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Formed in 1998, Anaal Nathrakh's music is characterised by its intense and aggressive combination of black metal, grindcore, and industrial influences. They have released eleven studio albums to date, each showcasing their unique style and uncompromising approach. Known for their intense live performances, Anaal Nathrakh has built a dedicated fan base over the years and continues to be a significant presence in the extreme metal scene.

"Musical provocation has been Anaal Nathrakhs' formula for eleven albums now – and yet it continues to sit like a laughing boil on the erect ego of human insanity, lonely and unmolested in the absurd."
- Metal Hammer

Cult of Youth's sound combines elements of post-punk and industrial, resulting in a unique and dynamic sonic experience. Drawing inspiration from various musical traditions and historical periods, Cult of Youth's music explores themes of identity, spirituality, and personal transformation. Over the years, the band has released several critically acclaimed albums and collaborated with other notable musicians in the experimental music scene.

"Transcending the influences of the esoteric underground and resurfacing as a pagan post punk epic"
- Hospital Productions, USA.

David Tibet's paramusical project Current 93 has been active since the early 1980s and has released more than 25 studio albums, as well as countless live recordings, collaborations, and other projects. Over the years, the band has collaborated with a diverse range of artists, June-Alison Gibbons, Shirley Collins, Nick Cave, Marc Almond, John Balance of Coil, and many others. C93's music is impossible to pigeonhole. It's a personal experience that can't be confined to any genre. It captivates every individual listener in its own extraordinary way.

"In short they're one of the most challenging groups of the modern world, with songs and albums densely littered with provocative allusions and secrets."

- The Quietus, UK.

William Bennett's Cut Hands project draws inspiration from African rhythms and percussion, blending them with industrial and noise elements to create a unique and intense sound. Known for their live performances, which often feature multiple drummers. Characterized by its hypnotic and primal quality, the project has released several albums and EPs, including their critically acclaimed debut album 'Afro Noise I' in 2012. Cut Hands' innovative approach to percussion and soundscapes has garnered them a dedicated following in the experimental music community, cementing their place as one of the most exciting and boundary-pushing acts in the genre.

“With an absence of voice and conventional musical instrumentation, it’s to polymeters and polyrhythms I turn to provide the overwhelming intellectual and physical stimulation I crave."

- William Bennett interview, Decibel Magazine.

Shane Embury is an English musician who has significantly impacted the music industry with his innovative approach to bass playing and his contributions as a songwriter. He is best known as a longtime member of the grindcore band Napalm Death, with whom he has played since 1987. He is also a prolific songwriter and has contributed to the writing process for many of the songs in Napalm Death's extensive discography. In addition to his work with Napalm Death, Embury has played with numerous other bands, including Brujeria, Venomous Concept, Lock Up, Unseen Terror, and Meathook Seed. More recently, he has been involved in the experimental project Dark Sky Burial, showcasing his versatility as a musician and his continued willingness to push boundaries in music.

David Tibet is an enigmatic English musician, writer, painter, and artist, perhaps best known as the founder of the paramusical group Current 93. His work is impossible to categorize or explain. Beyond his artistic achievements, David is an amazing friend.

"David has been quoted as saying, “All you need to know is in my work.”

- OC Weekly

Deathheadz Records is a cassette and vinyl label & music promoter that specialises in reissuing classic black metal albums from the 1990s and early 2000s. The label is based in London, UK, and is known for its commitment to preserving the history and integrity of the black metal genre.

"They’re the heaviest band on Earth. They’re from Dorset, of all places, and the rumble they come out with could shake the fucking planet apart."

This is how I learned of the existence of Electric Wizard, in the winter of 1998, via a feature on stoner rock and doom bands in the pages of Kerrang!. It would be a long time before this Sabbath-obsessed, fifteen-year-old schoolboy would actually hear what that sounded like, but my imagination was already running wild. The vibe was already there – the accompanying picture showed three burnouts in leather jackets photographed in front of a wall with the word ‘Dope’ sprayed on it; the recom-mended record had the alluring title Come, My Fanatics . . .; I already knew how witchy bits of Dorset were, I’d been there on Scout camp.   Next to their stoner rock peers, Electric Wizard felt genuinely dangerous. From that small picture and the few comments I could find on them – bottomless pockets of drugs, almost impossible to contact, a band who often wouldn’t turn up to gigs, and the ones where they did they’d spend the time jamming at dangerous volumes on ancient amps – in my mind grew visions of a world of weed smoked in rural churchyards, witches, cruci-fixes and headstones everywhere you looked, with endless Iommi riffs playing in the background. When, six or seven months later, I eventually found a copy of the album in a record shop, I had to buy it immediately, worried that it would disappear and I’d never see it again. What I had in my mind, and how they’d been described to me, were both proven inexorably correct as soon as the first apocalyptic chord of ‘Return Trip’ fuzzed from the stereo. But whatever bad vibes I thought there would be, I didn’t imagine anything like that song’s ‘I hope this fucking world fucking burns away/And I’d kill you all if I had my way’ howl, or the ‘Drugs, sex, every sort of fi lth’ sample at the start of ‘Wizard In Black’. I also hadn’t anticipated that a record was actually able to tear a stereo speaker apart, but that’s how my girlfriend’s father’s woofer bit the dust. A noble death.

I can’t be the only one to have such a clear and memorable origin story for when the Wizard first cast a spell on them. For many, that first hit will have been a profound one, where you’re left altered by it. And though the entry points will be different, the allure will still be the same: there’s a powerful magic to Electric Wizard unlike any other band on earth.

Two decades and change since that first discovery, I am still an acolyte of the witchcult. I have seen Electric Wizard live more times than I can count, to ever-larger audiences, all as obsessed with the riffs and the vibes as me. I have interviewed them many times, and visited Jus Oborn and Liz Buckingham at home, where the latter has shown me the human skull a friend gifted to her, and the former told stories about teenage forays into the occult that almost killed people, and intentionally trying to have nightmarish bad trips on LSD because ‘it’s awesome, like a ghost train’. They are one of the few bands who have managed to keep such an atmosphere, such a mystique, about them as they grow, and only expanded their power as they’ve done so. There is still that irresistible black magic to them that is now so embedded in their bones, it’s there forever.

In some ways, this would have been unthinkable back then. You don’t grow out of something so powerful easily as a listener, but the idea of Electric Wizard’s name at the top of the bill at Camden Roundhouse, or headlining a stage at Donington, was a fanciful one. They were too heavy, too apart from everything else going on, one of those frustratingly great bands who other people didn’t want to concern themselves with. They were also just too chaotic. Not that they were chasing much bigger, anyway. Half the time they seemed like they were about to split up. The fi rst time I saw them live – at the Camden Underworld in April 2002 just as Let Us Prey had been released, having to drunkenly support myself with my face against a pillar, not noticing someone being sick down my back when they played – much of the gig was spent arguing and walking off, only to be pushed back onstage by staff from their then-record label. Kerrang! had reported a similar thing during an interview in America, when then-drummer Mark Greening apparently drank a load of bleach, and Jus smashed a bottle of beer by throwing it against the wall of a New York venue, declaring that they should go both their sepa-rate ways, and also home. Enjoy this while it lasts, I thought.

But here we are. The enduring power of the Wizard comes not from an indomitable spirit and heroic determination to push through and succeed a la Ronnie James Dio or Judas Priest’s Rob Halford, but from being Electric Wizard. Even now, there is in a way a similar underground, word of mouth quality to them like there was in the day. You have to know. And when you do, it’s almost impossible to turn away. And Electric Wizard do indeed encompass, as my mind conjured up as a teenager, an entire world. The impact they’ve had on doom and the metal underground can’t really be expressed as an either-or thing. It’s like saying you’re a fan of sunlight, or breathing oxygen, or Black Sabbath. How many bands are there trying to match the horrible, bloody-knuckled fuzz of Come, My Fanatics . . . or Dopethrone? And how many, for all their searching for ancient amps and pedals, manage to? How many obscure and forgotten 60s and 70s horror and exploitation movies are the underground now conversant with? How much biker iconography and occult art has become part of the fabric of doom? It’s impossible to imagine the scale of it without the hand of the Wizard in there somewhere. Just as one can’t imagine the band world without it.

The difference is that for Electric Wizard, this is life. In or out of the band, Electric Wizard means to be an outsider, to live in that world, away from the normal one. As with Lemmy, this isn’t simply an outfit one wears to a gig, but a deep-seated lifestyle that’s only for a chosen few. Fanatics only. This goes a good way to explaining why they remain such a unique band: few others have the personality and lifer’s stomach for it.   As I look back on my own memories of the Wizard to welcome you to this book, one that says much about them is a gig in the Devon seaside town of Seaton. Returning from a not entirely unheard-of period of inactivity, they had quietly been added to the bill of HawkEaster, the springtime festival run and headlined by Hawkwind, held that year in the town hall; I’d only spotted it when looking at Hawkwind’s website. Arriving, we were greeted by the sight of a beer barrel on a pasting table, a painting of the Queen, a faded Union Flag, and nice, normal families with children doing egg hunts and having their faces painted as rabbits. When they came onstage at dinner time, few – that is to say, quite literally three people – seemed to know who the Wizard were. As the traditional projections of violence and nudity from vintage exploitation films rolled behind them, I remember parents leading their kids out with their hands over their eyes, their own horrified features silently asking what the world was coming to.

Eventually, after being told more than once to turn down, the lights came up and the plug was pulled. As an officious council type with their own microphone came onstage to announce that if this carried on the gig would be over and there would be no Hawkwind for anybody, I remember Jus continuing to scream into the air before eventually admitting the jig was up. The band packed up their gear while visibly laughing their heads off. As someone who seemed to know who these apparent criminals were, I was suddenly surrounded by folk half horrified, half intrigued as to what it was they’d just seen. According to Jus afterwards, the band had been told, with almost comic perfection, to leave town.

This is, to me, instructive of what Electric Wizard are about. Jus once told me, ‘I hope that we stand for what everyone perceives as wrong about heavy metal,’ that they were ‘rebellion against normality and boredom.’ On this day, when normals had to experience the band first hand, achievement achieved. It was here that Initially stopped thinking of Electric Wizard as a doom band, and as something more in tune with Hawkwind. Outsiders, explorers of space, wanting to blow your mind, and keeping on at it in their own world to great success away from the glare of more normal reality. Members have come and gone, but they remain as much as an idea as they are a band.   As their witchcult continues to grow, and the band mark their thirtieth year – albeit in different form than they started – there is much left to uncover about this most shadowy of collectives.

Come, fanatics. Let us prey . . .

- Nick Ruskell, Kerrang.

Featuring an international cast of members. Geography of Hell's music delves into the dark and unsettling themes of natural and man-made disasters from around the world. Their soundscapes combine harsh electronics and unsettling noise elements to create a haunting and immersive listening experience. They have released several acclaimed titles, primarily through the Hospital Productions label. By exploring the darker aspects of human existence, Geography of Hell has created a distinctive sound that reflects the complex realities of our world.

"One of the few current industrial collectives (or the only?) that follows in the tradition of the early avant-garde while expanding further into chemical ambience delivered with the neutrality of a doomed soldier's field side doctor."
- Hospital Productions, USA.

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A transformative union of two idiosyncratic tellers, Hypnopazūzu sees Current 93 speller David Tibet joining forces with the eternal Youth, famed not only for his work as bassist with Killing Joke but for production and collaborative work with an outlandishly eclectic list of artists from Alien Sex Fiend to Paul McCartney.

Hypnopazūzu's sound draws from a wide range of influences, including psychedelic rock, pop, and electronic music. The result is a unique blend of meditative atmospheres, hypnotic rhythms, and avant-garde experimentation.

The duo's debut album, "Create Christ, Sailor Boy", was released in 2016 to critical acclaim, with many critics praising the album's creative eclecticism and hauntingly beautiful soundscapes.

In addition to their studio work, Hypnopazūzu has also performed live, with their shows featuring elaborate stage setups and psychedelic visual projections that enhance the immersive nature of their music.

Overall, Hypnopazūzu's music is a testament to the power of collaboration and creative exploration, pushing the boundaries of what is possible in experimental music and offering a unique and deeply affecting listening experience.

"Kinetically knifed to his every utterance, the dark majesty of “Christmas with the Channellers” is incredible, all curling forebode and weeping sinew sweeping up those flame-licked words, then I lose all review objectivity to the Moroccan kicked energy of “Crow At Play”, Satan’s crisp whisper scarred in sawing fiddle and scalloped gallop. The heart-felt noir of “The Sex Of Stars” grabs me back as it descends into pleas of “Will I ever see you again?” “will I will I?” phantomed away in doubt. Tibet shaking his head in refusal as real-time vocals chase the distant-cast echoes. Recurring glimmers of letting go, quaffed in howled tapers, sending a cascade of goose bumps over my skin."
- Michael Rodham-Heaps, Freq Magazine

He walked into the turbulent super market. There were people everywhere. His eyes swept over the shelves and stabilised on a large stack of Pepsi-Colas. He could almost experience the cool fizzy liquid descending his parched throat…
“I’ll have them in bulk please.”

So begins this legendary lost novel, in which fourteen-year-old Preston Wildey-King must choose between his all-consuming passion for Pepsi-Cola and his love for schoolmate Peggy.

Written in 1981 by June-Alison Gibbons when she was only sixteen, The Pepsi-Cola Addict is considered one of the great works of twentieth-century outsider literature. More than just a literary curiosity, this tale of a teenager whose passion for a world-famous cola drink threatens to ruin his life is the uniquely vivid expression of a young woman trying to make sense of the confusing, often brutal, world in which she found herself.

Originally published by a vanity press who took £500 from its young author and gave her only a single book in return, it’s thought that fewer than ten original copies still exist.

Shortly after its publication, June-Alison and her sister Jennifer would become infamous as “The Silent Twins” and find themselves cruelly incarcerated for over a decade in Broadmoor psychiatric hospital.

Lussuria's music is characterized by its haunting atmosphere, combining distorted synths, field recordings, and found sounds to create an immersive sonic experience. Since its formation, Lussuria has released several acclaimed albums and collaborations with other experimental musicians.

“Reflecting the ritualistic appeal of late '70s and early '80s Italian industrial à la Cicciolina Holocaust, Sermonizer or MB, crossed with the epic claustrophobia of early material from the Cure and the decadent, voyeuristic compulsion of Pasolini flicks so enamoured by Coil, the enigmatic Lussuria has conceived nothing short of a dark ambient masterpieces for our times”
- Boomkat, United Kingdom.

Mirai Kawashima is a multifaceted figure in the Japanese music scene, known both as a music journalist and as the vocalist of the experimental metal band Sigh. With a career spanning over three decades, Kawashima has established himself as a leading voice in the underground musical landscape, exploring various musical genres and ideas throughout his work. As the frontman of Sigh, he has helped to pioneer the experimental metal genre in Japan, pushing boundaries and challenging conventions with the band's complex and innovative sound. SIGH was also one of the first metal bands to sign with Deathlike Silence Records, the legendary record label founded by the late Euronymous of Mayhem fame, cementing their status as pioneers in the extreme metal scene.

Ulver is an experimental music collective from Norway that was formed in 1993. The band's name translates to "wolves" in Norwegian, and their music is characterized by a wide-ranging and eclectic sound that draws from diverse influences such as black metal, ambient, electronic, and classical music.

Ulver's early output was heavily focused on the black metal genre, with their first two albums, "Bergtatt" (1995) and "Kveldssanger" (1996), featuring raw and atmospheric soundscapes that were emblematic of the Norwegian black metal scene. However, the band quickly began to explore new sonic territories, incorporating elements of folk, jazz, and electronic music into their sound.

Over the years, Ulver continued to push the boundaries of their music, releasing critically acclaimed albums such as "Perdition City" (2000), which fused elements of trip-hop and electronica with dark ambient soundscapes, and "Shadows of the Sun" (2007), which featured haunting, introspective compositions that drew comparisons to artists like Radiohead and Pink Floyd.

Despite the band's ever-evolving sound, Ulver has remained committed to exploring new sonic territories and pushing the boundaries of what is possible in music. Their unique approach to composition and performance has earned them a devoted fanbase and cemented their place as one of Norway's most innovative and forward-thinking musical acts.

"Ulver are cataloguing the death of our culture two decades before anyone else has noticed it's inevitable demise"
- Julian Cope

An influential musician, writer, and performer. William is best known as the founder of the seminal power electronics group Whitehouse, which he formed in 1980. Bennett's approach to music is characterized by its aggressive, confrontational sound and provocative themes, often exploring the darker aspects of human existence. His contributions to experimental music genres have significantly impacted the wider musical landscape, inspiring countless artists and musicians over the years.

"It's destructive, it's patronising, it's condescending. I hate that. I blame Peter Gabriel."
- William Bennett interview, The Quietus.

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Our portfolio includes successful collaborations on major and independent recording deals, publishing, advertising, branding, literary and film projects. We understand the importance of tailoring our approach to meet the unique needs of each artist.

At Mythology, we take pride in being a booking agency that pays meticulous attention to the shows we choose to work on. With a track record of successfully managing numerous tours across Europe and the US including sold out arenas and headlining festivals, our experience speaks for itself. We believe that every show should be a truly memorable event. That's why we embarce the concept of "less is more". Our approach is to offer tailored solutions to make our shows financially and artistically viable.

As an accredited paralegal, Mythology is dedicated to safeguarding and protecting our clients' creative works from infringement. We provide our clients with the necessary tools and resources to protect their legal and intellectual property rights.