INTER ARMA‘s music resists generalization and categorization, but if there’s one thing that’s consistently true, it’s that the VA quintet possesses an unparalleled sense of scope. Few artists today accurately convey the complexity that INTER ARMA (Latin for “in times of war”) does – the band creates terrible and often hauntingly beautiful portraits of humanity through music that is deeply organic yet still mystical and modern. INTER ARMA are just as committed to the live circuit as they are to their records: the band has performed extensively throughout Europe and the US, sharing the stage with the likes of Kylesa, Baroness, Cough, Royal Thunder, Black Tusk, Ulcerate, Russian Circles, Windhand, and dozens of others. INTER ARMA‘s raw, uninhibited approach merges doom metal, psychedelic sludge, black metal, prog and more, and over the course of the last ten years, has established the band as a uniquely innovative force in contemporary extreme metal.

Founded in Richmond in 2006, the versatile and genre-defying five-piece released their debut full-length Sundown via Forcefield Records in 2010, and like all great artists, had a well-defined sound right from the start. Sundown found INTER ARMA widespread critical acclaim, and, combined with the band’s relentless touring schedule and DIY grit, quickly helped INTER ARMA make a name for themselves in the underground. Following Sundown, the band released the 12″ EP Destroyer via Toxic Assets Records. That record was strong enough to catch the attention of Relapse Records, who signed INTER ARMA later in 2012, and in 2013, the band unleashed the monolithic Sky Burial, a doomy, hour-long excursion through unpredictable textures and timbres. Just two years later, the band followed Sky Burial with The Cavern, a 45+ minute, single-song EP. Originally written during the summer of 2009, then slowly reworked and perfected, The Cavern was recorded in 2013 during breaks from the band’s non-stop tours. Both The Cavern and Sky Burial were widely hailed as some of the best records of their respective years and garnered INTER ARMA accolades from the likes of Pitchfork, NPR, Rolling Stone, and many other publications worldwide.

Two years after The Cavern, INTER ARMA are poised to return with their heaviest and most multifaceted work to date. Paradise Gallows is more than an hour of lush, colorful melodies and textures blended with the heaviness of the earth’s impending death. Like the band’s previous works, the new album Paradise Gallows is direct and foreboding while maintaining a nuanced, artful perspective. INTER ARMA‘s signature palette of dissonant high-end and abyssal low-end has been augmented with swathes of thick, impressionistic melody that lend Paradise Gallows a truly biblical sense of scale, both lyrically and in terms of the album’s sonic content. Harsh and acoustic passages (including the band’s first-ever foray into clean vocals) spar with complex rhythmic structures across nine sweeping tracks of expansive, progressive heaviness. The album was again recorded with Mikey Allred (Yautja, Hivelords) at Dark Art Audio in Nashville, and features gorgeous cover art by Orion Landau. Dense, funereal, and richly evocative, Paradise Gallows is a rich blend of doom, post-metal, sludge, and black and death metal, and is a singular and powerful new addition to the band’s already monumental discography.

Thantifaxath is a Canadian black metal band based in Toronto, Ontario. The band, which is signed to Dark Descent Records, consists of three anonymous members.

The band released their self-titled EP in 2011. The band’s debut album, Sacred White Noise, was released on April 15, 2014 via Dark Descent Records. The band premiered the album’s opening track, “The Bright White Nothing at the End of the Tunnel” via Soundcloud in February 2014, which gained attention from art and music websites such as Vice, BrooklynVegan and Sputnikmusic. The track “Where I End & the Hemlock Begins” was also released on Soundcloud.

In 2014, the band started touring with New York-based black metal band Castevet in North America. Despite touring, the band maintains its anonymity.

The band’s music has been described as “a batch of incendiary, discordant and blistering black metal.”On the band’s debut album, Doug Moore of Invisible Oranges wrote: “Sacred White Noise is both artsy and rooted in black metal, it’s pristinely performed, beautifully recorded, and far more expansive than any typical black metal album.” He also described it as “a thematically and harmonically frightening” record, while stating: “Progressive rock and outré noise run flanking maneuvers around the edges of a truly vicious frontal assault that borders on death metal in gravity.”

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.

Atonement Theory is Jay Jancetic’s “solo” work. Debut EP to be released this spring on IDefy Records. Live performances will also be coming soon.

I began my musical endeavors around the age of 16 playing in several Buffalo, NY based Straight Edge Hardcore bands before re-locating to Chicago Illinois where I joined the band Extinction.

I later went on to join Arma Angelus and have since been in several bands such as Stabbed By Words and Holy Roman Empire before taking a long needed brake from touring and playing in a steady band.

During that time, I began writing music and conceptualizing what I felt was music that perfectly embodied all of the elements I like best about music, as well as something that represented my emotions. Something that was heavy, dark and brooding, yet melodic.

I am also currently guitarist for Metal/Hardcore band Harm’s Way.