LAST AGONY: Canadian Crust Punk Noise Cult Announce Pulverizing Second Album "Death Wave" - Track Premiered at -----

Sentient Ruin is proud to announce that Toronto’s berserk terror-crust raiders Last Agony will soon return this upcoming October with their incinerating sophomore album, "Death Wave".

The lawless album has been teased with a firsthand account by iconic punk publication NO ECHO, who in premiering the opening title track have remarked how “the record delivers a relentless surge of raw punk and metallic aggression.“. You can check out the feature and the song HERE.

In its pulverizing twenty minutes "Death Wave" discharges an ear-splitting assault of blown-out raw hardcore punk and speed metal destruction doused in nuclear vice and ablaze with visions of a polluted, dark and violent world headed straight Into doom. Japanese noise-punk, Scandinavian crust, UK d-beat and anarcho-punk, and various declinations of grind and speed metal, consumed by a raw and caustic production pushed to its limits. Carpetbombing blasts and d-beats, chainsawing riffs and blood-vomiting vocals entrenched into an apocalyptic maelstrom of noise, speed and distortion in which the only law reigning is that of anarchy, chaos, and of no law at all. Fans of Doom, Anti-Cimex, Extreme Noise Terror and Napalm Death will instantly be drawn into the madness and destruction of Last Agony’s lawless assault, but this is far from just a mere throwback exercise. This is the sound of a broken world gone deaf, dumb and insane, and disintegrating into the wake of its own greed, failures and self-destruction.

Disgusted by visions of a dark and doomed world, Canadian nuclear wasteland raw hardcore incursors Last Agony formed in a freezing hell of 2017 in Toronto, Canada with the aim of creating devastatingly fast, raw, and unhinged metallic hardcore punk to resound the sirens of the apocalypse and reduce human senses to ash. Formed by current and past members of well established Canadian punk and crust bands like Absolut, Dragged In, Make No Gains, Murder Squad, IDNS, and Endprogram, Last Agony chain-feed a pulverizing and blown out sound, carpet-bombing blasts and d-beats, and chainsawing riffs inspired by defining acts like Larm, Extreme Noise Terror, Protest Bengt, Electro Hippies, Energetic Krusher, Anti-Cimex, Doom, Napalm Death, and Terrorizer, into an unstoppable aural assault. As instant icons and bastions of the Canadian hyper-noise squat culture, since inception Last Agony have been on a marauding rampage across Canada, igniting stages and slaughtering ear drums across the nation with unstoppable insurgency, building a dedicated cult of noise-worshipping maniacs, and spreading incendiary demos and 7”s across the underground punk and metal substrate, to create a lawless cultural subversion of rage, anarchy, and chaos. Their incinerating debut full-length LP "The Imminent Slaughter" was released by Sentient Ruin in 2021, consecrating a seditious cult and establishing Last Agony as a rogue vector for musical militarism. And the nightmare continued... The COVID pandemic was archived and left behind with no hesitation or compromise, mercy or hesitance. The return to noise-mongering chaos being a paramount, unrelinquishing mandate inside a mentality of destruction. The release of“Death Wave” took form in the summer 2026, the pulverizing second full-length album, with an even fuller, oppressive and apocalyptic sound, and the same berserk militant rage as ever. Once again unleashed thorough another subversive paramilitary noise operation in alliance with Sentient Ruin, with vinyl LP, CD, tape and digital formats all dropping on October 23 2026 worldwide and now pre-orderable via all our channels


DEATH. VOID. TERROR.: Swiss Experimental Black Metal Cult Announce Long Awaited Third Full-Length Album "To The Great Monolith III: Rifts" - Track Premiered at No Clean Singing.

Sentient Ruin is proud and honored to announce that Death. Void. Terror. continue their marvelous aural transfiguration. "To The Great Monolith III: Rifts" is the band's first full-length utterance of the Monolith in five years, and its most shattering revelation yet.

The mesmerizing upcoming new album follows the recent precursor EP "To The Great Monolith 2.5" released just last month, and has now been anticipated by expert extreme metal outlet No Clean Singing, who in premiering the closing track "V. (-- ---) Daphnyr" have remarked how the work is "a kaleidoscopic experience, a shapeshifter in itself that continues to reveal the metamorphosis of the band’s music since their last album" - you can check out the feature and listen to the song HERE.

"To The Great Monolith III: Rifts" is a seismic convergence of primordial trance and awakened consciousness, tearing open the boundaries of improvisation to expose the essence of catharsis. The rift is both metaphor and confession: a fracture in doctrine, a deliberate wound inflicted upon orthodoxy by the practitioners themselves, as conscious composition enters the sacred architecture for the first time, insurgent and unapologetic. Pulsing bass lines consciously sculpted, and around them, the instinctual maelstrom, constructing vortices of the inner chaos. A perceived heresy that in truth signals only deeper initiation. What pours through the rift is devastating. Abyssal, chaos-wielding atmospheric black/death metal mutated into ecstatic occult rock and tribal hallucinatory sprawl. The specter of the ancient ones running through gorges and dissolving into monolithic darkness, transfigured beyond recognition yet more itself than ever. Vocals conjured in no known tongue, surrendered without will to the Monolith in liturgical precision. A sonic entity shedding skin, growing new flesh, irrigated by ritual and animated by an internal battle between instinct and will, trance and reflection, doctrine and heresy. On its surface, a rift captured and made literal. In its depths, an existential fracture splitting open five years of metamorphosis and unleashing its monstrous sonic deluge. The Great Monolith does not crumble, it ruptures, expands, and devours anew. DVT's most monumental and revelatory work to date.

"To The Great Monolith III: Rifts" is slated for a September 25 2026 release on LP, CD, cassette and digital formats worldwide via Sentient Ruin, all of which are now pre-orderable via all our channels.

Swiss death sculptors Death. Void. Terror. first emerged in 2018 as a recluse and ascetic extreme metal soundscaping ritual with the release of their first full-length offering “To the Great Monolith”, issued that same year on iconic underground extreme metal imprint Iron Bonehead Productions. The formal and aesthetic path was forged and laid out from inception: lengthy, abysmal, and mostly improvised black/death metal compositions with a monstrous atmosphere, arranged for self-contained recording in a cathartic frenzy, as if devoured by an all-consuming trance. Primal instincts and free-flowing impulses dictating the entropic architecture of a lawless and all-consuming sonic dominion shrouded in darkness and chaos. A second, successive and interflowing chapter emerged two years later via Repose Records. 2020’s “To the Great Monolith II” continued the band’s quest into instinctual, deconstructed trance-driven abyss sculpting, pushing the boundaries of black/death metal deep into atmospheric absolutism. Its perpetual and immanent motor and motivator, the Great Monolith, is an expression of this almost liturgical, or religious force that posses the band’s creative process. The "flow state" felt by the self-called practitioners during these abysmal improvisation sessions, with the belief that their creations approximate this entity they call the Great Monolith. Self-perceived as a living entity with its own life, Death. Void. Terror remain gravitationally bound to the Monolith, yet this free-spirited life of its own taken up by the band can not ultimately elude the fact, that as a living entity, it grows, evolves, and morphs through its own lifecycle, which is all in becoming, and whose making and final form is not yet to be known. The second uttering of the Monolith saw the tyranny of pure improvisation crease and ripple, as subtle arrangement tactics come into the picture. An inner shift of sorts, soon to be revealed not as heresy but as necessity, as reflexion and consciousness entered the process to nurture the entity’s ever-morphing life force. This led to further sessions and rituals within this “rift” during the following five years, resulting in the birth of the "To The Great Monolith 2.5" EP " released in mid-2026 by Sentient Ruin on cassette tape as antelitteram testament to the ever-evolving symbiosis between the entity and the Monolith, with the conscious now openly self rebelling against the symbiotic notions of doctrine and orthodoxy. A dramatic sonic shift was thus underway, and a staggering metamorphosis soon revealed. Abyssal, chaos-wielding atmospheric black/death metal transmuted into psyche-devouring occult rock. Tribal black metal sprawling into infinity and embodying its ultimate annunciation: the “To The Great Monolith III; Rifts" full-length album, finally released in September 2026 again by Sentient Ruin. The first long-playing manifestation in five years, fully revealing the existential rift within the entity, as a new consciousness and free will counter balance the original free flowing primordial trance state, to shape the monstrous aura of a monolithic and shapeshifting sonic beast still all in becoming.

MARCA DIABOLI: Chilean​-Austrian Occult Rock/Post-Punk/Black Metal Necromancer to Release its Debut 2025 EP "Labyrintomb" for the First Time Ever on Vinyl - Full Stream and Pre-Orders Posted.

We’re proud to announce that Chilean​/Austria​n​ occult rock/post-punk necromancer Marca Diaboli will release its mesmerizing 2025 first hexation "Labyrintomb" on vinyl for the first time ever this coming September as a gorgeous single-sided 12” record silkscreened with metallic gold ink on the B-side.

The band’s first ever release, the"Labyrintomb" EP is a grave-born spell book of primeval shamanic rock musick invoking evil spirits and dark forces from beyond the flesh.​ Sordid and decaying in formal aesthetic, yet enchanting in its bewitching magnetism, the eighteen-minute debut offering sees influences from bands like In Solitude, Negative Plane, Bauhaus, Amebix and The Devil's Blood sublimating into the nightsky like ​cursed invokations fuming from a witch's cauldron.​ Its subterranean production quality and deteriorated lo-fi aesthetic are surely black metal derived, revealing an evil origin and nurturing a nauseous presence of death that permeates every note played.​ Yet its restless vibrancy and hypnotic melodies unearth a primeval seduction impossible to restrain. Cobweb-clad sepulchers, moldy, dripping ruins and bygone graveyards reanimate across its five rapturous spells into a cathartic moon-lit trance, as the frenzied ritual burns cryptic offerings in the night, ​unto the marvel and immensity of death. 

"Labyrintomb"‘s first ever vinyl edition officially releases this coming September 11 2026, and is now pre-orderable and streamable in full via all our channels.

Marca Diaboli was conceived within the dense forests of Lower Austria, amid mist and forgotten paths. Drawing from the ancient darkness found in late-1980s and early-1990s underground rock, post-punk and metal, and from the rawest pioneers of second-wave Black Metal, as well from contemporary dark rock acts, the band forges audial spells steeped in mystery and shadow. Its sound was first revealed in summer of 2025, when the first single “Nightfalls” was self-released digitally on Bandcamp, paving the way to the late 2025 release of the debut EP “Labyrintomb”, released on cassette tape by German cassette label Sect Entropy, and now finally picked up by Sentient Ruin for a 2026 vinyl release. Marca Diaboli’s music serves as a vessel for ruin and darkness, with lyrics treading conceptual twilight zones between worlds of decadence, alchemy, and forgotten magic. The result is a manifestation that resists easy classification, grounded equally in the classic and the contemporary as a thin line that both unites and separates two worlds at once.

RAHATY: Belarusian Death Metal Blasphemer Announces Terrorizing Debut Album "Bestial Lustmord" - Track Unveiled by No Clean Singing.

We’re proud to announce our abysmal partnership with Rahaty, the alter ego of Belarusian raw black metal tomb-walker Pa Vesh En, here wielding the unholy hellfires of death metal's most deranged and enigmatic dominion.

The band’s gruesome debut album “Bestial Lustmord” will be officially released next month, and the anticipation has now been kicked off by No Clean Singing, who in premiering the crushing leading single “Scorched Beneath the Solar Seal”, remark how the song is the “the audio equivalent of a monstrous hallucination, an effusion of eerily quivering notes and groaning undulations accompanied by bursts of frantic percussion and a hideous voice“ - you can check out the track and read their feature HERE.

Convergent evolution through common origin and a shared creative reclusiveness, have ensured the preservation of Pa Vesh En's familiar sonic septic fog, but far more violent intents have ensured the gruesome rise of Rahaty through unceremonious realms of brutality. Here proclaimed with its debut album “Bestial Lustmord” is thus an unholy conquest within death metal's most pestilent drift. Putrid atmospheres drenched in sickness. Downpours of death-reeking riffs collapsing into mangled, deformed aberrations. A tectonic rhythm section rupturing into seismic deflagrations, and a bestial vocal regurgitation retching obscenities through the disemboweled carcass of oblivion. Where bands like Drawn and Quartered, Profanatica, and Imprecation had already established an outer realm for death metal's most vile instincts, Rahaty extends that wretched shadow further, tracing the ghastly confines of the genre's most violent and and blasphemous frontier.

“Bestial Lustmord” will be officially released on August 28 2026 on LP, CD, MC, and digital formats worldwide via Sentient Ruin, with all formats now pre-orderable via all our channels

Conceived by Pa Vesh En (the raw black metal force forged in 2017 under the sigil of Iron Bonehead Productions), and hailing from the bleak outskirts of Grodno, Belarus, Rahaty translates to “Horned” in Belarusian language. The band’s music was originally composed for Pa Vesh En, but the riffs grew too aggressive and demonic for that vessel, so they were transposed, sharpened, and thus reborn under a new name, embracing a more primitive, straight-to-the-throat approach where antichristian hatred and worship of warfare need no ornamentation. The new incarnation channels the grinding, near-industrial guitar textures and machine-gun rhythmic assault that have always lurked beneath Pa Vesh En's foundation, but where previous works like “Martyrs” bore aesthetic resemblances to psychological horror, this new project turns its gruesome gaze outward, toward the desolate battlefields, the grim mechanization of modern conflict, and the spiritual annihilation that follows in war's wake. Thematically, Rahaty serves as a liturgical summon to demonic legions, channeling rabid antichristianity through the cacophony of armored assault. This is annihilation as sacrament: the total erasure of the divine, the systematic destruction of the righteous, and the joyous unveiling of hell on earth.





DEATH. VOID. TERROR.: Swiss Experimental Black Metal Cult Join Sentient Ruin - "To the Great Monolith 2.5" EP Announced & Track Premiered at Pop Matters.

We are proud to announce that Swiss Experimental Black Metal Cult DEATH. VOID. TERROR. officially join Sentient Ruin and return from a six-year silence with "To the Great Monolith 2.5", their brand new EP, and a precursor release preparing the ground for the band’s looming and still-untitled brand new, third full-length album, which will be announced and released later this year.

Now respected independent music publication Pop Matters gives us the first real glimpse into the band’s imminent return and renewed sound through and exclusive premiere of the EP’s mesmerizing opening track “( -- -- ) Ametähna“, remarking how “the droning sense dictates the atmosphere, crafting a harrowing and oppressive ambience, [as] the vocal delivery shifts and turns, contorting to accommodate everything from grand Csihar-esque mystical utterings to blackened cutthroat shrieks. Meanwhile, the guitar feedback and dissonant lead work drapes everything in pitch-black darkness, completing the harrowing essence of the ritual.“. You can read the feature and check out the track HERE.

Swiss experimental extreme metal cult Death. Void. Terror. return metamorphed into a marvelous transfiguration of their former selves. Through the transformative radiance of a rebirth demonstration titled "To The Great Monolith 2.5", the Helvetic death ritualists signal an imminent return shrouded in aesthetical triumph through evolution, here hinted at and introduced via spasmodic liturgical precognition. An EP of sorts, or introductory short player, forever and immutably bound to the primitive and restrained format of cassette tape, to serve as ante-infernal annunciation to a full-bodied multi-format masterwork awaiting ahead, in a comprehensive and magnificent glory yet to be revealed. Herein, soul-disintegrating metamorphosis is initiated, as the band prepares self-revelation through spiritual mutation, shedding their ancient black/death metal skin to reveal a primeval new flesh being grown underneath, irrigated with the vessels of worship and animated by the blood of timeless rituals. A cryptic liturgy unto the visceral worship of a timeless megalithic stone is initiated, as sound is expanded beyond form or convention, and stretched to the state of dismal veil, draping reality in symbolism and immersing the listener into a marvelous spatial trance. Massive guitar drones reverberating through gorges, valleys and caves, liquifying into an hallucinatory bucolic continuum shrouded in asceticism and violence. War drums, horns, bone instruments and mantric chants opening a passageway to an alternate dimension of primitivism, ritualism and historic reconjunction. The specter of conterranean ancestral metal masters Bölzer liquefying further into mountainous infinity, embracing the death-riddled occult-rock asceticism of Urfaust and spreading far beyond like miasmatic pestilence into boundless abyssal darkness. A small stone laid on the path towards the Great Monolith, already stirring into Sentient Ruin's abysmal sonic cauldron…

The "To The Great Monolith 2.5" EP is officially slated for an August 14 2026 official worldwide release via Sentient Ruin on limited edition cassette tape and digital formats only.

The Swiss death sculptors Death. Void. Terror. first emerged in 2018 as a recluse and ascetic extreme metal soundscaping ritual with the release of their first full-length offering “To the Great Monolith”, issued that same year on iconic underground extreme metal imprint Iron Bonehead Productions. The formal and aesthetic path was forged and laid out from inception: lengthy, abysmal, and mostly improvised black/death metal compositions with a monstrous atmosphere, arranged for self-contained recording in a cathartic frenzy, as if devoured by an all-consuming trance. Primal instincts and free-flowing impulses dictating the entropic architecture of a lawless and all-consuming sonic dominion shrouded in darkness and chaos. A second, successive and interflowing chapter emerged two years later via Repose Records. 2020’s “To the Great Monolith II” continued the band’s quest into instinctual, deconstructed trance-driven abyss sculpting, pushing the boundaries of black/death metal deep into atmospheric absolutism. Its perpetual and immanent motor and motivator, the Great Monolith, is an expression of this almost liturgical, or religious force that posses the band’s creative process. The "flow state" felt by the self-called practitioners during these abysmal improvisation sessions, with the belief that their creations approximate this entity they call the Great Monolith. Self-perceived as a living entity with its own life, Death. Void. Terror remain gravitationally bound to the Monolith, yet this free-spirited life of its own taken up by the band can not ultimately elude the fact, that as a living entity, it grows, evolves, and morphs through its own lifecycle, which is all in becoming, and whose making and final form is not yet to be known. The second uttering of the Monolith saw the tyranny of pure improvisation crease and ripple, as subtle arrangement tactics come into the picture. An inner shift of sorts, soon to be revealed not as heresy but as necessity, as reflexion and consciousness entered the process to nurture the entity’s ever-morphing life force. This led to further sessions and rituals within this “rift” during the following five years, resulting in the birth of the "To The Great Monolith 2.5" EP " to be released in mid-2026 by Sentient Ruin on cassette tape as antelitteram testament to the ever-evolving symbiosis between the entity and the Monolith, with the conscious now openly self rebelling against the symbiotic notions of doctrine and orthodoxy.


ALTARAGE: Basque Experimental Death Metal Behemoths Return With Colossal New Album "Cogwheel" - Track Premiered at Decibel Magazine.

Sentient Ruin is proud and excited to announce our renewed partnership with Spanish experimental death metal extreme metal architects Altarage, over a decade after first introducing them and partnering with them for the release of their debut demo tape in 2015. Coming on July 31 2026 will be the band’s seventh full-length album, “Cogwheel”, which will be released on 2LP, CD, and MC formats through Sentient Ruin in the US, and by Doomentia Records in the EU.

The colossal work has now been introduced by Decibel Magazine through an exclusive premiere of the monstrous 15-minute track “Ichor” - you can check out the track HERE.

The Basque experimental death metal behemoths have finally returned to crush the earth under their gargantuan hooves of dissonance. Packing in a staggering one hour and fourteen minutes of tectonic extreme metal upheaval, "Cogwheel" not only represents the longest, and most imposing work in their career, but also their most defiant and visionary. Since 2015, and across six genre-defining full length releases and the spawning of countless imitators, Altarage have brilliantly and mercilessly ploughed through the barriers of convention and tradition, setting in motion one of the most revolutionary ruptures in recent death metal history, and redefining the very architecture of heaviness and of their long standing dual mandate of destruction through transformation, and transformation through destruction. "Cogwheel" reinvents this dismal trajectory once again, representing yet another rift in Altarage's enigmatic and oppressive conquest for innovation. Tempos slow down, forms sprawl, deconstruct and convulse. Abstraction and morphing compositional frameworks expand. Echoes of Swans, Sunn O))), Scott Walker and Godflesh accrete into structural elements while lyrical themes and concepts mirror this process of rehumanization, shifting from the supernatural and the imaginary, to real, blood-pumping societal struggle that embodies the very notion of suffering and anger inside the cogwheel of transactional industry slavery. And at the center of all of this, always them: the riffs. The eternal centerpiece and engine to Altarage's tyrannical decade-long conquest. Colossal, implacable, inescapable uranium-depleted hammers of creation and destruction, demolishing and flattening everything in their wake. Conventions and their vestiges, wiped off the earth. Remnants and dogmas of tradition, flattened and pulverized under the weight of inevitability to create a new ground zero, scorched and sterilized of orthodoxy, and reseeded with the germs of innovation and expressive rebirth through the convergence of human struggle and musical destruction. 

Ever since their emergence in 2015, Altarage have reshaped the perception of extreme music as we know it, spawning legions of loyal fans and of countless imitators. Delivering otherworldly and dissonant death metal with a staggering, riff-centric weight and scale rarely before observed, Altarage first established their sonic conquest in 2015, emerging with their two-song debut demo tape, released by Sentient Ruin and Sol Y Nieve on cassette, and later by Iron Bonehead Productions on 7” EP . The demo’s release consolidated Sentient Ruin as a rising underground force to be reckoned, elevating the label to new heights, from which it never looked back. Altarage’s debut full-length album “Nihl” dropped the following year through the same exact coalition of labels (with Doomentia Records issuing a CD version), administering to the public tenfold the destruction already delivered with the demo. “Nihl” received widespread critical acclaim and made many year end best of lists, catapulting Altarage to the forefront of underground extreme metal, hailed as innovators of the abstract and dissonant death metal sub-genre. The album’s implausible heaviness and unrivaled vision gained the band a deal with Season of Mist, who issued three more albums between 2017 and 2021: 2017’s “Endinghent”, 2019’s”The Approaching Roar” and 2021’s “Succumb”, all of which received ulterior widespread critical acclaim and established the band as one of the heaviest and most visionary underground death metal acts to ever walk the earth.

“Succumb”’s 21-minute closing drone/ambient track “Devorador de mundos” revealed Altarage’s increasingly evident desire for sonic renovation, and their unique drift toward experimentation and augmented artistic control. Their deal with Season of Mist ended, and the 2022 doom, drone and noise-leaning 3-track album “Sol Corrupto” followed, released on independent Spanish doom metal label Throne Records only on vinyl format, and with digital or streaming versions being completely unavailable for months afterwards to the band’s explicit demands, underlining this realigmment to the underground and to DYI creative control and working ethics. This new beginning under the effigy of artistic independence and musical renovation was then continued with a dual 2023 release: the precursor companion EP “Catarct”, and its main full-length offering “Worse Case Scenario” which followed only a couple months later, both released by Czech independent DYI label Doomentia Records. The dual-release laid out a clear path ahead: leverage complete artistic autonomy to explore all the possible manifestations and pathways of muted death metal. Influences from Godflesh, Sunn O))), Scott Walker and Swans began to penetrate the veil, arming Altarage’s implacable death metal foundation with massive loads of unpredicatability at scale. Concepts and inspirations shifted from the abstract and surreal to real-world existential burdens of the human condition, realigning the band’s sound to certain stylistic sideways observed in the worlds of industrial, post-punk and no-wave. The new direction thus laid the foundation for 2026’s “Cogwheel”, their seventh full-length album, to be released on July 31 2026 by Sentient Ruin and Doomentia Records, their longest and most sonically colossal release to date, and possibly, their most experimental and abysmal since “Sol Corrupto”.

HORNS OF ABOMINATION: Southern California-Based Black/Death Terrorist Unleashes Unholy Destruction on Debut Self-Titled Demo Tape - Track Unveiled at No Clean Singing.

Southern California-based one-man chaos-mongering audial terrorist Horns of Abomination incarnates with its debut declaration of terror: a first ever self-titled demo tape, and a pristine forewarning that mass destruction will soon unfold its atomic wings and unfurl complete ruin on massive scales.

A glimpse into the deranged release has been provided exclusively by iconic extreme metal blog NO CLEAN SINGING, who in premiering the self-titled opening track from demo, have remarked how the music is “truly abominable but it also unexpectedly proves to be hypnotic” and that “it seems like the soundtrack to some horrific ritual conducted by possessed participants, a nightmarish spectacle but one that insidiously infiltrates the minds“ - you can checkout the feature and listen to the track HERE.

Treading a liminal outer realm of ear-splitting chaos where bestial war metal and pure noise converge into experimental derailment riding the confines of sanity, Horns of Abomination establishes an audial conquest of unprecedented cruelty and destruction. Obsessive, maniacal, barely coherent rhythmic pulsations plumbing a bloodbath of distortion; assaultive, chainsawing guitars creating berserk repetitions against a foul regurgitation of bestial, disemboweled vomits. The dissolving silhouettes of entities like Archgoat, Ride for Revenge, and Von seemingly casting distant shadows across the blasted hellscape, soon vanishing into the realization that any attempt to rationalize such a mindless and degenerate hellfuck is nothing more than a desperate search for cues inside an idiosyncratic utter insanity that has no pathway out.

Horns of Abomination’s debut self-titled demo is slated for official release on July 24 2026 via Sentient Ruin worldwide digitally and on limited edition cassette tape as only physical format, both now pre-orderable via all our channels.

DIABOLIC OATH: Northwest Warped Black/Death Metal Sorcerers Return With Bludgeoning New EP "Unholy Barbaric Hymns" - Track Premiered at Toilet Ov Hell.

We’re proud to announce that American hallucinatory bestial occult metal sorcerers Diabolic Oath are set to return with their brand new “Unholy Barbaric Hymns” EP, four new tracks of their staple and unprecedented fretless sonic destruction.

The warped and bludgeoning release has been teased by expert extreme metal purveyors Toilet Ov Hell, whom in premiering the opening track “Emblazoned Upon Ebony Winds”, have remarked how the release is “23 minutes of a lecherous inferno swallowing us all, vomiting us back up in a rapturous conflagration“ - you can check out the track and feature HERE.

Swathed in dissonance and liquefying into free-form chaos, the band's esoteric and ritual-like psychedelic extreme metal keeps evolving beyond new thresholds of aural mind-devourement, further transitioning their cryptic dogma of musical transformation through absolute technical tyranny into formal aberrations rarely observed before in the underground. Those familiar with the band’s personal sphere are well aware of the musical mastery harbored within this mystical human nuclear trident. Conventional stringed instruments hand-stripped of frets and transformed into psychedelic mind-weapons for sensorial depredation, percussions transformed into tribal war drums through the use of massively deep and bellowing shells that deflagrate like wrathful thunder shattering through the celestial vaults, and a triple, simultaneous vocal attack slithering through the cacophony like an infernal trifecta of interwoven snakes spitting venom and hissing obscenities from beyond the shreds of sanity. An absolute mind-war of psychedelic terror and primitive warmongering violence creating a tyrannical unison in which the mind is perpetually disarmed and deceived to submit the corporeal realm into an infinite sequence of chaos and destruction.

The “Unholy Barbaric Hymns” EP is slated for a June 5 2026 release on LP, CD, MC and digital formats, all of which are now pre-orderable via all our channels.

Diabolic Oath was begotten in Portland, Oregon in late 2017 by the will of The Temple and of Ominous Void. Almost immediately, Cthonian Incursor was summoned to join, providing blasphemous vitriol and unholy thunderous percussion. The trio soon recorded the first offering, “MMXVIII”, and began the first incursions of oracular and warped live rituals. Soon after, the band began writing new material which coalesced to become their mind-bending and flesh-battering first full-length album, “Profane Death Exodus” released in 2020 by Sentient Ruin. To make this album it was decided early on to implement the unique and unorthodox approach of fretless bass and guitar instruments combined with a triple vocal attack delivered by all members of the group, often simultaneously, to harness something unseen and unheard of before then in extreme metal, and completely ungovernable and unhinged. The band’s sound at this point began to flow as free-form sonic death ritual, beginning to assume abominable and experimental traits, and yielding an imposing sound drenched in occultism and chaos. Around the same time an anonymous, ritualistic approach to the live setting was adopted, incorporating in live performances meditations on death accompanied by obscure offerings, to further shape the entity’s essence in a realm of mysticism, chaos, and absurdity. The sound of Diabolic Oath is the culmination of a meticulous distillation of influences and styles ranging from black, death, and war metal to doom and psychedelia, and with certain influences (new and old) such as Teitanblood, Morbid Angel, and Bestial Warlust creeping into the mix and alternating more pronounced references to more subtle and foreign ones. The band has worked tirelessly to carve its tyrannical path, playing shows to support high-caliber underground acts across the Pacific Northwest, the US East Coast, Canada, and Mexico. With the debut full-length, “Profane Death Exodus”, the band was intuitively poised to conquer, destroy, and seal the oath, a feat accomplished with unforgiving mastery and which paved the way to the next generation of their wretched incantations, namely the cryptic and highly destructive 2022 MLP “Aischrolatreia” (also released on all formats by Sentient Ruin). But mostly, the sublimation of it all, Diabolic Oath’s second heirloom of unconquerable chaos: their immense 2024 sophomore full-length abomination Oracular Hexations, as well as as this“Unholy Barbaric Hymns” EP, an ulterior stepping stone laid by the band on a developing path toward transformational experimental extreme metal domination.