5 NWN LPs Out Now

OUT NOW!

Bafomet “Baptized in Goat Blood” LP
ANTI-GOTH 697

-First pressing of 250 all on orange splatter vinyl
-3mm jacket printed on thick stock
-12″ insert
-A3 poster

(Description by P. Lautensleger)
Japan’s BAFOMET formed in the year 2015, but the spirit of their music belongs resolutely in the 1980s. Originally called Sigil of Bafomet, this Saikano trio plays satanic black speed metal in the tradition of the first wave of black metal bands, and does so with a seemingly effortless expertise. On “Baptized in Goat Blood,” BAFOMET shred their way through eleven anthems of true evil metal, with a speed and ferocity rarely heard in modern black metal. The guitar work is razor sharp, the drums relentless, and the bass/vocal onslaught from one Vladphemer the Sodomizer leaves a bloody trail in its wake. Standing firmly in league with fellow countrymen ABIGAIL and SABBAT and recalling the early works of VENOM and BATHORY, “Baptized in Goat Blood” keeps the spirit of true black metal alive.

Death Yell “Vengeance from Darkness” LP
ANTI-GOTH 330

-1st pressing of 250 copies all on black vinyl
-3mm jacket printed on thick stock
-12″x24″ gatefold insert

(Description by P. Lautensleger)
In the 1980s, South America produced some of the most legendary extreme metal in the genre’s history. While the renowned Brazilian scene undoubtedly cast a long shadow, like minded maniacs in regions like Colombia and Chile were simultaneously creating their own brand of black/death metal. Among the pioneers of the Chilean scene, DEATH YELL stands out as a founding group, and NWN! Productions is proud to present an official reissue of their legendary 1989 demo “Vengeance From Darkness.”
Formed in 1988 in Santiago (after a stint under the name Pestilence), DEATH YELL played thrashing death metal with a manic intensity with clear influences from Brazilian maniacs such as SARCOFAGO, SEXTRASH and MUTILATOR, with a punk energy that brings to mind EXTREME NOISE TERROR and the UK grind scene. Instrumentally proficient and sonically violent, DEATH YELL creates a controlled chaos that marries its deathrash roots with a macabre, funerary atmosphere replete with sinister, lurching organ work. “Vengeance From Darkness” was self-financed and self-released as a cassette by the band, gaining a legendary status in tape trading circles at the time. The prestige of this demo led to some of its tracks being reused on a split 7” with BEHERIT via Turbo Music in 1991, and another 7” titled “Morbid Rites” on Seraphic Decay Records in 1992. The band would remain dormant until their reactivation in 2012.
The reissue of DEATH YELL’s material was condoned by guitarist Andres Lozano (aka Pollo) after a chance encounter with NWN! Productions owner YK in the 2000s. “Vengeance From Darkness” was released on vinyl as part of the 2007 “Morbid Rites” compilation and again on a limited picture disc for NWN! Fest Vol. V (notably coinciding with their first and only European performance), and both releases are long out of circulation. While numerous bands have drawn inspiration from the South American scene of the 80s, “Vengeance From Death” serves as a primary source, showcasing the power and inimitability of DEATH YELL’s contribution to the genre.

Sarcasm “Crematory” LP
ANTI-GOTH 078

-2nd pressing of 250 copies all on orange splatter vinyl.
-3mm jacket printed on thick stock
-12″x24″ insert

(Description by P. Lautensleger)
SARCASM began in Slovenia in 1987. The teenage trio of Ales Blaznik (guitar), Sandi Dolinar (bass) and Matjaz Kacin (drums) began their career playing heavy metal covers, their first being Slayer’s “Black Magic”. After gigging in their hometown of Kranj, SARCASM started writing their own songs and added the vocal talents of Osim Cehic, aka Paco. Their initial demos were recorded in 1988 and garnered positive reactions from the Yugoslavian metal community. With the addition of second guitarist Matjaz Hudobivnik later that year, SARCASM became one of the leading names in the nascent Slovenian metal scene, opening for MOTORHEAD and counting the likes of DESTRUCTION among their fans.
“Crematory” is the first official full-length from SARCASM. Originally released on cassette by the band in 1989, this record is a milestone in both eastern European metal and 80’s thrash in general. Lightning fast and deftly executed, SARCASM’s attack recalls the best of pure 80s speed with a tonal grounding in classic heavy metal. The guitar work of Blaznik and Hudobivnik is razor sharp, with unreal twin harmonies and truly mind-bending solos (see “The Krueger Story”, for example). Paco’s vocal stylings pay homage to the early works of Tom Araya while remaining unique in their deliberate application. A classic in Slovenia, “Crematory” belongs in the international canon of classic thrash metal.

Dreadful Relic “Archaic Conjurations” MLP
ANTI-GOTH 648

-First pressing of 250 copies all on black vinyl
-3mm jacket printed on thick stock
-12″ insert

(Description by J. Campbell)
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. Like Howard’s Hyborian tales, Dreadful Relic conjure atavistic imagery—a lost epoch of mystical transcendence, honor in bloodshed, and blurred lines between good and evil, holy and depraved. Beneath Crom’s cruel gaze, ancient winds howl through the remains of desecrated temples and across battlefields where buzzards pick the flesh from the bones of fallen warriors. With the same reverence they accord Howard, Dreadful Relic also invoke Hellhammer/Celtic Frost as their primary musical antecedent, making no attempt to obscure their admiration. Indeed, the demo includes a cover of the track “Inner Sanctum” from Celtic Frost’s “Into the Pandemonium” album. But while many bands have worshipped at the altar of Celtic Frost, few have done so with the same degree of artistry and integrity. Dreadful Relic do not engage in rote mimicry. Instead, they adapt and advance the sound of the Swiss black metal progenitors, recasting it in a contemporary form that complements the ideas undergirding the project. That they shamelessly proclaim their sources of inspiration is a testament to the intentionality of their creation. With the “Archaic Conjurations” demo, Dreadful Relic laid the foundation for their subsequent releases through which they would continue to develop these concepts, and this reissue marks the first time this material has been available since its initial release nearly a decade ago.

Dreadful Relic “Warlords of Cosmic Sovereign” MLP
ANTI-GOTH 649

-First pressing of 250 copies all on black vinyl
-3mm jacket printed on thick stock
-12″ insert

(Description by J. Campbell)
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. As always, themes of Lovecraftian dread and Hyborian valor permeate the lyrics, but Dreadful Relic’s inspiration on this MLP comes not only from the terrestrial and mythical but also the celestial, where cosmic scenes play out, precisely and predictably, in the theater of night, as constellations crawl across the darkened sky, their relative formations unchanged across millennia. Prehistoric photons dispatched from inconceivable distances absorbed in the eyes of those condemned to wallow and toil on this spinning sphere. Shards of ancient light piercing the black dome above—omnipresent reminders of man’s insignificance and the limited scope of his understanding. His empires rise and fall. Advanced civilizations once mighty wither and disappear. Magnificent edifices erode, abandoned and reduced to rubble. All of this a mere flicker, a speck of dust compared to the vastness of the universe itself. Through this channel to the ancient past, Dreadful Relic conjure the abject horror of unnatural forces beyond our comprehension, metaphysical warfare, civilizational ruin, and the cataclysmic cycle of destruction and rebirth. “Warlords of the Cosmic Sovereign” is an acknowledgement of the mysteries of forgotten epochs and the naïve blindness of our perspective. Amused by the mortal carnage, forgotten gods reclaim their thrones.

Click here to order.