#audial witchcraft

[deathstench]

Ritual of Transcendent Death

1. Invocation Unto Death / Liberation From The Corpse

2. In The Ruins Of Shrouded Temples

3. Black Flame Ascension

4. Ceremony of Blood, Ash and Fire

5. Descend Into Mist

[imababblekat]

Imagine Blackarachnia Having A Witch S/O

~

-Blackarachnia knew from the start that there was something particularly odd about you; from your clothing choices to your love for crystals

-it wasn't like others who happened to wear the same colors, or see a pretty stone and decide to purchase it; with you there was something more to what you'd wear and buy, like a purpose

-it was only later on that when you two had gotten into a relationship and she got to see the more personal side of you that she figured out why everything seemed to have a deeper meaning

-a witch, something that she'd briefly heard some terrified campers call her one time, but had heard or known nothing else of, was what you were

-she didn't need to go look up the definition or history of witches, you were her encyclopedia, always excited to teach your girlfriend something about your culture

-while finding it a bit strange that a human can have such powers, she's fascinated nonetheless

-the spider lady loves to watch you work about potions or spells, throwing things into a pot or bowl or whatever to make something that shouldn't be the result of such ingredients, and hearing you chant words in a language unknown to her but very nice upon her audials

-in the beginning, Blackarachnia would sneak small gifts to you, crystals, potion bottles, spell books, but wouldn't say a word about how she was the one who got it, since she was still new to being so close to someone in a romantic sense

-now though, she spoils you rotten! If you see something you like or just briefly mention those items would make a great spell, she's stolen them later that night

-you greatly appreciate the gifts she's gotten you, but are bashful for getting practically anything your eyes land upon, which further prompts the Decepticon to get you more gifts if only to see your adorable reddened face

-one day the tall femme had approached you with a very angered face, but something like immense worry had flashed across her optics when you looked up to her

-apparently while she was doing some reading of her own, she found out about the Salem Witch Trials, and her energon had drained from her face at the prospect of you being put to similar fates

-she wonders if that’s why you never told her you were a witch before, but before Blackarachnia can storm off on a literal man hunt, you stop her with a reassuring smile and gentle hand to her leg

-you tell her that if anyone tried pulling that kind of horrible stuff, it would be considered murder and they would go to jail, but you also let her know that witches and witchcraft are starting to become a pretty normal thing in life, and quite a bit of people have accepted that and some find it even fascinating enough to try it out

-Blackarachnia's happy that your culture is starting to be seen as a normal way of life, but while sitting down so that you can crawl into her lap as she gently brushes her digits over your hair, she swears upon her spark that if anyone even dares disrespects her little witch she will do more then just a sentence to prison time

~xXx~

[magaprima]

Part 1 Episode 10 Thoughts 4/4

“Breathe! Let it in! Can you feel it? Can you feel it? Do you feel it?”

After Sabrina has signed the Book of the Beast and all that new update of power is in her, Lilith immediately reaches out to steady her, and she has such eagerness on her face as she looks at Sabrina and asks if she can feel the power inside her. Lilith knows that feeling, of going from nothing to something, from having a few powers to having so much power, she remembers that feeling of it coursing through her, and she remembers the thrill of it, how powerful she felt, the freedom and strength that came with it, how exhilarating and heady the sensation was. When she looks at Sabrina, she is relieving the day when she became a witch herself, which again is another mirror moment between the two.

I just can’t get over how thrilled and excited and eager Lilith looks. This is more than ‘yay, Sabrina finally signed the Book’; she is genuinely enjoying seeing this power course through Sabrina, of becoming part of the coven officially, and I think it really shows how much being a witch matters to Lilith (yes she is a demoness, but she is also a witch and was a witch first) and how much it is a part of her, and that she associates becoming a witch with being free, with finally having independence and equality. Power gave her that, being a witch gave her that, and I think, despite everything, she gets a real thrill in seeing another woman experience that. 

“What we do now? What do we do to stop the Thirteen? And the Red Angel?”

I love that Sabrina says we, it shows how much she views her and Ms Wardwell to be partnership. Her aunts are her guardians but Ms Wardwell (i.e Lilith) is her mentor. And then Lilith has such a wide smile like ‘sweet summer child’, because Sabrina doesn’t yet realise that all this new power means she can stop them on her own, that the Dark Lord plans big things for her. I think at this point, in the euphoria of seeing someone gain power, Lilith is forgetting the risk of Sabrina being her replacement. She sees her only as a young witch, her student and mentee, who has such promise and power and is going to show the world what a young girl can do. 

“Not we. You. The powers yours, not ours”

Again, I feel this is Lilith harking back to how she was when she gained her own power, the idea of something being entirely hers, that was all hers, that no God could take from her, that no man could forbid her from using. For someone who viewed Sabrina as an issue and dangerous competition, she seems genuinely exhilarated with her ‘upgrade’ and I think that’s really important. It shows where Lilith’s emotional instincts are when she’s not thinking of survival or self-preservation or the Dark Lord etc. 

“Don’t you know, Sabrina? Hasn’t the Dark Lord already shown you what to do?”

When Lilith asks this, we flash back to Sabrina’s vision from biting the apple in the first episode, the very apple Lilith tried to stop her from biting, and I wonder if Satan successfully intervened and then informed Lilith of the update or is Lilith just presuming and then Sabrina is, coincidentally, thinking of the apple vision? But the way Lilith looks at her, pointedly, as if encouraging her to remember, I think she does know what the vision is. 

I love when Sabrina says ‘it was one fire’ and Lilith just does this slight turn of the head with a smile, that just clearly says ‘Let’s go fucking burn a hanging tree’ and gotta love that energy. 

“Dig deep, Sabrina. It isn’t just power, it’s rage. It’s the desire to change the world and the will to do it”

I love this because, yet again, amongst their enjoyable pick’n’mix of mythologies and their mash-up of rules, we yet again get something that harks back to true, real world witchcraft. Spells are all about willpower; you have to have a cast iron (pun sort of intended) belief in what you are doing, the spell you are casting, your intent. Casting is all about will and the desire to bend the world to your requirements and desires. It’s really at the core of it, so it was nice to have Lilith saying this. 

“And then they went up in Hellflame, a gorgeous, searing inferno. consumed their souls, releasing their anger, until their charred bodies fell from the sky, like ash”

When we hear Lilith’s commentary, it sounds so satisfied, like yes, this was a glorious sight, to see them burn away in the very hellfire Sabrina summoned, but then when we cut to Lilith back at the cottage and see her expression, there is emotion there, something reflective and even sad as she speaks of releasing their anger and consuming their souls, and I don’t know, but I just get a vibe of internal self reflection here. Because when we consider how much anger Lilith has burning inside her, that has been repressed after thousands of years of abuse and survival, it wouldn’t surprise me for Lilith to see something relatable, a connection, to the Greendale Thirteeen, and then the idea that their anger is finally released, but their entire souls burning up into nothing as a price, when Lilith herself is lost within her own hellflame....she’s too intelligent not to feel that reluctant parallel and connection. 

“And that as they say was that”

Not only is this a storyteller phrase, but she’s not sat up in the chair properly, clasped hands on her lap, smiling politely. She is in full school teacher story mode with Hawthorne here. 

“All things according to his plan. Though I never really get the credit I deserve”

She smiles when she talks of things going to plan, but then she pauses, the thought coming to her, not an unfamiliar one, but perhaps an unwelcome reminder of one, as she adds about never getting credit, and the way she bites her lip, you can tell this annoys her far more than she says. The use of the word ‘never’ tells us that this definitely not the first time she’s had to do something on this scale, that her jobs for the Dark Lord are constant, and probably nearly always successful to some degree, and yet she never gets credit. As I said on my analysis for the exorcism episode, I think Sabrina thanking her is the first time that Lilith has ever been thanked for something genuinely in thousands of years. There is bitterness here about this lack of acknowledgement, but it’s brief, gone in a second, as she moves onto the rest of her conversation, because she’s learned there is no use in dwelling and she convinces herself that working hard will make it irrelevant, that eventually she will be thanked and rewarded...when she has her crown. So she forces a smile back on and carries on talking. 

“The best and worst things happen in the shadows. Now, this is all my long-winded way of my telling you...I’m amazing teacher Principal Hawthorne”

As she says this and leans in and we finally learn who she’s talking to, we can see how this has come to pass. The way she stands over him, the way she leans in close, invading his personal space as he has invaded hers, this is all about punishment. The ‘real meal’ she’s having here is all about payback rather than hunger or desire. Here is a man who has harrassed her, pestered her, made demands of her, belittled her, seen her as little more than a woman of no importance, and she has been forced to smile at him, nod at him, do nothing, say nothing, offer no rebellion or argument. In that way he is similar to the way Satan treats her, though, of course, it’s on a lesser scale. But she can’t capture and punish Lucifer, and she convinces herself she doesn’t want to, and instead takes all that punishment out on Hawthorne. There is some twisted self-therapy going on here, and it is all about making Hawthorne feel how he makes women feel; vulnerable, trapped, defenceless. 

“No one but me could have gotten Sabrina so far along the path of night”

This isn’t just confidence in her abilities, this is her stating a fact, and sort of harks back to her earlier complaint about never getting the credit she deserves. Because Blackwood tried to force Sabrina to sign, tried to trick her, and none of his tactics worked; in fact, he caused Sabrina to flee her Dark Baptism. The Dark Lord tried to frighten her into signing but it only caused Sabrina to defy him openly in court, hiring a lawyer that forced a compromise. It is only Lilith that managed to get Sabrina to sign the book, she is the only one who has gained her trust, the one only one to be in the Spellman circle of trust so-to-speak. She has done far more than anyone else...and yet no one acknowledges it.

 And I think it’s insult to injury when Hawthorne says ‘Who the hell are you lady?’ because it’s sort of an outright audial reminder that despite her skills and achievements Lilith is often ignored and dismissed (I mean there’s only one religion of the False God that even really admits she exists). So when Lilith replies ‘Who am I?’ she looks so fucking annoyed and offended, squinting at Hawthorne in complete irritation. 

“Well, I’m not Mary Wardwell. Though I do enjoy her body”

Hawthorne actually freaking looks her up and down here. He is trapped in a fucking chair and he is still mentally undressing her. Unbelievable. 

“I’m the Mother of Demons, the Dawn of Doom, Satan’s Concubine, I’m Lilith, dear boy. First wife to Adam, saved from despair by a fallen angel. I call myself Madam Satan in his honour”

And then after being dismissed, after Hawthorne saying he has no clue who she is, Lilith lists off all these titles. It’s this reclaim of identity, the declaration that she’s important, she has a subconscious need to prove that she matters, that all these titles show that she matters, that everyone should know who she is. Lilith has identity issues, both in a ‘I matter’ way and a ‘I am no longer who I was’ way and this long list of names and descriptions is proof of that. 

“But soon. Very soon”

She emphasises the ‘very’, which is her, yet again, convincing herself that she is going to be ‘worthy’ of the crown, that she isn’t being dismissed, that it will happen. She’ll be Queen very, very soon. It’s almost telling herself as much as it is Hawthorne. 

“Once I’ve finished grooming Sabrina to take my place as Satan’s foot soldier”

This is a really interesting choice of words. Using ‘grooming’ instead of ‘preparing’ immediately draws comparison to sexual grooming, to preparing someone for prostitution, trafficking etc. Which is exactly it; for Sabrina to take Lilith’s ‘place’ means also suffering everything Lilith has suffered. The abuse; mental, physical, sexual, emotional. I think I said on another post how the season 2 finale has a lot of parallels of Lilith being like the older victim forced to bring in the younger victim, resigned to it as a way of life, but trying to make the transition smoother for the newcomer. And here we see the first parallel of it, but at this point Lilith hasn’t yet had her own developments and experiences and thought processes that make her sympathise with Sabrina. Here, she just wants Sabrina to have her shitty place, so she can take a better one. It’s all the markers of a long-term abuse victim focused on self-preservation and ‘improvement’ within the confines of their abuser’s boundaries. 

“I’ll earn a crown and throne by his side”

Again, the reiteration that she’s almost there, that she will have a crown, that it will happen, that her life will improve, that this current circumstance will change. The repetition does hint at the self-denial.

“Who am I? I’m the future Queen of Hell”

Again, labelling herself by a title rather than her identity, showing that Lilith has learned the power in titles and the respect it garners, and how this is the core of her focus; to be queen, to be ‘worthy’. And here, of course, we get to see the physical manifestation of Lilith’s demon side. Which means they have given us three visuals for LIlith’s three sides/parts. Her first face, when she’s found on the road by Mary, represents her original self, the girl in the Garden, the human part of her. Ms Wardwell, the face she takes on in her ‘life’ as an excommunicate represents her witch side, and now the comic-book-Madam-Satan reference is the face to represent her demon side. 

“I did so leave you leftovers”

I don’t know why but at first I found this cute, the idea that this is a constant bickering between her and Stolas, but then she broke his neck and ruined it. But considering the way he spied on her in season 2, I do wonder if he’s been a bit shitty to her over the centuries too, that perhaps even her familiar doesn’t give her the credit she deserves or appreciate her either, that he has become as dismissive as the rest. 

I mean the way Stolas suggest the idea that Satan wants Sabrina at his side doesn’t sound as concerned as it could do..it sounds more...matter-of-fact-wake-up-and-smell-the-half-mortal. He doesn’t sound very concerned for Lilith, or even seems to be suggesting ways to ensure she keeps the crown, and I wonder if maybe he’s always been on Lucifer’s side, even before he was brought back to life. I mean in Blackwood’s play, we do see Stolas being the one to encourage Lilith to join Lucifer, and that he offers her ‘so much’...so I do wonder if there is more to Stolas? That he wasn’t quite the eternity long friend Lilith thought him to be...and maybe when she snaps his neck, that’s a lot of long, overdue repressed shit coming out?

“The Dark Lord wouldn’t betray by eternal service like that, Stolas”

Well, he fucking shouldn’t. Someone who has been with you from the beginning, always at your side, should be rewarded. But the ‘eternal service’ has very much a double meaning here, as I feel it encapsulates not just the work she’s done for him, but how much she’s suffered at his hand as well. Like she has put up with so much and that deserves to be rewarded too. 

“There would be a very simply way to deal with Sabrina”

We see how wrong Liliith has it here, how much abuse (and society’s constant insistence that we view other women as competition perhaps) has controlled her reactions. Satan betrays her, and she kills Sabrina? That makes no logical sense. But when we view her as an abuse victim trapped with an abuser and thus she herself perpetuating the abuse cycle, it does. 

And finally, with the way she snaps Stolas’ neck, there does seem to be a lot of repressed rage in that expression; I genuinely don’t believe that was just about this conversation. How many other times has Stolas said these things, what else has he said (we only ever hear him speak here), how constant has it been, had he been spying for the Dark Lord already and Lilith knew? Whatever it is, there were definite deep rooted issues here, and the fact Stolas falls alongside Hawthorne, making them ‘equals’ visually, supports that. 

[deathstench]

[deathstench]

Formed ten years ago, DEATHSTENCH released three albums and many eps.. The "Massed in Black Shadow" album was a great obscure and dangerous one..The crown of their sacrifice was their collaboration with Bon Masters Phurpa. John Paul Whetzel and Darea Plantin spells behind this interview.

“Blood Moon Divination” was your latest release. It was released in a limited amount of copies and only in Tape format. Why this choice?

We have always preferred analog releases. We view physical copies as something that should be appreciated.. Let's face it, it's the 21st century, and people do most of their listening through some sort of streaming service. If they like it, they most likely pirate it. We understand this; Our physical releases are intentionally designed for coveting.

We put a great deal of energy into each release. In our past special editions, we have included ritual accouterments that correspond with each album, such as shards of human bone and incense we made specifically for the intent to conjure with the dead.

You have released three albums. Please tell us the concept behind each one and the process of the recordings…Each release turns out to more noisy and dark forms..

To be precise it's four albums, and numerous collaborations and splits. Our releases are not in any sort of chronological order, from conception to the final product takes its own time dependant upon the haste of that particular record label. We record basically the same for each album, building upon a structured theme. Our music is built on layers of sounds from instruments, traditional and otherwise, that we record with either handheld devices or microphones connected to an audio interface which we use to record our percussion and amps.

Each track on "Blood Moon Divination" is an audial ritual recorded and released during each specific Blood Moon in the tetrad cycle of blood moon eclipses of 2014-2015. Through that span of time, these celestial vibrations were available as they were being released on several streaming platforms, including Black Metal and Brews and Repartiseraren. A tetrad of lunar eclipses is extremely uncommon. This was only the eighth of such cycles in over two thousand years. We compiled them together for a physical album that we chose to release during the first exclusive total solar eclipse the United States had seen in over two hundred years. Eclipses, both solar and lunar, are considered to be very inauspicious events throughout the world. As an omen of war, the Talmud regards "If the face of the moon is as red as blood it is a sign that the sword is coming to the world."

"N.O.X." is a transcendent four track journey that starts out violently with the lo-fi black metal track OXEX DAZIS SIATRIS, Enochian for "Vomiting The Head of Scorpions" and slowly transforms itself into a less chaotic discord that concludes with the meditative piece "Mysterivm Tremendvm". N.O.X. or "The Night of Pan", is a mystical state that represents the stage of ego-death in the process of spiritual attainment. The Greek word Pan also translates as All, as he is a symbol of the Universal, a personification of Nature; both Pangenetor, "all-begetter," and Panphage, "all-devourer". Pan is both the giver and the taker of life, and his Night is that time of symbolic death where the adept experiences unification with the All through the ecstatic destruction of the ego-self. In a more general sense, it is the state where one transcends all limitations and experiences oneness with the universe.

"Nekro Blood Ritual", our second album, was designed specifically for its cassette release and is broken into two sections: Conjuration Rites and Burial Evocation. This album focuses on conjuring the dead and the desecration of human remains. This is by far our most atmospheric album; most of the tracks are rely heavily on field recordings and stygian synthesizers to evoke the abject darkness. These songs are reminiscent to the "Incantations in Dead Tongues" era of our work. There are only two conventional (for use of a better term) songs on this album, "Nekrobloodritual" and "Desecrating The Host" the latter being a harsh black funeral doom dirge for the departed.

In our debut album, "Massed in Black Shadow" we utilize all of our influences through the years. Incorporating elements of death industrial, dark ambient, doom, and black metal, and hideously transforming and conjoining them into a writhing mass of absolute filth, a sound truly all our own. The final track, titled “Bastards of the Black Flame” can be considered a motto to us, as it is exactly who we are. The byproducts of an unholy union between some of the most violent forms of music, in both sound and ideologies.

DEATHSTENCH collaborated with Phurpa. How did this Union take form? Are you interested in the theory of empiricism in Bon Religion?

In 2012 Alexei Tegin had discovered our music from our debut album and contacted us. Both Phurpa and ourselves operate with the same meditative qualities regarding our music. Although our sound derives from different spectrums, they coalesce quite vividly. "Evoking Shadows of Death" fuses our ultrasonic vibrations and harsh atmospheres with the harmonious chants and deep, droning reverberations of their tantric voice. These two tracks are designed to help the chod practitioner tap the power of fear. This transformation does not fall spontaneously, as grace, upon the listener: the practitioner must engage in the process. One must take steps to transmute through the aural plane and, through a process in which they must actively participate, requiring utmost concentration and mental stamina. This mystical experience is achieved, not bestowed.

Empirical reasoning has no place in esoteric practices and the occult. These objects are neither phenomena (empiricism) nor human constructs imposed upon the phenomena (idealism), but real structures which endure and operate independently of our knowledge, our experience and the conditions which allow us access to them. Some things cannot be reduced down to empirical measurements.

Thanatology and satanism are your basic influences. How do you define satanism and how death in your personal path?

Deathlore has always intrigued the both of us. There is absolutely nothing more final than Death. Every single one of us will die, as Death does not discriminate. Dying, death and how human beings respond to the inevitability of their mortality and cope with the reality of loss can be viewed from a wide range of perspectives. Our intent has never been to elaborate on our practices or rituals to any audience. Even the altars we allow you to see are set up specifically for public viewing. While they are still symbolic of what we would normally produce for our own rituals, the intent isn't there. It's merely superficial. Our personal altars and rituals will always remain clandestine, as all witchcraft should be.

“Those who know do not speak. Those who speak do not know.” ― Lao Tzu

I would like to hear your thoughts and if you are into the systems of O.N.A & Temple of the Black Light in theory and praxis as Traditional satanic approach you unveil through your works . Satanism is such an elaborate construct; Atheistic, LaVeyan, theistic, there are so many paths. Satan has always been symbolic with the quest for Knowledge, of opposition to arbitrary authority, forever defending personal sovereignty even in the face of insurmountable odds. Our path cannot be defined by one simple ideology.

We have absolutely no affiliation with these groups.

Does DEATHSTENCH ever perform live?

We are very selective in our live performances. The last show was in Portland, Oregon way back in 2015 when we opened up for MGLA, Weregoat, and Sempiternal Dusk. Alan Dubin (of Gnaw, Khanate) and Billy Anderson, whom we have long collaborated with, did a sort of dueling vocals approach to our fifteen-minute audial assault on an beyond-capacity crowd. This show was recorded by Mateo from Greysun Records who also released it on his label in 2018.

Necromancy is an Old Art Like Time.Ancient Greece had deep roots also in this Subject. Are you familiar with the Ancient Greek Mysteries?

Yes, we are familiar with some of the Chthonic mysteries highlighting mortality and the briefness of life, and the spirits of the blessed dead. Though, like most true paths of esoteric knowledge, not much is truly known about the intricacies of these rituals, having been sworn to secrecy and then lost to the Sands of Time. It has been suggested that communicants would drink Kykeon infused with the psychotropic fungus ergot which helped the initiate to reach a fuller understanding of their purpose in life and to shed their fear of death and this, then, heightened the experience and helped transform the initiate. The same can be said of the Huichol in Mexico, who eat peyote at the completion of long arduous pilgrimages in order that they may experience in the journey of the soul of the dead to the underworld. Death worship and eschatology are celebrated by all cultures throughout time, most with the use of hallucinogens.

I would like to hear your thoughts on these words: “This being true for the ordinary Universe, that all sense-impressions are dependent on changes in the brain we must include illusions, which are after all sense-impressions as much as “realities” are, in the class of “phenomena dependent on brain-changes.”  ― S.L. MacGregor Mathers, Goetia the Lesser Key of Solomon the King: Lemegeton, Book 1 Clavicula Salomonis Regis

In contemporary education, the emphasis has been on the psychomotor and the cognitive, namely reading, writing, and arithmetic, at the expense of the affective, namely, the emotions, the sensual, the intuitive, and the imaginative. Priority has been assigned to the verbal-intellectual skills. Anything else tends to be shelved or boxed and put away as ephemeral, esoteric, or mystical, each of these terms being used in a pejorative sense.

Consider for a moment the human sensory system. To the scientific mind, the senses are perceived to act as a kind of data-reduction system. The problem with this concept of the senses is that we do not respond to all that is potential sensory input. Perception is quite a selective process, attending to only a small fraction of so-called reality.

To some extent, scientist or artist, everything we perceive is "illusory," since to perceive anything at all we must use our imaginative capacity for fantasy.

What can we expect from DEATHSTENCH in the near future?

We have a few albums waiting in the shadows including collaborations with Sektor 304 and LINEKRAFT, as well as another full-length album incorporating both Billy Anderson and Alan Dubin. Time is relative, and there are no promises as to when any of these releases will see the light of day.

[deathstench]

"Before the altar of Death All sorrows are shadows Here is that which remains Unseen"

Double-Sided, Two Colors, Six Screens, and many labor-intensive moments to get from our hands to yours. Every step (outside of making the long sleeves) is done by us, including hand-pulling each screen.

These long sleeves are arduous to reproduce, and this will be the last run.

This is your sign to pull the trigger.

Show your devotion, and lay your money upon the altar.

[deathstench]

[deathstench]

DEATHSTENCH - Ritual Of Transcendent Death (03.20.23)

36ish-minute walk through the realm of the dead.

Ritual meditative music, for meditative minds.

[deathstench]

[deathstench]

DEATHSTENCH - et in nomen Zepar shirt

Everything old is new again.

Old design, new shirts..available ONLY for bandcamp fryday.

Comes with a free download of Plague of Blind Eyes, our collaboration with the mighty Sektor304

Small-Extra Large 10 + shipping

2XL -  3XL 13 + shipping

[deathstench]

DEATHSTENCH - et in nomen Zepar shirt

Everything old is new again.

Old design, new shirts..available ONLY for bandcamp fryday. Comes with a free download of Plague of Blind Eyes, a collaboration with the mighty Sektor304

Small-Extra Large 10 + shipping

2XL -  3XL 13 + shipping

Buy Now or Cry Later

DEATHSTENCH.bandcamp.com

[deathstench]

Updated website now offers our last two cassette releases

Evoking Shadows of Death second pressing (left) A mystical collaboration between Russia's ritual collective Phurpa Mastered by the Billy Anderson Smoke tint cassettes with gold ink imprinted on the shell.

 Blood Moon Divination (right) Comprised of live rituals heralding the start of each blood moon at the exact time each eclipse materialize in the 2014-2015 tetrad. Blood red tint cassettes with silver ink imprinted on the shell.

www.DEATHSTENCH.com

[deathstench]

Limited tape release through GREY SUN coming soon.

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Full Discography

[deathstench]

As it is known, the music of DEATHSTENCH is an esoteric, sensory echo of the great inner processes that we are experience in this life. Our latest audial ritual is no exception. As part of a tetradic series heralding the four blood moon eclipses, Blood On Black Hilt is the first in a series of four devoted to this rare celestial event. Tonight as the moon rises on the pacific coast, we will release this sonic offering in honor of the blood moon eclipse. (6:09 PM PST) Our ritual captures the intensity of this astronomical occurrence, starting as a slow Death Industrial dirge that erupts into a Black Metal crescendo of tumultuous hellish uproar.