Posts Tagged “Watain”

The Great Southern Brainfart recently conducted an interview with Erik Danielsson of Swedish black metallers WATAIN. A couple of excerpts from the chat follow below.

The Great Southern Brainfart: So I have to be honest. Aside from listening to VENOM as a kid, I was never much of a black metal fan, and then I gave you guys a listen, and I’m really intrigued with your songs and your performances.

Erik: That is really good to hear that you made that comparison. I wish I heard VENOM and WATAIN in the same sentence more often. VENOM is one of my all-time favorite bands, and I think if you have that sort of background, you might actually be able to relate to what we do as well. Musically, there might be a slight difference. VENOM are the originators of the black metal movement that we later became a part and we like carrying that torch onwards and uphold that legacy.

The Great Southern Brainfart: WATAIN seems to have more of that classic element than most of the other modern bands. Is that something that was intentional?

Erik: We never really sat down and discussed how WATAIN should sound. It’s pretty safe to say, though, that our own personal preferences, when it comes to black metal, have always been very traditional. VENOM are one of the most important bands ever to WATAIN and the same goes for bands like MERCYFUL FATE and even bands like EXCITER, RAZOR, and VOIVOD. We’ve always leaned towards bands like that in our own musical tastes when it comes to metal. I suppose our sound really comes from a mix of those bands and late-era black metal such as MAYHEM and DISSECTION and so on.

The Great Southern Brainfart: One of the things that intrigued me the most about Watain was the ritualistic approach to the live show using animal carcasses, lighting candles on a small alter and whatnot. What can you tell me about the live show and the background to this ritual?

Erik: If you play music of a diabolical nature, and the music that you perform is permeated by a sinister and infernal essence, of course, that will have to translate to the stage show as well and your appearance. It’s not a process that should be forced. It should come as a natural consequence of the music that you’re playing and the artistic work that you are doing. With WATAIN, it was very much that way and it evolved into this thing that it is. When we started playing, we already had that kind of extreme view of how a black metal live show should be like. It should look like the music sounds. That’s how it all began. The longer that WATAIN existed, the more we realized that the magical side of this band, the spiritual side began to come through and it just began to transform into a ceremonial thing rather than just a rock concert, so to say. It evolved into an event where we communicate with the forces that gave birth to this band and that have always been a part of this band. It became a time where we could let these things just come to life and be at one with them. It’s an ever-ongoing evolution and the live shows are constantly progressing. They have become something more and more severe and intense and that’s a very good thing to me. It’s a very inspiring context to work with.

The Great Southern Brainfart: When WATAIN takes this ceremony on the road, especially when touring in the southern part of the U.S., sometimes there are limits as to what you can and can’t do on the stage. When that does happen, how much of an impact does that have on the purpose of your live performance? Does it make things harder for you to do?

Erik: Yes, of course it does, but being in a band like WATAIN is always quite a challenge. When you take something as inhuman as WATAIN into the world, then, of course, things can be a bit strange. We knew since day one that we would have to face a lot of opposition because of some of the things we wanted to do. I think we’re always pretty well prepared for that to happen. Of course, it’s annoying and it makes me want to punch the living shit out of anyone who stands in our way, but we always find a way around these things. There’s always a way for the devil to come through, no matter what. It cannot be stopped. It’s just a fact and it’s been that way since the dawn of man. The devil always wins and the devil always finds his way. I think that in general, all of that opposition and all of the people who prevent us from doing what we want to do just makes us stronger. It makes us feel more proud and stronger about what we’re doing. We like to fight against the extreme and we like to go against the current. We like to be the enemy and that just fuels the fire of WATAIN and I actually appreciate that. I like touring in places especially the South because we always feel that tension and how skeptical they are but in the end we just do what the fuck we do anyway. [laughs]

Read the entire interview at The Great Southern Brainfart.

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From the harrowing doom of their 1990 debut, “Lost Paradise”, to 1991’s genre-defining “Gothic”, to 1995’s break-out masterpiece “Draconian Times”, to 1997’s electronically tinged “One Second”, to 2007’s return to a heavier form “In Requiem”, to last year’s opus “Tragic Idol”, British gothic metal pioneers PARADISE LOST have continued to evolve since their inception in 1988, inspiring countless artists throughout the years. To celebrate their influence on the scene, a special compilation will be released this fall to commemorate the band’s 25th-anniversary landmark.

Entitled “Tragic Illusion 25 (The Rarities)” , this album will be released on October 21 in Europe (digitally on October 29 in North America) and features artwork by Parisian designer Valnoir, who has worked with artists such as ORPHANED LAND, MORBID ANGEL, WATAIN, and more than 150 others. All tracks found on the compilation are previously released rarities — except the new track “Loneliness Remains”, and newly recorded “Gothic 2013” and “Our Saviour 2013”. These three tracks will also appear on a 10-inch vinyl (CM Distro Europe exclusive white vinyl; limited to 100 copies) that includes a CD booklet and CD insert.

“Tragic Illusion 25 (The Rarities)” track listing:

01. Loneliness Remains *
02. Never Take Me Alive (SPEAR OF DESTINY cover version)
03. Ending Through Changes
04. The Last Fallen Saviour
05. Last Regret (Lost in Prague Orchestra Mix)
06. Faith Divides Us – Death Unites Us (Lost in Prague Orchestra Mix)
07. Cardinal Zero
08. Back On Disaster
09. Sons Of Perdition
10. Godless
11. Missing (EVERYTHING BUT THE GIRL cover version)
12. Silent In Heart
13. Gothic 2013 *
14. Our Saviour 2013 *

* tracks that appear on the limited 10-inch vinyl

PARADISE LOST‘s Aaron Aedy (guitar) comments: “The years surrounding our formation in the 20th century would have earmarked this as a B-sides collection. These were the songs that were left over from an album recording session you couldn’t fit on to the sound quality restrictive, optimal length of both sides of a vinyl LP. You then usually used these for the flip side of your single as a nice extra for fans and also perhaps, as an incentive for the collectors to purchase to help any important charting or sales which could facilitate radio airplay, the best and most important way for your band to heard at that time.

“Yes, my friends, it’s hard to imagine now, there was a time before the Internet! A time when, even during the recording and writing of songs for our ‘Lost Paradise’ album, tape-trading demos and live tracks on the underground scene via mail (the real physical post kind!) were essential to a band’s chance of being known by the people who would ‘get it.’ The magazines Metal Hammer, Metal Forces and Kerrang! also had a couple of champions of the underground scene too, helping bands like ourselves be known on a wider scale, but rarer still indeed back then were the audio and visual outlets. In the U.K., we had the legendary ‘Friday Rock Show With Tommy Vance’, who introduced myself and many others to a lot of the bands they went on to love for life. Later, TV shows ‘The Powerhour’, ‘Raw Power’ and, of course, ‘Headbangers Ball’ on MTV. All, of course, pre-empted that Smörgåsbord of information, the Internet, for the discerning and hungry-for-more rock music fans to feast upon.

“Twenty five years has seen a lot of change, not just musically for the band — take ‘Our Saviour’ and ‘Faith Divides Us, Death Unites Us’, for instance. The Internet has broadened the choice of music we can readily hear enormously, and more importantly, hear and see for ourselves to form our own opinion — not just what the larger commercial companies and stations want us to hear!

“Added to our extra tracks from the past, we’ve included the recent re-recordings of ‘Gothic’ and ‘Our Saviour’. This is something as a musician you find a strange experience.

“We as a band have always been an album rather a single band, and re-recording old songs is most often best left alone — but when we rehearsed ‘Our Saviour’, a song long lost from our live sets for a good twenty years, we found it pretty exciting and fun! We decided before hitting the studio that we would not record it as a perfect 21st-century studio version, as I don’t feel this song would benefit from it (in fact more so, lose its original charm), but we decided to just do it quick and almost demo speed. Whilst recording to capture the most raw element, we drafted in our old friend and producer Simon Efemey, who worked on our ‘Shades Of God’, ‘Icon’ and ‘Draconian Times’ recordings to capture this, which whilst working to make it sound raw, made it fun too! Don’t think of the re-recordings as replacements for our originals, but just as five blokes having fun and re-visiting the past in the studio.

“I hope this collection helps some of the people who like our music have a more completed playlist of our most recent album sessions’ songs. I personally am very pleased that ‘The Last Fallen Saviour’ is here, as I would love to have had that on the ‘Tragic Idol’ album. Also ‘Cardinal Zero’, which only just didn’t make the cut for ‘Faith Divides Us…’ due to it having a very different vibe to the other album tracks. Both nonetheless, I feel are very strong songs and show a slightly different side to those writing periods.

“CD and downloads not having a ‘flip side’ or ‘side B’ had almost made that term redundant, but for a resurgent vinyl hardcore that has thankfully kept that one alive, I’m pleased to say. I often reminisce those teen years of travelling home excited on the bus with a new LP, reading all the lyrics, enjoying the large enough cover to make artwork intricately delightful and worthwhile. Great heart-warming memories for me, indeed. Yet the music new and old I’m discovering on the Internet these days in the 21st century is an absolute joy! I’m pleased to have had both experiences during my years with PARADISE LOST and the future holds who knows what. I for one am very excited though to see where we go next!

“Here’s wishing everyone all the best from PARADISE LOST and most importantly, thank you very much from us all for your amazing support, which humbles us greatly. Twenty five years and counting!”

PARADISE LOST has also confirmed that its 25th-anniversary “Tragic Illusion” tour has been extended to now include a number of European dates. As with the U.K. shows, the band will be supported by both LACUNA COIL and KATATONIA (who will be playing the entire “Viva Emptiness” album at all shows).


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– September 23rd, 2013 – North American tour with Watain begins October 8th Head over to the VICE’s music destination, Noisey, to listen to a brand new track from Swedish classic heavy metal band, In Solitude .

The post In Solitude premiere new single “A Buried Sun” on Noisey appeared first on Daily Heavy Metal News.

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For a band having frequently found itself on the negative end of publicity, Swedish black metallers WATAIN still maintain a level of credibility and not just amongst their own sect of outsiders. This is a band that started with their infamous “Go Fuck Your Jewish ‘God'” demo that will reportedly never see the light of day again. Later accused of anti-Semitism when they mocked the National Socialist Black Metal movement by wearing t-shirts of the well-known NSBM group, ABSURD (and tossing off a Hitler salute for kicks), WATAIN has still managed to shirk would-be crucifiers who’ve turned their wrath upon subgenre figurehead and purported hate monger, Varg Vikernes.

The fact of the matter is Erik Danielsson and WATAIN couldn’t care less about any of that. As theistic Satanists, they’re the real deal. Endpoint there. Ideology aside, WATAIN has proven to be a force in underground metal music. The succession of 2003’s “Casus Luciferi”, 2007’s “Sworn to the Dark”, and 2010’s “Lawless Darkness” are considered by many as top of the heap works of dark art.

Now on their fifth album and their first to breach into a broader metal market via global powerhouses Century Media, WATAIN continues to blend their scorching chamber cadence with melodic cogitations including, surprise of surprises, a PINK FLOYD-esque, clean-sung anti-ballad.

“The Wild Hunt” will do nothing to keep the DISSECTION and BATHORY comparisons off WATAIN‘s backs, but Erik Danielsson, Hakan Jonsson and Pelle Forsberg have never felt obliged to elude those associations. Over the years, WATAIN has managed to drain some classic power metal grooves into their work, which has kept their music honest and honestly metal. “The Wild Hunt” may grind and gore in the early portion with “De Profundis”, “Black Flames March” and “All That May Bleed”, but the tone of the album takes a decided artistic verve in the middle section with the banged-out, organ splashed “The Child Must Die” and a spectacular, slow-met rock elegy, “They Rode On”.

As the first time Erik Danielsson employs clean vocals on “They Rode On”, the strategy may or may not come as a shock to black metal loyalists, but the break from all of the shrill dirges and death hisses is a win here, not a loss. There’s a dirty choke to Danielsson‘s straightforward vocals on “They Rode On”, but he still paints a pretty picture in contrast to the largely ugly airs of the album. While there’s a hallucinogenic feel ala PINK FLOYD to “They Rode On”, Pelle Forsberg complies with the song’s intent by weaving a gorgeous solo that’s up to the moment. Even his prolonged, searing solo on the progressive-felt “The Child Must Die” is fabulous.

Worry not, purists, because “The Wild Hunt” gets mucky in a hurry with the mincing “Sleepless Evil”, where Hakan Jonsson delivers a riveting sequence of choppy snare strikes on the verses while switching between blast and thrash modes elsewhere. The abrupt, extensive interlude in-between the speedy segments of “Sleepless Evil” is malevolent and sincerely frightening, take heed.

WATAIN throws another curve with the crawling and morose title track, again blending in some PINK FLOYD translucence amidst cryptic group chanting and ugly bass tones. As with “They Rode On”, Erik Danielsson slides back into clean mode and this time, he makes “The Wild Hunt” sound gloomy and tormented.

“Outlaw” is one of the fastest tracks of the album, even with tradeoff mid-tempo break-ins, while the clunky tempo of the mostly instrumental “Ignem Veni Mittere” is overshadowed by Pelle Forsberg‘s masterful assumption of hypnotic soloing, eloquent picking and later, brutish chugging. All mixed by shadowing sweeps that give way to shoegazing echo fugues in the final bars. As decorative as he is throughout “The Wild Hunt”, here is Forsberg‘s stronghold of finesse.

Leaving these guys to their personal devices, “The Wild Hunt” is another triumph for WATAIN, proving they have what it takes to smash into the reaches of the mainstream without compromising one iota of themselves. “The Wild Hunt” exhilarates in spots and terrifies in others, and similar to VREID, they represent not just pure black metal, but pure metal in general, with diligence and maturity that hardly reflects the shock tactics of their infancy years.

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Due to “unpredictable technical problems,” the release date of “Back To The Front”, the tenth album from Swedish metal veterans ENTOMBED, has been pushed back to early 2014 from the previously announced October 29. The exact new release date will be announced soon.

“Back To The Front” was recorded at Studio Bohus (ABBA, EUROPE) in Kungälv, Sweden with producer Roberto Laghi (IN FLAMES, HARDCORE SUPERSTAR). The cover artwork was painted by Zbigniew Bielak (WATAIN, VADER) and can be seen below.

A press release states: “Don’t be afraid that it will sound like ABBA — it’s 666% true to the ENTOMBED everybody loves. While not falling for total regression back to the early classics ‘Left Hand Path’ or ‘Clandestine’, expect a total bone-crushing opus that will have fans of ‘Wolverine Blues’, ‘To Ride…’ or ‘Morning Star’ cry tears of joy. From the morbid, pissed-off lyrics over detuned, massive riffs to the inimitable brick-heavy groove and L.G. Petrov‘s titanic roar, ‘Back To The Front’ has it all, so get ready for a stone-cold stunner!”

Comments singer L.G. Petrov: “After almost seven years of studio absence, we are back with a new album called ‘Back To The Front’ ready to blow metalheads away around this world! Feels great to announce this deal with Century Media! Can’t wait to let you all be a part of it!”

Adds Jens Prüter, head Of A&R at Century Media Records Europe: “I first saw ENTOMBED in 1992 on the Gods Of Grind tour and was blown away by their merciless sound that was even back then more than just death metal. Over 20 years later, they still kick ass and we are more than proud to finally welcome them to the Century Media family.”

“Back To The Front” track listing:

01. Kill To Live
02. Bedlam Strike
03. The Underminer
04. Second To None
05. Allegiance
06. Waiting For Death
07. Eternal Woe
08. Digitus Medius
09. Vulture And The Traitor
10. Pandemic Rage
11. Soldier Of No Fortune

ENTOMBED recently teamed up with PledgeMusic to launch a reissue campaign for some of their albums.

In early 2012, Threeman Recordings, which is owned and run by members of ENTOMBED, launched a collaboration with Ninetone Records. The first release under this arrangement was a single for the re-recorded version of the song “Amok” from ENTOMBED‘s 2007 album, “Serpent Saints – The Ten Amendments”, produced by Patrik Frisk (CORRODED).


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Toby Cook of The Quietus recently conducted an interview with Erik Danielsson of Swedish black metallers WATAIN. A couple of excerpts from the chat follow below.

The Quietus: So the new album is due out next month. To say that it’s a radical departure is perhaps overstating it, but certainly even compared to “Lawless Darkness”, there is certainly, I think, a marked progression. Was it always the intention to create something that was so much more expansive and what were some of the challenges?

Erik Danielsson: I never really compare album to album like that — we never have — and I think that one of the most common things that people say when we release a new album is, “Oh yeah, it sounds very different.” So with that being said, progression has always been an inevitable part of this band. The whole idea of WATAIN and our artistic journey, so to speak, has been to go into the unknown, to explore the unknown within yourself, to go deeper and deeper into yourself, and that is something that we are getting better and better at and it’s happening perhaps more radically the older we get and the more we progress as artists. So that’s why I assume that the leaps between the albums are maybe getting bigger somehow, y’know? I mean, it’s really not something that we think a lot about when we are composing, but now I have to try to analyze it a bit when I’m doing interviews about and I’m doing it interview-to-interview so you’ll have to excuse me if I sound a bit abstract sometimes — but it’s a very interesting journey, going deeper and deeper.

The Quietus: I’d like to move away from the album a little bit now. I think that despite WATAIN‘s increasingly varied sound, you are inarguably still a black metal band. What does the “idea” of black metal mean to you and to WATAIN these days? To me, it seems the scene is in an interesting state of flux right now where you still have these “true cult” black metal bands as well as people like THE BOTANIST and WARDRUNA.

Erik Danielsson: I don’t know a lot about these “new” bands, to be honest — I don’t really keep track of things like that — but to me, it’s quite obvious that black metal is more than just a “sound.” It’s more than just a way of playing music. And, to put it very simply, I think that WATAIN is a very, very good definition of a black metal band. Meaning that our whole anatomy, our bones and our spine all relate to one same source: the Satanic ideal. It is diabolical music with a magikal and transcendental intent. And that to me is very much what defines a black metal band. I am really pleased that after almost two years of black metal being (on a larger scale) quite misrepresented by the media and by the bands that the media uses to represent black metal with, WATAIN is in an important position. We are one of the first bands through which many people will actually find out about and start to explore the word of black metal. I can’t say that that is particularly something that we have been striving to do, but it is certainly pleasing to me as someone who is deeply, deeply connected to that art form.

The Quietus: It’s interesting that you say that – and I couldn’t agree more when you call it an art form — there is something very unique about black metal, something profound that goes far beyond the music itself. How much does it annoy you that despite this a lot of people are still concerned with the murders, suicides and church burnings in Norway that happened over 20 years ago?

Erik Danielsson: Well, I mean, it was a very important period; it was, and there’s no escaping that. But, I think that for people who want to find out about black metal just on the surface and read a little bit about it, I’m fine with the fact that the first thing they will find out is that it’s an art form where very big buildings were set in fire; where a lot of people went to prison; and where a lot of people died. I think that’s a very good introduction to black metal, and if people dare to dig a little deeper after that they will of course realise pretty quickly that it is far more than that. But I still think that that early period is a good first step to be introduced to black metal; I really do.

The Quietus: One of the things with WATAIN is that the live show has always appeared to be such an important aspect of what you are about. I mean, I saw you at the Underworld in London several years ago and there is incredibly transcendental aspect to your performance; otherworldly almost doesn’t seem strong enough a phrase. As your popularity is steadily increasing, however, how much are you concerned about being able to maintain that atmosphere in bigger venues, without it just becoming a spectacle?

Erik Danielsson: Y’know, I like to think of our live shows as being a mystical experience, as a celebration of things not of this world. This might sound a bit closed-minded, but if an underground video director makes a documentary about shamans in the Amazonian jungle and he releases that on a VHS and a small number of people see it, they will be amazed and maybe take it to a few others. If the same documentary gets shown some years later on the National Geographic channel and a million people see it that will still not change what the documentary is about, it will still be that same holy source. And that’s how I like to look at it, that’s how I think I have to look at it order not to allow for peoples misconceptions to taint it, because that’s what it is, it’s a mystical experience in essence and nothing can really change that.

Read the entire interview at The Quietus.

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Invictus Productions announces September 30th as the international release date for Slutvomit’s debut album, “Swarming Darkness.” The following press release was issued about the band: “A compelling mixture of all that is irreverent and utterly unholy from the entire career of Satanic, underground heavy metal, Slutvomit owes its influences to all that made black and death metal truly great in the mid ’80s. “Equal parts Possessed, Morbid Angel, Incubus, and Necrovore from their demo glory days, Slutvomit is a hysterical bastard child of these progenitors. Hard, fast, blasphemous, Slutvomit is for fans of Nifelheim, Destroyer 666, and Watain, as well as classic bands like Bathory, Morbid Angel, Possessed, and Sodom.” The track listing is as follows: 1

The post Slutvomit Announces “Swarming Darkness” International Release appeared first on Daily Heavy Metal News.

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First week results for Watain’s “The Wild Hunt” ( reviewed here ) are now in.

The post Watain Comments On Release Of New Album “The Wild Hunt” appeared first on Daily Heavy Metal News.

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“The Wild Hunt”, the new album from Swedish black metallers WATAIN, has registered the following first-week chart positions:

Sweden: #1
Germany: #18
USA: #158

As a special gift to dedicated fans, a free download of the b-side from the “All That May Bleed” seven-inch single is now available. Entitled “Play With The Devil”, this b-side was originally recorded by the black/heavy metal band TAIWAZ in 1988, in WATAIN‘s hometown of Uppsala (Gottfrid Åhman from IN SOLITUDE participates on solo guitar in WATAIN‘s version).

To download “Play With The Devil”, visit

Comments WATAIN frontman Erik Danielsson: “It’s always a special feeling to release an album with WATAIN; to let the levee break and have the hungry waters gush forth again, swallowing everything in its way. Hail to all of our supporters who gave the release of ‘The Wild Hunt’ the attention and dignity it deserves! See you on the long and winding road that now lies ahead of us.”

“The Wild Hunt” sold around 2,700 copies in the United States in its first week of release. The CD was released on August 19 in Europe and August 20 in USA via the band’s own label His Master’s Noise through Century Media Records.

Produced once again by Tore Stjerna at his Necromorbus studio in Alvik, Sweden, “The Wild Hunt” is a sonic and lyrical tour-de-force that explores WATAIN‘s roots, such as BATHORY and DISSECTION, while also remaining truly unique. Having lost none of their integrity, WATAIN continues to push the boundaries of the scene with their fifth full-length, refusing to compromise their sound and vision. Amid the tracks teeming with the band’s classic sound, “The Wild Hunt” also features clean vocals (a first for the trio!) which, as frontman Erik Danielsson puts it, “is just us being brutally personal and honest. It shows another important facet of the WATAIN world.”

Executed in oil and mixed materials, the cover of “The Wild Hunt” was created by Zbigniew M Bielak, the very same artist who was responsible for the “Lawless Darkness” artwork. The piece depicts one of the inmost shrines of WATAIN‘s temple. As on every classic still life, each object has a significant meaning, while each song of the album is also connected to an object.

“The Wild Hunt” was released worldwide in the following formats (see below for product details and availability):

* standard CD jewelcase
* limited-edition CD mediabook
* 2LP, 180gr black vinyl
* limited-edition box set
* digital download

“The Wild Hunt”: standard CD jewelcase track-listing (available through normal retail channels and

01. Night Vision (3:39)
02. De Profundis (4:33)
03. Black Flames March (6:21)
04. All That May Bleed (4:36)
05. The Child Must Die (6:04)
06. They Rode On (8:43)
07. Sleepless Evil (5:38)
08. The Wild Hunt (6:21)
09. Outlaw (5:07)
10. Ignem Veni Mittere (4:39)
11. Holocaust Dawn (7:07)

“The Wild Hunt”: limited-edition CD mediabook track-listing (includes additional artwork) (available through

01. Night Vision (3:39)
02. De Profundis (4:33)
03. Black Flames March (6:21)
04. All That May Bleed (4:36)
05. The Child Must Die (6:04)
06. They Rode On (8:43)
07. Sleepless Evil (5:38)
08. The Wild Hunt (6:21)
09. Outlaw (5:07)
10. Ignem Veni Mittere (4:39)
11. Holocaust Dawn (7:07)

“The Wild Hunt”: 2LP, 180gr black vinyl track listing (includes special gatefold cover) (available through

Side A

01. Night Vision (3:39)
02. De Profundis (4:33)
03. Black Flames March (6:21)
04. All That May Bleed (4:36)

Side B

05. The Child Must Die (6:04)
06. They Rode On (8:43)

Side C

07. Sleepless Evil (5:38)
08. The Wild Hunt (6:21)
09. Outlaw (5:07)

Side D

10. Ignem Veni Mittere (4:39)
11. Holocaust Dawn (7:07)

“The Wild Hunt”: limited-edition box set

– 1,000 copies worldwide, available through normal retail channels
– 2,000 copies in gold vinyl, only available through
– 2,000 in red vinyl and a very special second 7″ exclusively at


– 2LP, 180gr black vinyl in special gatefold cover
– limited edition CD mediabook with additional artwork
– altar cloth (100cm x 100cm) *
– poster (120cm x 60cm) *
– metal pin *
– postcards *
– bonus 7″ with “When Stars No More Shine” (original 1998 version and 2013 re-record) *

* Exclusively available in the box set

“The Wild Hunt” full-album stream:




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After a six-year break, PUNGENT STENCH is back in business again.

Original composer, vocalist and guitarist El Cochino (Martin Schirenc) has once again beaten the odds by reanimating the filthy kings of odor, and is joined by his henchmen Danny Vacuum (GENOCIDE SS, THE ACCIDENTS) on bass and vocals and Mike G. Mayhem (HOLLENTHON) on drums.

Due to possible legal complications regarding the use of the name PUNGENT STENCH, the reborn triumvirate from Vienna, Austria will perform all future shows under the banner THE CHURCH OF PUNGENT STENCH.

Fans will finally get what they have been asking for for a number of years: An old-school setlist, including some rare and even never-before-played material, such as tracks from the 1989 split LP with DISHARMONIC ORCHESTRA, as well as classic smash hits from PUNGENT STENCH‘s first three albums.

The band is highly motivated and will play its first official show on Friday, December 13 at the Eindhoven Metal Meeting in The Netherlands. That day, THE CHURCH OF PUNGENT STENCH will perform alongside other highly respected artists such as NAPALM DEATH, BRUTAL TRUTH, VOMITOR, WATAIN, BELPHEGOR, TIAMAT and CARPATHIAN FOREST.

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