Anaal Nathrakh is an English black metal band. The band's first demo was recorded in March, 1999. Leviaphonic issued total Fucking Necro, while The Codex Necro saw release by Mordgrimm. The former was a compilation of the band's demo material.
Kenney is quite active. He and Shane Embury of Napalm Death are also band-mates in a grindcore project. He also runs his own NecroDeath Studio. The band affectionately called its drum machine Battlesticks. Kenney programmed Battlesticks.
A new EP called When Fire Rains Down From The Sky, Mankind Will Reap As It Has Sown was announced in late 2002 featuring former Tormentor and Mayhem singer Attila Csihar.
The band recorded a session for BBC Radio's John Peel show in the autumn of 2003. The session was due to be broadcast on December 16th, 2003.
Anaal Nathrakh signed with France's Season Of Mist in early 2004. An album was issued in November, 2004. Eschaton was the band’s last release for Season Of Mist. The next Anaal Nathrakh album, was entitled Hell Is Empty, And All The Devils Are Here and was released through the band’s FETO Records on October 29th 2007. Candlelight Records signed the band to a worldwide deal in 2009 however. The duo was in the studio working on its label debut titled In The Constellation Of The Black Widow. The album was expected to have a summertime release. The band released its new album, In The Constellation Of The Black Widow, on June 29th through Candlelight Records. A vinyl version was issued by FETO Records, which is co-owned by the band’s Mick Kenney. Anaal Nathrakh’s Passion was out in the summer of 2011 through Candlelight. Candlelight Records announced November 6th, 2012 as the North American release date for Vanitas, the new album from England’s Anaal Nathrakh. Produced by Mick Kenney (Bleeding Through and Ingested), the album, according to the label, carried the band’s signature mix of black metal and grindcore.
In 2014, Metal Blade signed England's Anaal Nathrakh. An album was expected in the autumn. Birmingham-based Anaal Nathrakh would issue an album called Desideratum, the follow-up to 2012's Vanitas full-length, on October 28th of 2014. It was again produced by guitarist/bassist/programmer Mick Kenney, with vocals recorded at Necrodeath Studios in Birmingham, while the music was tracked and mixed at The Black Flamingo in Orange County. Oakland, California-based doom band and then-recent Metal Blade signees, Secrets Of The Sky, would support UK duo and label-mates Anaal Nathrakh on its North American tour that month. The Whole Of The Law was the name for the 2016 Anaal Nathrakh album, which was issued that October through Metal Blade.
ANAAL NATHRAKH - THE CODEX NECRO - MORDGRIMM
Here's the drill: English boys have a strategy session to get girls. Occult-sounding band name Anaal Nathrakh - check. So ever misanthropic album name Codex Necro - check. Music? I suppose we should, like, play something! Recycled Emperor riffs, hip synthesizers (they are still really hip...right?) and a drum machine - check. Not that anyone will ever and in a million years ask but let's put something on the album about how we will not print our lyrics (one can see the pitched battles across Britain as demonstrators fight the Bobbies in protest) - check. Titles like Pandemonic Hyperblast, The Supreme Necrotic Audnance (rerecorded demo song) and Human, All Too Fucking Human (this last one appropriate, all too fucking appropriate) - check. A four track recording and sub-Sex Pistols technical ability establishing our true underground 'cred' - check. Certain to land in Kerwank and Metal Hamster - check. Now we're like so kewl dude!
ANAAL NATHRAKH - DOMINE NON ES DIGNUS - SEASON OF MIST
Well, well, it would be easy to exclaim that this album is Anaal Nathrakh's best. Still, in the spirit of fairness, it should be imperative to say that the Brits have come out with an impressive album. The band's sound is tighter, the experimentations have been curbed and the electronic elements subdued or left to the intros et al. Having said that, the band still gets on the nerve on occasion and surely has to abandon its discharge of falsetto screams and hoarse experimental vocalizing. Be that as it may, AN is near the threshold of respectability were one to also admit in the same breath that the band's extreme nature had always been there. Further kudos belong to the band's infrequent solos which nonetheless rocket mightily at the speed of light. All this housed within a raw, but strong sound engineering job. Wish one could attribute the same quality to the sub-par cover design. Now listen to the band and "destrooooy yourself." - Ali "The Metallian"