Vomitory Records

Vomitory Records
Name	Vomitory Records
Founded	2001
Founder	Jan Eriksen
Status	Defunct (2013)
Genre	Death metal, black metal, grindcore
Country	Sweden
Location	Stockholm

Vomitory Records was an independent Swedish record label active primarily in the 2000s, specializing in extreme metal subgenres such as death metal, black metal, and grindcore. The label released albums, EPs, and compilations that connected underground scenes across Scandinavia, the United Kingdom, Germany, and the United States, working with bands that toured festivals like Wacken Open Air, Hellfest, and Bloodstock Open Air. Vomitory Records operated within the same ecosystem as labels such as Century Media Records, Relapse Records, Nuclear Blast, Peaceville Records, and Metal Blade Records.

History

Vomitory Records emerged from the Swedish extreme metal underground in the early 2000s, during a period marked by reunions, stylistic diversification, and the rise of digital music platforms like Myspace and Bandcamp. The label coexisted with regional scenes centered on cities such as Stockholm, Gothenburg, and Umeå, and engaged with promoters, zines, and distributors tied to events including Roadburn Festival, Inferno Metal Festival, and tours featuring acts like Cannibal Corpse, Carcass, and Napalm Death. Its timeline overlaps with label activities at Earache Records, Peaceville Records, and Season of Mist.

Founding and Early Releases

Founded by Jan Eriksen in 2001, Vomitory Records issued early releases that reflected the Swedish death metal lineage epitomized by bands like Entombed, Dismember, At the Gates, and Unleashed. Initial pressings emphasized vinyl and limited-edition CD runs similar to collectors’ releases from Relapse Records and Peaceville Records, and the label cultivated relationships with distributors in Germany, France, and the United Kingdom. Early roster additions and split releases invoked associations with compilation series and underground zines such as Decibel (magazine), Terrorizer, and Rock Hard (magazine).

Musical Style and Influences

The label’s catalogue was rooted in traditional and modern strands of death metal, drawing on influences associated with Swedish death metal, Florida death metal, and European blackened death acts. Sound aesthetics referenced production approaches used by producers who worked at studios like Sunlight Studios and Morrisound Recording, connecting to the sonic palettes of Entombed, Morbid Angel, Obituary, Bolt Thrower, and Gorguts. Bands on Vomitory Records mixed tremolo-picked riffs, blast beats, guttural vocals, and crust-influenced aggression familiar to listeners of releases from Earache Records, Peaceville Records, and Relapse Records.

Notable Artists and Catalogue

Vomitory Records released albums and splits by a number of regional and international acts, bringing attention to fledgling groups alongside established names touring with bands such as Carcass, Suffocation, and Deicide. The label’s catalogue included full-lengths, EPs, and compilation appearances similar in scope to releases from Nuclear Blast, Metal Blade Records, Century Media Records, and boutique imprints like Eisenwald and Candlelight Records. Artists associated through tours and compilation exchanges connected Vomitory Records to scenes involving Darkthrone, Mayhem, Behemoth, Immolation, and Napalm Death.

Business Operations and Distribution

Vomitory Records operated as an independent imprint that utilized regional distribution networks in Scandinavia and partnerships with European distributors serving markets in Germany, France, Spain, and the United Kingdom. The label balanced physical formats—vinyl, CD, cassette—mirroring strategies used by Relapse Records and Southern Lord while leveraging online retail and fan communities fostered on platforms like Myspace and later Bandcamp. It coordinated pressing runs, licensing deals, and tour support for bands playing festivals such as Wacken Open Air and Inferno Metal Festival, and worked with booking agencies and promoters that managed tours for acts like Cannibal Corpse and Children of Bodom.

Reception and Impact

Critical reception to Vomitory Records’ releases came primarily from underground publications and webzines including Decibel (magazine), Terrorizer, Blabbermouth.net, and Metal Hammer (magazine), with reviews emphasizing authenticity and alignment with classic death metal aesthetics. Collectors and niche record-buyers compared Vomitory releases to curated catalogues from Century Media Records, Nuclear Blast, and Peaceville Records, and the label’s limited runs achieved visibility among DJs, fanzines, and vinyl collectors connected to scenes around Stockholm and Gothenburg.

Legacy and Influence on Metal Scenes

Although short-lived relative to major imprints, Vomitory Records contributed to sustaining localized extreme metal networks across Scandinavia and Europe, influencing DIY approaches taken by later small labels in the lineage of Relapse Records and Prosthetic Records. Its activity intersected with touring circuits, festival programming at events such as Wacken Open Air and Roadburn Festival, and the collector culture around vinyl releases exemplified by labels like Southern Lord and Century Media Records. Former artists and staff moved into roles at other labels, booking agencies, and festival organizations connected to scenes in Sweden, Germany, and the United Kingdom.

Category:Swedish record labels Category:Death metal record labels