Memento Mori

The crushing debut full-length by this Spanish band. Proscrito was born from the ashes of the sloppier incarnation known as Calvario in 2016, paying homage to the too-doomed-to-be-dead/too-dead-to-be-doomed music of such acts as Cianide, Hellhammer/Celtic Frost, Necro Schizma, Asphyx, Autopsy, Paradise Lost, Winter, Samael and Goatlord, crafting slow and churning tracks that were to be (not really) perfected with the band's debut EP, "El Calvario", in 2017: a release filled with an all-encompassing passion for decay and rottenness, from the penitent and flagellant opening track "Via Crucis" to the closing instrumental mantra that is "Puteado," pounding caveman percussion, thundering bass, and wah-soloing frenziness in between. After three days of morbid delirium at Moontower Studios (Ataraxy, Graveyard, Oniricous, Teitanblood), once again under Javier Felez's supervision, Proscrito's follow-up to the debut EP took form with some more echoes to the days of yore, as a full-length frontal assault titled "Llagas y Estigmas" ("Sores and Stigmata"), featuring 5 disgruntled litanies of blood, sweat and no-tears imagery reminiscent of Robert E. Howard and Cormac McCarthy, muscular riffage, vomit and mucus. Tracks like "Marcado por la Pezuña," "Tronos de Oprobio" or their (scato)logical outcome "Pantalgia" truly persist with that tradition of primitiveness, putting the stress both in the Death and the Metal, for Doom has always been the band's destiny, its powers and wisdom. Any way you describe it, the dense and sulfurous rumble this Spanish power trio creates can cause tectonic shifts as ably as it can rot your soul. There's an almost uncomfortably carefree, laissez faire approach to Proscrito's ritualistic plod, as if the band is indifferently acting as a conduit for supernatural frequencies only they can sense. It's not often that Memento Mori dips its toes into the doomier end of Death Metal as of lately, but when it does, be fucking sure that it's for good reason! And indeed, "Llagas y Estigmas" is one badass good reason!

The long-awaited debut full-length by this Chilean band. Coffin Curse was thrown into this worthless world in Santiago in mid-2012, as a side-project of the main band Inanna, to spawn and vomit forth Death Metal in its purest form. Max Neira (guitars, bass, vocals) conceived this beast as a two-piece squad to explore the caverns of everlasting pain and horror. Musically, this is malevolent, straightforward, headbang-inducing Death Metal, inspired by early 90's U.S. icons such as Morbid Angel, Monstrosity, Obituary, Immolation or Deicide, plus the vicious vibe from the founding fathers such as Pentagram (Chile), Death, Possessed, Sepultura, Massacre, Slaughter Lord, Necrovore, etc. There's no blind allegiance nor messages to anyone; no dogmatic, religious, or cult preaching. Coffin Curse verses are just focused on the multiple facets of death in all its shapes, spiritually, physically, morally, mentally and metaphysically: evil, madness, multiple perversions, violence, hatred and despair, all that in communion within the endless confines of the human psyche. From 2012 up until 2018, Coffin Curse have insulted the planet with one demo, three EP's and one split effort, and now Max Neira along with Carlos Fuentes (drums) are ready to spit out the band's debut album, titled "Ceased to Be", which will be their biggest insult to the planet yet. Classic and crushing, Coffin Curse here unload a barrage of timeless Death Metal in a most late-80's mold, a time, it must be said (or at least repeated once again!), when "songwriting" and "Death Metal" weren't mutually exclusive terms. No riff salads, no jock jams, no gore-overload masking a dearth of ideas. Rather, taut and terrorizing memorability pumped full of catchy-as-the-clap riffs, haunting-the-chapel leads, and pro but not-too-polished production that only heightens the dark depths these Chileans plumb so powerfully. We'd deign to call it "classy" even, but this is fucking Death Metal after all! With suitably classic Death Metal cover art courtesy of Daniel Hermosilla (Nox Fragor Art), and climaxing with the 9-minute epic "Deep in Streams of Purifying Dirt", Coffin Curse crush graves and dreams alike with "Ceased to Be"!

The terrific 3rd full-length by this notable Melbourne based band. Borne out of the members desire to see a resurgence of a heavier, more dissonant style of Death Metal back in 2006, Ignivomous were among the first wave of bands to reignite interest in the genre in the first decade of this century. "Hieroglossia" preserves the core membership of the band present throughout its tenure -Sean Hinds (guitar), Chris Broadway (drums) and Jael Edwards (vocals)- and presents the recording debut of Lewis Fischer (Altars) on guitar and Chris Jordon (Inverloch, Eskhaton) on bass, both of whom have cemented the band's live assault for the previous few years in a campaign of high-profile shows in their native Australia. This lineup in its current form has secured and built upon the band's unrelentingly legacy, oozing raw, sinister Death Metal pushed a step further into the void, creating an album which synthesizes the bands influences with a definitive and individual vision. While projecting a murky and atmospheric take on the Death Metal template, the eight organic and primal songs on "Hieroglossia" avoid sacrificing the primacy of the riff for reverb-drenched formlessness, or songwriting in favour of dissonance for its own sake. Thematically, "Hieroglossia" continues Ignivomous' investigation into topics of philosophical pessimism, influenced by the works of Thomas Ligotti and E.M. Cioran, and gnostic concepts of the fallen and hostile nature of the material world, presented throughout with a literary sensibility which should be accustomed to those familiar with their previous output. Previously released on LP through Nuclear War Now! in November 2019, "Hieroglossia" was also released as a strictly limited tour edition digisleeve that was available for purchase during the band's European tour in late 2019. That digisleeve version did not include the official cover art and was roughly mastered. Memento Mori's version is presented in a regular jewel case, featuring the original cover art and layout by Stefan Thanneur, and a proper mastering work by James Plotkin (O.L.D., Khanate) at his own Plotkinworks Studio.

The long-awaited 2nd full-length by this U.S. band. Since the dawn of the Paleolithic age, mankind has recorded spectacular scenes of death, whether in scenes of cannibal feasts crudely etched on cave walls, massacres immortalized in glyphs adorning monuments of the ancient kingdoms, or in chance recordings of grisly accidents, compiled and sold on home video to those with a thirst for that which is denied to them by our "civilized" society. Spawned in the contaminated sewers of Santa Cruz, CA in 2013, Dipygus began as a 4-piece mutation performing rudimentary styles of Death Metal, a sonic evolution of the tradition continued from the time of Cro-Magnons. A 2015 demo recording, the earliest surviving documentation of the band, reveled in unexplained and bizarre events, including peculiar methods of whale carcass disposal and otherworldly monsters from on and off the silver-screen. After a lineup change in 2016, Dipygus recorded the "Long Pig Feast" EP, which featured terrifying rites, ritual mutilations, and ominous sightings of a Mesozoic relic in the heart of the Congo. The debut album, "Deathooze", slowly de-composed in the murky shallows of powerplant runoff in the Monterey Bay, ultimately being recorded in 2018. Though quickly banned in over 16 countries, the debut album -exhibited in North America by Expansion Abyss and Caligari Records- attracted immediate attention among slime fetishists and similarly deviant circles. Placed appropriately alongside the Fiji mermaids and other grotesque artefacts found in curio cabinets of modern-day antiquarians, "Deathooze" continued the band's exploration of inexplicable incidents, mysterious beasts and shocking carnage, including genuine audio recovered from a fatal attack at the hands of an ape gone mad! Following their debut album, Dipygus was conjoined with an additional member, and began a new exploration in search of secrets hidden in the jungles of lost continents, where life is cheap. After successful initiation into the shadowy world of black-market cuisine, an agreement was reached with Memento Mori for the release of Dipygus' 2nd full-length, "Bushmeat". Showcasing more exotic and repulsive themes of the supernatural and taboo, "Bushmeat" presents an uncensored and unrelenting spectacle, with each element of the previous work irresponsibly taken to a further extreme. A prime cut of raw and grueling terror, it is fit for consumption by headhunters, body-snatchers, toad-venom junkies, cargo cultists, aquatic ape theorists, disaster tourists, carriers of tropical disease, voodoo practitioners and orgone revivalists only. All others have been warned... Memento Mori recommends Dipygus for fans of Autopsy, Impetigo, Undergang, Asphyx and Nuclear Death. But why not enter the jungle in search of "Bushmeat" and find out for yourself? The album was tracked at Darker Corners Studios, the new venture of Matt Harvey (Exhumed, Pounder, Gruesome) and Alejandro Corredor (Nausea, Pounder), ensuring utterly crushing sound. And with mixing by Earhammer Studios and mastering by Mammoth Sound, not to mention form-fitting cover art courtesy of Doug Camp, Dipygus' "Bushmeat" is guaranteed to be a grisly good time!

The highly anticipated 2nd full-length by this Canadian band. With beginnings in 2011, Altered Dead are a two-piece contributing to the tradition of early Death Metal with a simple and therefore genuine approach: no frills, filthy and raw, proudly influenced by the likes of Autopsy, Death Breath, Grave, Asphyx, Darkthrone, Unleashed, Exhumed and Carnage. Released in 2016, Altered Dead's debut album, simply self-titled, was a cornucopia of darkness and utter death. Twisted and gross riffs ripped alongside warring treads of percussion, with the accompaniment of scalded and bellowing dual vocals mangling the listener's mind. Similarly, lyrical themes revolved around physical and mental warfare, mutating human nature and imminent conflict and collapse. Currently residing in Esquimalt, on southern Vancouver Island, the duo have had numerous live performances and subsequently started work on their long-awaited 2nd full-length. At last it arrives, bearing the ever-fitting title "Returned to Life". Be forewarned, though, as there's no "Life Metal" here: only utter death, once again, and darkness eternal, of course. The strikingly sick and psychedelic cover art by Matt Sidney should give some clues as to where Altered Dead are coming from here: tendrils of slimy and viscous riffage rising from the muck to ensnare martial mid-tempo gallops and frequent detours into doomed-out despair. The sum effect is infinitely headbanging as it is scabrously sewer-dredging, but rest assured that Altered Dead place a premium on stridently classic songwriting as their aforementioned forebears did at the dawn of the 90's: hooks, line and sinking... into the primordial abyss! Thus, "Returned to Life" is both backwards-looking as well as inward-looking -as in inward into that very same abyss. And, it also bears re-emphasizing that Altered Dead are a duo; however, for only two people, the band create a world-eating sound far larger than their pared-down membership may convey on paper. Credit due to Loïc Fontaine for his clear and crushing mastering job at Krucyator Studio, France. Closing with a faithful cover of Celtic Frost's "Into the Crypts of Rays", Altered Dead deliver traditional Death Metal perfection with "Returned to Life".

The crushing debut full-length by this German Death Metal warmachine that was previously only available on vinyl/tape/digital since its April 2019 release. Minenfeld started as a rehearsal room project in summer 2016. They never intended to record anything, particularly no album. Actually they started the band as a drunken idea, born from their passion for old school Death Metal (most notably Bolt Thrower, Hellhammer and Beherit), but immediately got to play a show, so they were pretty much forced to write a few songs. Afterwards, they decided to record those songs, which led to the split w/ Kriegszittern. After another split w/ Cryptic Brood and the release of a promo tape in between splits, they decided to record their debut album, "The Great Adventure", at the Tonmeisterei Oldenburg studios in Autumn 2018, which was released by Fucking Kill Records (vinyl) and Lycanthropic Chants (tape). The band's topic of choice for the lyrics since day one has been WW1. The idea has always been to create music that captures this war in all its crudeness and primitivism, and sonically conjure up the mud, steel, blood and death in these battlefields. To achieve this, the music is heavy, rumbling, apocalyptic, grinding and thundering, accentuated by many original samples from those times: songs, speeches and excerpts from radio broadcasts, most especially taken from the U.S. propaganda after their entry into the war. The idea to contrast this propaganda of a "great adventure" that awaits on the other side of the world with the sad reality of war, where many searched for glory yet only found death, fascinated them and led them to write the album, and ultimately use that "great adventure" expression as the title. Utterly recommended for fans of Bolt Thrower, Asphyx, Hail Of Bullets, Just Before Dawn, Decaying, early Sacrilege...

The striking debut full-length by this U.S. band. Unearthed in Florida in early 2019 and comprised of past and current members of other impious hordes such as Gnosis and Devastator, Hexorcist summon old school and blasphemous Death Metal that may as well fall under the "proto-Death Metal" category, for their ferocious and relentless approach to the genre harkens back to the mid-to-late 80's, when all things extreme were still boiling in the same malignant cauldron and all boundaries were nothing but a blur that no diehard dweller of the underground gave a damn about. Hexorcist's aural and lyrical offering is uncompromising and exudes utter vileness, leaving no room for absolutely anything that could remotely be considered modern or trendy. And Hexorcist accomplish precisely that on their scathing debut album, "Evil Reaping Death". Ridiculously accurate in its title, "Evil Reaping Death" is exactly evil reaping death: steeped in the ancients, billowing sulfur, divebomb leads flying right and left, and the unhinged yet locked-in execution that can only come from true and total diehards. Not everything goes in Death Metal, and Hexorcist keep a closed mind when it comes to the Metal of Death. For them, the archaic ways of Morbid Angel, Necrovore, Sarcofago, Death, Incubus, Possessed, Vital Remains, Slayer and Peru's Mortem do not need to be messed with, only upheld, and uphold Hexorcist do here. No more but definitely no less, "Evil Reaping Death" is 666% maniacal Death Metal for Death Metal maniacs exclusively! With utterly ripping mastering courtesy of Loïc Fontaine at Krucyator Studio (France), and classically evil cover art courtesy of Art Militia, Hexorcist soundly erase 30 years of 'progression' with "Evil Reaping Death". Expel the flesh! Revere the sacrificial rites!

A collection of all the songs (most of them available on CD format for the first time ever) included in their "...From Forgotten Tombs" (originally released on vinyl format in 2008) and "...From Forgotten Tombs II" (originally released on digital format in 2013) compilations on one disc, featuring the "Pleasures of War" EP (2004), a cover of Pentagram's "The Ghoul" and their side of the splits with Rue (2004), Sod Hauler (2005), Zoroaster (2009) and Unearthly Trance (2009). Adorned with an amazingly ominous artwork by Igor 'Abigor' Mugerza, "…From Forgotten Tombs I & II" display almost 70 minutes worth of gargantuan sheer heaviness and eerie aural landscapes from the undisputed U.S. masters of funeralized Doom/Sludge Metal with a Lovecraftian vibe. If the prospect of soul-crushing and utmost heavy Doom Metal suits your fancy, this anthology of Aldebaran's plodding opuses is an absolute necessity to drown in cosmic terror. Compilation of previous "...From Forgotten Tombs" compilations into a single CD format. Track 7 is a [a=Pentagram] cover.

The astonishing debut full-length from this U.S. band. Hailing from Portland, Petrification formed in 2014 out of their love of old school Swedish, British and particularly Finnish Death Metal, wanting to create music that while an homage to its roots, allowed its members to find their own unique voice in Extreme Metal. Drawn to the evil and doom-laden soundscapes of the Finnish masters, Petrification set out to meticulously craft their own vision in the writing of the early 2017 demo, "Summon Horrendous Destruction". And it's now, only a few months later, that Petrification set the bar even higher in terms of heaviness and somber ambience with the release of their debut album, "Hollow of the Void", a devastating opus that lyrically and sonically musters the band's morbid visions of horror, demise and mephitic decay through 11 tracks of utterly gut-churning Death Metal that traps the listener in a nightmare of festering pustules that nobody can't crawl out of. Fans of Convulse, Demigod, Grave, Dismember, Rippikoulu, Carcass, Bolt Thrower, Adramelech, Sorcery, Unleashed, Depravity, Entombed, Catacomb, God Macabre or even newer masters of the olden tradition, such as Disma and Funebrarum, will certainly find a new favorite in "Hollow of the Void". Featuring some deliciously macabre artwork and layout by Jason Barnett, the band's vocalist, and mastered by Dan Lowndes (of Cruciamentum fame) at his own Resonance Sound Studio in the U.K., "Hollow of the Void" marks the unstoppable ascent of a new force to be reckoned with in underground Death Metal.

In our endless quest to push and support current underground acts that perpetuate the odor of vintage Death Metal, Memento Mori summons yet another ponderous beast from the crypts and unleashes it upon mankind: the debut album of Poland's Martyrdoom, "Grievous Psychosis". Conceived in Warsaw back in 2010, the band went through some lineup changes until they established a solid formation in 2014, including Sociak (vocals), Marol (guitar), Młynar (guitar / vocals), Artz (bass) and Wasyl (drums). Blending complex, blast-beat driven, darkened Death Metal with slow Doom passages, the band draws its main influences from the likes of Obituary, Immolation, Rippikoulu, Autopsy, Demilich, Triptykon, Cannibal Corpse, Incantation, Hooded Menace, Grave, Disma and Dead Congregation, but they spew all those influences out with renewed vigor. As far as non-musical inspirations go, their lyrics mostly revolve about old school horror/gore movies, personal struggles and the works of H.P. Lovecraft. Bloodthirsty and dripping with menace, these Poles armed with a thorough knowledge of ancient Death Metal create something vile and unearthly. Eschewing all trends, Martyrdoom trudge defiantly, blasting their noxious blend of Death Metal and Doom Metal music, urging cohorts to surrender to them at once. Eight tracks of visceral mayhem are channelled through what sounds like cavernous labyrinths and are as unrelenting as they are haunting. "Grievous Psychosis" is the sound of demons in your head coming back to take control of what was always theirs. Cover art by Ryszard Wojtyński ("Hell", 1986).

The stunning debut full-length by this Australian band. Hailing from Sydney, Horrisonous formed in late 2015 and comprise a handful of hardened members of the local underground scene, including past or current members of such acts as Temple Nightside, Backyard Mortuary, The Slow Death, Illimitable Dolor and Pestilential Shadows among others. Not surprisingly, Horrisonous deliver aural slime, decay and misery by means of the ageless brand of Death Metal that's equally ponderous, crushing and fervent, enhanced with slithering tempos and influenced by the likes of Bolt Thrower, Asphyx, Autopsy, Death, early Paradise Lost, Celtic Frost, Carcass, Dismember and Incantation. They proved it on their debut EP, "The Plague Doctors", in 2016 and they proved it with the Asphyx and Celtic Frost covers comprising the follow-up "The Plague Doctors B-sides" EP two years later, and they fully prove it with their debut full-length, "A Culinary Cacophony". A cursory glance at some of the album's song titles ("Crispy Chunks of the Obese", "Nourishment Through Excrement", "Number of the Feast"...) and one could potentially assume Horrisonous are a hokey gore band. While their noses are no doubt in tune with life's foulest recesses, Horrisonous are deadly serious about their juggernauting Death Metal. Requisitely filthy as any Memento Mori release, "A Culinary Cacophony" digs deeply into the doom and serves up serious helpings of up-tempo gallop and blast. It's a world-eating sound that evokes a creepiness quite at odds with such otherwise tongue-in-cheek titles, but only Horrisonous know the methods to their madness... Brazenly adorned with garishly gruesome cover art courtesy of Rod Scott, Horrisonous offer a symphony of sickness with "A Culinary Cacophony"!

As a special celebration of the band's 35th anniversary, Memento Mori is thrilled to unleash a 2CD set that compiles all studio demos + rarities by this seminal Thrash/Death Metal band from The Netherlands, absolute precursors of the extreme side of Metal in their country. All songs were digitalized from the original sources and subtly mastered for an even more pleasurable listening experience. Also included as a very special treat for this compilation, two old songs re-recorded in early 2019 featuring former guitar player and original member Remco de Maaijer as guest musician. Cover art by Mörtuus. Tracks 1-1 and 1-2: old songs re-recorded in early 2019 (including a guest appearance by one original band member from 1984) Tracks 1-3 to 1-9: Speed Kills demo (1984) Tracks 1-10 to 1-17: Live at the Lede (1985) Tracks 2-1 to 2-4: Promo demo (1985) Tracks 2-5 to 2-8: Rebirth demo (1986) Tracks 2-9 to 2-11: The Day Before Tomorrow... demo (1987) Tracks 2-12 to 2-15: Omnicoitor demo (1989) Tracks 2-16 to 2-20: Pre-production Tape (1991)

One year after unleashing a promising debut full-length, Deprive is back with a sophomore album that strengthens all the attributes displayed on the critically acclaimed "Into Oblivion", only supplied with an even danker and more organic production that absolutely sets it apart from the current, plastic standards and will carry the listener back to a time when no digital tricks would spoil the soul of Death Metal. Formed in 2013, Deprive is the brainchild of a hyperactive veteran of the Spanish scene that goes under the nickname of Erun Dagoth, current/past member of a large number of bands and projects such as Briargh, Hrizg, Stormstone, CrystalMoors, Eldereon and Omendark, just to name a few. Drawing his influences from the early offerings of bands such as Paradise Lost, Hypocrisy, Morbid Angel, Amorphis, Incantation, My Dying Bride, Cemetary and Bolt Thrower, Erun Dagoth manages once again to display a vast array of resources that makes his music gloomy yet luminous, crushing yet emotional, capturing the very essence of the old-flavored, early and mid 90's Death Metal that used to toy with slower, doom-ish tempos to enhance the atmosphere. Produced in its entirety by Erun Dagoth himself, except for the artwork (handled by the talented Spanish artist Enserune), "Temple of the Lost Wisdom" is not just a great follow-up to "Into Oblivion", but a truly remarkable album that perfectly and honestly captures the vibes of yore, keeping them somewhat fresh and relevant for all true Death Metal fans to rejoice in.

Official reissue of the 2010 EP by this already cult Spanish band. Recorded, mixed and mastered by Javier Felez (of Graveyard fame) at his own Moontower Studios in Barcelona, "Curse of the Requiem Mass" features 6 tracks of putrid and foul-smelling Death Metal in the purest tradition of the early works of bands such as Asphyx, Autopsy, Morgoth and Immolation, with a pinch of the old school Swedish/Finnish vibe (think Depravity and Convulse). As a very special bonus, this CD also includes their 2009 demo, "Rotten Shit", for a total of 45 minutes of aural filth and decay.

The highly anticipated 2nd full-length by this Russian band. Hailing from Nizhny Novgorod and formed in February 2013, Wombripper have ever since leaned towards the Swedish school of Death Metal with raw, crunchy buzzsaw guitars and straightforward compositions. Highly influenced by Grave, Entombed and Dismember, their first demo, "Morbid Aberrations", was recorded and released in 2014, and the band shared the stage with some of the genre's milestones such as Necrophobic, Nominon and Fleshcrawl, and also newer underground acts such as Undergang, Nocturnal Witch, etc. After several lineup changes, the 4-track EP "Infected Tomb" was recorded and self-released by the band in 2017. That same year, Wombripper recorded their debut album, "From the Depths of Flesh", which was released in 2018 by different labels, such as Redefining Darkness Records (U.S.A.) and Grotesque Sounds (Russia). "From the Depths of Flesh" gained them lots of positive feedback from the media and old school Death Metal fans alike, as the album displayed some top-notch Swedeath, an aural massacre featuring plenty of catchy and morbid melodies, blazing solos and blasting devastation. Now scaled back to a 3-piece, Wombripper put the power in power-trio with their crushing second album, "Macabre Melodies". Ever aptly titled, "Macabre Melodies" is both macabre to the max as well as melodic -in a most macabre manner! Wombripper are nothing if not maniacs devoted to pure 90's Death Metal, and that vintage aspect rings proud and true here, adding to (but never subtracting from) the iron-clad foundation laid down by Dismember back then, keeping the guitars gutsfucking and incredibly tuneful, with hummable tunes you simply won't be able to get out of your head. But lest anyone linger under the assumption that "melodic" equates to some weakening aspect, fuck right off here: Wombripper are not named that for no reason, and "Macabre Melodies" encapsulates and then eclipses their no-less-righteous prior recordings, making for the band's apex to date and all without sacrificing an ounce of crush or credibility. Graced with stark and haunting cover art courtesy of MFA XII, "Macabre Melodies" is the sweet song you'll hear... before you die! Fans of classic Entombed, Fleshcrawl, Entrails, Nirvana 2002, Dismember, Grave, Demonical, Carnage and God Macabre: Wombripper is your favorite new old-style band!

The staggering debut full-length by this Australian band. Oozing out of Melbourne, Vile Apparition is a new project of Oliver Ballantyne (drums) and Jamie Colic (guitar, bass, vocals), both ex-members of the mighty Sewercide that left shortly after the recording of that band's debut album, "Immortalized in Suffering", in order to pursue other endeavors. Vile Apparition's self-released debut 4-song demo, "Atrocious Captivity", was picked up for a cassette release in early 2018 on Transylvanian Tapes, just in time for the band to fill their live lineup for their first run of shows starting January 2018. Alas, "Atrocious Captivity" was but a brief taste of the nastiness to come, now in the form of Vile Apparition's full-length debut, "Depravity Ordained". No lies in that title: this is fetid and filthy Death Metal that puts a premium on the bludgeon! Old school as it comes, of course, Vile Apparition's no-frills approach hearkens to the likes of Morpheus Descends, Ripping Corpse and Deteriorot, as well as the early works of Suffocation, Deeds of Flesh and Cryptopsy. An astounding exhibition of ridiculous, malignant heaviness that'll drill a hole in your skull and blow your brain cells to smithereens, the album also includes the preceding demo as bonus tracks. With suitably classic cover art courtesy of Chaostouched and mastering by Dan Lowndes at Resonance Sound Studio, Vile Apparition bring you blunt-force trauma with "Depravity Ordained"!