Louisville, Kentucky’s VOLCANDRA have announced their 2022 return, burning brightly with incandescent verve and an audaciously ambitious sci-fi-inspired take on the black metal genre. VOLCANDRA will be releasing their Prosthetic Records debut release in the form of a four-track EP, titled Border World, due out on June 24.
Since their 2019 inception and a well-received 2020 debut full-length, Into the Azure, VOLCANDRA have steadfastly been honing their craft on both the live-circuit and in the recording studio. Across Border World’s runtime, VOLCANDRA offers a distinctively futuristic vision of melodic black metal – with lyrical tales of possessed mythical beasts, draconic cyborgs and mystical border worlds inspired by a deep love for video games and futuristic storytelling. All of these thematic elements are brought to life in stunning fashion by Varises Otak (Cattle Decapitation, Cryptopsy and Amon Amarth)’s cover art.
In 2010, members from buried project The Last, the almighty Minos and Dread Veil came together with a simple goal: to create the music they wanted with no genre restrictio
Digipaks for Restoratio
Our third album ASCENSION is available via bandcamp in three formats- digital, cassette and digipak. Pick it up now!
Pulchra Morte (ˈpul.kʰra / ˈmɔr.te) – comprised of Adam Clemans (Skeletonwitch, Wolvhammer), John Porada (Wolvhammer, Abigail Williams), Jarrett Pritchard(Eulogy), Clayton Gore (Eulogy, Harkonin), and Jeffrey Breden (Leagues Below) – began in 2017 with the idea to rekindle a feeling that has become increasingly scarce in the dense landscape of extreme music today – formation of songs containing weight, atmosphere and feeling.
2019 began with the release of The critically-acclaimed debut album Divina Autem Et Aniles and continued with the performance of many shows throughout, including the Full Terror Assault Open Air Vfestival, as well as several sold-out shows in support of the 1349 / Uada / Cloak North American tour. We spent the majority of the year composing material for our follow-up album, entering the studio in September to begin work in earnest. While DAEA explored the many facets of death, for our next effort we wanted to pull the veil back a bit and expose more of our collective path and intention.
Ex Rosa Ceremonia, with cover art featuring a photo by Brian Sheehan/LGRDMN, conceptually refers to a need for a mental and spiritual renaissance. Looking back throughout history, there have been movements that inspired and created many metaphysical systems and philosophies that, upon deeper inspection, led us forward as a species in many ways, though hidden behind the curtain of magical order and secret society. As the near-sighted corral the blind and the masses happily stab their third eye with a constant diet of blue light among other things, we have arrived at a time that begs deeply for the need of an expanded consciousness. We see masses being led by the governing of robotic suggestions to align with your enemy based on alarmist response-seeking propaganda. A world of experts lacking substance, clamoring for the dopamine endorphin-guzzling pastime that becomes a virtual existence for many. Words like “influencer” and “trending” that are spoken instead of vomited, as they should be. The suggestion to “get in line” or be destroyed through character assassination. The record speaks of the power of unity when like minds join, the strength of a creature like us with nothing to lose when tenacity is put to the test with no alternative conceivable. People have become willingly blind to the power of the human mind when it is quieted and directed, when the bulb of the strobe light effect of media blitz hypnosis is smashed. The power of focus and purpose. And the rose of ceremony.
For ERC, drums were recorded to tape in the analog environment of Earth Analog studios (Clayton uses Pearl Drums, Paiste Cymbals, ACD pedals, Vater sticks). Guitars, bass, vocals, cellos, and everything else was recorded at New Constellation RMP (Jarrett and Jeff use ESP guitars, SIT strings, and Fowl Sounds pedals). The album was produced, engineered, and mixed by Jarrett Pritchard on New Constellation’s 1983 Trident 80B desk. Mastering was courtesy of Maor Appelbaum at Maor Appelbaum Mastering. The album features a guest lead from Jay Fernandez (Brutality), guest vocals from Heather Dykstra, cello once again courtesy of Naarah Strokosch, and backing vocals from a gang of dozens of folks known collectively as…
The Serpent’s Choir:
Jim Adolphson, Archaon, Jason Avery, Corey Barhorst, Dylan Barnes-Trout, Caleb Bergen, Jason Blackerby, Chase Brown, Mike Browning, Maria Burheim, Noah Cabitto, Matt Castro, Mike Connors, Blaine Cook, Vanessa Cordoba, Josh Crouse, Ross Dolan, Kim Dylla, Charles Elliott, Diane Farris, Damiano Fedeli, Andrew Gerrity, Matt Harvey, Dan Horton, Ryan Huff, John Jarvis, Øyvind Kaslegard, Espi Kvlt, Bruce Lamont, Jared Louche, Chris Lytle, Sage MacDonald, Scott MacDonald, Danielle Masek, Matt McClelland, Rob Miller, Karen Milligan, Sean Milligan, Erika Morgengrau, Jamey Morris, Nick Oliveri, Ravn, Billy C. Robinson, Blood Slaughter, Tor Stavenes, Jake Superchi, Eric Syre, Jeff Tandy, Scott Taysom, Oliver Thiel, Kyle Thomas, Mike Thompson, Terry Thornton, Tim Van Velthuysen, Rob Verret, Kevin Warhaft, Matt Wilson.
As it was in the beginning, the idea remains the same – feeling, atmosphere, songwriting, and weight with unabashed creativity above all else. We are in an excellent spot. We have the ability to create and record as often as we like, and will do exactly that.
Gore-soaked Death Metal from Indianapolis, Indiana