WAARSCHUWING AAN DE BEWONERS VAN DE BOVENWERELD!!
Eenieder die nog niet het teken van Het Beest draagt,
elkeen die zich nog niet heeft geschaard achter De Horden van Het Duister:
hoedt U voor de wraak van Heilland!
Op 30 maart openen zich de Poorten van de Hellekrochten.
Raapt Uw laatste resten van euvele moed samen en begeeft U met diep gebogen hoofd en Uw ogen nedergeslagen op de Brug naar Xinix, kruipt over de drempel van de Sonische Tempel en
reinigt uw geest in de SEA OF CONSCIOUSNESS,
onderga de storm over de gruizige vlakte BEYOND OUR RUINS,
buigt voor de kaken van de verschrikkelijke FENRIS en
bewijst eer aan Het Zwarte Licht van LUCIFERICON!
Of begraaft U nog dieper onder de miezerige steen waar U Uw verrotte ziel probeert te redden.
Anders doorsnijden onze snaren uw vleesch, breken onze slagwapenen Uw botten en zijn de doosrochels van onze strotten het laatste dat U ooit hoort.
Sea of Consciousness
Sea of Consciousness is a progressive technical death metal band from the Netherlands
Elements are necessary for the foundation of life as we know it in our universe. Through the personification of these elements, show and the musical story we provide, we give ourselves and hopefully others, tools to achieve this growth and personal development. This is what Sea of Consciousness stands for.
The elements must be balanced before a sea of consciousness can emerge.
Beyond our ruins
Beyond Our Ruins is een ‘Darkened Melodic Doom’ band uit Noord-Brabant, Nederland. Verwacht loodzware begrafenishymnes. Sinistere gitaarmelodiën. Gitzwarte grunts. Asgrauwe klaagzang. Fragiele pianoklanken. Epische harmonie dialogen tussen toetsen en gitaren. Stuwende drumpartijen. Klapperende bas. Scherpe pieken. Uitzichtloze dalen. Voor degene die een referentiekader zoeken, ademt de band een sfeer die te vinden is bij acts als Swallow the Sun, Katatonia en Paradise Lost.
De band heeft zowel in het binnen- als buitenland het podium gedeeld met acts als October Tide , Esoteric, Funeralium, Officium Triste, Eye of Solitude, Marche Funèbre en Façade.
Founded in 2009, it wasn’t until 2012 when the band’s first public recording, The Occult Waters EP, reared its shadowy head. Although The Occult Waters was the band’s debut, the seemingly “new” Lucifericon was actually comprised of a number of metal scene veterans, its members having done time in Destroyer 666, Pentacle, Malicious Dream, and Excision among others. Naturally, at this stage, the quartet deeply understood the Metal of Death and proceeded to offer a unique, more atmospheric twist on it. Four years later followed another EP, Brimstone Altar, to further critical acclaim. Here, Lucifericon’s death metal was blackened to a crisp, its robust recording allowing every evil nuance to spill from the soundfield and further bewitch the eardrums.
With that envious foundation judiciously set,in 2018 at last arrives Lucifericon’s first full-length recording, Al-Khem-Me. Tongue-twistingly titled but aptly so, Al-Khem-Me keeps apace with the developments of Brimstone Altar and further masters the art of the “patient payoff.” Its blackened DEATH literally explodes from the very first seconds, but the band’s songwriting builds detail upon subtle detail despite the obvious aggression employed. Utterly gnarled and gnarling, the lurch ‘n’ lunge across Al-Khem-Me creates a bewilderingly slipstreaming effect, dragging the listener into a distant, nameless vortex, but always with a keen knack for memorability. For above alll, this is METAL, unbending and unyielding, forged in fire and wielded as a weapon; it just so happens that Lucifericon’s is one fully set on attack, its intensity steeped in the grand traditions of late ’80s / early ’90s death.
25-11-2022 ‘The Warlock of Da’ath
“After opening the sorcerous gate through Al-Khem-Me-cal processes on the previous album, we have again embraced every atom of the blackest mass to conjure darkness from a more cabalistic perspective…”
Indeed, LUCIFERICON’s Al-Khem-Me debut full-length displayed the full fathom of the band’s Metal of Death. While they’d teased with a couple short-lengths in the recent past, that momentous 2018 album created an endlessly slipstreaming (and endlessly fascinating) vortex of malevolence and memorability. It was death METAL forged in the fires of the late ’80s and early ’90s, but never was it blinkered by that all-too-considerable past.
And so it goes with LUCIFERICON’s second album, The Warlock of Da’ath. “Musically, we have always drawn influences from all corners of the musical abyss,” the band continue. There are noticeable differences compared to previous material, but we do not stray from our path. In fact we have deepened the path with even more layers than before. After shedding these layers of skin from the phenomenal world, this serpent called LUCIFERICON will reveal itself.”
Naturally, within that cauldron bubbles black metal and also doom, alongside that firm foundation of elder death metal. But the manner in which LUCIFERICON stir that cauldron makes all the difference; verily, it emerges as DEATH metal, but an incredibly nuanced and engaging form of such, shapeshifting (and subsequently mesmerizing) with absolute ease. Compounding this uptick in songwriting nous is the production on The Warlock of Da’ath: neither “old school” nor pejoratively new & sterile, this increased clarity simply heightens the intensity whilst revealing all those tastefully subtle details. Taken another way, the sulfurous fog swarms and swirls, slashing with ritual knives from the boundless shadows; the portent of doom is sealed and unassailable.
The Warlock of Da’ath starts with a warning, before devouring you whole with death, doom, and black metal…in the darkest form imaginable! LUCIFERICON have hereby eclipsed their not-inconsiderable past.
Established in the Netherlands in 1997, Fenris has a long history of combining thunderous viking metal with scorching black/death metal. At times blindingly fast, sometimes atmospheric, but always melodic and dynamic. With strong roots in Nordic and Germanic mythology, and some of the lyrics in their mother tongue, the mood set is that of ancient peoples, their hopes and beliefs and their wars and hardships. To date, three albums have been released: ‘Offerings to the Hunger’ (2001), ‘Ordeal’ (2005) and ‘…en doodenakkers tot den horizon’. The latest album was released September the 1st 2016 and is distributed through Snakebite/Rockinc Entertainment. In their existence Fenris has shared the stage with Enslaved, Sear Bliss, Rotting Christ, Tyr, Einherjer, SkyForger and many others