Infamous / Ordo Sanguinis Noctis Split Released

In the midst of the coronavirus devastating Italy, melodic Sardinian black metal act Infamous recently released a new track entitled “Forza e Onore” on a split with Ordo Sanguis Noctis entitled Strength and Honour/ Consecration of Mossy Sanctuary. With “Forza e Onore” mastermind S.A. explores familiar melodies with perhaps a greater sense of violence and urgency than those tracks which appeared on the previous full length.

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Infamous – Winter Ruins in Howling Mist (2019)

Infamous contributed two tracks to the split CD/EP with Cmentarny Zew, Thorncastle and Ordo Sanguinis Noctis named Winter Ruins in Howling Mist released by Darker Than Black Records. These songs demonstrate why Infamous remains at the head of the new brand of black metal, mainly by staying true not just to black metal, but to idea-driven music.

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Gorrenje / Infamous – Italian-German Black Metal Brotherhood (2017)

By now established as one of few post-nineties black metal acts worth saving for posterity, Infamous returns with yet another joint effort production on the Hammerbund label. Joining the bill is the somewhat amusingly christened Gorrenje, a band previously unknown around these quarters but apparently of a slightly older vintage than their Sardinian counterpart. As has earlier been the case, Infamous proves to be vastly superior to their collaborators and is therefore the one most worthy of our attention.
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Infamous “A Su Connottu, Oro Sa Lei De S’Antigoriu”

For centuries Italian engineers were valued throughout the western world for their skill in both destruction and construction. The great Imperial warlord Albrecht Wallenstein, who exhibited a keen eye for excellence, had Italian mercenaries in his army and Italian architects for his for his manors. With their relatively recent split release with German band Gorrenje, the Italian black metal band Infamous carry on this tradition of dual excellence.

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Hidden Metal In Plain Sight

Underground occult metal blog Praefuscus Ferrum recently posted a piece entitled “Underground turned Funderground, and the Obscurantist Elite” proposing that what killed underground metal was widespress consumer access to new technologies such as the internet. These and the increased exposure to fans led artistically successful underground metal bands to pursue raw consumerism at the expense of writing transcendent music. D.A.R.G. points out that “the truest artists purposefully hide away from the profane eye” as the communication mediums the underground metal utilized (physical mail, tape trading, and BBSes) have been usurped by ones more accessible to laymen. He states the underground became the “funderground” in the blink of an eye as mainstream rock and pop fans who felt adventurous wanted rock and pop music with “black” and “death” “metal” production aesthetics, not actual death, black, or even heavy metal. Now the musicians actually writing novel underground metal compositions hide unbeknownst to the typical beer metaller in plain sight.

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