raison d’être ‎– Daemonum

raison d’être ‎– Daemonum CD Cyclic Law 2021

Three years on from 2018’s Alchymeia, raison d’être ‎continues the journey into the inner space of ones’ own subconscious ego, as described within the promo blurb: ‘With Daemonum raison d’être scrutinizes the secrets of the Shadow; the Anima/Animus archetypes and the manifestation of them as a Soul image. By learning to listen for the voice of our subconscious self, we can call that voice our Daemon, our internal genius that provide guidance, we can find hidden potential within ourselves’.

Given that Daemonum also marks three decades of activity for Peter Andersson’s main project, by now it is quite reasonable to have a strong sense of what to sonically expect from a raison d’etre album. Thus upon initial listens this new album feels very much to be a logical extension of the sound and approach of Alchymeia, where the six lengthy tracks again illustrate the slow pacing and evolution across the album’s 74 minutes. Equally, many of the expected elements are to found, such as: the deeply contemplative and achingly melancholic drones, the sublime choral laments and vocal chants, the catatonic chimes, the sporadic tolling of church bells and catacombic bass tones etc. However, of the rougher scraping metallic tonal elements which raison d’être often relies, while these are sporadically present, the tonal timbre has been pushed into the background and not as overly prominent this time around. Yet to also focus on further differences, Daemonum includes a greater prominence of contemporary classical elements such as: the abstract orchestral stings on the album opener The Implacable Portal and The Roots of Our Weakness; and the booming atonal horns on The Primordial Image. Further divergent elements also include the elevating mechanical churn at the core of Inside The Enantiodromia, while the final track Daemonium prominently stands out from the rest, based on its central echoed/ringing piano note strikes and separate minimalist mourning ivory melody.

Apart from the album’s six main tracks, there is a special edition which contains a companion album Daemoniacum which delivers a further six tracks over a 40-minute span. Conceptually it is described as thus: ‘Think of Daemoniacum as some sort of anti-polarized version of Daemonum, as if Daemonum was haunted and possessed by a demon. As if the daemon inside is turned into a demonic creature because the host becomes obsessed by the demon. As if the Anima/Animus was intruded and molested or rejected and deformed, infecting the host, causing a different and repressed output. Daemoniacum is the album manifested by the demons’. Based on this description, perhaps the resulting sonic form is not as dark, ‘demonic’ or even chaotic as might be expected. Rather the sound is comparable as a general sonic extension to the Daemonum tracks, albeit here the compositions are slightly mellower overall and on the shorter and succinct side at around seven minutes each. Although perhaps not reaching the same lofty heights as the main album tracks, Daemoniacum is far from being second rate material either and is well worth the listen for all long-term fans.

Metaphorically speaking Daemonum encapsulates a sound which sonically articles dimly lit and claustrophobic underground passages which sporadically given way to soaring cathedral ceiling spaces. Equally the towering heights and crushing depths of the soundscapes hint at the psychological knife’s edge separating redemption or damnation of ones’ own psyche/ego. To not put too much of a point on it Daemonum is again another standout showcase of Peter Andersson’s skill in evoking and composing his profoundly emotive sound-works. Daemonum is available in the standard CD or 2xLP set, or as the special edition with the supplementary album Daemoniacum as a 2xCD or 3xLP set.

 

Den Sorte Død – Den Sorte Død

Den Sorte Død – Den Sorte Død LP Cyclic Law 2021

Den Sorte Død are a (Swedish?) duo, which is a collaborative project of two other solo synth-based projects, namely Offermose and Angst. This self-titled album is the fourth release from the project since 2017.

Being broadly bracketed under an ambient synth/dungeon synth descriptor, it is perhaps important to place Den Sorte Død within the context of the current dungeon synth contemporaries. With the recent rise in the dungeon synth genre, clearly there are a select few who are inspired by and deliver a decent homage to the general style/sound ‘Era 1’ Mortiis, with Shadow Dungeon and Old Tower being notable examples. Yet the greater majority of newer dungeon synth project I have heard seem to have completely forgone the gloomy and melancholic aspects of the style, and instead opted to elevate a twee/jolly/whimsical medieval fantasy realm sound, where the all-important thread of obscurity and darkness is absent. Consequently the greater majority of current dungeon synth material does not appeal to me at all.

Then stepping into the fold is Den Sort Dod, who stand completely apart from the above observation. While they can be generally tagged with the dungeon synth label, equally they have looked further afield for sonic inspiration, which notably is the synth sound of the ‘Berlin School’, such as Tangerine Dream, Klaus Schulze etc. To then close this loop back with the origins of the dungeon synth genre (which is broadly agreed to have started from Era 1 Mortiis), it is interesting to note that both Mortiis and other second wave Norwegian Black Metal musicians also namechecked the same Berlin School artists.

This is perhaps a longwinded way to put Den Sorte Død in context, but it is clearly an important one. Den Sorte Død sound is one that draws far more heavily from the Berlin School sound, where the dreamy, spacey and psychedelic sound stands strong, but which has then been twisted towards dungeon synth territories through a dark, gloomy and obscure tone. Eight tracks feature across just short of 40 minutes, given the slow-paced instrumental tracks span from three to eight minutes each. Minimalist and darkly atmospheric synths are layered in forms of sustained tones and melodious loops, where occasionally a thread of a slow rhythmic beat is included. Det Tabte Slag is a standout with its central dour organ melody and driving underpinning cyclic melody. Equally the title track is another noteworthy piece with a driving mid paced percussive pulse around which the synth melodies twist and weave in an elevating and semi-triumphant manner.

Personally, I have appreciated this bleakly melancholic album from Den Sorte Død over many repeated listens, and one of its greatest strengths is that it demonstrates a project that draws upon its influences and twists them into new and engaging forms. Available on gatefold vinyl or CD, whichever is the preference for physical format.

Beckahesten – Tydor

Beckahesten – Tydor CD Cyclic Law 2021

Swedish trio Beckahesten have quickly followed up their 2020 debut album Vattenhålens Dräpare (reviewed here), and based on its general style and sound, as well as overall design aesthetic, this is very much a companion album to the debut.

Yet apart from the obvious similarities to the debut, one notable aspect of Tydor is the greater elevation and stronger focus on its Nordic folk elements, particularly evidenced by the chanted and emotivity sung lead vocals of Viktoria Rolandsdotter which has being brought the fore on many of Tydor’s nine tracks. Equally the accompanying musical backing then ranges from dusky soundscapes to more folk based songs, but all broadly framed around a variety of tonal elements including: deep melodious drones, spartan ritual chimes, heathen percussive thrum, folk tinged violins, guttural chants/throat singing, and windswept field recordings. Thus, regardless if a piece forms a sparse soundscape, or otherwise delivers a song focused composition, the consistently evoked atmosphere forms an intense twilight mood and archaic folklore driven sound.

At 48 minutes in run time, this is a longer and more substantial album than the debut. But whereas I described debut as: ‘blending the darkly gothic bleakness of mid 1990s Cold Meat Industry-style dark ambience with a more archaic-edged ritual ambient sound’, here the ‘CMI styled sound’ has been reduced and duly replaced with a central focus on the heathen and folkloric aspects. Yet even with that said, this observation is perhaps overall ‘splitting hairs’, as there is an equal amount to appreciate here under the broader banner of Beckahesten’s ritual ambient folk sound. Available on vinyl or CD in a six panel/double gatefold digi-sleeve.

Beckahesten – Vattenhålens Dräpare

Beckahesten – Vattenhålens Dräpare CD Cyclic Law 2020

Sweden’s Beckahesten is a recently formed trio of musicians: Peo Bengtsson, Per Åhlund, and Viktoria Rolandsdotter. Blending the darkly gothic bleakness of mid 1990s Cold Meat Industry-style dark ambience with a more archaic-edged ritual ambient sound, Beckahesten certainly surprise with their debut album. The promo blurb also provides a glimpse of its tonal aesthetic through the following description: ‘Their sound lingers within the shadow lands of ritual and folklore where solemn harmonies and rhythms intertwine with lyrical poetry, becoming rites and omens. Taking its name from an ancient folk tale of a horse that takes children onto its back to then bring them to a nearby lake and drown them.’

Opening track Förnimmelsen immediately brings shades of the classic sound of Aghast, with whispered vocals and shifting icy soundscapes, albeit here with a slightly elevated sub-orchestral tone. The following track Ropet abruptly shifts to an almost doom drone texture due to its thick affecting bass; yet, the sweeping synth pads and chanted male vocal arcs provide a clear Nordic ritual ambient underpinning. The pairing of Skuggan and Dödsfålen deviates further, where the sublime shadowy soundscapes and twilight ambience are driven forwards with slow ritual percussion against which the sparse and achingly subtle vocals of Victoria are delivered as chants and invocations to twilight omens. Hotet is the final and longest track at over 10 minutes, a solemn evolving track of throbbing drones, ritual chimes, sweeping synths, and the commanding sung/chanted vocals of Victoria, while the rhythmic musical backing elevates to cresting crescendos before receding again.

This debut album is clearly not a lengthy one at a mere 36 minutes, but it packs significant impact into that timespan, with a sound that is both individualistic and aware of its influences. The album in its physical form is available on CD, or vinyl if that is preferred.

Lamia Vox ‎– Alles Ist Ufer. Ewig Ruft Das Meer

Lamia Vox ‎– Alles Ist Ufer. Ewig Ruft Das Meer Cylic Law 2020

Lamia Vox’s second album Sigillium Diaboli * was released all the way back in 2013 (reviewed here), which means new material has been long awaited and strongly anticipated from Alina Antonova’s ritual/dark ambient project. But from the outset the new album’s theme and focus strongly captured my attention – and I quote: “… the album isn’t presented merely as a musical piece but bears a deep spiritual message and a counterblast to the rational, materialistic and post-theist nihilism of current age. Inspired by early modern poetry, Hermeticism, fin-de-siècle symbolism and naturphilosophie, this new opus celebrates another vision of the world, one of higher dimensions and beyond the human sphere, a world of intoxicated and ecstatic alchemy of poetic language and ideas”.

As an initial observation, this new full length is perhaps less immediate than Sigillium Diaboli, but in then being a slow burn album, upon repeat listens has demonstrated itself to be a much more of a confident and sophisticated release. Although broadly referred to as dark ambient, the album is very much a musical one based on individual songs which feature strong threads of martial and neo-classical sensibility. The album open Three Dreams sweeps into frame with a brooding orchestral synths (produced to sound anything but synthetic), where layered vocals ranges from spoken to ethereal choir-esque in delivery. When this further is combined with wind and lapping waves samples, it provides a strong mind’s eye vision that the vocals are those of the mythological Greek Sirens calling unwitting sailors to their doom. The following track Eternity with it rolling percussion, deep brass horns and hammered dulcimer comes across as more darkly gothic take on early classic Dead Can Dance. Equally this impression is also mirrored and reinforced by the intoxicating ritualised tone Dionysos complete with its ethnic percussive strains. Song of Destiny evokes a further ritualised ethereal mood through ringing piano notes, sweeping string, rolling drums and choral female vocals, while late album track Animis, with militant drums, sweeping orchestral backing and the understated yet equally edging towards soaring lead female vocals of Alina. I Call the Stars On High is another soaring and epic track of driving percussion and brass and strings orchestral melodies, while Alina’s commanding vocals are multi-tracked for choral effect.

The seven tracks combine to make a relatively short album at only 35 minutes, but in that time not a second is wasted, nor any tracks could be relegated to filler status. While Lamia Vox is in effect the logical extension of a mid to late 1990’s ‘Cold Meat Industry’ sound, Alina has also expanded on her song writing skills into realms of much greater confidence, where the end result is now very much immediately recognisable as that of Lamia Vox. The professional production and Alina’s multi-tracked vocals are very much a part of this, and when complemented with such rousing musical song focused format it has resulted in an album which has been most certainly worth the extended wait.

---

* – Sigillium Diaboli is being reissued by Cyclic Law at the same time as this new album, featuring alternative artwork, both on CD and pressed on double vinyl for the first time.

Nordvargr – Daath

Nordvargr – Daath LP Cyclic Law 2019

2018’s Metempsychosis heralded a new musical direction for Nordvargr, being the effective culmination of a number of stylistic threads spread across various projects. To then speak specifically of Metempsychosis (reviewed here), it featured a vocal driven, song based death industrial style heavily rooted in real instrumentation, including standing kit percussion and rhythmic bass guitar. Now that well over a year has passed since its release, the follow up Daath has finally arrived, it continues the same path set down by Metempsychosis. Yet by mostly forgoing the bridging ambient interludes, Daath is a far more honed and focused affair, with eight direct song based compositions.

The first track Inner Monarch Awakened functions to metaphorically open the gates, where the wailing horns and looped creaking metallics creates a slow laborious rhythm over which Nordvargr’s gruff throat rasped vocals are bellowed. The Horsemen Ride Out On Foaming Steeds then quickly establishes itself as an early album highlight, with its deep sub-orchestral drones and thundering percussion, mid-paced bass guitar rhythm and again with prominent vocals. With a continued upward trajectory Tabernakelvisa – The Redeemer And The Secret further steps up mood, where the rolling tribal drums of death and deep thrummed bass guitar rhythm perfectly intertwine, being a track of resounding dark menace. As King, As Queen – When Kingdom Collide is yet another highlight with plodding bass and martial kit percussion, but very much framed as a vocal lead ritual death industrial song. Late album track The Light Of The Lord And The Black Sun Behind The Sun contains subtle hints of a sound which pushes more towards MZ.412 given its use of martial snare, deep brass orchestral horns and piano motif. Yet this is partly explained by the promotional blurb, as evidently Daath was recorded back to back with the latest MZ.412 album Svartmyrkr (reviewed here). As for the final track Where There Is Word There Is Enlightenment, it features as a widescreen ritual ambient soundscape, thus opts for a mellow conclusion to the album.

With eight tracks and a mere 34-minute run time, Daath is not a long album by any measure, but it packs a major impact in that short time-frame to feel much longer than it actually is. Given the song-based material is very much suited to the live arena, this was strongly evidenced when personally witnessing a number of tracks from Daath performed by Nordvargr at the Dominion of Flesh in Stockholm, November, 2019 (aka Cloister Recordings 5^th Anniversary festival). As a final comment, and without putting too much of a point on it, Daath is yet another high water-mark in Nordvargr’s ever-expanding discography, so yes, this is recommended. LP and CD version comes via Cyclic Law and MC version via Cloister Recordings.

Desiderii Marginis – Vita Arkivet

Desiderii Marginis – Vita Arkivet LP Cyclic Law 2018

When Desiderii Marginis first emerged in 1997 with the debut CD on Cold Meat Industry, the project was a young upstart to the slightly more established raision d’etre. In fast forwarding 22 years, both projects are still active and continue to carve their own particular niche within the broader sacral infused dark ambient field, while each maintain their respective positions at the top of the genre. With Vita Arkivet, it is billed as a mini-album and is therefore far more compact and to the point than 2014 sprawling double album Hypnosis. Five tracks span just over 40 minutes, but as is typical of this music they function as flowing movements thereby allowing for meditative and immersive impact.

To then perhaps explain why raison d’etre is mentioned in the introduction, an immediate observation to be made of this new release has chosen to use prominent chanted male Gregorian vocals on the first two tracks, which is an element which raison d’etre adopted as a strong trademark of sorts early in their career. Here the slightly echo treated sacral male chants are used in context of the album’s theme (i.e. symbolism relating to the loss of ‘self’ in death) and provide a heavily melancholic mood. These vocals blend perfectly with the characteristic and established style of Desiderii Marginis, being that of lush and forlorn sub-orchestral melodies blended seamlessly with deep ringing bells and undercurrent drones. In noting the format of slow morphing dark ambient movements, some sharper and grating sonic elements are sparingly injected for tensile and evocative impact. Thus, while earlier works from the project have certainly had a heavily dark streak, Vita Arkivet manages to evoke a direct, darker and more haunted visage than normal.

Without question Johan Levin displays masterful control and restraint in composition, and when this results in material as strong as is displayed here it certainly cause for celebration. An excellent release which has been on constant rotation over recent months. Issued on multiple formats, including vinyl, CD and digital, but the vinyl is particularly clean and striking in presentation.

Nordvargr – Metempsychosis

Nordvargr – Metempsychosis CD Cyclic Law 2018

For any long term reader of my writings on the post-industrial underground, it should be blatantly obvious by now that projects affiliated with the Cold Meat Industry label have constituted a constant thread of my listening choices since the mid 1990’s. This then obviously extends to the numerous musical offerings of Nordvargr which have been issued via his MANY projects over the same period. In then noting his hyper-productivity over his career to date, even in that context the last couple of years appear to have been particularly busy for Nordvargr.  Likewise perhaps another relevant observation to be made, is that over the years Nordvargr has demonstrated continual creative reinventions of his working methods, where old approaches have been discarded in favour of new sounds and approaches within the broader post-industrial underground (and therefore thankfully avoids his output potentially diminishing in impact via a gradual watering down of ideas). Now with reference to Nordvargr’s current creative arc, the focus has been squarely on a ritual death industrial tangent, where Metempsychosis feels to be a culmination of this sound. To this ear, the linage of this new album can be traced in part to the album length EP The Secret Barbarous Names (reviewed here), and elements of the recent collaborations with Margaux Renaudin under the Anima Nostra moniker (reviewed here and here), in addition to drawing in external influences from the vocal led and rhythmic death industrial song based approach of Trepanseringritualen (aka TxRxP). And speaking of the later, Thomas of TxRxP is a vocal contributor on one of the album tracks.

In essence the musical approach encapsulated on Metempsychosis involves somber ritual soundscapes which function as short bridging pieces between the heavily driving and rhythmic/ tribal/ industrial beat driven songs.  In also utilising a perhaps non-typical elements for this sort of material, a bass guitar is prominently featured to provide a throbbing rhythmic undercurrent to match the real drums, ritual percussion and verse/ chorus/ verse gruff vocals. A particularly good example of this mix is on First East, where the bass line is coupled with stoic martial tinged percussion for strongly rousing result. While the bass playing on Salve Teragmon borders on being overtly groovy, it fits neatly with the clanging pounding percussion to create a driving mid-paced furrow, and consequently stands out as one the album’s most recognizable offerings. Sweet Death Triumphant also features as another album standout based on the slow pounding percussion, blaring foghorns, and guttural anthemic repeated chorus, which combine for an absolute immediacy of impact. But rather than that last statement being mere hyperbole, it was literally proven at the Cold Meat Industry 30^th Anniversary pre-show, as when Nordvargr played Sweet Death Triumphant live for the first time, the crowd responded with an unscripted sing along (despite no-one having heard the track before that moment it was being played).

Featuring ten tracks in all, and with the use of real instrumentation mixed alongside the synthetic produced elements, it results in the material sounding to be more of a band than solo studio project, and provides a tangible human essence which is sorely missed when music is crated by computer means alone. The sonic quality provided by its real instrumentation and song focused tracks functions to added to the overall listening experience, where this album has proven itself to be engaging album by virtue of being regular rotation over recent months – such is the benefits of being provided with early versions and the final mix well in advance of its formal release date. While it then remains to be seen whether Nordvargr will continue on this creative path, or perhaps again forges off in new directions, it certainly feels as if there is far more creative territory to be covered within this current stylistic approach. But before that question is answered by the next release, Metempsychosis stands as another pinnacle album in the ever-expanding creative cannon of Nordvargr. Vinyl, CD, cassette and digital rounds out the options for format, evidently with slight variations in track listing on each.

raison d’être – Alchymeia

raison d’être – Alchymeia DLP Cyclic Law 2018

Firstly, it is important to acknowledge how integral the works of Peter Andersson/ raison d’être have been to my music appreciation over the last 23 years, which ultimately means any new release from the project is welcomed beyond measure. In a discographic context a further four years have already passed since 2014’s Mise En Abyme album (reviewed here), with the new album seeing a move to Cyclic Law, which indecently is the label which has become the home for many former Cold Meat Industry projects.

Thematically speaking it is necessary to highlight this is not melancholic music for the mere sake of it, rather on Alchymeia (and to quote from the promo blurb): “….Peter Andersson scrutinizes the paths of Carl Gustav Jung’s notions of archetypes and the individuation process. Alchymeia is diving deep down to the shadows of the unconsciousness, and back to a dawn of the true Self. Confronting the shadow within is the darkest time of despair. There seems no way forward, only down. All is blackening and decomposed. Suddenly, through an enantiodromia, the ever deepening descent into the unconscious transmogrifies and becomes gradually illuminated. The melancholia is being purified. The melancholia is being purified. Alchymeia is in a sense the “raison d’être” of raison d’être, a shadowy journey through our unconscious the individuation process and archetypes”. So, certainly a strong thematic context to frame listening and appreciation of the album.

Noting that Alchymeia spans just over 70 minutes, perhaps as expected the mood and pacing of the four album compositions are slow morphing, sacral toned and religious choir/ chant framed dark ambience.  Each of the four compositions are then noted to be freeform and amorphous, effectively shifting through difference passages within their run time but also interlinking into a greater whole. However of particularly note are the various sonic elements which arc back to the sound and tone of earlier albums. Such examples of this include: the wind-chimes from Enthraled By The Wind Of Lonelienes; strongly composed/ percussive and vocal driven passages of Within The Depths Of Silence And Phormations; the floating melancholy drones and treated choirs from In Sadness, Silence And Solitude; and not to forget the atonal metallic scrapping textures from The Empty Hollow Unfolds. Yet equally, these recognisable aspects are blended with new sonic elements which include: the prominent church organ timbred drones on Albero; the slow and deep rhythmic ritual drums of Citrinitas; as well as the minimalist contemporary piano melody and deep sustained power drones of Rubedo to name a number selected elements. Noting that each of the four tracks are between seventeen to eighteen minutes each, that has allowed each to neatly fit on a side of vinyl LP, and therefore has allowed the album to be issued on double gate-fold vinyl, and which constitutes the first time that raison d’être have issued an album on this format, in addition to the usual CD and digital.  Likewise the artwork is noteworthy for being darkly stunning and visually symbolic of the musical landscapes.

Personally, there are albums within raison d’être’s discography which are untouchable classics, so it is too early to say how this new album will compare in the longer term, but before hearing this I already anticipated I would appreciate whatever was to be presented. Yet even with such a high degree of expectation, I am still surprised by how creative and vital this album sounds and feels, and particularly with it drawing together sonic threads from the last decades of the project and blending these with new avenues of experimentation. In essence Alchymeia another peerless example from an established master of cerebral, introspective and meditative dark ambience of the highest calibre. Recommended.

In Slaughter Natives – Cannula Coma Legio

In Slaughter Natives – Cannula Coma Legio CD Cyclic Law 2014

Clearly not being a project to rush their releases, the long-standing and cult revered In Slaughter Natives has resurfaced after a 10 year break from the last formal album ‘Resurrection’, which in turn was preceded by an 8 year gap between it and 1996’s ‘Purgate My Stain’.  Despite these long passages of silence it is great to see that In Slaughter Natives is still active after all these years, considering that the debut release was issued way back in 1989.

Regardless of the slow pace of releases unquestionably In Slaughter Natives were hugely influential in establishing the ‘Cold Meat Industry’ sound and more broadly the northern European industrial underground.  Likewise in hindsight it can be acknowledged that In Slaughter Natives were a precursor the ‘martial industrial’ genre, although their trademark orchestral industrial doom has stood out from and has not been replicated by the majority of projects of a ‘martial industrial’ style (which are predominantly influenced by early to mid-20th century history and era).  Thus In Slaughter Natives stand apart with their distinctive and recognisable neo-classical compositions, which articulate a hellish atmosphere of religious laments and amounts to a sonic representation of purgatorial damnation.

With this necessary background out-of-the-way, evidently ‘Cannula Coma Legio’ is technically not the new album from the group, rather is billed a stop-gap release prior to the release of the actual new album in 2015.  So for this release it contains 3 new tracks which are set alongside a series of reworked and upgraded versions of earlier material.  Yet interestingly all of the material which has been brought together for this release works perfectly as a coherent whole.  This has been achieved by the fact that new versions substantially differ from the originals versions to the point of being almost unrecognisable, and in a number of instances the original melodies and structural elements of known compositions only reveal themselves after multiple detailed listens.  This is most evident for the updated versions of the earliest reworked material, where in some instances the programmed sound of the original versions have not held up fully with the passage of time.  Yet the reason why the new versions work so well here, is that they have ben elevated to full bombastic orchestral intensity.

With ‘Cannula Coma Legio’ seamlessly merging brooding and understated neo-classical passages with sections of booming orchestral bombast, the greatest reference point is with respect of ‘Purgate My Stain’ (THE classic in In Slaughter Natives discography), an album with a slow building intensity which explodes into passages of orchestral doom at appropriate moments.  Given this new album manages a similar sound and approach to ‘Purgate My Stain’, is clearly an indication of how ‘Cannula Coma Legio’ is appreciated around these parts.

Do not let the fact that this album is promoted as a teaser for the new album give any sort of impression that this material is second-rate.  ‘Cannula Coma Legio’ is as strong as ‘Purgate Mt Stain’ thus demonstrating In Slaughter Natives are still an underground heavyweight. It is also fantastic to see the project releasing some of their strongest material some 25 years since the debut. Bring on the next release!