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NWN RELEASES - COMING SOON
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NWN PROD



Joined: 10 May 2006
Posts: 23450
Location: SF Bay Area

PostPosted: Fri Jul 20, 2018 7:47 am    Post subject: Reply with quote

Yes, the tapestry is only with the die hard version.

I will make some other designs later.
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NWN PROD



Joined: 10 May 2006
Posts: 23450
Location: SF Bay Area

PostPosted: Fri Jul 20, 2018 10:35 am    Post subject: Reply with quote

IN STOCK NOW!
Masacre "Sacro" LP

The nearly forgotten second album from the kings of Colombian death metal is finally on vinyl format. The original CD and reissue on Obliteration has been out of print for some years now so it was good that Disembodied Records from Argentina got around to pressing this overlooked album again. Comes with printed innersleeve with lyrics.






-LISTEN-

CLICK HERE TO ORDER.
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NWN PROD



Joined: 10 May 2006
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Location: SF Bay Area

PostPosted: Fri Jul 20, 2018 1:07 pm    Post subject: Reply with quote

Back in stock

Blasphemy "Promo Tape 2" MC
ANTI-GOTH 405



This tape is free with orders over $50 without shipping.

Promo tape containing two songs from the upcoming Blasphemy releases on NWN:
"Blood Upon the Altar" MLP and "Blood Upon the Soundspace" MLP

You will need to add this item to your shopping cart in order to get the tape. It will not be added automatically. Please don't email asking to add the tape to an order.

One copy per $50 increments (that means you can grab 2 if you order $100).

Click here to order.
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NWN PROD



Joined: 10 May 2006
Posts: 23450
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PostPosted: Fri Jul 20, 2018 1:08 pm    Post subject: Reply with quote

Back in stock

Blasphamagoatachrist "Black Metal Warfare" Demo
ANTI-GOTH 407



(Description by C. Conrad)
Continuing its longstanding mission to propagate the most unrelenting manifestations of bestial black metal, Nuclear War Now! Productions presents, “Black Metal Warfare,” the highly-anticipated first tactical strike from Blasphamagoatachrist. Consisting of members from the revered cults of Blasphemy, Goatpenis, and Antichrist, Blasphamagoatachrist boasts several decades of collective experience in aural combat, which it brings to bear in this inaugural demo. However, unlike many so-called “super groups,” who often suffer from a lack of cohesive vision and execution in their ranks, this unit has instead harnessed the individual strengths of each constituent and has combined them into a singularly focused entity that transcends the sum of its parts. As implied by the choice of moniker, Blasphamagoatachrist has chosen the most direct path in its nihilistic mission, thus forsaking any false adornments that might dilute its potency. There is no curtain of indiscernible noise behind which the instruments are obscured, as is sometimes the case in this style of black metal. Led by the lethal riffs and occasional solos of Virrigus Apocalli, which deliver the pinpoint ballistic strikes from above, the devastating bass of Sabbaoth and battery of T. Antichrist simultaneously decimate the battlefield below. Immersed in the fray, the war commands are performed by none other than Nocturnal Grave Desecrater and Black Winds, whose delivery remains as powerful as ever. These seven tracks of nuclear assault metal represent the best in the tradition of bestial black metal and portend ominous things to come in the future from these mercenaries, who appear to have now only skimmed the surface of their unquenchable bloodlust.

-LISTEN-

Click here to order.
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NWN PROD



Joined: 10 May 2006
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PostPosted: Fri Jul 20, 2018 1:34 pm    Post subject: Reply with quote

Both tapes are back in stock. CDs are also still in stock.

Blasphemy “Live Ritual – Friday the 13th” CD/MC
ANTI-GOTH 004




(Description by C. Conrad)
Throughout the label’s existence, Blasphemy has stood as a cornerstone in the foundation of Nuclear War Now! Productions. In fact, the band played a defining role in YK Insulter’s decision to make the label a serious endeavor, which has led to NWN’s productive output since its inception. Specifically, it was YK’s pilgrimage to Blasphemy’s live gig on July 31st, 2001 that cemented the label’s future direction. The impetus behind this voyage had actually occurred almost a decade earlier, sometime in 1993, when he was first exposed to the irreplicable brand of violent, bestial black metal epitomized by the band’s legendary “Fallen Angel of Doom….” album. Hearing this recording on a car ride to a Carcass concert in Washington D.C. that year ignited YK’s ensuing reverence for the band and others of a similar ilk. Six years later, when it was announced that Blasphemy would return to the stage in the summer of 2000 for the first time since 1994, life circumstances prevented YK from travelling to witness these atrocities. Nevertheless, when two additional shows were announced the following year, a high level of dedication combined with a dose of fortuitous luck resulted in his opportunity to attend and capture one of these shows on a digital MiniDisc recorder that had been gifted to him by an uncle. Although he had been given approval by Ryan Förster (aka DeathLord of Abomination & War Apocalypse) to record the event, it was not until after the gig that he obtained permission from Black Winds and Caller of the Storms to release the recording on LP format. The consequent “Live Ritual – Friday the 13th” LP thus became the first vinyl LP in what has since become Nuclear War Now!’s extensive discography. Originally a joint release with War Hammer Records, 666 copies of “Live Ritual” were pressed, with 100 on red vinyl, which would serve as the primary component in a more limited die-hard edition that also included, among other exclusive items, a CDR of a Blasphemy rehearsal that took place later that summer. Approximately seventeen years and several hundred other releases later, “Live Ritual” has become one of the rarest and most sought-after of all NWN releases, and so the time has come for a repress of this historic album. The audio has undergone an additional round of mastering at the hands of James Plotkin to remove the distracting preamble and improve the overall sound. The layout has also been updated to include a more extensive description of events that led to the recording as well as many photos from the gig. In addition to the regular and die-hard LP editions, it is also being made available on both CD and cassette in order to satisfy demand in all forms for this important document. While Nuclear War Now! has continued to evolve from its humble beginnings to its current state, “Live Ritual – Friday the 13th” will always represent the enduring essence of the label, and therefore it is truly fitting that it once again see the dark of night.

-LISTEN-

Blasphemy “Victory (Son of the Damned)” CD/MC
ANTI-GOTH 395




(Description by C. Conrad)
In 2018, it has been approximately eighteen years since Blasphemy returned from a six-year hiatus to perform two series of live rituals – first, in July and August of 2000 and again the following summer. Although it was not known at the time, these gigs proved to be significant in the fact that they would be the last for another eight years. One of these historic shows, on July 13, 2001, was attended and recorded by YK Insulter, and this recording was later released that same year on his fledgling label, Nuclear War Now! Productions, under the title “Live Ritual – Friday the 13th.” A limited die-hard edition was pressed on red vinyl and also included, most notably, a CDR of a rehearsal that the band performed about one month later in preparation for their gig at the Anza Club in Vancouver on August 29th. After having recorded the “Live Ritual” performance in July, YK shipped the very same MiniDisc recorder used for that event to Ryan Förster (aka DeathLord of Abomination & War Apocalypse), along with instructions on how to use it. The aforementioned rehearsal session took place in the basement of then-bassist Bestial Saviour of the Undead Legions, and Förster captured the event by placing the MiniDisc recorder on the top of a washing machine in the room. Given the circumstances, one might erroneously assume the resulting audio quality to be inferior. On the contrary, the audio turned out to be compellingly good and thus worthy of its own release. Each instrument, including the vocals, is clearly and distinctly audible and appropriately mixed with respect to the others. Nuclear War Now! is thus proud to present this rehearsal recording for the first time as a standalone edition on double-LP, CD, and cassette formats. What makes this release particularly unique is the first-time inclusion of the track “Victory (Son of the Damned),” from which the rehearsal now derives its name. In fact, the track is included in two consecutive iterations, as it was played back-to-back during the session in preparation for the song’s live debut at the following Anza Club gig. Another feature of this recording that makes it covetable is the between-song banter among the band and guests alike, including members of Black Witchery, who attended the rehearsal. Given the length of the session, the newly-mastered audio of the vinyl version comprises the first three sides of the DLP, and the fourth boasts a blasphemous etching. Though debate continues to this day as to which – between “Fallen Angel of Doom….” and the “Blood Upon the Altar” demo – represents the most essential Blasphemy recording, “Victory (Son of the Damned)” promises to hold its own place atop the mantle of bestial black metal history as a snapshot in time of the world’s most notorious black metal band.

-LISTEN-

Vinyl versions out in two weeks.

Click here to order.

===========================================


July 13, 2001 marked Blasphemy’s third live ritual following a six-year torpor. The performance was part of a fest that took place in Burnaby, BC, just east of Vancouver. I still recall the moment The Desecraters took the stage, opening their set with “War Command”:

Together proclaiming war
The worlds ending forever more
A nuclear power plant scare
Breathing out the flame of doom
Cursing all evil on the land
Nuke metal sinning calling of war
Angel's blood dripping from the sky
Hailing in the sign of Satan

While I didn’t think about it at the time, the lyrics to that song—the references to nuclear annihilation—prefigured the relationship that began that night and would persist through the years between Blasphemy and Nuclear War Now!. The live album that resulted from that show would be my label’s first vinyl release, although I could never have predicted at the time that the label would be thriving after nearly two decades. Back then, I had no aspiration to create a “successful” label; my decision to release Blasphemy’s “Live Ritual: Friday the 13th” LP was motivated solely by my intense appreciation for the band.
I first heard Blasphemy when I was in high school in Northern Virginia. I had a close friend at the time named Vaughn Currier who was a few years older than I was and already deep into Death and Black Metal. One night, sometime in 1993, as we were driving to a Carcass show in Washington D.C., Vaughn played “Fallen Angel of Doom….” on the tape deck in the car. I was immediately drawn to the violent, cacophonous roar I heard on that tape. Later around that same time, Vaughn and I took a bus trip from Northern Virginia to New York City, and I recall he bought several Wild Rags titles (including Nuclear Death and Order From Chaos) while we were at Bleecker Bob’s. Listening to those records after we got back to Virginia further deepened my exposure to the metal underground. Over the next several years, as I delved deeper and deeper into Black Metal, I always found myself drawn to the early bestial sound of bands like Sarcofago, Holocausto, Beherit, Impiety, Abhorer, and, most of all, Blasphemy.
In the late 1990s, the more extreme sounds of those bands fell out of fashion to some extent. Norwegian and Swedish-style Black Metal was ascendant, yielding a flood of bands playing poorly recorded raw Black Metal, much of which, at least to my ears, sounded incredibly weak by comparison. Fortunately, at the same time, a second wave of more aggressive Black Metal appeared, with bands like Black Witchery, Conqueror, Bestial Warlust, and others carrying the torch.
By 2000, I had gotten the idea to start a record label but had no clue how to go about releasing music on my own. I had a digital MiniDisc recorder that my uncle sent me when they were becoming popular in Japan, but were not yet in use in the U.S. In August of that year, I used it to surreptitiously record an Enslaved show, and “released” about 30 copies as a bootleg CD-R called “Vikings Cometh Through the Fog.” I later regretted bootlegging the show and eradicated it from my official release catalog, but it showed me that I could get a decent live recording simply from using that MiniDisc device.
In July and August of 2000, Blasphemy played their first shows since 1994. I desperately wanted to travel to Vancouver to attend one of the gigs but was unable to at the time. I was 25 years old and having just finished school and started a new job, I was too broke and too busy to contemplate traveling to Canada. The following year, Blasphemy announced two more shows. I thought it would again be impossible for me to attend, but chance intervened.
Earlier that year, I went to Chicago for business. The airline overbooked the flight on the way back to San Francisco, and when I heard they were asking people to give up their seats in exchange for a $500 travel voucher, I jumped at the opportunity so that I could use the voucher to go to Vancouver. It proved to be one of the most significant decisions I’ve ever made.
This was around the dawn of widespread email usage and the early days of the Full Moon Productions forum, and I was already deeply involved in trading tapes and records with other metal fans. A year or so earlier, around the time “Hellstorm of Evil Vengeance” came out, I began corresponding with Ryan Förster of Conqueror, who, in 2000, had been initiated into Blasphemy as DeathLord of Abomination & War Apocalypse. I was also in communication with Jay of Godless North (who would later appear on the NWN! release “An Ode to Sin” by Rites of Thy Degringolade) and Justin of Allfather, a band which also played at the same fest where “Live Ritual” was recorded.
I booked my flight to Vancouver so that I arrived the day of the gig and planned to leave the following day. Jay allowed me to stay at his apartment; it was also the location of the after party, so there were plenty other people there as well. I wanted to document the show for a possible release, but I wasn’t quite sure how to go about doing it. A few weeks before the show, I asked Förster if I could record Blasphemy’s set with my MiniDisc player, although I didn’t really know what I intended to do with the recording. Neither he nor anyone else in the band objected. I also brought a disposable camera with me to take photos, but I couldn’t move around during the performance because I wanted to hold the microphone steady, so I asked Jay to take some photos of the band while they played.
The show exceeded my expectations. Allfather and Blasphemy were both exceptional. Even if the record had never come out, it would still be one of the most powerful live rituals I have ever seen. Back at Jay’s after the show, inspired by what I had witnessed, I asked Black Winds and Caller of the Storms for permission to release the recording in some form. To my surprise, they agreed. I went back home the following day committed to finding a way to accomplish this task. Interestingly, that same night, Jay played an advance copy of Revenge’s “Attack.Blood.Revenge” that he received from J. Read. I didn’t know it at the time, but this early exposure to Revenge foreshadowed another of the label’s most significant long-standing relationships. In fact, in 2014, I had the honor of reissuing “Attack.Blood.Revenge,” which has long been one of my favorite recordings of all time.
In those early days of the internet, it was not a simple matter to just put out a record. CDs were still the dominant format, and pressing and distributing vinyl was an expensive and time consuming process. Having cut my teeth in the hardcore punk scene, vinyl retained a special significance to me, and, although it would have been far easier to just put out CDs, I really wanted to honor the tradition of releasing metal on vinyl. Mike Meacham and James Fiala of War Hammer records offered to split the release with me, with the understanding that I would be responsible for the layout. War Hammer’s involvement was helpful, both financially and because they had already some experience running a label.
Although I had an idea of how I wanted the record to look, I enlisted the assistance of Jim Kapsalis from Cult of Daath to help with the layout, since, at the time, I knew nothing about graphic design, especially the technical aspects. Back then, there was no “one-stop shop” for pressing and packaging records, so I had to assemble the records piecemeal, ordering the vinyl, posters, and LP jackets from three different vendors and putting them together myself in the tiny apartment where I lived. I decided to do 666 copies, which seemed like a lot in that era. (The LP jackets had to be done in batches of 1,000, so I had several boxes of them left over that I used as packing material for a long time after.)
Inspired by Iron Pegasus’ “Die Hard” editions, I decided I wanted to add bonus material to the first 100 copies of the release, which were on red vinyl. I printed extra copies of some of the photos and included a silkscreened poster of a promo picture taken in May 2001 at the Ross Bay Cemetery. Most significantly, I also included with the Die Hard edition a CD-R of a rehearsal the band did in August 2001, just prior to their August 29, 2001 performance at the Anza Club in Vancouver. Although no one knew it at the time, that show would be the last one Blasphemy would perform until 2009. (They would also play at the NWN! fest in 2010 and 2012.)
A few weeks prior to the rehearsal, I shipped the same MiniDisc recorder to Förster with instructions on how to use it. The band held the rehearsal session in the basement of then-bassist Bestial Saviour of the Undead Legions. Förster set up the MiniDisc recorder on the top of a washing machine and captured the entire session, from beginning to end. The members of Black Witchery were also present and can be heard in the background of the recording. Notably, the set included what was, at the time, a new song called “Victory (Son of the Damned),” which they actually played twice in a row during the rehearsal and performed for the first time at the August 2001 gig.
Looking back on it, the original “Live Ritual” LP feels very naïve, and it was. I nevertheless remain proud of it because it was a pure, passionate endeavor, unmotivated by the sorts of deadlines and expectations that characterize my work with NWN! now that it is a much larger operation. It also set into motion the project—Nuclear War Now! Productions—that has consumed my life ever since. Releasing “Live Ritual” taught me that I had the will, dedication, and vision to run the label. Feeling emboldened, the following year, I released Black Witchery’s “Desecration of the Holy Kingdom” LP, the self-titled Morbosidad LP, Goatvomit’s “Chapel of the Winds of Belial” EP, and Abigail’s “Intercourse and Lust” LP. For Blasphemy, “Live Ritual” was the first new material the band had released in years, exposing many new listeners to the music for the first time and foreclosing any dispute as to Blasphemy’s claim to its throne.

YK Insulter
March 25, 2018
Oakland, CA
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Acid Orgy



Joined: 23 Jan 2011
Posts: 1367

PostPosted: Tue Jul 24, 2018 3:08 am    Post subject: Reply with quote

YK, any news on the Bestial War, Genocidio, Murder Rape and Vensor represses?
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NWN PROD



Joined: 10 May 2006
Posts: 23450
Location: SF Bay Area

PostPosted: Tue Jul 24, 2018 12:45 pm    Post subject: Reply with quote

Acid Orgy wrote:
YK, any news on the Bestial War, Genocidio, Murder Rape and Vensor represses?


Genocidio is waiting on a good scan of the demo cover. The band found one but they haven't sent me the scan.

Bestial War is waiting on more material from the band.

Murder Rape is stuck in bad communication abyss. I can't get the band to send me anything except for their logo. Maybe they're not interested in the release anymore.

Vensor layout is done. I can send this to press whenever.
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Acid Orgy



Joined: 23 Jan 2011
Posts: 1367

PostPosted: Tue Jul 24, 2018 2:26 pm    Post subject: Reply with quote

Thanks!
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NWN PROD



Joined: 10 May 2006
Posts: 23450
Location: SF Bay Area

PostPosted: Thu Jul 26, 2018 7:37 am    Post subject: Reply with quote

OUT NOW!

Discharge ink printing on black Gildan brand TS. Available in sizes S to XXL while supply lasts. Printed by Inferno Screen Printing from NOLA.



Click here to order.
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_Lohmarizer_



Joined: 01 Mar 2010
Posts: 297
Location: Germany

PostPosted: Thu Jul 26, 2018 7:41 am    Post subject: Reply with quote

I hoped that the Moenen Of Xezbeth CD will also be finally available....still more patience needed I fear.....
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NWN PROD



Joined: 10 May 2006
Posts: 23450
Location: SF Bay Area

PostPosted: Thu Jul 26, 2018 7:43 am    Post subject: Reply with quote

Blasphemy “Blood Upon The Altar” And “Gods Of War” CD Out Now

Blasphemy “Blood Upon the Altar + Bonus” CD
ANTI-GOTH 398




CD version includes “Blood Upon the Soundspace” rehearsal as bonus.

(Description by J. Campbell)
Although Blasphemy’s recorded output was limited, its endurance over the last three decades is a testament to its originality and extremity, and it all began with the Blood Upon the Altar demo. The band’s origin was unremarkable but auspicious. In 1984, founding members Nocturnal Grave Desecrater and Black Winds and 3 Black Hearts of Damnation and Impurity, who lived near one another and were already acquainted, began playing music together, mostly working on cover songs. They soon recruited Caller of the Storms and Black Priest of the 7 Satanic Blood Rituals to complete the original lineup. After briefly adopting the name Antichrist, the band eventually settled on the simple and iconic name Blasphemy and began writing songs. They refined their sound and focused their songs during live rituals over the next several years, although the lineup would fluctuate slightly when Black Winds did a brief stint in jail, and Bestial Savior of the Undead Legions briefly assumed bass duties. Black Winds soon rejoined the fold, and Blasphemy entered Fiasco Bros. studio in 1989 with an $800 budget. They emerged having produced one of the most devastating demo recordings ever made. Blood Upon the Altar ushered in a new style of Black Metal, no less dark or evil than their contemporaries, but more confrontational, more violent. In addition to being heavily inspired by Bathory, Sodom, and Slayer, Blasphemy also drew from the punk infused Brazilian scene, especially SarcóI_LOVE_PENIS, as well as Grindcore bands like Blood and Genocide (Repulsion). The resultant mixture of these influences yielded a demo that established a new standard for extremity in Black Metal, a bar that Blasphemy would continue to raise with each subsequent recording. This edition of Blood Upon the Altar marks the first time since its original release that it has been properly featured as a stand-alone album. For far too long, this demo was tacked as bonus tracks onto the end of the Gods of War album, leaving the impression that Blood Upon the Altar was of lower stature; in fact, for many, Blood Upon the Altar is the most powerful Blasphemy release of all. Additionally, many of the earlier reissue editions of this recording had long gaps between the tracks owing to an improperly prepared digital master, but that flaw has been corrected with this version, which was also remastered by James Plotkin to ensure the best possible sound. Finally, the original demo artwork once again adorns the cover of this LP, which also features a full-color gatefold. In every respect, this version—a joint release by NWN! and Ross Bay Cult—seeks to restore Blood Upon the Altar to its original status as one of the most significant Black Metal recordings of all time.

-LISTEN-

Blasphemy “Gods of War” CD
ANTI-GOTH 399




(Description by J. Campbell)
Sometimes overshadowed by the masterful Fallen Angel of Doom LP, Blasphemy’s second and final album, Gods of War, is no less a masterpiece. As often happens to bands that are ahead of their time and don’t fall in line with the trends of their day, Blasphemy suffered setbacks following the release of their debut—most notably was the acrimonious relationship between the band and Wild Rags records. Although Fallen Angel of Doom sold very well, Blasphemy received virtually no royalties from the label, and the band sought out a new label to release its sophomore album. Having already released some of the most significant Black Metal albums of the early 1990s, Osmose was a promising choice for Blasphemy, and a deal was made. In the fall of 1992, Blasphemy returned to Fiasco Bros. studio, this time with a larger budget than they had available for their previous recordings. The core lineup consisting of Nocturnal Grave Desecrator and Black Winds, Caller of the Storms, and 3 Black Hearts of Damnation and Impurity all took part in the Gods of War sessions; however, Black Priest of the 7 Satanic Rituals, who played second guitar on Blood Upon the Altar, and Traditional Sodomizer of the Goddess of Perversity, who played guitar on Fallen Angel of Doom, both left the band prior to the second album. Rather than bring in a second guitarist, the band was joined by bassist Ace Gustapo Necrosleezer and Vaginal Commands, leaving Black Winds able to focus exclusively on his vocals. The immediate force of the Gods of War album is undeniable. At just over 20 minutes in length, it is as succinct and powerful a statement as any Black Metal. On prominent display are the band’s Grindcore influences, with several of the tracks clocking in at under one minute. The album also features re-recordings of four tracks from the Blood Upon the Altar demo, this time with fuller production. Overall, Gods of War features the most aggressive performances and the heaviest sound of Blasphemy’s studio output. This edition of the Gods of War album is also noteworthy because it marks the first time that NWN! has had the honor of releasing it since acquiring the rights to the recording from Osmose. To mark the occasion, NWN! has endeavored to repackage the release with a layout that is more in keeping with Blasphemy’s previous releases, and more consistent with the band’s original vision.

-LISTEN-

Click here to order.
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NWN PROD



Joined: 10 May 2006
Posts: 23450
Location: SF Bay Area

PostPosted: Thu Jul 26, 2018 7:43 am    Post subject: Reply with quote

_Lohmarizer_ wrote:
I hoped that the Moenen Of Xezbeth CD will also be finally available....still more patience needed I fear.....


It's at the press now.
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_Lohmarizer_



Joined: 01 Mar 2010
Posts: 297
Location: Germany

PostPosted: Thu Jul 26, 2018 7:47 am    Post subject: Reply with quote

NWN PROD wrote:
_Lohmarizer_ wrote:
I hoped that the Moenen Of Xezbeth CD will also be finally available....still more patience needed I fear.....


It's at the press now.


Thanks Yosuke!
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Squatz_n_oatz



Joined: 31 Jul 2013
Posts: 149

PostPosted: Thu Jul 26, 2018 9:18 am    Post subject: Reply with quote

NWN PROD wrote:
Yes, the tapestry is only with the die hard version.

I will make some other designs later.

Thanx
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NWN PROD



Joined: 10 May 2006
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PostPosted: Fri Jul 27, 2018 7:10 am    Post subject: Reply with quote

Two Death Worship releases are in the works:

New MLP:


Demo recording of Extermination Mass:


Promo tape with one song from each release will be out in August. As with the Blasphemy promo tapes, these will be available to orders over $50.
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