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.