Sabbat “Sabbatrinity” DLP Pre-Order

NOW TAKING PRE-ORDERS!
🐸Just waiting on stickers and shirts at this point. We will start shipping black vinyl LPs first.

Sabbat “Sabbatrinity” Double LP
ANTI-GOTH 765

⚫PRE-ORDER SHIPS BY AUGUST 8TH OR EARLIER.
⚫First NWN pressing of 100 copies on frog green marble vinyl double LP+ TS (Die Hard version) and 400 black vinyl
⚫180 gram heavy vinyl
⚫Die Hard version: Exclusive full color T shirt printed on army green Gildan brand heavy cotton. Never to be printed again.
⚫3 sided DLP with etched artwork on side 4
⚫Gatefold jacket with flood printing inside pocket
⚫18″x24″ poster
⚫Made in USA by Helios Press

The cult studio album from 2011 from this long running Japanese blacking metal institution. Mixing every style of metal from heavy, thrash, black to even folk, Sabbat managed to forge a new path despite operating as a unit for multiple decades! Needless to say, every Sabbat album is worth owning and this one isn’t an exception. Only Sabbat is able to sustain enthusiasm, charisma, and 100% underground metal attitude for so many decades without sounding tired or copying their material from the past just to stay active like a lot of old bands.

(Review from Metal Archives, written by Thatshowkidsdie)
Very few modern metal albums sound like the work of actual living musicians, so pristine, clinical and squeaky clean are their production values. A computer maybe, or possibly some Terminator-style cyborgs sent back through time to ruin heavy metal with overly triggered drums, note-perfect guitar leads and too much compression, but not flesh and blood human beings. I’m not trying to put forth some kind of wacked-out conspiracy theory here, but it really does seem like there is a sinister force at work, actively trying to stamp out the violent, filthy and chaotic tendencies that make great metal. We’re on a Pro Tools-fuelled train, headed in a perfectly straight line to mediocre metal Hell. Fortunately Japan’s Sabbat exists. They’ve been kicking against the pricks since 1984, and are working harder than ever to blow the aforementioned Pro Tools Express to bits with Sabbatrinity, their ninth full length album and (approximately) five billionth release overall. In spite (or perhaps because) of their lengthy existence and monolithic discography, the band still sounds as nasty and gnarly in 2011 as it did almost thirty years ago. This is because Sabbatrinity sounds like the work of real musicians. It sounds like three sweaty, hairy dudes playing in a room together, one of whom may or may not be decked out in nothing but metal-studded black leather underoos, a bass guitar and a smile (see live photos of bassist/vocalist/mastermind Gezol). It sounds like true metal diehards, men who worship at the altar of the almighty goddamn motherfucking riff, laying down their souls to the gods rock ‘n’ roll. The results are electric, a clattering, booming barrage of metal at its most pure. No other album I’ve heard this year, save perhaps Yob’s Atma, sounds this organic and awesome. For those unfamiliar with Sabbat (or only familiar with the lame British group of the same name), the band plays a throughly raw brand of blackened thrash metal with touches of traditional heavy metal, similar in many respects to early Venom. The music is as blunt and simple as can be, but it reeks of dedication, craftsmanship and authenticity, the kind of stuff that instantly incites headbanging, fist raising, denim wearing and alcohol swilling. Sabbat gets everything right that the legions of retro-metal and thrash wannabes get so disastrously wrong, begging the question: “why the fuck would you listen to retro junk like Warbringer and Evile when Sabbat put a new album out in the same year?!” The best thing about Sabbat though is the way they plow through their songs with total abandon. Like Motorhead and the aforementioned Venom before them, there is absolutely no thought given to finesse or technical wizardry, it’s all about slaughtering instruments and abusing eardrums in service of the song. Great songs like “Black Metal Scythe” and “Witchflight” that lodge themselves in your head with their dirty mid-range riffage and over-the-top vocals. One of classic thrash’s best qualities is that it stole the exhilarating, reckless spirit of hardcore punk (which was later reincarnated in black metal) and kicked it into overdrive, and that spirit is present in abundance throughout Sabbatrinity. In my recent review of Vader’s excellent Welcome to the Morbid Reich, I noted that bandleader Piotr Wiwczarek seems to have lost none of his youthful exuberance for metal, and the same is clearly true of Gezol. There is something very special about these rare metal lifers who’ve been touched by the “Lemmy Syndrome” and Gezol clearly belongs to that elite group (at almost thirty-two years old, I’m starting to hope just a little of their undying vigor rubs off on me through extensive listening). Completely devoid of anything approaching pretension or bullshit, Sabbatrinity is a sonic oasis in a scene that’s become rife with both. Serving as undeniable proof that millions of notes and 21st century studio bells and whistles don’t mean shit when you’ve got heart, soul, songs and some fucking attitude, the album is a fist in the face of modern metal conventions. If there really was a conspiracy to kill metal via neutered production techniques and nonsensical instrumental wank (I’m starting to believe it more and more), Sabbat would be leading the legions of the loyal and true into battle against the heavy metal Terminators with a blood-curdling scream of “Death to False Metal!”

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