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.



MORS.VOID.DISCIPLINE: Chilean Black/Death Metal-Goregrind Terror Cult Announce Gruesome Debut Album "Txketh)ëké" - Track Premiered at No Clean Singing.

We’re happy to announce our partnership with Chilean bestial goregrind morgue-stalkers MORS.VOID.DISCIPLINE and announce their pulverizing debut album "Txketh)ëké", coming on March 13 2026 on LP, CD and MC formats and pre-orderable now via all our channels.

Leading up to the gruesome release, legendary extreme metal blog No Clean Singing have premiered the song “Sanguinem In Anum Caprae Putrescentis Eiaculans“ claiming that the band’s music is “all inhuman, it’s all unhinged, it’s all hideously toxic. And it’s exhilarating, muscle-moving, well-structured and perversely addictive.“ - you can check out the feature and song HERE.

MORS.VOID.DISCIPLINE emerge from the bottomless dungeons of South America's extreme metal underground with their debut full-length monstrosity "Txketh)ëké", a twenty-minute obfuscation of terror-spawning bestial war metal destruction swathed in the flesh-eating violence and maggot-infested putridity of 90's goregrind. Cryptic and malignant beyond thresholds comprehensible to man, "Txketh)ëké" projects forth a cancerous aural perversion in which the war-mongering assaults of Blasphemy collide with early Carcass' mangled and deconstructed sonic butchery. Its astonishing hideousness and violence are not only shaped by its unequivocal descendancy, but further complexed by the peculiar antediluvian and occult aura historically permeating Chile's underground scene, as well as by the band's enigmatic inner workings and imagination harvesting perversions from beyond the reach of sanity. Slithering coils of vomitous, pitchshifted vocals proclaim the unutterable in arcane tongues long forgotten by men, regurgitating a noxious mass from within a hellish cauldron of dissonant, nuclear vice, and invoking absolute adherence and submission to a cult of death and darkness untouched by any light. The album's title is an anagram of words related to Solomon's demonology and multicultural esoteric warfare, and the band's concept and lyrics metastasize within the terrorscape as a deranged worship of evil reclaiming sacrifice through the destruction of human anatomy. Few crafts conglomerate in human mind as entities so committed to cruelty and devoted to destruction as this one, yet MORS.VOID.DISCIPLINE endure as yet another inscrutable product of an unrivaled scene whose isolation, remoteness and purity remain undying vectors for unparalleled world-building and musical transformation.

MORS.VOID.DISCIPLINE formed in the early 20’s emerging from their country’s burgeoning extreme metal and experimental circles, spread across the cities of Algarrobo, Valparaíso and Talca. The three members at the core of the band include MYI from Sentient Ruin-signed death-doom solo act Miasma of Occvlt Limbs on guitars and bass, and co-conspirators Odor Cadaveris on vocals and J.F. on drums and electronics, the latter two of which are regulars in their local black noise, dark ambient, and cybergrind circles. Loyal as ever to, and inevitably derived from, Chile’s somewhat isolated and uncontaminated music scene, MORS.VOID.DISCPLINE have developed traits derived from both the Canadian war metal scene as well as from the UK’s iconic early 90’s goregrind scene spearheaded by Carcass, but convergently evolved from those influences and further developed autonomously from within the Chilean scene’s self-contained extreme music culture. The bestial destruction of Blasphemy and Carcass’ repugnant violence thus collide into an utter aural monstrosity which is however neither the simple sum nor the predictable outcome of its influences. Ample use of keyboards and a wielding of the arcane, antediluvian atmospheres typical of Chilean heavy and extreme metal bands have pushed MORS.VOID.DISCPLINE’s music into completely uncharted waters, and into a realm where extreme metal dwells on a plane of cryptic and malevolent spirituality where occultism, ritualism and esotericism build new and unseen pathways to catastrophic audial torment. Demonology and esoteric warfare fall into the band’s abysmal picture of human annihilation through forced darkness, using goregrind’s mockery and humiliation of human anatomy and bestial black/death metal’s warmongering ritualism to evoke an ultimate and inescapable ritual of desecration to all of human essence and dignity.