop them at this point from exploring whatever sonic avenues might catch their attention.

To wit, this from the PR wire:

Wolves In The Throne Room announce release date of Celestite, to be released on their new label imprint in July

Excitement has been stirring since Wolves In The Throne Room announced the unexpected release of Celestite, an instrumental, experimental companion record to 2011’s Celestial Lineage.

Celestite sees the band take a deeper excursion into the crystalline synthesizer-driven domains that have long intrigued them. With the aid of producer Randall Dunn, the band unearthed a hidden soundscape that is only loosely tethered to their familiar sound, yet is still unmistakably the work of Wolves in the Throne Room.

We are pleased to confirm the release date for Celestite as 7th July in the UK/Europe. The release of Celestite will be the first on the band’s new label, Artemisia Records, which will be their outlet for future recordings.

In the coming months we shall be revealing audio glimpses into this exciting new work, revealing more information about its creation and will of course, be giving you the opportunity to hear the album in its entirety.

1. Turning Ever Towards The Sun
2. Initiation at Neudeg Alm
3. Bridge of Leaves
4. Celestite Mirror
5. Sleeping Golden Storm

Since 2002, over the course of 4 studio albums and hundreds of live performances Wolves in the Throne Room have refracted the transcendent and mythic aspects of Black Metal through their own idiosyncratic Cascadian prism. The resulting essence is music that is intimately linked to the wild lands of the Pacific Northwest.

Their songs explore the hidden world of magic that one accesses through dreams, visions and music. As the mind altering pulse of the drums merges with seemingly infinite layers of guitar, an ocean-deep psychedelic soundscape coalesces. Time slows down, a portal opens and the blazing metal riffs collapse and shift into a dirge that invokes a misty other-world. In their songs, rain-drenched spectres loom at the edge of the wood. Ancient cedar beings stir beneath their wet moss robes.

In the Autumn of 2011, their work reached a new level of refinement with the release of Celestial Lineage. In contrast to the bleakly hypnotic architecture of 2008’s Black Cascade, or the more orthodox forms of Two Hunters and Diadem of 12 Stars (2006), Celestial Lineage moved into a more expansive and visionary territory.

7/11 Olympia, WA – Capital Theatre Backstage
7/12 Bellingham, WA – Shakedown
7/13 Vancouver, BC – The Venue
7/14 Seattle, WA – Crocodile
7/15 Portland, OR – Star Theatre
7/16 – OFF
7/17 San Francisco, CA – Slim’s
7/18 Santa Cruz, CA – Catalyst Atrium
7/19 San Diego, CA – Che Café
7/20 Los Angeles, CA – Echoplex

Wolves in the Throne Room, Celestial Lineage (2011)

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Six Records Released Yesterday You’re Going to Want to Pick Up

Posted in Features on April 30th, 2014 by JJ Koczan

This kind of thing happens every now and again throughout the course of a year, where there just happens to be one day filled with killer releases. It’s convenient if periodically overwhelming, and even in this age of preorders and stuff just showing up in the mail — a somewhat disconnected process compared to going to a shop and asking at the counter if something is in yet, but again, convenient — a day like that can be special. I remember days like that going back a longer time than I care to admit, and yesterday was definitely one of them as well.

If you felt the North American continent rumble just a little bit, that was probably just the combined weight — applied one on the West Coast, one on the East — of Fu Manchu and Floor putting out records at the same time. What will no doubt be two of 2014’s best releases when the year is done both arrived on April 29, but they were hardly the end of the story. In case you missed any of it, here’s a convenient (there’s that word again), alphabetically-organized assemblage from which to organize yourself before payday:

1. Floor, Oblation

Released by Season of Mist. File picking up the first Floor record since 2004’s Dove as a no-brainer. The Miami trio of guitarist/vocalist Steve Brooks, guitarist Anthony Vialon (interview here) and drummer Henry Wilson have been kicking around doing stuff live since a little while after they released their 8CD Below and Beyond box set in 2009, but Oblation (review here) is the new album and spiritual successor to 2002’s landmark self-titled outing. Following that one up is no easy task and they know it, but I think history will serve Oblation well in the long run, songs like “Love Comes Crushing” and the eight-minute “Sign of Aeth” expanding the sludge-pop formula that made Floor‘s early work so vital without sacrificing the hooks that at this point have spanned more than a decade en route towards timelessness. Floor on Thee Facebooks.

Floor, Oblation (2014)

2. Fu Manchu, Gigantoid

Released by At the Dojo. The first new Fu Manchu self-release after two full-lengths on Century Media and a handful of reissues through their own imprint, Gigantoid brings a rawer sound from the widely influential SoCal fuzz stalwarts. They recorded with Moab guitarist Andrew Giacumakis, and while the album boasts some quintessential examples of what’s always made the Fu‘s songwriting so infectious — looking at you, “Anxiety Reducer” and “Radio Source Sagittarius” — their hardcore punk roots come through on “No Warning” and Gigantoid rounds out with an extended jam led by bassist Brad Davis on “Last Question” and filled out through a barrage of effects from guitarist Bob Balch. If I can get to it today I’ll have an interview up with guitarist/vocalist Scott Hill (otherwise tomorrow), and a review is forthcoming, but the short version is Gigantoid is one of the year’s best, no doubt. Fu Manchu on Thee Facebooks.

Fu Manchu, Selections from Gigantoid (2014)

3. Jeremy Irons and the Ratgang Malibus, Spirit Knife

Released by Small Stone. Swedish upstarts Jeremy Irons and the Ratgang Malibus offer engaging touches of heavy psychedelic blues and expanded-definition stoner rock on their third long-player and Small Stone debut, Spirit Knife (stream/video premiere here), working naturally in a classic heavy context without pretending the last 40 years never happened. The album is immersive and atmospheric, offering standout moments of righteousness in 10-minute opener “Fog by the Steep,” “Clang,” “Point Growth” and elsewhere, and provides a look at a unit with the potential to continue to expand their sound going forward. Seems like JIRM have thus far flown under North American radars for the most part, but Spirit Knife is worth the effort of tracking down, and by that I mean clicking “play” on the Bandcamp stream below to hear it for yourself. Give it some time to unfold and you won’t regret it. Jeremy Irons and the Ratgang Malibus on Thee Facebooks.

Jeremy Irons and the Ratgang Malibus, Spirit Knife (2014)

4. Revelation, Salvation’s Answer

Released by Shadow Kingdom. Perennially underappreciated Maryland doomers Revelation and Pittsburgh’s Shadow Kingdom Records are no strangers. The label has handled reissues of 1992’s Never Comes Silence, 1995’s …Yet So Far, and 2008’s Release, in addition to having the first release of 2009’s For the Sake of No One and 2012’s Inner Harbor. This time, the band and imprint partner up for a revisit of Revelation‘s 1991 debut, Salvation’s Answer, and while the look is overdue, it’s no less welcome for its late coming. Salvation’s Answer might sound raw 23 years after the fact, but its elemental sound remains deceptively atmospheric, and like much of Revelation‘s earlier output, it wears a deep-running melancholy on its sleeve and blends progressive guitar work with a strong foundation of metallic groove. Revelation on Thee Facebooks.

Revelation, Salvation’s Answer (1991/2014)

5. Salem’s Pot, …Lurar ut dig på prärien

Released by EasyRider Records. Mired in drug-derived riffing and classic horror/exploitation ambience, Swedish four-piece Salem’s Pot have plenty of scummer groove in common with Electric Wizard on their debut, …Lurar ut dig på prärien, but if worshiping at the altar of Sabbath and drawn-out fuzz was a crime, we’d all have been put to death years ago. Their reverential depravity comes through in the three extended tracks, “Creep Purple” (14:28), “Dr. Death” (9:52) and “Nothing Hill” (9:12), and the album unfolds in a haze of degenerate psychedelia. It’s crafted with vinyl in mind, but give me a CD to get lost in front-t0-back without having to worry about changing sides, because Salem’s Pot isn’t the kind of listen where you want to have anything whatsoever to do with consciousness. You could tag it derivative, but what isn’t? Familiar though it might be, it’s still worth a nod. Salem’s Pot on Thee Facebooks.

Salem’s Pot, “Nothing Hill” from …Lurar ut dig på prärien (2014)

6. Wovenhand, Refractory Obdurate

Released by Deathwish Inc. History has taught time and again not to be surprised when it comes to the David Eugene Edwards-led outfit Wovenhand, and their seventh offering and first for Deathwish Inc., Refractory Obdurate continues to expand beyond genre bounds, incorporating tonal weight into their signature brilliant arrangements so that songs like “Masonic Youth” (get it?) and “Hiss” pummel their payoffs as much as they enhance the atmospheres of “Salome,” “King David” and the joyously rumbling “Good Shepherd.” Wovenhand are a singular entity on stylistic terms, and Edwards‘ commanding presence burns through this material even at moments when he seems consumed by the full-breadth chaotic churning surrounding him in the mix. Refractory Obdurate — culling influences no less a patchwork than its cover art — is the work of genius, driven by faith and in perpetual development. Wovenhand on Thee Facebooks.

Wovenhand, Refractory Obdurate (2014)

That’s a pretty good day. If I left anything out or if you’ve already picked any of these up, I hope you’ll let me know in the comments. Thanks as always for reading.

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Wino Wednesday: Wino Plays Guitar in Saint Vitus, Live 1990

Posted in Bootleg Theater on April 30th, 2014 by JJ Koczan

Saint Vitus have been through a lot in the last 35 years. From frontman shifts that have taken them from Scott Reagers to Wino to Christian “Chritus” Linderson back to Scott Reagers then back to Wino to the 17-years between 1995’s Die Healing and 2012’s Lillie: F-65 where the closest thing to new material they had out was a 2003 one-off reunion DVD. They weren’t a band for most of that time, having gotten back together in 2009 to find an audience waiting for their return, but still, it’s been 35 years since guitarist Dave ChandlerReagers, bassist Mark Adams and drummer Armando Acosta (R.I.P.) got their start as Tyrant in 1979, and the simple fact that Saint Vitus is still standing today is an accomplishment not to be overlooked.

As previously announced, Vitus — now Chandler, Wino, Adams and Henry Vasquez — will head out on a West Coast run in celebration of their 35th anniversary beginning May 8 (dates here). This week, the band let it be known that they’re bringing the show, which includes playing 1986’s classic Born too Late in its entirety, to Europe and the UK this fall, and that they’ll be joined by Orange Goblin on the five-week trek. The dates are as follows:

Saint Vitus 35th Anniversary Tour Playing Born too Late
with Orange Goblin
09 Oct 14 Colmar (FRA) Le Grillen
10 Oct 14 Limoges (FRA) CCM John Lennon
11 Oct 14 Barcelona (ESP) Day of Doom
12 Oct 14 Madrid (ESP) Shoko
13 Oct 14 Lisbon (POR) Rca Club
15 Oct 14 Bilbao (ESP) Kafe Antzokia
16 Oct 14 Bordeaux (FRA) Le Krakatoa
17 Oct 14 Geneva (SUI) L’usine
18 Oct 14 Mezzago (ITA) Bloom Club
19 Oct 14 Rome (ITA) Init Club
20 Oct 14 Bologna (ITA) Locomotiv Club
21 Oct 14 Winterthur (SUI) Salzhaus
22 Oct 14 Munich (GER) Backstage Halle
23 Oct 14 Saarbrücken (GER) Garage
24 Oct 14 Paris (FRA) La Fleche d’Or
25 Oct 14 Tourcoing (FRA) Le Grand Mix
26 Oct 14 Vosselaar (BEL) Biebob
28 Oct 14 Bristol (UK) The Fleece
29 Oct 14 London (UK) Heaven
30 Oct 14 Dublin (IRE) Button Factory
31 Oct 14 Belfast (UK) Limelight 2
01 Nov 14 Leeds (UK) Damnation Festival
02 Nov 14 Rotterdam (NED) (Dutch Doom Days)
03 Nov 14 Cologne (GER) Luxor
04 Nov 14 Dresden (GER) Beatpol
05 Nov 14 Kraków (POL) Fabryka
06 Nov 14 Berlin (GER) SO36
07 Nov 14 Malmö (SWE) Babel
08 Nov 14 Stockholm (SWE) Debaser Strand
09 Nov 14 Oslo (NOR) Parkteatret
11 Nov 14 Gothenburg (SWE) Sticky Fingers
12 Nov 14 Hamburg (GER) Knust / Grünspan
13 Nov 14 Osnabrück (GER) Rosenhof
14 Nov 14 Jena (GER) F-Haus
15 Nov 14 Würzburg (GER) Hammer of Doom

To emphasize just how much Vitus have been through since ’79, I wanted to find something for this week’s Wino Wednesday you don’t see every day, and to that end, here’s a two-part set from the band live in Mezzago, Italy, from 1990 that features Wino on guitar alongside Chandler. He tears into a few solos and riffs out on “Dragon Time” and “Bitter Truth,” but by the time they get around to “Born too Late” and “Patra,” the guitar seems to have disappeared.

This experiment didn’t last long. Wino released the self-titled record from The Obsessed in 1990 and in 1991 traded out one band for the other. He wouldn’t return to Vitus until 2009, and in the five years since, he’s been frontman exclusively.


Saint Vitus, Live in Mezzago, Italy, Nov. 20, 1990

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Doom in June Vol. 4 Announces Final Lineup

Posted in Whathaveyou on April 29th, 2014 by JJ Koczan

If you’re the type to look at sponsor lists for music festivals, you might notice an Obelisk logo at the bottom of the poster below for Doom in June Vol. 4. I’m thrilled and honored to be on board for spreading the word on this year’s Doom in June fest, with Novembers Doom, Ides of Gemini, Godhunter, Satan’s Host, BigElf, Acid Witch and Pale Divine on the bill at the Cheyenne Saloon in the ultra-doomy climes of Las Vegas, June 6 and 7. As you can see, I’m in good company, and the fourth installment of the annual fest promises to be the grimmest yet. Did I mention Satan’s Host were playing?

Tickets are available now for either or both of the two days ofDoom in June Vol. 4, and the links are included below with the now-final lineup, fresh off the PR wire.

Dig it:


Friday, June 6th and Saturday, June 7th, 2014 at The Cheyenne Saloon

Salem Rose Music announces final line-up for Doom in June Vol. 4 Music Festival in Las Vegas. This year the festival kicks off on Friday night (June 6th). In keeping with festival tradition, Saturday (June 7th) will feature music all day and well into the night. Doom in June expanded the format to accommodate more bands this year. Event takes place at The Cheyenne Saloon (3103 N Rancho Drive, Las Vegas, Nevada 89130). Tickets are on sale now:

2- day ticket discount price $40

Friday only ticket $20

Saturday only ticket $30

“I’m proud I could put together a heavier than heavy line-up for Doom in June Vol. 4” explains festival founder Marco Barbieri, “We’ve expanded to a two-day format in order to add more bands. There is a greater diversity of talent and we’ve listened to the fans and made it darker and doomier this year.”

Event sponsors include Fly PR, Vegas Star Bookings, The Obelisk, Heavy Planet and All That Is Heavy. To become a sponsor or to find out about vendor opportunities please contact Salem Rose Music.

Friday June 6
(first band hits the stage just after 5:00 pm and show ends just after midnight)
Spiritual Shepherd
Whores of Tijuana
Wounded Giant
Night Demon
Spiral Arms
Big Elf
Satan’s Host

Saturday June 7
(first band hits the stage just after 2:00 pm and show ends around 1:00 am)
Spun in Darkness
Black Prism
Trapped Within Burning Machinery
Secrets of the Sky
Demon Lung
Ides of Gemini
My Ruin
Pale Divine
Acid Witch
November’s Doom

Spiritual Shepherd, “The Flock” Live at Doom in June 3

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On the Radar: Pushy

Posted in On the Radar on April 29th, 2014 by JJ Koczan

It’s only a practice recording, and a first one at that, but with “El Hongo,” Portland, Oregon’s Pushy made an opening statement that stands them out from both the bulk of West Coast heavy rock that seems to drive toward a skater-ized ideal of gnarly and much of international ’70s ritualizing, which is bent either on analog-worship or cult-minded vagaries. There’s no telling in listening to “El Hongo” where Pushy will necessarily end up — they might decide sometime between now and their first record that they really, really like Satan — but at least from the rough take we get from their rehearsal space, the four-piece seem to have more in common with a nascent movement of upbeat, positive-vibing classic heavy rock than with downtrodden grit or whiskey-soaked dudely caricature.

The band is an amalgam of Portland scene-dwellers — your scene hasn’t arrived until things start getting incestuous — including Crag Dweller‘s Travis Clow, Adam Burke of Fellwoods, Hosmanek‘s Ron Wesley and Bison Bison‘s Dylan Reilly, and what the conglomeration get down to on “El Hongo” (“the fungus”) marks itself out as classic ’70s boogie right from the first strike of the cowbell. Fitting to the band’s name, there’s not much subtle about it, and while the recording is raw the groove is smooth, the swagger so deep you can almost smell it and there’s enough there to give an impression of a good time not so disparate from that which Brooklyn’s The Golden Grass have on offer with their 2014 self-titled outing, serving a lighthearted reminder that the reason a bunch of friends might get together to write songs in the first place is because they think it’s fun.

Obviously it wouldn’t be fair to judge the band’s ultimate mission by what they do with their first public recording, but even the fact that they basically tossed off a rehearsal-space jam and put it out there for name-your-price download speaks to a laid back approach, and for these kinds of grooves, that’s just the way you want to take it. Nice and easy.

Pushy, “El Hongo” demo (2014)

Pushy on Thee Facebooks

Pushy on Bandcamp

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Alunah to Reissue Call of Avernus on PRC Music and Cosmic Tomb Records

Posted in Whathaveyou on April 29th, 2014 by JJ Koczan

With an apparent swath of labels waiting to work with them and as they get ready to record their third album and debut for Napalm Records, UK doomers Alunah have announced a reissue of their 2010 Call of Avernus debut (review here) through Canada’s PRC Music. You might recall the label is also behind the upcoming Ice Dragon CD reissues which are due next month, and with Call of Avernus, they’ll join Cosmic Tomb Records, who are handling a tape version of the release. No word on whether they’ll both have the same updated artwork or if the tape will use the original or what, but in a couple weeks, Alunah will be hitting the studio for the aforementioned third outing — and they’ve also got UK dates coming up, which you can see in the poster below — so they’re plenty busy one way or another.

Which seems to be how it goes for the four-piece. Here’s what the PR wire brought forth:

Call of Avernus Gets a Re-Release and New Artwork…

We released our debut CD album “Call of Avernus” back in 2010 on Catacomb Records. It has since sold out, and we have been approached by various labels regarding getting it re-released. Until now we have declined for various reasons. Canadian label and massive doom heads PRC Music Worldwide contacted us, and after lengthy talks felt that they would do the album justice. Currently the deal is for a CD release, but it may also be making it’s way onto vinyl. The release date is still to be agreed. Don’t forget, it is also being released on tape cassette by Cosmic Tomb. We will have copies for sale online, and on our upcoming May tour.

“We are completely ecstatic to announce our collaboration with one of the best UK doom metal band ALUNAH! This awesome band is now signed to NAPALM RECORDS but [we] will be re-issuing their jaw-dropping debut full length “Call of Avernus” through PRC MUSIC worldwide. Sophie (Guitar/Vocals/Front Goddess!) is redesigning the whole package for this essential reissue. I have been a fan of doom metal ever since I have discovered Black Sabbath in 1978… fast forward 36 years later, it’s an honour to be working with such a great band, ALUNAH being one of my favourite bands for the last few years! I want to thank Sophie for the opportunity and for believing in us for that mandatory re-issue! ALUNAH is addictive, be warned! If you are a die hard fanatic of CATHEDRAL and WITCH MOUNTAIN, do yourself a favor and check the band on Facebook and bandcamp” – Rémi Coté, PRC Label Owner

Alunah, Call of Avernus (2010)

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