Al Ard - Al Ard

Band: Al Ard
Title: Al Ard
Label: code666
Release Date: 22 June 2018
Country: Italy
Format reviewed: High quality digital promo

OK, this is interesting. As I have pointed out in some of my previous reviews, hybrid genres have never attracted me. However now I have the tough task to review the debut album of an industrial black metal band, born in 2011 in Sicily, Italy. Furthermore the band is not just industrial and black, but also integrates drum’n’bass and dirty dubstep elements. The trio claims they have been influenced by such acts like Dodheimsgard, Red Harvest, MZ412, Brighter Death Now, Aborym and DiabolicuM, Emperor, Satyricon and Diabolos Rising. Have I intrigued you already?

I little bit of a detour. Maybe the first clearly differentiating industrial black metal I heard was Diabolos Rising’s Blood, Vampirism and Sadism, in late 1995. By that time I had on tapes Abruptum’s In Umbra Malitiae Ambulabo, in Aeternum in Triumpho Tenebrarum, as well as Beherit’s H418ov21.C. Prior to them, it all was either industrial or black metal on the market. With the time, especially in the second half of the 90’s, I witnessed the rise of electronic music, d’n’b, ambient, and mixing it with all types of metal. This was also popular in the soundtracks of the movies (horror, drugs, killings…) and in the videogames (shooters and rally). To be honest these mixtures of metal and electronics (let’s for the sake of this review use this word in order to encompass the usage of machines) have never been of my preference.

Al Ard’s debut is good. It is excellent for a soundtrack of another Blade movie series, or for a high speed drive on a countryside/seaside road at hot summer night. It is an album of burning, extreme sounds consisting of 8 tracks of dark colours. Some of them are really into the black metal fury, others are in pure electronic, d’n’b and ambient mood, and third are pure disturbing noise. I really imagine blinking neon lamps in underground tunnels and corridors with white tiles, bathed in blood…

At the end of the day the album was enjoyable and actually it went comparably easy for me, despite of the experimental patterns and noise fuse at times. I must admit that the samples and the electronic background nicely complete the heavy parts in those tracks which combine both, creating a atmosphere from a nightmare - visual and emotional. The various non-metal rhythms and styles fit well, and the pure electronic tracks are even more enjoyable.

On and on Al Ard could be appreciated by all the heavy fans, nevertheless they are into industrial or black metal only. The combination here is good. Now push play to this record and create the apocalypse - go kill vampires and zombies. 6.5/10 Count Vlad

Band
Bandcamp
Facebook
ReverbNation

Label 
Official Website
Facebook
Facebook 2
Bandcamp
Twitter

6.5/10 We may survive

**Please support the underground! It’s vital to the future of our genre.
#WeAreBlessedAltarZine
#TheZineSupportingTheUnderground
#SupportTheUnderground

Lychgate - Contagion In Nine Steps

Band: Lychgate
Title: Contagion In Nine Steps
Label: Blood Music
Release Date: 30 March 2018
Country: United Kingdom
Format reviewed: FLAC

This is one of those records which just happens to you. It finds you. Like a summer storm on a sunny day outside, like a momentary experience of a deja vu. Like a dream within a dream. Like a dark matter crossing the infinite.  And that’s the main reason that the present review wasn’t easy to write at all. At the end of the day I decided just to play the record and to write down everything I was feeling while listening. No special preparation, no notes, just lines pushed by all the emotions.

Lychgate’s music is like an ambivalent paradox, a multidimensional question,  a constant throw and pushes into finding the right decision for the key combination. A dichotomy of breathing black and white. An attraction of opposites. It is a labyrinth into the space, a quest, like a lifetime searching for the answers to the eternal questions. Imagine moving into endless corridors of space station, running, wandering and wondering, sometimes even finding a fields without gravitation, so you are just floating in the air...

OK, enough with the science fiction and the metaphysics and metaphors. However, this is not that much possible when reviewing “Contagion in Nine Steps”.  Lychagate simply delivers an astonishing effort. “The album is inspired by Stanslav Lem’s book “The Invincible” and all the historical and philosophical sources on the idea of swarm behaviour in crowds and civilisations from the era of Plato to Le Bon and the modern era.” And even though I am not into Lem’s science fiction heritage and characters, I would say I really found “Contagion in Nine Steps” very contagious and addictive. This third record of the English band from London certainly requires special mood and state of mind. Just because these 42 minutes, wrapped in 6 special forms of own life, deserve serious attention and imagination. “Contagion…” is an album that can’t be just played. It must be listened to carefully, several times, and then experienced. “What’s the style?”, you may ask. Well, it is space avant-garde, black, doom. There are from clean to aggressive growling vocals presented, drowning into choir or operatic passages, heavy guitars and melodic solos. An organ playing from the in a solemn hall of the corner of your cosmic sleep, a piano and a mellotron. The music is a roller coaster taking you up to the stars and drowning you suddenly down into black space holes – that much variations, layers, textures and imaginations.

I strongly recommend “Contagion in Nine Steps” nevertheless you like or dislike Lem’s book. It is a record for all those who live an breath the mysteries in music. The explorers. Those who dare. Those who are not following the flock of sheep. It is for the connoisseurs only. 8/10 Count Vlad




Band
Official Website
Facebook
Bandcamp
Twitter
Spotify

Label
Official Website
Facebook
Bandcamp
Twitter
YouTube
Google+
Flickr

8/10 To Greatness and Glory
**Please support the underground! It’s vital to the future of our genre
#WeAreBlessedAltarZine
#TheZineSupportingTheUnderground

Délétère - De Horae Leprae

Band: Délétère
Title: De Horae Leprae
Label: Sepulchral Productions
Release Date: June 15th, 2018
Country: Canada

The québéquois hordes attack again, in this fateful June, covering the poor foundations of what remains of civilization with a macabre chant of plague and redemptive futility, which will end up corrupting our black hearts in an absolute way.

Délétère edits his second Full Length, and joins the already mythical occult black metal collection from Quebec. "De Horae Leprae" is a dense work that delves into a conceptual story set in the dirtiest entrails of the Middle Ages. 

The work introduces us to the life of Teredinis, a taciturn leper who faces the fate of becoming a prophet and the very incarnation of the plague that will strike the entire population.

The band takes the arduous task of dividing the work into nine songs (Cantus), with a total duration of one hour and five minutes. Quite an odyssey of magnanimous proportions. 

Stylistically you could compare Délétère with his compatriots Sorcier des Glaces, with some of Forteresse's characteristics, although strongly inclined towards a more melodic proposal, with hints of DSBM.

The truth is that the album sounds massive, from a sound view. You can see the band's emphasis on leaving behind the sound more inclined to Raw Black Metal, shown from their first demos and their first album, giving way to a more robust sound, with much more dynamics and depth.

The chosen concept and the compositional and sound treatment come together in a wonderful way this time. Of course, even being very melodic, this is a work that swarms away from the accessible and most popular hosts of that genre. "De Horea Leprae" is still difficult, which can result from very difficult digestion, due to the amount of sonic layers, its conceptual density and its duration, perhaps a little excessive.

I think that the only negative point that can be reproached is the lack of variety. The band almost never moves away from the tremolo technique formula on constant blasts, with occasional mattresses of synthesizers. There is a certain hypnotic factor at play, although hard to assimilate, due to its somewhat frenetic and melodic nature.

Beyond these appreciations I can assure you that "De Horea Leprae" is a very solid work and a great step forward in the career of this young band, which ensures the continuity and quality of the Québécois combo and gives us a very good Black Metal album to enjoy, while we fly in a dark dream towards mythical death rattles of medieval decadence. 8/10. Sergio. 

Band:

Facebook

Label:

Official Website

Facebook

Soundcloud

YouTube

8/10 To Greatness and glory!

**Please support the underground! It’s vital to the future of our genre.
#WeAreBlessedAltarZine
#TheZineSupportingTheUnderground
#SupportTheUnderground

Freedom Hawk - Beast Remains

Band: Freedom Hawk
Title: Beast Remains
Label: Ripple Music
Release date: March 23, 2018
Country: USA
Format reviewed: vinyl LP

I truly dislike molds. Specifically, music made to fit a certain mold or another. Please feel free to substitute style, genre (or subgenre), for molds. Music should be created independent of any molds, and it should be allowed to be categorized after the fact, after it was composed, recorded and released. Trying to make something to fit in a certain mold does a huge detriment to music. A fact that has been proven time and time again. An artist, or a band, should have the ability to create music freely, and not dictated by trends and/or molds. The large record labels are responsible for forcing artists to confine to artificially imposed molds, a fact that became clearly visible in the 80s, and has taken a huge toll on free creativity ever since.

To fully comprehend the heavy rock music behind FREEDOM HAWK’s fifth full-length release “Beast Remains”, time-traveling is required. And since my DeLorean is currently in the shop, we shall employ virtual means to get to the roots of rock, and due to lack of space, a heavily simplified version of events, barely scratching the surface, is hereby presented. While one of most important influences on the contemporary era (post 1980) of heavy metal, lays on the rise in the late 70s of the New Wave Of British Heavy Metal (NWOBHM), with it’s forefronts Iron Maiden and Saxon, and even that scene’s close, mid 70s predecessors, the mighty Judas Priest, Motörhead and Thin Lizzy, the roots of heavy rock music are immensely deeper. Deeper than the enormous contributions to rock from the iconic Deep Purple, Led Zeppelin and Black Sabbath, in the late 60s and early 70s, often credited with the inception of heavy metal as a genre. Factually, both Deep Purple (psychedelic/progressive) and Led Zeppelin (blues rock) were hard rock acts, with Black Sabbath bringing “downer rock” to the table, a proto-doom metal root. All three strongly anchored into the late 60s psychedelic rock (alternatively “acid rock”).A period that immediately brings to mind vivid psychedelic acts such as Vanilla Fudge and Iron Butterfly, and explosive power trios: The Jimi Hendrix Experience and Cream, among others. Also, around the same period of time, rock saw a rise of occult influenced acts: Arthur Brown, Coven and Black Widow - indisputably influencers on the upcoming Black Sabbath. Going further down the rock history rabbit hole, in the early to mid 60s, solidly grounded in the earlier American blues and rock and roll, we found: the forefront of The British Invasion and counterculture rebels - The Rolling Stones, the shrine to three of rock's most famous guitarists, Eric Clapton, Jimmy Page and Jeff Beck - The Yardbirds, and the "bigger-louder-wall-of-Marshalls" - The Who. With the electric guitar at their common core and the liberal use of feedback, loud distortion and fuzz tones, these groups rapidly escalated to stardom status. Since we made it this far back, it begs the question: where all this originated? … On May 14th 1954 - Sun Records released a 45RPM single (#106) of blues performer James Cotton: “Cotton Crop Blues” (“Hold Me In Your Arms” B-side), featuring one Pat Hare and his "grittier, nastier, more ferocious electric guitar sound". A very worthy mention would also be the late 1950s instrumentals of Link Wray, particularly "Rumble" (1958), and of what was shaping to become the surf rock of the late 50s and early 60s. (As a side note: Jimmy Page plays airguitar to Link Ray’s “Rumble” in the 2009 documentary “It Might Get Loud” - look it up!). 

Returning as a four-piece band on “Beast Remains”, their first album on Ripple Music, FREEDOM HAWK delivers one of the best releases of 2018, so far. With the addition of guitarist Brendan O'Neill, the founding core of T.R. Morton (vocals/guitar), Mark Cave (bass) and Lenny Hines (drums), an already excellent band gains full artistic maturity. Their trajectory is in every way comparable to (Ozzy’s era) Black Sabbath, whom themselves reached their artistic maturity, and mainstream acceptance, (also) with the release of their fifth full-length “Sabbath Bloody Sabbath” in 1973. And like Black Sabbath before them, FREEDOM HAWK won’t confine to molds! While the 70s (and some early 80s) influences are obvious, the music on “Beast Remains” is in no way “recycled”. The dual-guitar dynamism layered upon the pervasive bass lines, both doubling and bottom filling to the streamlined drumming precision, allowing for an effective vocal delivery. As a whole, the main focus is on the melody and the sound: collectively, the Virginia Beach (VA) band exploits perfectly the inner details in their compositions, resulting in a dynamic, yet melodic flow. The band paints a beautiful canvas of elevated textures using a vibrant palette of colors in every song on the album: from the solid 1-2 opener (“Solid Gold”/“Danger“), instantly gripping the listener, to the very last track (“Champ“). Clocking in at just over forty-one minutes, shorter than the rest of their releases (with the exception of the 2009 self-titled), the impactful eight compositions on “Beast Remains” were all written and arranged by the band, with the lyrical content provided by T.R. Morton. The album, recorded and mixed at Master Sound Studios (Virginia Beach) by Rob Ulsh, assisted by David Stillman, mastered by Chris Goosman at Baseline Audio Labs (Ann Arbor, MI), was entirely produced by the band. The beautifully psychedelic cover art is the creation of Sandra Havik.

I’ve seen this album categorized as: stoner, doom, psych, heavy metal, whatever … While nuances of the aforementioned styles are present, “Beast Remains” is a heavy rock record. I see no point to the growing trends of over-categorizing and listing every shade of musical influence and crossover styles, on most newer releases. Also, I don’t see any gains in steering a potential listener towards one style or another. FREEDOM HAWK has rightfully landed on Ripple Music’s roster: the San Ramon, California, independent label that keeps charming the rock & metal congregation with one great album release after another.

I encourage any potential listeners to discover on their own the music and where any influences might lay. These reviews are hopefully a source of inspiration to discover something new and musically exciting. Other than that, any review is just an opinion, and those are as many as are people. Let FREEDOM HAWK elevate your mind and spirit, within and beyond the amazing journey that “Beast Remains” is.

I shall leave you with a David Stillman quote, printed on the LP’s insert: “Here’s to the crazy ones. The misfits. The rebels. The troublemakers. The round pegs in the square holes. The ones who see things differently. They’re not found of rules. And they have no respect for the status quo. You can praise them, disagree with them, quote them, disbelieve them, glorify or vilify them. About the only thing you can’t do is ignore them. Because they change things.” Utterly recommended! 9/10 By UHF

Band
Official Website
Facebook
Bandcamp
Bandcamp (Album)
Twitter
Instagram
YouTube

Label
Official Website
Facebook
Bandcamp
Twitter
YouTube

9/10 Epic Storm
**Please support the underground! It’s vital to the future of our genre.
#WeAreBlessedAltarZine
#TheZineSupportingTheUnderground
#SupportTheUnderground

Funeral Mist - Hekatomb

Band: Funeral Mist
Title: Hekatomb
Label: Norma Evangelium Diaboli
Release Date: June 15th, 2018
Country: Sweden
Format Reviewed: Digital MP3

And so, on a cold June day, the mist came around us again, untimely, like a halo of inescapable misery, and Black Metal became an inescapable certainty, again, in the most inhospitable funeral of our minds.

Arioch is back, without warning, and after nine years of having edited his last Full Length, "Maranatha", in 2009, his approach of non-Orthodox Swedish extremity becomes flesh and blood again, to delight us with a pure assault to our senses. 

Perhaps, most of our readers know about the origin of this demon, but, for those new enthusiasts of this incredible music, I clarify that Arioch is also a member of a well-known Swedish band. I speak of Marduk (who coincidentally will also be releasing an album in a few days), where he takes care of the vocals. 

But Funeral Mist is another kind of succubus. Is the personal project of this musician, in which he takes charge of all the instruments, except for the drums that, in this case, are also occupied by a former member of Marduk: Lars, who turns out to be a fundamental piece to analyze the vehemence that this marvel reveals, in its totality.

"Hekatomb" does not take a moment to submerge the listener in an occult sound vortex, which results
in the discovery of an artist perfecting a facet that he had already demonstrated in his last album.

Far has been the excessive chaotic delirium of his cult work "Salvation", from 2003 (One of the best Swedish black metal albums of all time), and his sound search seems to be more in connection with the sound clarity shown in "Maranatha". And this characteristic, in other artists, could be understood as a counter, but in the case of Funeral Mist, it works as an incredible tool for the promotion of aggressiveness without precedent.

I think that what always stood out for this project was the audacity and talent of the artist to develop, in his vision, a unique cosmogony that, even being far from the Avant-Garde niche, could advance the genre towards unsuspected territories of originality. This album is not the exception and, in its somewhat scarce 43 minutes, we attend a concatenation of ideas that are fresh, and totally necessary, that undoubtedly raise the genre to a peak rarely reached this year.

Many will notice certain similarities with Marduk in the most aggressive moments. Technically, the fury and direct disposition of Arioch's riffs and the precision of Lars' blasts manage to reach a climax of absolute insanity very much in tune with his other band. 

Arioch is totally accurate in the guitars, totally abrasive or spitting blasphemies with mastery with his tone so particularly intense.

But the intensity also flows, intermittently, and also yields to sections where original and peculiar ideas can be appreciated. For example, in the song "Naught but Death", you can hear a kind of gospel choir that, far from being artificial, gives a mysterious aura to the composition, which fits perfectly. There are several moments of this nature, that emerge during the work, and that give surprise and the sensation of being listening to a monument of extreme music, unique in its kind, that fluctuates, intrinsic and magnanimous, like a cursed testament of black nature as the deepest hours of nocturnality.

The world of Black Metal is in luck, because Funeral Mist returned with a revitalizing force, with one of the best and radical albums of this year.

Intense, original, lacerating, like a freshly sharpened blade cutting the flesh of your most morbid desires. 9/10. Sergio

Band

Bandcamp

Facebook

Label

Official Website

Facebook

Bandcamp

9/10 Epic Storm

**Please support the underground! It’s vital to the future of our genre.
#WeAreBlessedAltarZine
#TheZineSupportingTheUnderground
#SupportTheUnderground

Down Among The Dead Men - …And You Will Obey Me

Band: Down Among The Dead Men

Album: …And You Will Obey Me

Lable: Transcending Obscurity 

Release Date: June 15th 2018
Country: International

Format reviewed: Digital MP3

Obviously sleeping is for the weak. Why sleep when you can spend every waking minute writing riffs and constructing death metal tunes ad infinitum until you die. This, my friends, is how one Rogga Johansson and Dave Ingram choose to operate on what is, seemingly, a daily basis! 

The roll call for these two metal reprobates is a veritable feast of Death – Ingram, currently set down with ‘Just Before Dawn/Echelon/Ursinne and Ex of the mighty ‘Benediction’ and ‘Bolt Thrower’. Johansson? – Well, whom hasn’t he worked with? – But for the sake of examples; Megascavenger/Paganizer/Revolting/Ribspreader/The Grotesquery…you get the idea? Prolific is an understatement. 

Somehow, with the help of the talents of session musicians Kjetil Lynghaug on leads and Erik R. Bevenrud on session drums, Dave and Rogga have put together the third offering from their ‘Down Among The Dead Men’ (DATDM) collaboration. From the outset and to the very end of this thirty-minute beast, it is clear that DATDM take no prisoners. No reprieve, no mercy – just all out annihilation.

DATDM play exactly the type of steamrolling Death Metal I love to hear. Nothing complex about it – straight forward Old school Death (think Ingram’s other legendary acts) combined with a killer Crust/Dirty Punk element that is captured and delivered with sublime ferocity and power. Furthermore, there is a dark melodic feel to the 10 compositions on offer here. Match that with the deep-seated grooves that Rogga employs with his riffs and the whole thing just explodes with a fire and energy that is truly addictive. The album title itself is almost prophetic in nature as it implores you to reach for the repeat button just one more time. Oh yes, repeated spins is a given such is the spell that this album casts over the listener! 

For me personally, it must be stated that as great as Rogga’s work is on this album, it is Dave Ingram’s vocal performance that has me doing cartwheels. As a massive fan of classic Benediction, nothing pleases more that to hear Dave’s characteristic roar and distinctive tone given the full treatment on this record. Like a Willets or a Van Drunen, Dave’s phrasing and enunciation stands out amongst the crowd, and he is truly one of a kind in the way he constructs his lyrical delivery for maximum impact. For me, Barney Greenway is his only peer when it comes to all out Death Metal style conveyance.

The sound of this album is also a major deal breaker! So Heavy! Superbly crafted with just enough dirt and grime in the back end to heighten it’s ‘Crust’ vibe, ‘Obey..’ possesses a thick pummelling production that only accentuates further the power and devastating intensity of Rogga and co! Such is the experience of the two main protagonist here; they just simply know how to play to each other’s strengths and as such, the whole album flows with unadulterated conviction and sonic precision. Put simply, ‘Obey..’ crushes. 

‘Obey..’ is a fantastic album. At its core, a record that pays pure homage to Old School Death Metal – dark and foreboding, yet the direct and unyielding Crust/Punk element gives a real streamlined edge to DATDM’s compositions. Not a second is wasted here. From the get go of ‘Destroy the Infinite’ to the superb crunch of ‘Darkness of Glass’, ‘Obey…’ is turn on, tune in, heads down, see you at the end! It will be your master…You will Obey! Confident this will be considered as one of the Death Metal albums of the year.  8/10 KMaN

Band

Official Website

Bandcamp

Facebook

Label
Official Website

Bandcamp
Facebook
YouTube

8/10 To Greatness and Glory
**Please support the underground! It’s vital to the future of our genre.
#WeAreBlessedAltarZine
#TheZineSupportingTheUnderground
#SupportTheUnderground

Taphos - Come Ethereal Somberness

Band: Taphos
Title: Come Ethereal Somberness
Label: Blood Harvest Records
Release Date: 8 June 2018
Country: Denmark

Format Reviewed: High Quality Digital Promo

If we talk about pure Death Metal assault, uncompromising, aggressive, with a great sense of rottenness and a great old school aura, then we can not ignore Taphos, a Danish quartet ready to shake off the drowsiness of the world's most cavernous Death scene.

"Come Ethereal Somberness" is an album that shouts to the four winds its passion and devotion to the foundations of the best Death Metal of the late 80's, although trying to define the style can become a somewhat complicated task. You could say that the strength of the combo lies in the ability to amalgamate different influences of the past, passing them through a modern prism (in terms of sound quality) that leads to a vicious and frenetic concatenation of Death Metal very well made, simple and terribly addictive.

Of course, the greatness of a band like Taphos lies in the distinctive grace that they apply to their compositions, which places them in a position of substantial privilege, unlike the multitude of acts that only remain in an attempt of homage that, unintentionally, they do not stop having a certain aftertaste to a simple carbon copy of past glories, like Gruesome, for example.

Taphos is responsible for redefining the teachings of legends such as Sadistic Intent, with some obscurity à la Incantation, Autopsy's own maniacal obsession and a tendency, in a lower percentage, for certain Blackened Death characteristics, which are so fashionable today.

The attack is fierce, with excellent riffs and fast tempos. Many millimeter-calculated blasts and tremolo techniques, in the most intense parts, stand out in structures made directly to create internal traumas in cervical areas.

The machine stops its march, at times, to delight us and give us a break with small acoustic interludes, although they are not very durable and, before we know it, we are quickly submerged again in a frenzied whirlwind of endless assault riffs. The formula works perfectly.

"Come Ethereal Somberness" is an absolute pleasure of pure classic Death Metal, totally punishing and very easy to assimilate and enjoy, made by a young band of which I hope to have more news in the near future. Put Taphos to 11 and break your neck!. 8.5/10 Sergio.

Band
Bandcamp
Facebook

Label
Official Website
Bandcamp
Facebook
Twitter

8.5/10 To Greatness and Glory
**Please support the underground! It’s vital to the future of our genre.
#WeAreBlessedAltarZine
#TheZineSupportingTheUnderground
#SupportTheUnderground

Malauriu - Morte

Band: Malauriu

Title: Morte

Country: Italy

Label: Southern Hell Records

Release date: 21 May 2018
Format reviewed: Digital Mp3

Malauriu is a Black metal band from Sicily, Italy founded in 2013. They have participated numerous split releases and compilations in their relatively short existence. A band with a serious approach to the genre, personally I am not familiar with their earlier offerings. Some releases you just happen to come across, and how sweet it is to find some gold…

This 5 track ep starts off with a intro track to get the listener into the mood of some serious Black Metal. It closes with an outro track much in the same way. Though I understand the choice to create an atmosphere, black metal is about atmosphere! With an ep ticking in at 19 minutes, it seems a bit out of place.

The first real track, Vortex of supremacy, is a kick of a tune. Full blast ahead, raw vocals and old school guitars. The drumming is fast and intricate.

Revenge of the shadows is up next. Sets of in slower pace, drums all over the place (in a good way). More of an epic song, if brutal BM can be described as epic. This song has many variations and grooves big time.

The last real song is Behold the Damnation, here Malauriu is back to a full assault again. Great vocals and drums, classic BM guitars. What`s not to like?

With this ep Malauriu is proving that they have their own take on BM, though firmly planted in the early 90`s, they show creativity and technical ability to bring something new to the table. If I could change anything I would have skipped the intro (and outro), and given it a fourth real track.

All in all, 19 minutes well spent: 8/10 Harald

Band
Facebook
YouTube

Label
Facebook

8/10 To Greatness and Glory
**Please support the underground! It’s vital to the future of our genre.
#WeAreBlessedAltarZine
#TheZineSupportingTheUnderground
#SupportTheUnderground