Bio
THE GREAT BELOW
Hell: one of the two principle after-death destinations for the soul affirmed throughout the centuries by countless religions around the world.
The first known accounts of the Land of the Dead were written nearly 4,000 years ago on baked clay tablets from the Tigris-Euphrates Valley north of the Persian Gulf in Iraq. The other ancient area to leave us a written record from that time period of the world beyond the grave is Egypt.
While many world religions have netherworlds of their own construction, no other religion has ever raised Hell to such importance as Christianity, and not until the Middle Ages did the attributes of Hell or the name of the Devil become conventionalized (Satanel, Beliar or Belial [“Worthless”]; Beelzebub [“Lord of the Flies”]; Beelzeboul [“Lord of Excrement”]; Mastema [“Enmity”]; and Azazel [“Wasteland”].) Under Christianity, Hell became a fantastical underground kingdom of cruelty plagued by unimaginable evil, everlasting suffering, and by dense strata of demons – the immortal citizens and caretakers of the infernal regions. It is here, in the bowels of the real history of this imaginary place, that the creed of Austria’s supreme death/black metal artists BELPHEGOR was spawned.
THE SPREAD OF THE BLACK DEATH
1993: The now legendary demo, Bloodbath In Paradise, is circulated within the underground and earns BELPHEGOR the reputation of an unrepentant, hyper-blasting war machine.
1995: The first studio album, The Last Supper, is released on Lethal Records and is a welcomed collection of infernal hymns for their growing fan base. Following their own path of sin and befitting their ever-evolving anti-religious, anti-life attitude, BELPHEGOR’s logo gets revamped to incorporate two inverted crosses completely surrounded by blood representing the slaughter of Christians and martyrs.
1997: Last Episode Records releases Blutsabbath. BELPHEGOR’s sinister reputation continues to gain momentum.
2000: Stagnation means death! The band spreads their disease once again via Necrodaemon Terrorsathan, logging yet another volume of blasphemy added to The Vatican Library.
2002: BELPHEGOR celebrates their 10th anniversary by capturing a live set with songs played even faster than their original studio recordings on Infernal Live Orgasm (released on their own label, Phallelujah Productions).
2003: Produced by Alex Krull at Mastersound Studios, BELPHEGOR cram their high-speed murderous brutality into the 8-track Napalm Records release of Lucifer Incestus, and then tour throughout Europe.
2005: The band opts to once again to work with Krull at Mastersound to create the morbid Goatreich – Fleshcult for Napalm Records, and later touring Europe with the infamous X-Mass Festival. “We don’t give a fuck about anything and don’t let anyone talk us into doing anything. Only the music counts!”
HARBINGERS OF EMINENT DOOM
Produced, mixed, and mastered by Andy Classen (Krisiun, Rotting Christ, Asphyx) at Stage One Studio in Kassel, Germany, and featuring artwork by Seth Siro Anton (Vader, Decapitated, Old Man’s Child), Pestapokalypse VI is, on the one hand, a concept album based on The Devil, Pestilence, and The Apocalypse, and on the other, a lesson in infernology. Incorporating unconventional harmonies with dynamic execution and monumentally aggressive vocal work, its multi-language approach (the German verses in “Bluhtsturm Erotika” are taken from the works of Marquis de Sade & Goethe; “Sanctus Perversum” defiles the church’s monopoly on Latin) accurately represents the infernal musical landscape BELPHEGOR comfortably inhabits.
Accept it: our world is necessarily haunted by evil, and when the armies of the dead return with their pestilence to annihilate the living, there will be no better guides while traveling down the fiery road to the endless abyss of Hell than BELPHEGOR.
Hell: one of the two principle after-death destinations for the soul affirmed throughout the centuries by countless religions around the world.
The first known accounts of the Land of the Dead were written nearly 4,000 years ago on baked clay tablets from the Tigris-Euphrates Valley north of the Persian Gulf in Iraq. The other ancient area to leave us a written record from that time period of the world beyond the grave is Egypt.
While many world religions have netherworlds of their own construction, no other religion has ever raised Hell to such importance as Christianity, and not until the Middle Ages did the attributes of Hell or the name of the Devil become conventionalized (Satanel, Beliar or Belial [“Worthless”]; Beelzebub [“Lord of the Flies”]; Beelzeboul [“Lord of Excrement”]; Mastema [“Enmity”]; and Azazel [“Wasteland”].) Under Christianity, Hell became a fantastical underground kingdom of cruelty plagued by unimaginable evil, everlasting suffering, and by dense strata of demons – the immortal citizens and caretakers of the infernal regions. It is here, in the bowels of the real history of this imaginary place, that the creed of Austria’s supreme death/black metal artists BELPHEGOR was spawned.
THE SPREAD OF THE BLACK DEATH
1993: The now legendary demo, Bloodbath In Paradise, is circulated within the underground and earns BELPHEGOR the reputation of an unrepentant, hyper-blasting war machine.
1995: The first studio album, The Last Supper, is released on Lethal Records and is a welcomed collection of infernal hymns for their growing fan base. Following their own path of sin and befitting their ever-evolving anti-religious, anti-life attitude, BELPHEGOR’s logo gets revamped to incorporate two inverted crosses completely surrounded by blood representing the slaughter of Christians and martyrs.
1997: Last Episode Records releases Blutsabbath. BELPHEGOR’s sinister reputation continues to gain momentum.
2000: Stagnation means death! The band spreads their disease once again via Necrodaemon Terrorsathan, logging yet another volume of blasphemy added to The Vatican Library.
2002: BELPHEGOR celebrates their 10th anniversary by capturing a live set with songs played even faster than their original studio recordings on Infernal Live Orgasm (released on their own label, Phallelujah Productions).
2003: Produced by Alex Krull at Mastersound Studios, BELPHEGOR cram their high-speed murderous brutality into the 8-track Napalm Records release of Lucifer Incestus, and then tour throughout Europe.
2005: The band opts to once again to work with Krull at Mastersound to create the morbid Goatreich – Fleshcult for Napalm Records, and later touring Europe with the infamous X-Mass Festival. “We don’t give a fuck about anything and don’t let anyone talk us into doing anything. Only the music counts!”
HARBINGERS OF EMINENT DOOM
Produced, mixed, and mastered by Andy Classen (Krisiun, Rotting Christ, Asphyx) at Stage One Studio in Kassel, Germany, and featuring artwork by Seth Siro Anton (Vader, Decapitated, Old Man’s Child), Pestapokalypse VI is, on the one hand, a concept album based on The Devil, Pestilence, and The Apocalypse, and on the other, a lesson in infernology. Incorporating unconventional harmonies with dynamic execution and monumentally aggressive vocal work, its multi-language approach (the German verses in “Bluhtsturm Erotika” are taken from the works of Marquis de Sade & Goethe; “Sanctus Perversum” defiles the church’s monopoly on Latin) accurately represents the infernal musical landscape BELPHEGOR comfortably inhabits.
Accept it: our world is necessarily haunted by evil, and when the armies of the dead return with their pestilence to annihilate the living, there will be no better guides while traveling down the fiery road to the endless abyss of Hell than BELPHEGOR.
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Location: Austria
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Profile Views: 1473
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Member Since: Aug 18, 2007
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