BELPHEGOR

SUPREME DEATH/ BLACK METAL ART BELPHEGOR emerges as one of the most extreme line ups to ever come out of the death black metal scene. The band members themselves describe their hellride as "Supreme Death/ Black Metal Art” SEYN TODT IN SCHWARTZ 1993: The now legendary demo on Maxi Cd format, BLOODBATH IN PARADISE, is circulated within the underground and earns BELPHEGOR the reputation of an unrepentant, 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 more.... 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 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 Rec., and later touring Europe with the infamous X-Mass Festival. “We don’t give a f*ck about anything and don’t let anyone talk us into doing anything. Only the music counts!” PEST TEUFEL APOKALYPSE Produced, mixed, and mastered by Andy Classen at Stage One Studio in Kassel, Germany, and featuring artwork by Seth Siro Anton 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.