Formorket Interview August 2017 AB

formorket logo

Formorket features for the very first (and also the last) time in the Scrolls Of Darmoth pages. S, the band’s mastermind will guide us on a small journey through time, revealing some of the band’s secrets ( and not only). Here we go:

1. First of all, tell me please what has been going on in the Formorket camp recently, because in the past years you have been quite silent. What can you tell us about the newly released second album?

S: It is just a while ago when things started to built up again from their pieces. We were never an active band and we never acted like that. Formorket was always a particular representation of things we were inspired by in Black Metal. Its presence is also quite unexpected at this time of flight. We experienced a lot during these cursed years but there was no real reason to step out of the motionless shape. This band was settled in the shadows. Our semi-nonexistence was overwhelming for me but we felt things must be declared crystal clear. Once we decided that we will kill our past we also sorted out that it will be done as a self definition of a lifeless form. As a final wish we wanted to focus our blackened spirits and return back to the roots.
This was the one and only inspiration for the last album of Formorket as we were so devoted by starting our own fires. It was spontaneous and raw at each level of degrees. Following our inside phantoms there was everything settled as well as our hungry passion to the early days of Black Metal. We’ve written all music and lyrics in July 2017 and immediately after this intense songwriting timeframe we were already in the studio to record the album on its entire. There was no time to linger. On-demand and inspired decisions lead by the inner flames did their sinister job during the minimalistic postprocessing period as well. Everything heard and seen are formed by our hands. And as there are no words left, we are eagerly wait our final hours…

2. On the 18th of August, you will participate at the 9th edition of the now famous Inner Awakening Festival, which will be held in Budapest. As far as I know, you haven’t played live in ages. What does this performance mean to you and how do you approach it?

S: Our last appearance on stage and in all forms will be at the ninth Inner Awakening Festival. The circle will be broken that night when we poison the waters live as a final wish. It is going to be the third gig during the fourteen years. In 2016 when our end was already carved into stones we returned back and with an ex temporal lineup we marched the night with Age of Agony.
The most important for us is to destroy our surface to the public and do the opposite in our inverse shape. This show will be the crown of our Death, and our words will be the prayer at the dying flesh of the band. On stage for that hour we will dance with the shadows at the most complete cast and this will lead us through the dreadful hour. It means everything and nothing at the same time.

3. Formorket is not the typical metal band which rehearses, signs a contract with a label, releases an album or a single, goes on a tour and then repeats the cycle over and over again.
Instead you took the other approach: the minimalistic “hiding in the shadows” of your own peace (piece) of mind. Has this way of doing things your way been a fruitful one? Are you happy with how the band evolved in these 14 of activity?

S: Formorket shall be considered as a regressive band so to say. It has its own inevitable walk back in the time for its reason. Therefore it couldn’t be that type of bands since its very early days. We moved when we wanted to and we all kept our past in the mist as you said. Looking back to Black Metal as a primary influence was always the same thing that it was then and now for me in heart. It was always a regression, our monument to a movement of something magical, unseen and untold. Being initiated into the black metal was the entry point of this band. There is no joy or will to success but the unfolding darkest threads are. I can’t imagine this to happen otherwise.
Our fourteen years on the scene was more like a constant inactivity. We appeared when it was time and returned almost immediately. Waves emerged at the most suitable momentum, and these were ours. Now our returning to this while is more intense than ever and we celebrate Death with this until it takes. Our world under the banner of falling will collapse so soon.

4. Many may wonder why, after such a long pause (10 years after your 1st full length and 7 from the Ep), you have decided to release one more album and then call it quits in a grandiose way, on stage at Inner Awakening. What was the main reason behind this decision and how hard was it for you to take it? After all, you have invested a lot of blood and sweat into this band and the disbanding announcement came out quite unexpectedly.

S: The sequence of milestones we march through are heavily bundled together. When we confirmed our last rite we also felt that it shouldn’t be a nostalgic and calm return but condign to what we did and so actual. It was yet untold and we had no space to really underline we want to express with our devotion. How else could it happen? We are deliberately destroying ourselves on stage as well as channeling a nameless power from an unknown source which consumes us. The only difference finally is that it is going to be unhealed.
I’ve never counted the effort I spent on anything. When a certain decision is made, I hardly look back, I am too headstrong to appeal. Instead of seeing me personally falling ill I poison myself!!! It is not a point how much did it cost, it is unimportant how many hours did it take because Death does not count these either! Nonexistence always engaged us so well and finally we are complete to step far beyond the thresholds…

5. Besides Formorket, you and Ga’eheln are active in another great band, Svoid, which even if has its roots in black metal, has a quite different approach than Formorket. How did you cope with this duality, this difference between the 2 bands and the 2 genres they play? But is it about genres and styles, or about the inner fire which is strong enough to burn with multiple flames?

S: Even they have strong similarities we always had a completely different space in our heart to approach them individually. Both have an extrinsic platform, certain levels of freedom and core, the essence itself. When Svoid was expanded from the roots of Formorket, the main reason to differentiate them was the known boundaries of its progression. And this is how they oppose. The limitless, timeless floating is exactly the negated I always wanted to express with Formorket.
All factors and concepts of the spirit and how we interpret these all meet at a point, but how particularly we experience them and transform into something we’ve built are really different things. Therefore the separation itself is not an issue at all. I have only one inner fire that will set me as a person free from everything surrounding me. Both bands are perfect examples at a point. At the very end they are inevitable sources of searching which is aimless without finding.

6. The Formorket sophomore album has an aura of the glorious past around it. A past which is terribly missed by some, mimicked by others, but nevertheless invoked quite seldom when it comes to black metal. Your decision to disband Formorket and the feeling of old this new album has go hand in hand? Is this your tribute to some great times which will never happen again?

S: Formorket was always in respect of a dark past which changed this world. I feel very strongly about what was it all about. Overall it was a short time frame and also a delicate substance which reached its Death fast. There is no need to achieve this. Increasing its depth is no longer possible. With Formorket we raised a cenotaph for the early age of Black Metal. This is a howl to the great and primordial times. As you already pointed out, we lit the torches of Formorket so rarely. It was almost eons ago when “Cult of Generis” was released and a return into the haze followed its path. How others phrase Black Metal has nothing to do with my motivation, but upholding this level of isolation must be considered as declaration as well. Outfit-only approach, patterns, entertainment and fashion estranges me so well and instead of taking part of it I set back. It’s a pathway towards liberation at so many levels and there is no need to be affected by anyone else from the outside world which is false.

7. Listening to the 7 tracks, I couldn’t help to notice the raw, but good sound which emanates all along the 30 minutes. How were you able to invoke so many ghosts from the past on such a short notice?

S: I felt so close to this album and its songwriting phase from the very beginning. It was spontaneous and just in time. When I started to play some riffs it was already a result and the essence of all of my meditations and certain foundations I am into for so many years in mind and spirit. First it was a walk into something invisible as we never did anything similar before in terms of creative process. It was expanding firmly and the only thing we did is to follow its extent. The songs and their structure outlined based on our inspirations during these rehearsals so we were able to draw the context and its boundary for every single track well and detailed. It was a creative flow but it doesn’t mean that it is the same every time we set up like this. Sometimes I feel empty but at its purity it is so heartening to experience.

8. I was blown by the production this album has. While still “primitive and pagan”, you somehow managed to capture your very soul into this record, making the songs very organic and very much alive. How on earth could that happen and what special tricks did you use, if any? Was it magic?

S: From the first second we knew already how it should sound like. We used our instruments, infrastructure and knowledge for everything we did on this record. We also went back so much in time during the recording process. For me using tools only which are available is literally overwhelming. There was no trick at all when we shaped the sound, it was relied more on what we did and knew already about it by heart. The production, mixing and mastering was also something we were responsible for, which simplified our assignment so much. We kept everything closest to the core intentionally. We are both creative elements and working together is built on a clear understanding of each other for a long time.

9. Once the festival is over, Formorket will cease to be. Is it hard to think at it that way, or you’re satisfied with what happened during this period of 14 years?

S: It is a declaration already. The last chapter we are out with reflects that and it is marvelous to capture in mind. I am not sure whether I can describe it that much as I feel like. What we did so far are manifested through us as artists and our various interpretation is going to lead us far beyond. For this we are ready and what we have already behind the surface shall and will be kept apart from Formorket. It is singularity.

10. In the late 90’s and the early 2000’s, the black metal scene was saturated with new bands which tried to copy the ones before them. Many of the old bands were trying to reinvent themselves, some succeeded, some didn’t. Then came the “religious black metal” phase, which reignited the old flame and from there on, to this day, the scene has been invaded by a myriad of occult bands and musicians, one more “evil and satanic” than the other. Don’t get me wrong, among this huge number of copycat bands, there are still some, both old and new, who really make a difference. But as a musician who has been a part of this scene for quite a long time, how do you see what’s going on these days, do you feel you can still identify yourself with this movement, or the magic has been dead for quite some time now?

S: I relate myself so much to the aspiration I feel about the magic of Black Metal. It is a major influence, an attitude if you like. But the relentlessness I am using as a key motivator is not something which is unique in this genre. Each time and age had and still have their own venom and potential to stay and keep outside. Marching by my lurking will is more important than the templates that the scene means today. It suits more to destroy everything at its top. I am not in charge, I have nothing to match with. I have more to tell through this link we established than through under the weight of other pressures from the outer space. It is very simple and straightforward which has nothing to do with me in the scene. Instead of probing I break down the chains and secure the point of entry and no return on all degrees. This is how it becomes no holds barred.

We have reached the end of the journey, both with this interview and with Formorket. I want to thank you for your time and for the willingness to share your thoughts with me. I really hope that the last chapter of Formorket will be memorable. As always, as a guest, you have the last words:

S: Oppose to go on wild as this world turns out of itself.

Sun of the Sleepless – To the Elements album review – August 2017 AB

“Hunter of silence
Awakened…
Wary thine eye
In the dark”.

sun of the sleepless

Who would have thought that in 2017 Ulf Theodor Schwadorf will bring Sun of the Sleepless back from the dark slumber in which it fell in 2004 and will return with their first full length in 18 years of bizarre existence? I was more than hyped when I saw that on the 21 st of July the band has released via Lupus LoungeTo The Elements“, a collection of 7 songs which bear the trade mark of their talented creator.

What we have here is a black metal album dedicated to nature and the creatures that inhabit it. With 2 exceptions, The Burden and the interlude Forest Crown, the rest of the songs are long, atmospheric and harsh. The overall atmosphere reminds me a lot of the lost, forgotten sad spirit of the nineties, when bands like Ulver (early period), Forgotten Woods, Burzum, Emperor and Darkthrone created their masterpieces which are so influential even to this day.

This album starts with a cover of a Lorenna McKennitt song, The Burden, which, after 3 minutes quickly gives in to Motions, revealing the true nature of the beast.
To the Elements is a superbly crafted album, highly atmospheric and very gloomy. If you are expecting influences from the other bands Schwadorf plays in, well, they are there, but do not interfere with the general concept of the album at all.

The third track, The Owl, (the only one which has a video so far) starts with its acoustic slow intro and soft spoken voices, erupting minutes later into a frenzy of riffs and blast beats. As the name implies, the song is dedicated to this mystical and often cursed bird, one of the best predators which ever lived in the animal kingdom.
Schwadorf‘s voice fits perfectly the atmosphere, his grave, harsh tone providing the songs a much deserved weight. He’s backed up by some majestic choirs, while all the blast beats and the icy riffs tear through the acoustic veil like a sharp blade.

sun of the sleepless to the elements

The 4th track, Where in my Childhood Lived a Witch is amazing and if I didn’t like the whole album as much as I do, I would have considered it my favorite song. Perhaps the longest track of the album, with over 8 minutes, this song is the scariest for sure. It starts off in a mid paced rhythm, with great double bass drumming and shredding riffs. In the background some keyboards add a frightening echo to the story. After you think you got used to the song, it suddenly changes rhythm and goes into a cavalcade of riffs and blast beats which last till the end. A powerful song, which is a gem even when it’s played live. This continuous balance between the atmospheric and the violent parts of the songs is what makes To the Elements such an outstanding album.

To calm down the pace a bit after such an intense tempo, Forest Crown is used as a small comforting interlude, with its acoustic guitars and warm vocals. You can actually imagine the vast forest, softly speaking to you when the wind blows through its trees. A beautiful song, smartly inserted at the right time between the longer songs.

The next two tracks, In the Realm of the Bark and Phoenix Rise are the perfect choice to end this beautiful album. The melancholic choirs on Phoenix Rising are beautiful and whenever I play that song I have the impression I am flying over the vast forest.

Overall, what Schwadorf did with To the Elements was basically to create a collection of hymns in which the nature, the old legends and the mystical animals play the main role. A piece of modern art which celebrates both the past and the present and teaches us to cherish and preserve what we still have, until it’s too late.

To the Elements is definitely one of the best and most beautiful albums of this year, a jewel of black metal crafted in the depth of the woods.
This album also proves that you don’t have to be overtly satanic to release a good black metal album in 2017. All you need is the “soul” and the inspiration, the rest will come by default. To match with the music, the band came up with a brilliant album cover which links this new album with the glorious past of the 1990’s.

The version I reviewed here is the limited black LP (350 copies), which comes on a heavy 180g vinyl, with a special vinyl mastering. The gatefold is simple but efficient, leaving the music to speak for itself.Grab your own copy before it’s too late, this album is a must have for all those who appreciated the spirit of the 1990’s and the “romantic” side of black metal.

Also, if you want to witness how Sun of the Sleepless sounds live, you can watch the full concert the band played at the Prophecy Fest earlier this year. This second ever performance is really impressive and there were many songs from To the Elements which were played that night,together with some old tracks from the past.
Total score: 10 owls out of 10

Sun of the Sleepless line up:

Schwadorf – all instruments

To the Elements track list:

1. The Burden
2. Motions
3. The Owl
4. Where in My Childhood Lived a Witch
5. Forest Crown
6. The Realm of the Bark
7. Phoenix Rise

Band contact and merchandise:

https://www.facebook.com/sunofthesleepless
http://en.prophecy.de/artists/sun-of-the-sleepless/
https://sun-of-the-sleepless.bandcamp.com/

Formorket album release and last concert ever.

10 years after the release of their full length, “Into the Frozen Shadows“, the Hungarian black metal band Formorket is back from its dead silent slumber, this time with 2 huge announcements:
The release of their sophomore, self titled album and their participation to the Inner Awakening Festival which will take place on the 18th and 19th of August in Budapest. (https://www.facebook.com/events/172732716489009/)

Besides the fact that their set list will include both some of the new songs, as well as some tracks from their previous works, this appearance will also mean the death of the band as we know it, because after 14 years of walking on this cursed path, the 2 main members, S and Ga’eheln have decided to put Formorket to sleep. For good.

So no gimmicks, no changing of minds for the sake of old times, this is indeed the last time you’ll have the chance to see Formorket at work, on stage. And what a better opportunity than to be a part of this very interesting black metal festival, which has already reached its 9th edition.

The “Formorket” album will come out in 2 extremely limited versions, on tape and cd, that is. There will be no repress of this material, so be ready to grab your copy as soon as possible.

For further details, you can access this page: http://formorket.spiritside.info

As a preview, until the physical versions will be released, you can check out the album on YouTube here.

Osculum Infame – “Axis of Blood” review June 2017 AB

France has always been a serious provider of good quality extreme metal bands and during the years more and more bands formed to spread the gospel of the lord. Osculum Infame makes no exception, since this band is one of the veterans of the French black metal scene, its roots going back to 1993, the golden age of black metal, just before things started to fall apart.

Osculum Infame logo

In 24 years of activity under the banner of darkness, Osculum Infame have managed to release only 2 full length albums (along several EP’s and compilations), the famous Dor-nu-Fauglith released in 1997 (which became one of the milestones of the French black metal albums, both hated and revered at the same time), and Axis of Blood, the first album celebrating their return after the sleep of death between 2002-2008.

With an almost completely different line-up, (Deviant von Blakk remaining the only original member since the band’s beginnings), Osculum Infame has released the Axis of Blood on the French label Battlesk’rs in 2015. Since this album is going to be re-released at the end of this month, on the 30th of June (the original first press CD limited to 500 copies is almost sold out), I decided to honor this great release by writing some words about it.

Continue reading Osculum Infame – “Axis of Blood” review June 2017 AB

el Camino – Cursed Congregation album review – Night Tripper Records June 2017 AB

el-Camino-logo

When I heard that this year el Camino will release their third full length after a four years absence I was very hyped because I really love this Swedish group and their cursed doom they’re playing. I liked a lot The Satanik Magick debut LP ( Hail the Horns is a real anthem), Smaland was a nice interlude EP with a very interesting Venom cover (this Swedish version of In League With Satan sounds even better than the original) and Gold of the Great Deceiver was very enjoyable.

So you can imagine my surprise when I read in the press release I received that el Camino plays some sort of malicious black metal with a Dissection-esque touch and “it’s most reminiscent of the Greek black metal scene”. I immediately asked myself what the fuck is happening here, have they changed their style and jumped onto the black metal bandwagon, or the guy who wrote the description smoked something toxic and was talking about another band and its new album?

Since I was devoured by excitement and curiosity, I anxiously pressed the “play” button and I was instantly relieved: el Camino did not change their style at all, instead they added that extra something (maturity and experience, let’s call it) that will turn Cursed Congregation into their best work so far.

Continue reading el Camino – Cursed Congregation album review – Night Tripper Records June 2017 AB

Sektarism – La Mort de L’Infidèle album review June 2017 AB

Sektarism Logo

Many years ago, a Swedish band issued a bold statement that their music was the “audial essence of pure evil”. This might have been correct 25 years ago, but now, in 2017, this statement is no longer true. One of the few bands which this sentence can apply to 100% is Sektarism and their sick music.

The perfect way to sustain this idea is “La Mort de L’Infidèle“, an album which was released by Zanjeer Zani on the 19th of May. While this is only their second full length in almost 10 years of existence, Sektarism have well established themselves as the perfect instrument of faith and devotion which spreads the love and adoration for god. This band (and the music it creates) is only a tool with which the 4 members propagate their beliefs and creeds, by writing and composing religious hymns to glorify the almighty.

Sektarism La Mort De L’Infidèle

What can be said of an album that has only 3 songs but lasts for more than an hour? One thing would definitely be that it’s not boring, even if its length can be discouraging. The first track, “Ô Seigneur” is more like a prayer, a litany sung to underline the faith with which the band serves their God and a perfect way to immerse you in the twisted atmosphere of the album. Then comes, with its menacing title, “Brûle L’Hérétique“, a 20 minute track during which, if you close your eyes and let your imagination flow, you can picture a town’s square, a crowd gathered to receive the daily dose of entertaining and a stake which the heretic is tied to. “Par tes langues innombrables, ronge la chair de l’athée” ( By your countless tongues, gnaw the atheist’s flesh). You can already feel the smell of burning human flesh, don’t you?
The last track, “Conscience, Révolte, Perte du Moi” is also the longest one and contains in 30 minutes the whole quintessence of Sektarism’s ideology. A “shamanik” drum starts slowly and keeps the same obsessive pace for almost the whole duration of the song, accompanied by an organized “cacophony” of sounds and possessed screams. A truly inspiring track, “Conscience” is the perfect way to end such a psychedelic and religious album.

La Mort de L’Infidèle” is not a musical album per se, it’s a collection of 3 hymns dedicated to the glory of the Almighty. If you are looking for catchy riffs and addictive rhythms, well, you better look somewhere else cause this release, like any other Sektarism releases, is not for the faint of heart. The atmosphere is crushing, like each guitar chord weighs at least a ton. The sound is abrasive and BerZerK‘s harsh voice and desperate screams create a hysteric atmosphere, like some sect of religious fanatics are performing a sinister ceremony in an underground cave. To understand what I’m trying to describe here you must attend a Sektarism ceremony or at least watch a live video on YouTube. The effect is guaranteed, I can assure you.

Returning to the last album, well, this ain’t an easy listening. To really enjoy this album you must be in the mood, otherwise you will not understand a thing. It’s definitely not the commercial record you put on while reading a book, but once the sounds and the lyrics enter your system, you’ll be corrupted for good. The rhythm is slow as a giant anaconda slithering on the ground in search of food. Here the food is made of new souls which Sektarism looks to corrupt. First of all, the rhythm section is amazing, Kristik A.K.‘s bass is one of the heaviest I have ever heard and goes hand in hand with the obsessive drums of Shamaanik B. The guitar parts played by Messiatanik Armrek are as dissonant as possible, contributing to this psychedelic and demented atmosphere which make of “La Mort de L’Infidèle” such a powerful album. Add to all of that the vocals of Eklezias’tik BerZerK and you have the complete picture of that religious ceremony I was talking about.
All along the album, the ritualistic drums will pound their obsessive rhythm into your ears and head, driving you crazy with a mystical ecstasy. I am not joking, if you listen to this album properly, with the right atmosphere, you will most likely have the impression that you’ll start bleeding from your freshly acquired stigmata wounds.

Do you remember that famous line from Manowar‘s “Kings of Metal“: “Other bands play, Manowar kills”?. The same thing applies in this case: while (many) other bands play nowadays with this occult satanic devil worshiping thing, Sektarism is dead serious about what they sing and they really practice what they preach. There is no commercial gimmick here, only true devotion and true believers. The music on “La Mort de L’Infidèle” is like a soundtrack for penitence, an audio companion of a ceremony performed by mad zealots.

Les Apôtres de L’Ignominie

Unfortunately for those who do not speak French, they will most likely not understand the message spread out in the lyrics, but I cannot imagine Sektarism sing in any other language than French. Everything flows so well in this beautiful language and every word, every intonation will immediately loose their meaning and sense if sung in English. The mysticism of the words combined with the mysticism of the language form a powerful religious bond which, together with the instruments, make “La Mort de L’Infidèle” such a powerful and frightening album.

I totally recommend buying this majestic piece of art, since “La Mort de L’Infidèle” will soon become one of the milestones of religious music in extreme metal. Released in several formats, from the standard DLP to a Die Hard version limited to only 66 copies and from a deluxe cross shaped digipak (limited to 499 copies) to a gold tape, Sektarism‘s sophomore full length is a living testament and proof that when religion is mixed with music in a proper way, the final result can only be blasphemy.

I also want to mention the artwork of “La Mort de L’Infidèle“, which is brilliant and I really think that Mystik Dementia (drawings) and Eklezias’tik Berzerk (conception and page layout) have definitely outdone themselves. If you want to see (and listen) why I praised this album so much, just do yourselves a favor and buy it, you will not be disappointed.

En Son Nom. Ad Vitam Aeternam.

Sektarism – “La Mort de L’Infidèle” tracklist:

1. Ô Seigneur
2. Brûle l’Hérétique
3. Conscience, Révolte, Perte du Moi

Sektarism line up:

Eklezias’tik BerZerK – vocals
Kristik A.K. – bass
Shamaanik B. – drums
Messiatanik Armrek – guitars

Contact:
http://www.necrocosm.org
http://www.facebook.com/necrocosm.productions
https://necrocosm.bandcamp.com/
http://www.sektarism.org
http://www.facebook.com/sektarism

Other links of interest:
OBSCURANTIST (Grandeur du Nihilisme): http://www.obscurantist.org
MALHKEBRE (Religious Black music): http://www.malhkebre.org / http://www.facebook.com/malhkebre
MALEKHAMOVES (Death Metal): http://www.facebook.com/malekhamoves
THE APOSTLES OF IGNOMINY: http://www.theapostlesofignominy.org

MÖRBIT (Morbid) – “METALION: 50 years of fucking off life Vinyl review – June 2017 AB

Recorded live in 2011, just before the release party for the Year of the Goat box set, what is now known as Metalion 50 Years of Fucking Off Life has been immortalized on vinyl by the Italian label FOAD Records in May 2017.

The name of the band which played these tracks is MÖRBIT and consists of several well known musicians from the Swedish extreme scene. They have decided to put up this band in order to play some Morbid tracks at the above mentioned release party and, the night before the show they recorded their rehearsal as a funeral party for Metalion‘s Slayer Mag and as a tribute to Per Yngve Ohlin, aka Dead, which was Morbid‘s singer for a little while, before moving to Norway to join Mayhem.

This tribute band consists of Peter Stjarvind (drums), Erik Wallin (guitar), David Blomqvist (guitar), Tyrant (bass) and Erik Danielsson (vocals). The fact that these super musicians have united to play some classic Morbid tracks is pretty awesome, but to record this rehearsal at the infamous Watain‘s Wolf Lair is beyond words.

MÖRBIT (MORBID) – “METALION: 50 YEARS OF FUCKING OFF LIFE VINYL

The vinyl, which was released in several formats (red splatter, clear red and black), came out on the 26th of May and has become a really important document in the history of extreme metal. Not only because of the awesome line-up – musicians who play(ed) in bands like Entombed, Damnation, Merciless, Nifelheim, Dismember and Watain – but also because of the tracks featured on this record, which basically contain the whole classic December Moon demo, released in 1987. Continue reading MÖRBIT (Morbid) – “METALION: 50 years of fucking off life Vinyl review – June 2017 AB