MALEFIC Strike With “Blood Of The Throne,” A Ruthless Opening Statement From Impermanence

Blackened thrash force MALEFIC returns with ferocity intact on their new single, “Blood Of The Throne,” the opening salvo from their forthcoming full-length album Impermanence, due out February 13th, 2026 via Terminus Hate City. Pre-orders for Impermanence are available HERE. 

Starting the album with a bang, “Blood Of The Throne” is a blistering blackened thrash track driven by relentless high tempos and unyielding aggression. The song showcases each member of MALEFIC at their absolute limits, featuring extremely fast and precise guitar picking, overly ornate drumming, and a sharp command of leads, melodies, and harmonic interplay.

Lyrically, “Blood Of The Throne” confronts the struggles of capitalism and the systems of global control imposed on the masses. While its sentiment echoes the idea of slaying the monarchy, the focus is firmly on modern structures of power, including CEOs, members of Congress, and world leaders. Ironically, the song was originally written by former guitarist Cory, whose later political alignment moved in a drastically different direction. Despite that, the lyrics remain strikingly relevant, fitting both the desperation present in the music and the broader social climate. Regardless of where listeners fall on the American political spectrum, the message is clear. We all recognize the real demons in our society, we simply do not agree on the solution.

As a high-energy, hype-driven track, the band felt Impermanence had to begin with something uncompromising. “Blood Of The Throne” sends a clear message that MALEFIC is not here to ease listeners in. Originally intended to be the album title, the song instead lent its name and artwork to a four-song demo released on Bandcamp and later on cassette. Having existed since the band’s early days, the track has evolved significantly with the modern lineup.

The song builds tension through desperate, biting vocals before opening into a soaring melodic break reminiscent of classic 1980s heavy metal. It ultimately closes with a final verse and solo, turning what was once a somber, reflective ending into a decisive final statement. That choice reinforces the song’s core theme. Capitalism and global politics do not quietly fade out, they grind forward until there is nothing left.

A proven crowd-pleaser and one of the band’s favorite tracks to perform live, “Blood Of The Throne” is also among the most demanding songs in the MALEFIC catalog, particularly for the drummer and vocalist, due to the sheer intensity and density of every part.

About MALEFIC:
MALEFIC roared onto the Atlanta metal scene in 2007 with ambitions to modernize the black metal genre. With their tight riffs, tasty leads, and relatable lyricism, MALEFIC abandons cliches and defies traditional genre boundaries. Their special blend of black metal, drawing from thrash and death metal influences, appeals to metalheads across subgenres. They count OLD MAN'S CHILD, CARCASS, TESTAMENT, DISSECTION, and OPETH among their most prominent influences, offering a fresh, modern take on metal that is unrivaled in the United States.

Though they are set to release their very first full-length album, Impermanence, in 2025, MALEFIC boasts an impressive live performance history, having played shows with notable bands such as 1349, CRYPTA, and PROFANATICA. After a hiatus in 2009, the band eagerly picked back up where they left off and reformed with a new lineup. MALEFIC initially began work on Impermanence in 2018, taking their time to ensure that every detail accurately reflected their vision for their album. The band's hard work and dedication has culminated in a powerful debut, lovingly crafted by fans of nuanced, boundary-pushing music. 

MALEFIC lineup:
Jason Davila - Guitar
Aaron Baumoel - Drums, Vocals
Sam Williams - Guitar
Andy McGraw - Bass

Anti-Sapien At The Mercy Of The Merciless

ANTI-SAPIEN return with At the Mercy of the Merciless, a 22 minute blast of sewer-filthy death crust that captures the band in a moment of evolution and escalation. Written on the road and recorded at Growl House Studios for a January 16, 2026 release on Terminus Hate City, the record feels like the point where a pandemic side project that started as a joke has hardened into a focused, relentless, politically furious machine. The songs are still fun, still catchy, still gross and sweaty, but the riffing has become more intricate and the sense of purpose sharper, with the band leaning into real world themes, personal damage, and systemic rot without sacrificing the primal thrill of heavy music.

Opening track “Old Drugs” works as a statement of intent, musically and lyrically. A clipped sample sets the mood, then the song detonates into blasts, double bass breakdowns, and scorching solos that touch on everything the band does best. The lyrics follow someone who cannot stop themselves from using whatever they find at the bottom of the couch or on the street, chasing a high all the way to the edge of death while society judges and discards them. It is fast, ugly, and surprisingly empathetic, and it establishes one of the record’s recurring threads, that loss of control can be internal as much as imposed from above. “Eater of Ghosts” picks up that thread and runs with it at breakneck speed, all tight triplet riffs and hyperactive drumming, tracing late night misadventures in motel parking lots through the eyes of a person who lets alcohol and drugs invite in whatever ghosts want to possess them. The tone is equal parts revelry and horror, a celebration of the dark side that ANTI-SAPIEN clearly sweat bullets to pull off live.

The title track, “At the Mercy of the Merciless”, shifts the record into a mid tempo, knuckle dragging stomp built on a huge drum groove that practically forces a headbang. Here the focus zooms out from individual vices to societal collapse. The lyrics take aim at algorithmic isolation, confirmation bias, and the way people have been divided into echo chambers that make collective resistance almost impossible. The song points a finger at the one percent who profit from this division, but it is just as critical of our own complicity and comfort. As the center of the record it anchors both the sound and the message, tying together the album’s fixation on being trapped, whether by addiction, systems, or our own refusal to act.

“D.E.A.D.” flips the script again, foregrounding the punk and crust influences that run through ANTI-SAPIEN’s sound. A moshy intro and d beat verse, higher register vocals, and a disgusting slam breakdown with 808 bass drops turn the song into a live set highlight. The title stands for “Do Everything All Day”, a phrase handed down from an old friend that the band reshapes into a manifesto against wasted time and hollow, hate filled lives. It is about honoring dead friends by actually living, squeezing meaning and joy out of a world that constantly nudges people toward stagnation. The track also acts as the effective opener to the second half of the EP, written with a side A and side B mentality in mind, and it sets up the flow into the more anthemic “Grinding the System”.

“Grinding the System” is a stadium sized d beat song that leans into a Discharge inspired backbeat, with classic metal dual guitar solos hinting at subconscious Judas Priest or Iron Maiden worship before dropping into a breakdown that is a little cleaner and more melodic than ANTI-SAPIEN’s usual ugliness. Lyrically it is one of the clearest articulations of the album’s political focus, describing workers who keep the machine running for their masters even as hope erodes and debt follows them into the grave. A sound clip about people without hope being easy to control sets the tone before the band tears into lines about false shortages, crisis profiteering, and a species that seems to thrive on self destruction. It is a circle pit anthem with a deep sense of despair underneath, and it gives the record a brief tempo reprieve before the closing track.

“George Washington’s Teeth” ends the EP in a blaze of death metal that nods to bands like Vomitory, Nominon, and Father Befouled, full of tremolo picking, pinch harmonics, and straight ahead violence. The song uses the true story of Washington’s teeth being taken from slaves as an entry point into a broader indictment of American myth making and the way brutality is smoothed over for public consumption. Coins seeping through the eyes, sewer economies, people choking on the suffering they helped enable, it is a grotesque collage that pulls together the record’s concerns with historical lies, present day inequity, and a social body gnawing on itself. Sound clips about Wall Street and government waste inject a darkly comic edge, and a shouted “BITE IT YOU SCUM” courtesy of Roger from No/Más drives the song into a final barrage that feels like a bookend to the whole EP.

Across At the Mercy of the Merciless, ANTI-SAPIEN keep returning to the same tension. On one hand, they are trying to write riffs that feel like comfort and catharsis, something to sweat out to in a packed room. On the other hand, they are unflinching in their critiques of fascism, systemic abuse, exploitation, and the everyday ways people give up their power. The result is a record that is catchy and immediate, but also openly confrontational and political, from the first sound clip about the war on drugs being a war on people to the last reference to being chewed apart by the teeth of empire.

Minimal studio trickery and mostly full vocal and instrumental takes give the EP a live, human feel. Notes bend more with passion than perfection at times, and ANTI-SAPIEN lean into that choice rather than hide it. The band has already proven themselves on the road in the United States and abroad, and here they bottle that momentum into a short, filthy, and surprisingly thoughtful collection that runs from personal self sabotage to global systems of control. For listeners who live somewhere between death metal, crust punk, and hardcore, At the Mercy of the Merciless plays like a fast, furious wake up call, one that invites you to stage dive, circle pit, and then actually think about what you are angry at when the feedback fades.

About ANTI-SAPIEN:

ANTI-SAPIEN formed in Brooklyn in 2021 and grew quickly from a loose pandemic experiment into a touring force known for filthy death crust riffs, sweat soaked shows, and a message that cuts through the noise. The band began as a way for friends to blow off steam and write ugly, fun songs that blended their love of D beat punk, death metal, grind, and the classic New York slam tradition. What surprised them was how quickly audiences connected to not only the heaviness but the honesty. Kids responded to the riffs but also to the moments between songs where the band spoke openly about inequality, exploitation, and the systems that grind people down. That connection pushed ANTI-SAPIEN to take the project further, tighten their sound, and hit the road hard across the United States and eventually through Australia, Korea, and Japan.

Over time the band’s lineup shifted into the current form of Blake Charlton, Alex Fewell, Ryan Murphy, and Nathan Rand, all seasoned musicians with long histories in heavy music. Their combined backgrounds in bands like Ramming Speed, Black Mass, Soul Remnants, and others helped shape the sound into something both raw and disciplined, equal parts crust punk grit and death metal precision. They have played festivals like NEDM Funtime Bonanza and the NYDM International Fest, building a reputation for fast sets, filthy tones, and a refusal to shy away from uncomfortable truths.

ANTI-SAPIEN operate with a clear sense of purpose. They are proudly anti fascist, openly political, and committed to calling out abuses of power while keeping their shows rooted in community and catharsis. The band writes music that is catchy and disgusting, equal parts sewer filth and adrenaline, and they deliver it with the conviction of people who believe heavy music can be fun while still saying something worth hearing. Audiences continue to grow each tour, fueled by the band’s willingness to merge riffs, rage, humor, and a perspective shaped by lived experience.

ANTI-SAPIEN is:

Blake Charlton – Guitar and Lead Vocals
Alex Fewell – Drums
Ryan Murphy – Bass and Backup Vocals
Nathan Rand – Lead Guitar

Connect with ANTI-SAPIEN:

Website: terminushatecity.com
Bandcamp:https://anti-sapien.bandcamp.com/music
E Shop:https://anti-sapien.bandcamp.com/merch
Facebook:https://www.facebook.com/AntiSapienBand/
Instagram:https://www.instagram.com/antisapienband/
YouTube:https://www.youtube.com/@antisapienband
Spotify:https://open.spotify.com/artist/4qq4lPjBPdNmudoOk1CfRZ
Apple Music: https://music.apple.com/us/artist/anti-sapien/1679779909

ANTI-SAPIEN Release New Single "At the Mercy of the Merciless," Announce New Album

Atlanta’s crust smeared death metal unit ANTI-SAPIEN return with their new single “D.E.A.D.”, a track that highlights the band’s punk, hardcore and crust influences. Built on a mosh friendly intro, a fast d-beat verse and sharp higher register vocals, “D.E.A.D.” taps into the band’s love of filthy crust and NYDM style slam riffs. The song breaks away into a vicious party slam section complete with vintage 808 bass drops, showcasing the band’s ability to merge primitive heaviness with energetic hooks.

“D.E.A.D.” stands for “Do Everything All Day”, an acronym coined by a longtime friend of Blake over twenty years ago. The song’s theme reflects the idea that too much of life is wasted on worry, stagnation and unfulfilling obligations. ANTI-SAPIEN use the track to champion a philosophy of living fully and deliberately, honoring the dreams of loved ones who are no longer here and refusing to get caught in cycles of empty distraction.

The band notes that “D.E.A.D.” has quickly become one of their strongest live songs. Audiences respond instantly to the opening mosh part, and the track’s position as the start of Side B of the upcoming EP is intentional. Written with a side A and side B mindset, the song is meant to reintroduce listeners with a surge of energy and leave them wanting more as it barrels into a double bass driven solo and breakdown finale.

The EP At the Mercy of the Merciless arrives January 16 on Terminus Hate City. It is the second official recording from ANTI-SAPIEN and continues the band’s growth as purveyors of crust smeared death metal. The members bring decades of experience across grind, death metal and classic metal projects and write specifically to support the unique tone set at the band’s inception: fun and catchy, but grimy, sweaty and raw. Written throughout their touring schedule, the EP reflects the band’s evolution into more complex riffing and structures while preserving the primitive, oozing character that defines their sound. Pre-orders are available HERE. 

About ANTI-SAPIEN:

ANTI-SAPIEN formed in Brooklyn in 2021 and grew quickly from a loose pandemic experiment into a touring force known for filthy death crust riffs, sweat soaked shows, and a message that cuts through the noise. The band began as a way for friends to blow off steam and write ugly, fun songs that blended their love of D beat punk, death metal, grind, and the classic New York slam tradition. What surprised them was how quickly audiences connected to not only the heaviness but the honesty. Kids responded to the riffs but also to the moments between songs where the band spoke openly about inequality, exploitation, and the systems that grind people down. That connection pushed ANTI-SAPIEN to take the project further, tighten their sound, and hit the road hard across the United States and eventually through Australia, Korea, and Japan.

Over time the band’s lineup shifted into the current form of Blake Charlton, Alex Fewell, Ryan Murphy, and Nathan Rand, all seasoned musicians with long histories in heavy music. Their combined backgrounds in bands like Ramming Speed, Black Mass, Soul Remnants, and others helped shape the sound into something both raw and disciplined, equal parts crust punk grit and death metal precision. They have played festivals like NEDM Funtime Bonanza and the NYDM International Fest, building a reputation for fast sets, filthy tones, and a refusal to shy away from uncomfortable truths.

ANTI-SAPIEN operate with a clear sense of purpose. They are proudly anti fascist, openly political, and committed to calling out abuses of power while keeping their shows rooted in community and catharsis. The band writes music that is catchy and disgusting, equal parts sewer filth and adrenaline, and they deliver it with the conviction of people who believe heavy music can be fun while still saying something worth hearing. Audiences continue to grow each tour, fueled by the band’s willingness to merge riffs, rage, humor, and a perspective shaped by lived experience.

ANTI-SAPIEN is:

Blake Charlton – Guitar and Lead Vocals
Alex Fewell – Drums
Ryan Murphy – Bass and Backup Vocals
Nathan Rand – Lead Guitar

Connect with ANTI-SAPIEN:

Website: terminushatecity.com
Bandcamp: https://anti-sapien.bandcamp.com/music
E Shop: https://anti-sapien.bandcamp.com/merch
Facebook: https://www.facebook.com/AntiSapienBand/
Instagram: https://www.instagram.com/antisapienband/
YouTube: https://www.youtube.com/@antisapienband
Spotify: https://open.spotify.com/artist/4qq4lPjBPdNmudoOk1CfRZ
Apple Music: https://music.apple.com/us/artist/anti-sapien/1679779909

MALEFIC Unleash New Single “In Darkest Dreams” from Forthcoming Album Impermanence

Atlanta blackened thrash visionaries MALEFIC have released their new single “In Darkest Dreams,” taken from the band’s long-awaited full length album Impermanence, arriving February 13, 2026 via Terminus Hate City. As one of the oldest songs in the MALEFIC catalog, originally dating back to the years before 2010, “In Darkest Dreams” has undergone a long evolution to become the fully realized version presented on the record.

The track highlights the band’s increasingly death metal driven approach while still retaining the blackened and thrashy foundation that defines their sound. It is one of the few songs on the album to feature a true chorus, yet it remains progressive in structure, moving through distinct musical chapters that each showcase a different facet of the band’s writing. The middle breakdown section emphasizes the group’s command of shifting rhythms and tight, precise playing, eventually building into a ripping guitar solo by Sam that captures his growth and confidence as a lead player.

Lyrically, “In Darkest Dreams” reflects an earlier era of MALEFIC. The words were initially written by Cory after Devin left the band, and later revised slightly by Aaron to fit the larger narrative arc of Impermanence. The imagery leans heavily into the horror influences that colored the band’s early years, telling the tale of a reaper-like figure whose presence drives the song’s bleak atmosphere. Although the lyrics occasionally veer into abstract territory, the band acknowledges that they maintain a certain cool, visceral quality that fits the track’s history. The chorus in particular remains one of the few lyrical elements to survive from the early days, believed to have been preserved even after the rest of the original lyrics were lost.

The rhythmic overhaul of the song represents an important part of its evolution. With a drum approach shaped by thrash, high speed technical metal and progressive rock, Aaron sought to avoid monotony by frequently shifting the pulse within the same riffs. The early versions of the song relied more heavily on ad-libbed vocal patterns and less structured drumming, so the updated arrangement brings a tighter and more intentional rhythmic feel. Even the chorus sparked debate during recording about whether it should remain upbeat for its entire duration, and the final version reflects a compromise that preserves the song’s energy while serving the tension and release of the overall arrangement.

MALEFIC’s history stretches back to 2007 when the original lineup first emerged in the Atlanta extreme metal scene. After a hiatus beginning in 2009, the band reconvened in 2015 and has moved forward at full speed ever since. Their sound blends technical precision, a tightly locked rhythm section and a keen sense of groove into a modern, aggressive take on melodic death metal that stands apart from their peers in the United States. The creation of Impermanence began in late 2018 and faced numerous challenges as lineup changes forced re-tracking, rewrites and complete remixes of material that had already been considered finished. Despite the setbacks, the band views the album as the culmination of years of dedication, refinement and persistence, and as a definitive statement of what MALEFIC represents.

About MALEFIC:
MALEFIC roared onto the Atlanta metal scene in 2007 with ambitions to modernize the black metal genre. With their tight riffs, tasty leads, and relatable lyricism, MALEFIC abandons cliches and defies traditional genre boundaries. Their special blend of black metal, drawing from thrash and death metal influences, appeals to metalheads across subgenres. They count OLD MAN'S CHILD, CARCASS, TESTAMENT, DISSECTION, and OPETH among their most prominent influences, offering a fresh, modern take on metal that is unrivaled in the United States.

Though they are set to release their very first full-length album, Impermanence, in 2025, MALEFIC boasts an impressive live performance history, having played shows with notable bands such as 1349, CRYPTA, and PROFANATICA. After a hiatus in 2009, the band eagerly picked back up where they left off and reformed with a new lineup. MALEFIC initially began work on Impermanence in 2018, taking their time to ensure that every detail accurately reflected their vision for their album. The band's hard work and dedication has culminated in a powerful debut, lovingly crafted by fans of nuanced, boundary-pushing music. 

MALEFIC lineup:
Jason Davila - Guitar
Aaron Baumoel - Drums, Vocals
Sam Williams - Guitar
Andy McGraw - Bass

ANTI-SAPIEN Release New Single "At the Mercy of the Merciless," Announce New Album

ANTI-SAPIEN unleash their brand new single and official music video for “At the Mercy of the Merciless”, the crushing title track from their upcoming EP due January 16 on Terminus Hate City. 

“At the Mercy of the Merciless” represents a powerful turning point for ANTI-SAPIEN, showcasing a darker, heavier, and more deliberate side of the band. Built around a massive mid tempo groove and anchored by a pounding rhythmic backbone, the track pulls listeners into a spiraling examination of modern life under algorithmic manipulation and economic domination. The lyrics dissect how society has become divided and immobilized, trapped in echo chambers while the wealthy few exploit the chaos. It is both a warning and a rallying cry, sharpened by the band’s trademark blend of death metal intensity and crust punk grit.

The video released today amplifies the song’s message with stark imagery that reflects the disorientation and isolation at the heart of the track. ANTI-SAPIEN have always approached their music with a raw honesty, and this visual companion pushes that commitment even further, matching the song’s heaviness with a bleak and direct look at the systems that grind people down.

Already a standout within the band’s live set, the single marks the first official preview of the upcoming EP and sets the tone for what listeners can expect in January. The band’s sound has evolved significantly since their debut, and “At the Mercy of the Merciless” captures that growth with a tighter production, heavier atmosphere, and even more pointed lyrical focus.

About ANTI-SAPIEN:

ANTI-SAPIEN formed in Brooklyn in 2021 and grew quickly from a loose pandemic experiment into a touring force known for filthy death crust riffs, sweat soaked shows, and a message that cuts through the noise. The band began as a way for friends to blow off steam and write ugly, fun songs that blended their love of D beat punk, death metal, grind, and the classic New York slam tradition. What surprised them was how quickly audiences connected to not only the heaviness but the honesty. Kids responded to the riffs but also to the moments between songs where the band spoke openly about inequality, exploitation, and the systems that grind people down. That connection pushed ANTI-SAPIEN to take the project further, tighten their sound, and hit the road hard across the United States and eventually through Australia, Korea, and Japan.

Over time the band’s lineup shifted into the current form of Blake Charlton, Alex Fewell, Ryan Murphy, and Nathan Rand, all seasoned musicians with long histories in heavy music. Their combined backgrounds in bands like Ramming Speed, Black Mass, Soul Remnants, and others helped shape the sound into something both raw and disciplined, equal parts crust punk grit and death metal precision. They have played festivals like NEDM Funtime Bonanza and the NYDM International Fest, building a reputation for fast sets, filthy tones, and a refusal to shy away from uncomfortable truths.

ANTI-SAPIEN operate with a clear sense of purpose. They are proudly anti fascist, openly political, and committed to calling out abuses of power while keeping their shows rooted in community and catharsis. The band writes music that is catchy and disgusting, equal parts sewer filth and adrenaline, and they deliver it with the conviction of people who believe heavy music can be fun while still saying something worth hearing. Audiences continue to grow each tour, fueled by the band’s willingness to merge riffs, rage, humor, and a perspective shaped by lived experience.

ANTI-SAPIEN is:

Blake Charlton – Guitar and Lead Vocals
Alex Fewell – Drums
Ryan Murphy – Bass and Backup Vocals
Nathan Rand – Lead Guitar

Connect with ANTI-SAPIEN:

Website: terminushatecity.com
Bandcamp: https://anti-sapien.bandcamp.com/music
E Shop: https://anti-sapien.bandcamp.com/merch
Facebook: https://www.facebook.com/AntiSapienBand/
Instagram: https://www.instagram.com/antisapienband/
YouTube: https://www.youtube.com/@antisapienband
Spotify: https://open.spotify.com/artist/4qq4lPjBPdNmudoOk1CfRZ
Apple Music: https://music.apple.com/us/artist/anti-sapien/1679779909

ALL HELL - Sunsetter

ALL HELL returns from the shadows with their fifth full-length album, Sunsetter, arriving October 10, 2025 on Terminus Hate City. From their origins in Asheville, North Carolina in 2013, the band has carved a singular path through the underground, blending elements of first wave black metal, deathrock, punk, and film score atmospheres into something entirely their own. Sunsetter is the culmination of years of evolution and hardship, a concept record that stretches from ancient myth to modern apocalypse, driven by fire, blood, and vision.

The band (Jacob Curwen on guitar and vocals, Erik Ballantyne on bass, and Elanti on drums) began work on Sunsetter after the release of 2019’s The Witch’s Grail. Progress was slow and plagued by constant disruption. The pandemic struck, personal tragedies followed, and devastating floods hit their home region. In the midst of all this, the band found themselves burned out and disillusioned with metal entirely. But after stepping back and rediscovering their creative hunger, they emerged with a record that is not only their most metal release to date, but also their most fully realized.

Sunsetter tells a sprawling, violent tale of exile, rebirth, and cosmic vengeance. The story begins in ancient times with the curse of Cain, the first murderer, cast into the land of Nod where he joins with Lilith, the exiled first wife of Adam. From their union comes a cursed bloodline. The album’s opening track, “Exiled into Nod,” skips any slow buildup and immediately drops the listener into the chaos of this mythic prayer. It is followed by “Dominus Sanguis, Domina Nox,” a dark hymn to the Lord of Blood and the Lady of Night, and then “The Violent Brood,” a classic ALL HELL track that portrays the frenzy of being hunted by Cain's spawn.

“The Bleeding” flips the perspective and explores the mind of a predator, with a guest solo from Nate Garnette of SKELETONWITCH adding another layer of menace. The title track, “Sunsetter,” takes a more triumphant tone, capturing the defiance and pride of the children of Cain as they reject the sun and claim dominion over the night. Its straightforward power made it the obvious choice for the album’s name.

Side two of the album begins with “The Flood and the Death,” a cinematic, spoken-word interlude that sets the stage for a shift in time. The next chapter takes place centuries later, where the bloodline of Cain has survived the flood and reemerges in the present. “Behold the Night” brings this rebirth to life with driving energy and shifting dynamics. “Path of Cain” offers a darkly anthemic reflection on lineage, sin, and survival.

The final act of the album accelerates toward doom. “Sacrifice to Shadow” portrays a cult's plea for the return of their ancient masters, while “The Ancients Rise” delivers on that prophecy with grinding riffs and ominous brass that call back to the album’s ancient beginnings. The closing track, “The Outer Night,” brings it all to an end. It begins with militaristic urgency, climbs to apocalyptic grandeur, and fades into the cold silence of a world overrun. Cain and Lilith return, and the sun sets for the last time.

The album was recorded, mixed, and engineered by Chris Adams at Hidden Audio, with mastering by Jacob Curwen. The visual aesthetic, including the album art, was also created by Curwen, preserving the band’s independent and uncompromising approach.

The sun fades. The night takes hold. The world belongs to ALL HELL.

About ALL HELL:

ALL HELL is a blackened metal trio from Asheville, North Carolina, known for their relentless fusion of first wave black metal, deathrock, punk, and horror-driven storytelling. Since forming in 2013, the band has carved out a distinct identity rooted in occult themes, razor-sharp riffs, and a fierce DIY ethos. Their sound is aggressive, stripped-down, and deeply atmospheric — a raw, unfiltered descent into myth, violence, and the supernatural.

With five full-length albums and an EP to their name, including 2025’s apocalyptic concept record Sunsetter, ALL HELL has evolved from a local cult favorite into a powerful underground force. Their live presence has taken them across the U.S., sharing stages with acts like RINGWORM, BLACK TUSK, PROFANATICA, and TURN COLD, and performing at festivals such as Decibel Metal and Beer Fest, Dark Lord Day, and RPM Fest.

The current lineup, Jacob Curwen (guitar and vocals), Erik Ballantyne (bass), and Elanti (drums), continues to push the band’s sound forward while staying true to its core. With each release, ALL HELL digs deeper into a unique mythos that spans history, horror, and apocalypse, embracing the dark, the ugly, and the eternal night.

ALL HELL is:

  • Jacob Curwen – Guitar and Vocals

  • Erik Ballantyne – Bass

  • Elanti – Drums


Connect with ALL HELL:

Bandcamp: https://allhell.bandcamp.com
Facebook: https://facebook.com/allhellband
Instagram: https://instagram.com/allhellband
Spotify: https://open.spotify.com/artist/5FVXnF7zGfuo8WF5qq4XHK
Apple Music: https://music.apple.com/be/artist/all-hell/925520478

ALL HELL returns from the shadows with their fifth full-length album, Sunsetter,

Arriving October 10, 2025 on Terminus Hate City. From their origins in Asheville, North Carolina in 2013, the band has carved a singular path through the underground, blending elements of first wave black metal, deathrock, punk, and film score atmospheres into something entirely their own. Sunsetter is the culmination of years of evolution and hardship, a concept record that stretches from ancient myth to modern apocalypse, driven by fire, blood, and vision.

The band (Jacob Curwen on guitar and vocals, Erik Ballantyne on bass, and Elanti on drums) began work on Sunsetter after the release of 2019’s The Witch’s Grail. Progress was slow and plagued by constant disruption. The pandemic struck, personal tragedies followed, and devastating floods hit their home region. In the midst of all this, the band found themselves burned out and disillusioned with metal entirely. But after stepping back and rediscovering their creative hunger, they emerged with a record that is not only their most metal release to date, but also their most fully realized.

Sunsetter tells a sprawling, violent tale of exile, rebirth, and cosmic vengeance. The story begins in ancient times with the curse of Cain, the first murderer, cast into the land of Nod where he joins with Lilith, the exiled first wife of Adam. From their union comes a cursed bloodline. The album’s opening track, “Exiled into Nod,” skips any slow buildup and immediately drops the listener into the chaos of this mythic prayer. It is followed by “Dominus Sanguis, Domina Nox,” a dark hymn to the Lord of Blood and the Lady of Night, and then “The Violent Brood,” a classic ALL HELL track that portrays the frenzy of being hunted by Cain's spawn.

“The Bleeding” flips the perspective and explores the mind of a predator, with a guest solo from Nate Garnette of SKELETONWITCH adding another layer of menace. The title track, “Sunsetter,” takes a more triumphant tone, capturing the defiance and pride of the children of Cain as they reject the sun and claim dominion over the night. Its straightforward power made it the obvious choice for the album’s name.

Side two of the album begins with “The Flood and the Death,” a cinematic, spoken-word interlude that sets the stage for a shift in time. The next chapter takes place centuries later, where the bloodline of Cain has survived the flood and reemerges in the present. “Behold the Night” brings this rebirth to life with driving energy and shifting dynamics. “Path of Cain” offers a darkly anthemic reflection on lineage, sin, and survival.

The final act of the album accelerates toward doom. “Sacrifice to Shadow” portrays a cult's plea for the return of their ancient masters, while “The Ancients Rise” delivers on that prophecy with grinding riffs and ominous brass that call back to the album’s ancient beginnings. The closing track, “The Outer Night,” brings it all to an end. It begins with militaristic urgency, climbs to apocalyptic grandeur, and fades into the cold silence of a world overrun. Cain and Lilith return, and the sun sets for the last time.

The album was recorded, mixed, and engineered by Chris Adams at Hidden Audio, with mastering by Jacob Curwen. The visual aesthetic, including the album art, was also created by Curwen, preserving the band’s independent and uncompromising approach.

The sun fades. The night takes hold. The world belongs to ALL HELL.

About ALL HELL:

ALL HELL is a blackened metal trio from Asheville, North Carolina, known for their relentless fusion of first wave black metal, deathrock, punk, and horror-driven storytelling. Since forming in 2013, the band has carved out a distinct identity rooted in occult themes, razor-sharp riffs, and a fierce DIY ethos. Their sound is aggressive, stripped-down, and deeply atmospheric — a raw, unfiltered descent into myth, violence, and the supernatural.

With five full-length albums and an EP to their name, including 2025’s apocalyptic concept record Sunsetter, ALL HELL has evolved from a local cult favorite into a powerful underground force. Their live presence has taken them across the U.S., sharing stages with acts like RINGWORM, BLACK TUSK, PROFANATICA, and TURN COLD, and performing at festivals such as Decibel Metal and Beer Fest, Dark Lord Day, and RPM Fest.

The current lineup, Jacob Curwen (guitar and vocals), Erik Ballantyne (bass), and Elanti (drums), continues to push the band’s sound forward while staying true to its core. With each release, ALL HELL digs deeper into a unique mythos that spans history, horror, and apocalypse, embracing the dark, the ugly, and the eternal night.

ALL HELL is:

  • Jacob Curwen – Guitar and Vocals

  • Erik Ballantyne – Bass

  • Elanti – Drums


Connect with ALL HELL:

Bandcamp: https://allhell.bandcamp.com
Facebook: https://facebook.com/allhellband
Instagram: https://instagram.com/allhellband
Spotify: https://open.spotify.com/artist/5FVXnF7zGfuo8WF5qq4XHK
Apple Music: https://music.apple.com/be/artist/all-hell/925520478

ALL HELL Unleash New Single “The Bleeding” from Forthcoming Album Sunsetter

Blackened metal trio ALL HELL has released “The Bleeding,” the first single from their upcoming album Sunsetter, due out October 10, 2025 on Terminus Hate City.

A blistering, high-speed descent into vampiric hunger and ritualistic violence, “The Bleeding” offers the first glimpse into the apocalyptic narrative of Sunsetter, a concept album spanning millennia of exile, resurrection, and mythic doom. The track also features a scorching guest guitar solo by Nate Garnette of SKELETONWITCH, a longtime friend and collaborator of the band.

Lyrically, “The Bleeding” places listeners in the mind of a predator, one of the cursed children of Cain, seeking blood offerings for a long-slumbering sire. The result is pure sonic ferocity, blending d-beat punk energy with the band’s signature blackened edge and occult atmosphere.

Sunsetter is the fifth full-length from ALL HELL, following a string of acclaimed releases including The Grave Alchemist and The Witch’s Grail. Known for their punishing live shows and genre-defying sound, the band has toured with RINGWORM, BLACK TUSK, and PROFANATICA, and has performed at Decibel Metal and Beer Fest, RPM Fest, and more.

About ALL HELL:

ALL HELL is a blackened metal trio from Asheville, North Carolina, known for their relentless fusion of first wave black metal, deathrock, punk, and horror-driven storytelling. Since forming in 2013, the band has carved out a distinct identity rooted in occult themes, razor-sharp riffs, and a fierce DIY ethos. Their sound is aggressive, stripped-down, and deeply atmospheric — a raw, unfiltered descent into myth, violence, and the supernatural.

With five full-length albums and an EP to their name, including 2025’s apocalyptic concept record Sunsetter, ALL HELL has evolved from a local cult favorite into a powerful underground force. Their live presence has taken them across the U.S., sharing stages with acts like RINGWORM, BLACK TUSK, PROFANATICA, and TURN COLD, and performing at festivals such as Decibel Metal and Beer Fest, Dark Lord Day, and RPM Fest.

The current lineup, Jacob Curwen (guitar and vocals), Erik Ballantyne (bass), and Elanti (drums), continues to push the band’s sound forward while staying true to its core. With each release, ALL HELL digs deeper into a unique mythos that spans history, horror, and apocalypse, embracing the dark, the ugly, and the eternal night.

ALL HELL is:
 

  • Jacob Curwen – Guitar and Vocals

  • Erik Ballantyne – Bass

  • Elanti – Drums


Connect with ALL HELL:

Bandcamp: https://allhell.bandcamp.com
Facebook: https://facebook.com/allhellband
Instagram: https://instagram.com/allhellband
Spotify: https://open.spotify.com/artist/5FVXnF7zGfuo8WF5qq4XHK
Apple Music: https://music.apple.com/be/artist/all-hell/925520478

OUT NOW - LOW BEFORE THE BREEZE - A Hole Beneath The Home We Shared

Emerging from the vibrant underbelly of Atlanta's heavy music scene, LOW BEFORE THE BREEZE is set to release their much-anticipated album, A Hole Beneath The Home We Shared, on May 30, 2025, through Terminus Hate City. This release marks a bold evolution in the band’s sound, weaving the personal turmoils of its members into a dense fabric of screamo, black metal, and harsh noise influences.

From the raw emotional screams to the intricate guitar work, the album serves as a sonic narrative of vocalist and guitarist Andrew Spann’s harrowing experiences—from his failed marriage and his father’s illness to a tumultuous brush with physical abuse—all viewed through the lens of religious guilt. The album is a journey through dark and aggressive territories, yet it is deeply personal and introspectively crafted.

The recording process at Sobek Sound under the expert hands of engineer Conner Ray and mixer Simon Small at Tunnel of Reverb captures the band’s raw live energy while refining their sound into a polished yet aggressive album. Mastering by Erol Ulug at Bright Light Studios ensures that the depth and complexity of the sound are preserved, giving listeners a visceral listening experience.

Special guest appearances enrich the narrative and sonic depth of the album. Tim Jones from STARVED OF LIGHT and LEAFBLOWER lends his voice to "Same Joke Twice," adding a layer of angst and introspection, while Maurice White of APOSTLE and LADYBIRD features on "Cadaver Synod," contributing to the track’s brooding intensity. Sasha Schilbrack-Cole of MALEVICH not only contributes vocals on "Permission to Rest" but also provides the haunting album cover artwork, encapsulating the emotional and tumultuous themes of the album.

Tracks like "Night Wept" and "Cadaver Synod" are marked as focus tracks for their compelling storytelling and intricate musical compositions. "Night Wept" deals with an intense personal moment of public humiliation and private despair, while "Cadaver Synod" explores the death of relationships and old selves, making them standout pieces that showcase the band’s growth and the thematic gravity of the album.

The album will be available in various formats including vinyl, cassette, and digital, appealing to collectors and digital listeners alike. As LOW BEFORE THE BREEZE continues to push the boundaries of their genre, A Hole Beneath The Home We Sharedstands as a testament to their artistic growth and personal resilience.

For fans of heavy, introspective music, this album promises not just songs, but stories—each track a chapter, each lyric a line of survival. Dive into the depths of LOW BEFORE THE BREEZE’s new album and experience the tumultuous, cathartic journey of A Hole Beneath The Home We Shared. 

About LOW BEFORE THE BREEZE:

Founded in 2021 in the eclectic music hub of Atlanta, Georgia, LOW BEFORE THE BREEZE quickly emerged as a force within the heavy music scene, known for their intense live performances and deeply introspective lyrics. Comprising vocalist and guitarist Andrew Spann, drummer Jonathan Balsamo, bassist Dennis Maganda, and guitarist Jonathan Kemp, the band synthesizes elements of screamo, black metal, and harsh noise to create a sound that is both aggressive and emotionally resonant.

LOW BEFORE THE BREEZE's journey began with the vision of Spann and Balsamo, who sought to explore the darker, more personal aspects of human experience through music. The addition of Kemp and Maganda in subsequent years brought new dimensions to the band's sound, enhancing their sonic landscape and deepening their lyrical exploration.

The band's music reflects a blend of personal trauma and societal critique, woven into compositions that challenge the boundaries of genre. Their lyrics often delve into themes of loss, betrayal, and the struggle for identity within the confines of societal expectations and personal turmoil. This thematic depth is matched by a musical intensity that captures the chaos and catharsis of confronting one's darkest moments.

With a discography that includes a demo and two EP's that have garnered attention both locally and internationally,, LOW BEFORE THE BREEZE has established themselves as a unique voice in the world of heavy music. Their commitment to authenticity and emotional rawness makes their performances compelling not just musically but as profound emotional experiences for their audience.

As they release their latest album, A Hole Beneath The Home We Shared, LOW BEFORE THE BREEZE continues to push the limits of their art, offering listeners a stark, unflinching look at the complexities of the human condition. Their music is a journey through the landscapes of pain and redemption, a narrative arc that resonates with anyone who has faced their own inner turmoil and come through transformed.

LOW BEFORE THE BREEZE is:

LOW BEFORE THE BREEZE Release Final Single “Cadaver Synod”

Atlanta-based experimental post-hardcore band LOW BEFORE THE BREEZE unveils the third and final single from their forthcoming debut full-length, A Hole Beneath The Home We Shared. Titled “Cadaver Synod,” the track is available now alongside a striking music video and stands as the emotional and sonic centerpiece of the album.

Named after the infamous 9th-century trial of a dead pope, the song reflects on the decay of a relationship and the death of a life once imagined. Through layers of weaponized feedback, textural electronics, and brooding ambience, LOW BEFORE THE BREEZE casts aside conventional guitar and bass arrangements in favor of something far more raw and elemental

The song’s structure is a descent: from ghostly electronics and stark spoken-word passages to surging noise rock riffs and abrasive textures that push the band’s sonic palette further than ever before. As with previous singles “Night Wept” and “Proverbs 7:22,” “Cadaver Synod” continues to showcase the band’s fusion of emotional hardcore, blackened post-metal, and harsh noise — drawing influence from acts like CULT LEADER, OATHBREAKER, and PORTRAYAL OF GUILT.

Since forming in 2021, LOW BEFORE THE BREEZE has carved out a distinct identity within the underground with their chaotic live performances, immersive atmosphere, and unflinching lyrical depth. With this final single, the band is preparing listeners for the full weight of A Hole Beneath The Home We Shared, an album shaped by grief, guilt, and the ache of memory.

LOW BEFORE THE BREEZE is set to release their highly anticipated album, A Hole Beneath The Home We Shared, on May 30, 2025, through Terminus Hate City. This album, rich with the band's signature mix of screamo, black metal, and harsh noise, offers a profound narrative journey through personal trauma and existential angst. It features intense, emotive tracks that explore themes ranging from betrayal and loss to resilience and redemption, all framed within the context of religious and personal guilt. The album promises to be a cathartic experience for listeners, showcasing LOW BEFORE THE BREEZE's growth both as musicians and storytellers. With the production handled by Conner Ray and the masterful mixing of Simon Small, this release is poised to resonate deeply within the heavy music community, reaffirming the band's position at the forefront of the genre.

About LOW BEFORE THE BREEZE:

Formed in 2021 in Atlanta, GA, LOW BEFORE THE BREEZE is a dynamic band known for blending intense emotion with a broad spectrum of sounds from black metal to post-rock. The band comprises Andrew Spann on vocals, guitar, and electronics, Dennis Maganda on bass, Jonathan Balsamo on drums, and Jonathan Kemp on guitar and backing vocals.

From its inception, LOW BEFORE THE BREEZE has crafted a sound that defies simple categorization. Influenced by bands like CULT LEADER, PORTRAYAL OF GUILT, and OATHBREAKER, their music incorporates elements of harsh noise, samples, and death metal-inspired drumming, underpinned by a lyrical and vocal style reminiscent of 90's emotional hardcore. This eclectic mix is not just heard in their recordings but is an integral part of their electrifying live performances where the band aims for a visceral connection with their audience through intense movement and minimal on-stage banter.

Their discography reflects their evolution and willingness to explore deep emotional and sonic terrains, starting with their 2021 demo Various Raptures, followed by a split EP That Which Still Aches with LESS DEAD, and the critically acclaimed EP It Kindly Bent Around Me, released via Gallow Dance Records. Each release marks a step further into their exploration of sound and emotion, capturing the raw and often tumultuous essence of their experiences.

The band's commitment to their craft and their ability to resonate with fans has been evident through their growing presence on the live circuit, captivating performances at key festivals, and collaborations with other artists that push their creative boundaries even further.

LOW BEFORE THE BREEZE is:

  • Andrew Spann - Vocals, guitar, and electronics

  • Dennis Maganda - Bass

  • Jonathan Balsamo - Drums

  • Jonathan Kemp - Guitar and backing vocals

Connect with LOW BEFORE THE BREEZE: