Imprecation to release split with Blaspherian on August 20, 2014

August 12, 2014 –

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Texas gut-crushing occult death metal band Imprecation will unleash their split release with Blaspherian through Dark Descent records on August 20, 2014. This new release will give metalheads a chance to see how both bands have developed since their latest full-lengths, Satanae Tenebris Infinita and Infernal Warriors of Death respectively.

In addition, the band plans to release a 10″ of its “Jehovah Denied” demo on Rex Bagude records (Mexico) and Morbid Metal records in the US. This demo revealed the style of this band that evolved in the intervening years since its acclaimed 1995 collection of demos, Theurgia Goetia Summa.

Blaspherian/Imprecation split 7″ art revealed

July 2, 2014 –

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Dark Descent records unleashed the cover art for the upcoming Blaspherian/Imprecation split 7″ recording. This will combine the power of the two bands, including Blaspherian vocalist Daniel Shaw who drew the intricate and necrotic cover.

Expect copious apostate blasphemy as both of these bands, coming from the religious yet contrarian abyss of Texas, Houston, have nursed an inculcated dislike of all things holy since an early age. Both bands have a root in the original incarnation of Imprecation who released a Morbid Angel/Revenant-ish compilation of demos in 1995.

Since that time, Blaspherian has emerged as the vehicle of songwriter Wes Weaver to express cavernous thunder of old school death metal austere rage and epic historical-mythological minimization of humanity and emotion, while Imprecation has merged melodic doom metal with old school death metal to create a new form of unholy ritual metal.

As these two new legends prepare to holocaust humanity with their acerbic ire and irreverent heresy, the underground awaits with growing anticipation. The underground death metal revival that began in 2009 with Beherit Engram gains momentum as it overcomes inertial barriers and defines this ancient style for a new age.

Blaspherian – Demos

May 31, 2014 –

blaspherian-demos

Death metal requires from its artists more than finding two parts in harmony that complement each other. It requires the creation of a visual experience, or a topographic one, through the interaction between riffs themselves. It helps to remove harmony from this equation and to use melody, harmony and other techniques selectively to highlight certain functions of the riff, like techniques used in language when writing a novel. This restores the ideas or sensations behind music to their rightful place, and puts the charms of music in their rightful place of servitude to the experience — sensation producing mentation — of music itself.

Coming to us from the maniacs at Compilation of Death, Blaspherian Demos obscures itself through the primitive production of these two recordings. Combined, the three-song rehearsal from 2005 and the four-song “Summoning of Infernal Hordes” demo from 2006 contain the early work of this band in a primal death metal form: low guitars, whispering murky rasped vocals, and drums thudding in the background. By doing so, this recording removes many of the obstacles to perceiving the experience of the music itself, which is a change in dynamics through the shape of each riff, with the serpentine twist of power chord tremolo sculptures mimicking a sensation in life or within the human mind.

The architect of these riffs, Wes Weaver, emphasizes “contrast” in his songwriting and these early visions show how this is applied. A riff starts, finds a convenient parallel between shape and rhythm, and builds an expectation; another intervenes, changing the sonic terrain and forcing re-interpretation of the prior riff, and then another emerges. These dogfight over the ground laid by the first riff until they evolve into a different path with some elements from both, like evolution or tectonic shifts. As each song ends, the initial theme emerges in a state changed by the alterations to context, much like experience and learning causes us to see what we always knew in a new light.

While those who want a studio perfect experience may recoil from these rough recordings, and others who fear the insidious power of nostalgia may also shy away, the experience provided escapes necessary connection to the past. It grasps the sensations of being alive and alert to the nothingness, emptiness and illusion of that which surrounds us. With uniquely self-expressive riffs and a style of rhythmic hook that evokes the early days of Incantation and Deicide, the music on these demos brings out the best in death metal even if it requires some imagination to hear.

Destroying Texas Fest IX on May 17, 2014 features Blaspherian and Sadistic Intent

May 10, 2014 –

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On Saturday, May 17, unspeakable evil will descend on a small club in the Montrose area of Houston, Texas. Destroying Texas Fest IX will feature headliners Sadistic Intent and home-grown Houston apostatic skull crushers Blaspherian among other local and regional acts. Like the previous incarnations of this series of fests, it promises to be a whirlwind of up-and-coming bands followed by the established acts.

Out of towners may appreciate the locale. Once a third ward community riddled with bullet holes and strewn with bodies, the Montrose area was gentrified into a homosexual enclave during the late 1970s and early 1980s, and then re-gentrified in the early 2000s by hipsters and yuppies. As a result, many metal clubs have closed, leaving Mango’s an alternative the size of your living room. It’s an “intimate setting.”

However, the location is easy to find and should have abundant parking nearby, which means that the hordes of metalheads sure to descend on this booming cosmopolitan city will have a solid base of operations as they explore blasphemous music at full intensity. The lineup for the show is slated to be:

  • Sadistic Intent
  • Blaspherian
  • Nodens
  • Morgengrau
  • Inverted Trifixion
  • Nethermost

Destroying Texas Fest IX
May 17, 2014 7:30 PM – 2:00 AM
Mango’s Cafe
403 Westheimer Road
Houston 77006
(713)-522-8903

Blaspherian demonstrate new song in San Antonio

April 1, 2014 –

Blasphemous occult old school thunderous death metal band Blaspherian rose to the stage at Bonds 007 in San Antonio and revealed their newest hymn, “Awakened Into Impious Absolvement.”

Destroying Texas Fest IX to destroy Houston on May 17, 2014

February 16, 2014 –

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Continuing the tradition of Texas shows that require the National Guard to calm down the audience afterward, Last Nightmare Productions presents Destroying Texas Fest VIII, featuring the following acts of pure power:

For more information, consult the Destroying Texas Fest Facebook page.

Blaspherian recording new 7″ entitled Upon the Throne of Eternal Blasphemous Death

October 25, 2013 –

blaspherian_liveTexas rolling destruction death metal band Blaspherian will enter Big Door Studios in Webster, TX on November 24th to finish recording two tracks for an upcoming 7″ entitled Upon the Throne of Eternal Blasphemous Death.

The new recording will be released through Iron Bonehead recordings, following a split 7″ between Blaspherian and Texas death metal legends Imprecation which will be released on Dark Descent Records.

Blaspherian – Allegiance to the Will of Damnation

May 30, 2009 –

While most of the world has gone nuts trying to make black metal into a blasphemous yet trendy extreme, Blaspherian go back to the roots of the death metal genre. Allegiance to the Will of Damnation uses the simple riffs in complex formulations that made bands like Morpheus Descends and Asphyx favorites among the old school.

Nodding to the American punk tradition, Blaspherian also employ a number of one- and two-chord rhythm riffs that ride an unsyncopated rhythm into bounding, pummeling heaviness. Vocals resemble the occult rantings of Sadistic Intent or Resuscitator, and song pacing calls to mind the spirit of the aforementioned Asphyx. At its heavier moments, this EP will appeal to those who enjoyed early Obituary or Infester.

While it does not work to distinguish itself in style, this music gains a voice of its own by how it combines the artifacts of the past and finds a new voice for them within that style. This expression, while somewhat chaotic as first releases always are, surges forth with a voice of its own despite keeping itself firmly anchored in the old school tradition. In that, it succeeds where others have gone nuts over style and forgotten substance.