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Norway´s masters of blackened sonic evil, 1349, are finally back with a deadly vengeance. Four long years after the release of the masterpiece “Demonoir”, the band returns with a new full-length album this fall. “Massive Cauldron of Chaos” is set to be released on September 29 through Indie Recordings worldwide, except for North America, where Season of Mist will be handling the album.

Founded in Norway in 1997, 1349 have remained a constant influence on the Norwegian black metal scene. With a penchant for lightning speed riffing, blazing drums, and apocalyptic lyrics, the band has trail-blazed the underground, surpassing many of their peers through brute musical force. Following a quintet of landmark albums, 1349 is set to re-establish their dominance in worldwide extreme metal scene. “Massive Cauldron of Chaos” leave no doubt as to their intentions. Not looking back, but constantly evolving and challenging our perceptions as to what to expect from an extreme metal band. Comments the band: "We entered the studio with an idea of putting everything that 1349 has ever been about into a cauldron, stir it well, and pour in some fresh ingredients - as well as some strange old ones - and come up with our most potent elixir ever. And we brought the spirit to match the ambitious attempt. Boil, boil, toil and trouble...Behold! We have made the most delightfully intoxicating and dangerous potion you can dream of. FEEL THE FIRE! And Hail Hell."?

1349 will tour Europe this fall, make sure not to miss the Aural Hellfire as it blaze through your neighborhood!

Clear Red Vinyl Edition.

Five long years after their fascinating debut, Milan-based duo A Pale December deliver their sophomore album, Death Panacea. Compared to The Shrine Of Primal Fire, Death Panacea steers towards more aggressive, warring sounds. The “atmospheric black metal” label which so aptly described their debut album, is now just one of the many, partial definitions which could be used to define the band’s music.

Classicks is a compilation album by Alice Cooper, combining studio material from his Glam period with live recordings of his classics. One of the highlights is the great duet with Soundgarden’s Chris Cornell “Stolen Prayer”. Other songs from the late-’80s and early-’90s studio recordings are “Poison,” “Hey Stoopid,” and “House of Fire”. The live recordings includes his real classics, like “Under My Wheels,” “I’m Eighteen,” “No More Mr. Nice Guy,” and “School’s Out.” The last track is “Fire”, a cover of the Jimi Hendrix song.

Limited Edition 200 Pc Pressing, 140g vinyl, 2 panel lyric insert, Features guest appearance by singer Ulf Christiansson, founder and singer of the band Jerusalem, For fans of Black Sabbath, Whitesnake, Deep Purple, Narnia, Royal Hunt, Impelliterri, & Rob Rock

Fire and brimstone from Icelandic Black Metal band Altari, as their volcanic new album Kröflueldar erupts via Svart Records on 14.04.23. Named after a series of eruptions that happened at Krafla in Iceland in 1975, Kröflueldar represents the constant threat of ash that Altari’s music lives under. Kröflueldar was a 9 year series of eruptions, and since the album took almost 9 years to create, Altari felt that it was a fitting title for their scalding and ferocious music.

Fans of Craft, Deathspell Omega, Blut Aus Nord and the more well known Icelandic Black Metal bands like Misþyrming and Sinmara will revel in digging into Kröflueldar’s rotten soil, but there is something far more experimental and avant-garde to be reaped within the whirlwind of sound that Altari produces. With their foundations of sound in the classic eras of early Judas Priest, songs like Leðurblo?kufjandinn call to mind the discordant soundclash of bands like Voivod, Virus and even Sonic Youth in the interplay of melody and disharmony. The bewildering, but utterly charming frenzy of taking the raw sound of metal to the limits breaks through from Altari’s literal geological location in a landscape in constant upheaval. Guitarist and Vocalist Ó.Þ.Guðjónsson notes that; “bands such as Blue Öyster Cult, Interpol, Killing Joke were a big inspiration for us as well for the use of clean guitars as the sound for leads. I expressed a desire to find some balance between the overdriven rhythm and melodic yet clean leads. These bands helped us find that.”

It is through these uncommon and almost blasphemous influences that Altari proves to be a rare gem in the much vaulted Icelandic Black Metal crown, giving Kröflueldar the dna of a band that feels they have so much potential and fervor brewing up in their molten kiln. Tracks like Sy?rulu?ður with the vocals of Gyða Margrét are as delicate and subtle, cloaked in smoky atmosphere, as they are dark and brooding, giving hints of bands like This Mortal Coil and Cocteau Twins.

When Guðjónsson states that the intention was an “overall desire for us to get away from the sound that has been a gateway for others here in the scene” they imbued Kröflueldar with a beguiling essence that’s hard to pin down, but magnetically unique. The co-production work of Stephen Lockhart, a staple of the Icelandic Black Metal scene and sound, is of quality but something very different from his signature work, born from what Guðjónsson describes as a need for a “new sonic approach,” Kröflueldar’s sonic eruptions, from the low earthy rumblings to the cacophonic and epic high notes, feels thoroughly worked but raw enough to be unsettling in the new ground it uncovers. Svart Records head honcho Tomi Pulkki expands on the reasons behind his new signing, saying that; “I found their approach refreshingly idiosyncratic in the way it mixes cleaner sounds with distortion. Altari brings something new to Black Metal and that is a rare thing these days”.

Adorned with the psychedelic album cover by guitarist K.R.Guðmundsson, which evokes the storms that come when a volcano erupts, Kröflueldar is a worthy song of praise to the wild and destructive threat of nature unleashed.

Fire and brimstone from Icelandic Black Metal band Altari, as their volcanic new album Kröflueldar erupts via Svart Records on 14.04.23. Named after a series of eruptions that happened at Krafla in Iceland in 1975, Kröflueldar represents the constant threat of ash that Altari’s music lives under. Kröflueldar was a 9 year series of eruptions, and since the album took almost 9 years to create, Altari felt that it was a fitting title for their scalding and ferocious music.

Fans of Craft, Deathspell Omega, Blut Aus Nord and the more well known Icelandic Black Metal bands like Misþyrming and Sinmara will revel in digging into Kröflueldar’s rotten soil, but there is something far more experimental and avant-garde to be reaped within the whirlwind of sound that Altari produces. With their foundations of sound in the classic eras of early Judas Priest, songs like Leðurblo?kufjandinn call to mind the discordant soundclash of bands like Voivod, Virus and even Sonic Youth in the interplay of melody and disharmony. The bewildering, but utterly charming frenzy of taking the raw sound of metal to the limits breaks through from Altari’s literal geological location in a landscape in constant upheaval. Guitarist and Vocalist Ó.Þ.Guðjónsson notes that; “bands such as Blue Öyster Cult, Interpol, Killing Joke were a big inspiration for us as well for the use of clean guitars as the sound for leads. I expressed a desire to find some balance between the overdriven rhythm and melodic yet clean leads. These bands helped us find that.”

It is through these uncommon and almost blasphemous influences that Altari proves to be a rare gem in the much vaulted Icelandic Black Metal crown, giving Kröflueldar the dna of a band that feels they have so much potential and fervor brewing up in their molten kiln. Tracks like Sy?rulu?ður with the vocals of Gyða Margrét are as delicate and subtle, cloaked in smoky atmosphere, as they are dark and brooding, giving hints of bands like This Mortal Coil and Cocteau Twins.

When Guðjónsson states that the intention was an “overall desire for us to get away from the sound that has been a gateway for others here in the scene” they imbued Kröflueldar with a beguiling essence that’s hard to pin down, but magnetically unique. The co-production work of Stephen Lockhart, a staple of the Icelandic Black Metal scene and sound, is of quality but something very different from his signature work, born from what Guðjónsson describes as a need for a “new sonic approach,” Kröflueldar’s sonic eruptions, from the low earthy rumblings to the cacophonic and epic high notes, feels thoroughly worked but raw enough to be unsettling in the new ground it uncovers. Svart Records head honcho Tomi Pulkki expands on the reasons behind his new signing, saying that; “I found their approach refreshingly idiosyncratic in the way it mixes cleaner sounds with distortion. Altari brings something new to Black Metal and that is a rare thing these days”.

Adorned with the psychedelic album cover by guitarist K.R.Guðmundsson, which evokes the storms that come when a volcano erupts, Kröflueldar is a worthy song of praise to the wild and destructive threat of nature unleashed.

“We are a Sludge/Doom band from Sydney, Australia. We have been on the local Australian Doom scene for a couple of years and released an EP at the end of 2019 called the Blackwitch EP and we are about to release our new album The Fire Above. Our influences are varied but include Sleep, The Melvins, EyeHateGod, Electric Wizard and Black Sabbath. We have been getting attention at our live shows for being really loud!!! “Long, hypnotic, simple yet textured seven minute songs. A sonic scream into the abyss and a sacrifice of the innocents at the alter of the almighty bong. The record sounds like a weighted blanket, a comforting fire on a frozen night, a shot of heroin to shut out the voices, a knife in the throat of those who have wronged you, the tender touch of a lover who had plans for you which were not negotiated in the verbal contract of consent.

High Roller Records, reissue 2023, white w/ yellow & red "fire splatter"vinyl, ltd 250, insert

New Vinyl Editions! From shadows of black magic metal Edged Circle Productions is proud to present the new album from the satanic witches Asagraum. This new offering has been manifested into the realm of flesh under his will by the title "Veil of Death, Ruptured" and features brand new material which has been highly anticipated by the fans for years after the previous album "Dawn of Infinite Fire". Asagraum are bigger than ever, but not in the sense measured by the common critics or by that of fame, but by the being of MORE. Everything has been elevated to a higher state of being and the outcome is as deadly as it is intoxicating. Once again, like it's previous offering, the new album has been projected from it's vision by Obscura and A. Morthaemer, but there are several assisting elements at play within the folds of "Veil of Death, Ruptured". 01 Ignem Purificat Lilitu, 02 Fearless Dominance, 03 Opus Ad Errantem, 04 De Verloren Tijd, 05 Impure Fire, 06 Veil of Death, Ruptured, 07 Opus Ad Aeternum, 08 De Wannzin Roept Mijn Naam

From shadows of black magic metal Edged Circle Productions is proud to present the new album from the satanic witches Asagraum. This new offering has been manifested into the realm of flesh under his will by the title "Veil of Death, Ruptured" and features brand new material which has been highly anticipated by the fans for years after the previous album "Dawn of Infinite Fire". Asagraum are bigger than ever, but not in the sense measured by the common critics or by that of fame, but by the being of More. Everything has been elevated to a higher state of being and the outcome is as deadly as it is intoxicating. Once again, like it's previous offering, the new album has been projected from it's vision by Obscura and A. Morthaemer, but there are several assisting elements at play within the folds of "Veil of Death, Ruptured": Drums recorded by Dirk Verspaget, Mixing by Bas de Rooy, and Mastering by Tide Studio London.

New Vinyl Editions! From shadows of black magic metal Edged Circle Productions is proud to present the new album from the satanic witches Asagraum. This new offering has been manifested into the realm of flesh under his will by the title "Veil of Death, Ruptured" and features brand new material which has been highly anticipated by the fans for years after the previous album "Dawn of Infinite Fire". Asagraum are bigger than ever, but not in the sense measured by the common critics or by that of fame, but by the being of MORE. Everything has been elevated to a higher state of being and the outcome is as deadly as it is intoxicating. Once again, like it's previous offering, the new album has been projected from it's vision by Obscura and A. Morthaemer, but there are several assisting elements at play within the folds of "Veil of Death, Ruptured". 01 Ignem Purificat Lilitu, 02 Fearless Dominance, 03 Opus Ad Errantem, 04 De Verloren Tijd, 05 Impure Fire, 06 Veil of Death, Ruptured, 07 Opus Ad Aeternum, 08 De Wannzin Roept Mijn Naam

Asphyxia was thrash metal from Verviers, Liège, Belgium formed in 1987 and released 3 demos and one full length album called ‘Exit: Reality’. Asphyxia was Christian Olde Wolbers (Vio Lence, ex Fear Factory) first band he played in. Much sought-after album, eBay prices over 250 euros. Liner notes by Steven Willems (Rock Tribune and Voices From The Darkside). Produced by Andre Gielen (Channel Zero, Enthroned, Celestial Season). Cover artwork by Eric Philippe (Stratovarius, Artillery, Rhapsody of Fire).

Celestial rust vinyl, limited to 300 copies.Melodic death metal trio ASTRALBORNE are set to release their sophomore full-length, Across the Aeons, via Prosthetic Records on July 28. Across the Aeons sees the Midwest,US band dauntlessly grapple with humanity's cosmic indifference within the universe, pulling influence from philosophical cosmicism and fantasy fiction. After their 2020 debutalbum, Eternity's End, introduced ASTRALBORNE as accomplished purveyors of both compellingly intricate melodicism and dexterous brutality in equal measure, Across theAeons' creative process began immediately following their lauded first full-length release.Across the Aeons' 12 tracks chart a journey of acceptance in the face of humankind's impermanence within a cosmic void, be it Fuzinski's bellowing promise of hell itself, "chaos,death and fire" on lead single War Vessel or interdimensional overlap on Gemini's celestial death metal pomp. Elsewhere ASTRALBORNE team up with labelmates Steve Redmond(Foretoken, The Day of the Beast) and Yegor Savovin (Fires in the Distance) on December Flower and the resplendent mid-album instrumental Promethean Fire respectively.ASTRALBORNE's interstellar voyage is visually brought to life in evocative fashion by Spanish artist Juanjo Castellano (The Black Dahlia Murder, Voidceremony, Coffins). For asalone as we may be in the cosmos of ASTRALBORNE's second full-length, Across the Aeons shirks the nihilistic connotations of such a realisation, opting instead to revel in the totality of all beings and things.

Helsingborg put refactors Bastard Grave have once again stewed up another foul taste with their third album “Vortex Of Disgust”!

With their bewitching and elegant sense of absolute rotten Death Metal, “Vortex Of Disgust” is remarkably the band’s zenith; shaping the old form of tried-and-true Scandinavian Death Metal and coalescing into an unmerciful clobber of swamp-soaked riffs truely unique to Bastard Grave.

Recorded by Bastard Grave except for drum recording by Ulf Blomberg at The End Studio (Crawl, Age Of Woe, Exhale, Inevitable End, etc). Mixed and mastered by Greg Wilkinson at Earhammer Studio (Autopsy, Chaotian, High On Fire, Atrament, etc) and artwork by Thomas ”Necromaniac” Westphal (Cryptic Brood, Morbific, Deserted Fear, etc).

Under the Sign of the Black Mark is the third album by Bathory. It had a major influence on the black metal genre, specifically the Norwegian black metal scene that emerged in the early 1990s. The song "Woman of Dark Desires" is a tribute to the band's namesake, Elizabeth Báthory, and has become one of their most recognized early tracks. "Enter the Eternal Fire" was the band's first epic, reaching nearly seven minutes in length, and presaged the turn towards what would become known as Viking metal which Bathory would take on their next three records.

Bretus‘ fifth full-length album and the official follow-up to 2019s Aion Tetra as 2020s Self-Titled EP A mix of the heavy blues metal of the first Danzig album as well as the spooky death-rock intonations of Samhain III: November-Coming-Fire…

Rapid Eye Records proudly presents “Counterfeit Fire” - the debut EP by the noise rock band CHILDREN, due on 12” vinyl and as a digital release on September 23. Get ready for a frictional force of angular rock - barely hanging by threads of jazz, proto-punk and 1990’s noise rock, sewing together what is a both free-form and repetitive wet blanket of existential dread. Hitting the mark somewhere between THE STOOGES, SCRATCH ACID and free jazz - this release is also undoubtedly coloured by its birthplace Berlin; cold yet wild, limitless within its sharply edged box.

Formed by multi-instrumentalist and lyricist Tim Nagel and completed with guitarist/bassist Ivan Krasnov, the EP features guest appearances by Gottfrid Ahman (IN SOLITUDE, WATAIN etc) and Linnéa Olsson (MAGGOT HEART). It was recorded by Torben Utecht (OCCVLTA), mixed by Pierre Somville (DOLCH etc) and mastered by James Plotkin (EARTH etc). Released by Rapid Eye Records (DEAFKIDS, RAKTA, MAGGOT HEART, OKKULTOKRATI).

When the riffs start to flow, the concrete turns red with blood. Undisputed masters of bloodthirsty Sabbathian purity, Church Of Misery returns to kill again.

Formed in Tokyo, Japan, in 1995, Church Of Misery had a pin-sharp and focused vision from the very start. Led by bassist and mercurial riff-machine Tatsu Mikami, they conjured a perfectly pulverizing new strain of doom metal purity, wherein an endless succession of monstrous pentatonic riffs collided with obnoxious levels of swing and swagger. Early releases like 1998’s seminal Taste The Pain EP and full-length debut Master Of Brutality (released in 2001) heralded the arrival of a uniquely potent and obsessive force. With every song dedicated to a documented serial killer, Church Of Misery set fire to stoner rock’s peace and love principles and plunged deep into humanity’s darkest horrors instead.

Five full-length albums, numerous split releases, and multiple trips around the planet to spread the bloody code of doom later, few would dispute that Mikami’s crew are the living, breathing, riffing epitome of everything Lord Iommi taught us. And now, with the utterly peerless Born Under A Mad Sign, Church Of Misery are back to reclaim the throne.

Smoldering in rotten decay, Russian Death Metal purists, Cist, infect the eardrums of anyone bold enough to tempt fate. Forging the fires of the past in order to lead the current pack of the modern "Old School Death Metal" movement, Cist pummel the listener with wildly brutal, yet tastefully melodic riffage, and harsh cryptic vocal fury. Thrashing and hammering in the vein of early Death, Pestilence, and Asphyx, Cist are a true testament to the legacy and power of Death Fucking Metal. Get this or die.

Gabriele Gramaglia is back with his main solo output COSMIC PUTREFACTION for another chapter of his own tale under the banner of his new LP “Emerald Fires Atop The Farewell Mountains” set for release on Oct 4th. Taking place right after “Crepuscular Dirge for the Blessed Ones”, “Emerald Fires...” takes us to an even deeper and ineluctable journey. Now that the empyrean inhabitants have fallen down for good and all the debris of physical worlds are scattered around, the main character of the tale has in-fact to walk his very last path counting only of his very last strengths to face eternal solitude and death; a path exploring both the widest astral distances imaginable and the most twisted labyrinths of the inmost self. Musically speaking, the concept is depicted through an even broader palette of influences compared with its predecessor, ranging from the most hammering death metal riffs, to progressive veins and even shades of symphonic black metal, embraced through an almost omnipresent wide atmosphere and multilayered arrangements of distant guitars, cellos and synths. Giulio Galati (ex-Hideous Divinity, Nero di Marte), once again teamed up with Gramaglia as a session drummer, to complete his effort through an extremely powerful and dynamic performance behind the kit. 1. [Entering The Vortex Temporum] Pre-Mortem Phosphenes2. I Should Greet The Inexorable Darkness3. Eudaemonist Withdrawl4. Hallways Engraved In Aether5. Swirling Madness, Supernal Ordeal6. [Exiting The Vortex Temporum] – The Clearing Path7. Emerald Fires Atop The Farewell Mountains

Cursed to ride forever on this mortal plane after partaking in a satanic drug ritual, THE Death Wheelers pledge allegiance to the god of hell and fire. However, in order to prove themselves to their newly anointed leader and for the spell to take effect, the band will need to engage in a series of lewd acts of sex and violence across the country. Immortality comes at a price and the listener is about to pay for it… The beating heart of The Death Wheelers is a rumbling engine. Since their self-titled debut in 2015 and in 2020’s cinematic-storytelling breakout, Divine Filth, the Canadian outfit have tapped into wind-through-hair freedom and careened down open roads of groove, not a cop in sight. Their third record, Chaos And The Art of Motorcycle Madness, more than lives up to its name on all fronts. With songs like “Morbid Bails” and “Lucifer’s Bend,” the in-the-know references abound, and The Death Wheelers draw from classic underground metal, scummer heavy rock and cast themselves into a cauldron of cultish biker devil worship, reveling in any and all post-apocalyptic dystopias with genuine glee at having just seen the world eat itself. One might hear some surf guitar. Crazy things can happen.

HELLS HEADBANGERS is proud to present DESOLUS' highly anticipated debut album, System Shock.Hailing from the Mid-Atlantic United States, DESOLUS formed in 2019 at the beginning of the pandemic. Inspired by Sodom, Kreator, and Dark Angel, Jimmy Frost (guitars and vocals) and Vivek Rangarajan (bass and vocals) wrote songs as an outlet for the feeling of what seemed to be the end of times. As time went by and the dust settled, they traveled north to Baltimore, where they recorded a series of demos with Sebastian Phillips (Exhumed / Noisem / Castle Freak). Phillips engineered and tracked drums on these demos in hopes to release it for the DMV (DC, Maryland, and Virginia) metal scene. While recording these songs, they met Travis Stone (percussion), a former member of Noisem and current member of Pig Destroyer. Stone heard the songs and was on board as soon as the first riff played. Soon after, he began rehearsing with the band day in and day out until they were ready to take their music to the streets. DESOLUS gained traction within the DMV music scene over the span of a few years and began traveling across the United States to spread their love of old-school thrash. 1 System Shock 4:292 From Man To Machine 4:113 Curse Of The Technomancer 3:554 Metal Fetishist 4:015 The Arrival ( Of Evil) 4:176 The Invasion Begins 3:257 Interlude 1:568 Sea Of Fire 4:599 The Sigilite 4:0610 Panopticon 4:03

Dolmen Gate is an Epic Heavy Metal band from Lisbon, founded in 2021 and aiming to pay tribute to sacred metal. Forged in the truest fire of Portuguese old school bands featuring established members of the scene, Dolmen Gate brings nothing less than pure steel for Manowar, Omen and Manilla Road fans, with a touch of '70s added to the final potion. 1. Dolmen Gate2. Rest in Flames3. The Oath4. Chambers of Magic5. The Wheel6. Retribution7. Horizon's Call8. Betrayal9. Gateways of Eternity

Dzö-nga (zone-gah) is a black metal project formed in 2016 by multi-instrumentalist Cryvas. The band draws inspiration from world mythologies in creating genre-blending epics, imbuing a Cascadian black metal sound with classical music flair. Debut album Five Treasures of Snow explored the far reaches of ambient metal, with “simultaneously claustrophobic and unforgivingly exposing” songs about an otherworldly Himalayan ascent. 2017’s Upon the Shimmered Bough, a 15-minute art piece based on an original poem, introduced folk elements to the project in anticipation of what is surely Dzö-nga’s coming-of-age work. The Sachem’s Tales arrives as a concept album about Algonquin folklore, from creation mythos (“Against the Northern Wind”) to apocalyptic prophesies (“A Seventh Age of Fire.”) Now available on vinyl!

Red flame with black hues vinyl, limited to 300 copies.In the fall of 2016, Jacob Lee (Hellish Form, PlasticBag FaceMask) and Stephen Muir (Cabin Fire) wanted to form a bleak and abrasive grindcore band with sludge and black metalinfluences. Inspired by acts such as Trap Them, The Secret, and Rotten Sound, Jacob and Stephen formed Elder Devil as a DIY studio project with Stephen providing vocals and lyricswhile Jacob handled music and production. They released their first EP Graves Among the Roots (Medusa Crush Recordings) in 2017 and followed up with the full length The LightDimmed Eternal (Crown and Throne Ltd./Roman Numeral Records) in 2019. Shortly after, Elder Devil began playing as a full band with good friends Ryan Urquidez (dontcryformeimalreadydead, Cabin Fire) on bass and Pete Ruacho (Amenthes, Nani SS) ondrums. Their 2021 EP, Fragments of Hell (PlasticSkull Records/SludgeLord Records), marked their first release as a full lineup.On signing with Prosthetic, Elder Devil says: "It's both exciting and humbling to be working with a label as prolific as Prosthetic. It's an honor to be among the great bands and alumni from Prosthetic's past and present. We really can't wait for people to hear the songs for our upcoming Prosthetic full length debut."

Swedish heavy metal commando Enforcer proudly presents its second live album, “Live by Fire II”, which will be released through Nuclear Blast Records on March 19th, 2021. “Live By Fire II” offers an intense and passionate performance captured in front of a truly dedicated and wild audience in Mexico City, 2019. “Live by Fire II” lets you experience Enforcer at the top of their game and marks an outstanding live record documenting the group’s steady path to global recognition in recent years. It also serves as a stunning reminder of how many heavy metal anthems Enforcer have crafted on their total of five studio albums so far! From the speedy metal attack of ‘Destroyer’, ‘Searching For You’, ‘Midnight Vice’ to perfect sing-alongs like ‘From Beyond’, ‘One Thousand Years In Darkness’ and ‘Take Me Out Of This Nightmare’, the enthusiastic crowd and powerful sound of “Live By Fire II” result in a captivating and extremely entertaining listen.

Belgian black metal band Enthroneds debut album "Prophecies of Pagan Fire" - Re-issued!!

Belgian black metal band Enthroneds debut album "Prophecies of Pagan Fire" - Re-issued!!

Born from the ashes of the hellish French Alps, Fäust, leaded by Michaël Hellström, just delivered it's first record. "Death from Beyond" is an epic Black Metal album influenced by the Scandinavian scene and bands such like Dissection, Necrophobic, Watain, Sacramentum... From the majestic opening "When Death Spawns Fire" to the epic ending "Hellstorm", this album is real trip through darkness and chaos. With the second single "Night Eternal", Hellström shows his abilities with the songwriting to create cold, obscure but really melodic pieces. The album was recorded in Soulreaper Studio (France) by Michaël Hellström, mixed and mastered in Hellpass Studio (Brazil) by Marcos Cerutti. "Death from Beyond" is made for all those who worship the glorious Scandinavian scene from the 90's. Sharpen your scythe, enter the darkness and beware the Death from Beyond.

Repress on Galaxy Blue Vinyl. Limited to 500 copies.On their second long player, FIRES IN THE DISTANCE further expand on their musical foundations of wistful melodicism, crushingly heavy guitar work and intricate atmospherics. Across Air Not Meant For Us' six tracks, FIRES IN THE DISTANCE tie together intensely personal ruminations on mental health and themes of existentialism in the form of mortality salience, without losing sight of the importance of perseverance.Teaming up with Salt Lake City producer Randy Slaugh (Devin Townsend, Tesseract, White Moth Black Butterfly), FIRES IN THE DISTANCE's chief songwriter Yegor Savonin (composition, guitars, programming, lyrics) sought to reach even greater dynamics within the band's core sound of melodic death and doom metal. With live orchestration in the form of violas, violins, cellos, as well as piano work, proving to be an incredibly fruitful collaborative process for both band and producer.

Harbingers of the Serpent Fire, carriers of the emerald of Urkaos and torchbearers of the Luciferian Flame. With their seventh album legendary Occult Black Metal band Grafvitnir unleashes the stormwinds of the Otherworld. Ten tempestuous anthems of pitch-black malevolence sounding the alarm of the Apocalypse.

The second album and classic Hfts album completely new re-recorded with Krimh (Septic Flesh) on drums. This album will blow everything away and finally includes the song "Mad World"

The first album completely new re-recorded with Krimh (Septic Flesh) on drums.

Scandinavian jawbreakers Harmagedon offer up a nightmare future on their debut album Dystopian Dreams, with a refreshingly modern concoction of melodic death metal and crust punk.

Three piece riff machine from Stockholm Sweden, Harmagedon is a raw festering carcass of dynamic grind and roll. Featuring members of Martyrdöd and Freedom raising hell once again, Harmagedon’s debut record Dystopian Dreams is a fusion of heaviness that is difficult to pin down but makes all the damn sense in the world! With focus on primal minimalism but maximum animalism, Dystopian Dreams is the ground zero of an explosive power trio summoning raw energy into being. With no frills and no gimmicks, just relentless heaviness, Harmagedon is a matured brew of “crust punk” or “d-beat” (“kängpunk” for the diehards) infused with ravishing death-metal. Dystopian Dreams is made by adepts of distortion and grime to be imbibed by connoisseurs of rage and chord-fury.

Recorded live at their own studio, Dystopian Dreams was conjured with the help of Fred Forsberg of Mass Worship at the controls, capturing Harmagedon’s wildfire and blending this dense stew together. With the addition of Magnus Lindberg of Cult of Luna mastering it, Dystopian Dreams has that exceptional flavour of a future classic, where all the cogs and wheels of this merciless weapon fire on all cylinders.

Black Sabbath, Entombed, Neurosis & High on Fire spring to mind, as the calibre of Harmadgedon’s riff whirlwind is of the finest quality, the antithesis of royalty but epic and majestic in delivery. Dystopian Dreams’ hulking magnetism leads you expertly to headbang and worship at the altar of timeless metal, without the slightest remnant of doubt.

Songs like Reptilian and Controlled Chaos groove and churn, but pack a hell of a concrete punch, with nihilistic, gravelled guitars and spewing vocals of molten brimstone.

Guitarist and vocalist Tim Rosenquist says:

“Controlled Chaos is about propaganda actions and distractions but Reptilian is about how hard work makes you into this emotionless beast of a being. That song is best served blasting on the factory floor or in the car on your way to the office! Reptilian’s themes are at the core of what Harmagedon is about”.

Look to the masters to deliver true heavyweight metal when the current scene lacks enough muscle and teeth. From a band made up of underground titans, Harmagedon is drawn from the well of eternal heaviness, living in death forever, what nightmares are made of.

Harmagedon is:

Tim Rosenquist - Guitars & Vocals

Magnus Berglund - Bass

Jens Bäckelin - Drums

Scandinavian jawbreakers Harmagedon offer up a nightmare future on their debut album Dystopian Dreams, with a refreshingly modern concoction of melodic death metal and crust punk.

Three piece riff machine from Stockholm Sweden, Harmagedon is a raw festering carcass of dynamic grind and roll. Featuring members of Martyrdöd and Freedom raising hell once again, Harmagedon’s debut record Dystopian Dreams is a fusion of heaviness that is difficult to pin down but makes all the damn sense in the world! With focus on primal minimalism but maximum animalism, Dystopian Dreams is the ground zero of an explosive power trio summoning raw energy into being. With no frills and no gimmicks, just relentless heaviness, Harmagedon is a matured brew of “crust punk” or “d-beat” (“kängpunk” for the diehards) infused with ravishing death-metal. Dystopian Dreams is made by adepts of distortion and grime to be imbibed by connoisseurs of rage and chord-fury.

Recorded live at their own studio, Dystopian Dreams was conjured with the help of Fred Forsberg of Mass Worship at the controls, capturing Harmagedon’s wildfire and blending this dense stew together. With the addition of Magnus Lindberg of Cult of Luna mastering it, Dystopian Dreams has that exceptional flavour of a future classic, where all the cogs and wheels of this merciless weapon fire on all cylinders.

Black Sabbath, Entombed, Neurosis & High on Fire spring to mind, as the calibre of Harmadgedon’s riff whirlwind is of the finest quality, the antithesis of royalty but epic and majestic in delivery. Dystopian Dreams’ hulking magnetism leads you expertly to headbang and worship at the altar of timeless metal, without the slightest remnant of doubt.

Songs like Reptilian and Controlled Chaos groove and churn, but pack a hell of a concrete punch, with nihilistic, gravelled guitars and spewing vocals of molten brimstone.

Guitarist and vocalist Tim Rosenquist says:

“Controlled Chaos is about propaganda actions and distractions but Reptilian is about how hard work makes you into this emotionless beast of a being. That song is best served blasting on the factory floor or in the car on your way to the office! Reptilian’s themes are at the core of what Harmagedon is about”.

Look to the masters to deliver true heavyweight metal when the current scene lacks enough muscle and teeth. From a band made up of underground titans, Harmagedon is drawn from the well of eternal heaviness, living in death forever, what nightmares are made of.

Harmagedon is:

Tim Rosenquist - Guitars & Vocals

Magnus Berglund - Bass

Jens Bäckelin - Drums

HELLS HEADBANGERS is proud to reissue the classic third album of Spain's HAEMORRHAGE, Anatomical Inferno, on vinyl LP.Spain’s HAEMORRHAGE should require no introduction. Alongside MORTICIAN, there is no other goregrind band who’ve been around longer and been more influential – or, perhaps most importantly, never wimped out for more commercial aspirations. As such, while they’ve undoubtedly drawn influence from the immortal early works of Carcass, it could be argued that HAEMORRHAGE have in many ways bested the original. Or, simply, rarely does goregrind get as disgusting AND catchy as these Spanish legends.Although they hit the ground running in 1991 and released a slew of material, including two equally awesome albums, it was 1998’s Anatomical Inferno where HAEMORRHAGE truly delivered their legendry. Taking the flowing riffcraft of Carcass’ Symphonies of Sickness and adding the punkier side of Autopsy (or perhaps the successive Abscess), the band’s third album unleashed one locked & loaded anthem after another, seemingly swarming in their maelstrom of sewer sound but always keeping the focus on quick-hitting catchiness. Thus, tornados of classic grindcore tempo give way to gutted D-beats and vice versa. And while HAEMORRHAGE are unequivocally the definition of GOREGRIND, there’s nevertheless a crossover appeal here to fans of first-wave black metal, be it the moonlit gallop of earliest Bathory or the oblivion overload of equally early Sarcofago. 1.Enshrouded in Putrilage 02:552.A Cataleptic Rapture 02:293.Surgery for the Dead 02:134.Treasures of Anatomy 02:125.Necrotic Garbage 01:596.Putritorium 03:427.Dawn in the Rotting Paradise 01:498.Aftertaste of Putrefaction 01:179.Worminfested Cavities 01:4810.I'm a Pathologist 01:2611.Cirrhoetic Liver Distillation 01:2512.Witness of Forensic Horror 01:3613.Dying on a Mass of Chyme and Rancid Excrement 02:1714.Set the Morgue on Fire 03:17

Helfró emerged from desolation. When his previous band Ophidian I went into hiatus in 2015, drummer Ragnar Sverrisson started chiseling away at his own cruel vision of black metal, late into the brutal Icelandic night. From that intense period of loneliness, Helfró carved their own way into the extreme metal landscape. Their self-titled debut was released right into the fires of the pandemic, but its chilling melodies and raw aggression slithered onto several year-end lists. Now, the hooded duo are returning with their follow-up. ‘Tálgröf’ rips off plenty of Helfró’s signature, furious tremolo riffs - “Fláráð Fræði” shakes with the fury of a hailstorm. But while their new album delves deeper into addiction and intrusive thought patterns, it also expands beyond the rigid world of black metal. Helfró are still as cold and unforgiving as the winters in their home country, but ‘Tálgröf’ is prime to light a fire beneath Icelandic metal.

Helfró emerged from desolation. When his previous band Ophidian I went into hiatus in 2015, drummer Ragnar Sverrisson started chiseling away at his own cruel vision of black metal, late into the brutal Icelandic night. From that intense period of loneliness, Helfró carved their own way into the extreme metal landscape. Their self-titled debut was released right into the fires of the pandemic, but its chilling melodies and raw aggression slithered onto several year-end lists. Now, the hooded duo are returning with their follow-up. ‘Tálgröf’ rips off plenty of Helfró’s signature, furious tremolo riffs - “Fláráð Fræði” shakes with the fury of a hailstorm. But while their new album delves deeper into addiction and intrusive thought patterns, it also expands beyond the rigid world of black metal. Helfró are still as cold and unforgiving as the winters in their home country, but ‘Tálgröf’ is prime to light a fire beneath Icelandic metal.

Formed in recent years in San Francisco (though it may seem more likely that they hatched fresh out of a time travel portal from the mid-’80s Bay Area thrash scene), Hell Fire have the classic look and sound of modern metal’s halcyon days. Their sonic assault warmly condenses elements of Angel Witch, Iron Maiden, Rainbow, Exodus, Metallica, Riot, Virtue and Diamond Head into eight tracks of headbanging MUYA anthems.

The free-wheelin’ creativity and infectious vitality of Bay Area thrash is a moment forever locked in time, but its spirit lives on in this band’s galloping guitar picks, soaring harmonies and blistering rhythms. The band’s perfect hybrid of NWOBHM theatrics and American thrash attitude delivers a rousing and genuine expansion on sounds long lost to pointless battles over who can be the most “extreme.”

Hell Fire began when bass player Herman Bandala moved to San Francisco from Tijuana, Mexico, with the hopes of forming a heavy metal band. Herman posted an ad to Craigslist which caught the attention of guitarist Tony Campos. They bonded over a mutual love of ’80s thrash and NWOBHM. Just before they entered the studio to record their debut album Metal Masses, Jake Nunn joined on vocals. The lineup continued to develop over time, finally solidifying with Nunn also taking up second guitar duties and drummer Mike Smith joining prior to recording Free Again.

This sophomore album is being released for the first time on vinyl and remastered for CD and download. It was recorded over five days in Grass Valley, California, at engineer Tim Green’s Louder Studios (The Fucking Champs, Melvins.) Where Metal Masses showcased aesthetic nods to Metallica’s Kill ‘Em All album (as well as a cover photo brilliantly depicting a blurry hand speedily playing a Flying-V guitar), Free Again finds the band coming into their own with emphasis upon grooves, a beefier sound and tighter songs that expertly shift into new parts at the drop of a hat.

Sometimes a band grows so exponentially from one record to the next, it’s almost jarring. Hell Fire has already established themselves as the preeminent masters of a new hybrid breed of Bay Area thrash and Nwobhm in just a few short years, but their fourth album Reckoning is the type of ascendance that truly sets a band apart. Reckoning is their Master Of Puppets, their Number Of The Beast, their Defenders Of The Faith. From the very first notes of the album opening title track, you can feel a vital new energy and inspiration to their music. To say Hell Fire used the recent global downtime to dig within and fully refine their sound would be an understatement. It truly is a reckoning. With no touring on the horizon in 2020, the band hunkered down and recorded nearly a full album in preproduction home demos. The band’s heightened professionalism also brings in guest bassist Matt Freeman (rancid, Operation Ivy) on the album after original bassist Herman Bandala departed the band amicably during the initial writing process. New bassist KAI SUN joined Hell Fire in Fall 2021.

22 years, several ep’s and splits, 3 full lengths and countless tours around the globe, Hellshock are still standing relevant and still playing some of the heaviest riffs in the world wide punk scene. Where most bands of the crust genre seem to lose the fire and filth or simply break up before their prime, this band seems to get more powerful with each release and this long awaited LP is no exception! This recording features the addition of Robbie Chronic from Ripper on guitar who adds some real sick fucking solos on top of the established rolling crust riffage that the original core group had perfected years ago. Neck aching tempos, sheer brutality, growled anguished vocals, and epic song writing without straying from pure unadulterated crust. For the seasoned Hellshock fan, you know you will already love this album and it will only exceed expectations. For the newcomer, if they were to ask “what is this crust/stenchcore thing about?”, I would point them to Amebix, Deviated Instinct, Axegrinder, and Hellshock. The name deserves to be right beside the creators and masters. In another 20+ years this record will be regarded as one of the best crust records of the 2020’s, just as we look back at “Only the Dead Know the End Of War” as a defining record of the early 2000’s.

“In a music realm that often feels as exciting as watching paint dry, Henrik Palm revitalizes the mundane, injecting life with the grim and unsettling.

While "Poverty Metal" blazed a trail, "Nerd Icon" takes a deeper plunge into shadowy themes, exploring the space between the sinister and the sublime, echoing a life less touched by joy. Guitars command attention, sound captivates focus, and the vision remains transparent, driven by an unbridled spirit.

In these times, where artistic offerings often lack substance, Henrik's third album under his name bursts forth with brilliance, offering a raw, soul-baring experience. It's music that transcends and explodes within the recesses of your mind, shattering boundaries and obliterating limitations.

"Subway Morgue" feels like Van Halen reimagined by a tribe of rat people—a mutated take on classic rock for those who've lost their way. [...] You might even find your mental gears grinding in sync with the relentless crescendo of "Lunch Hour (Of the Wolf)".

Within the darkness, a glimmer of positivity emerges in "Swim to the Light," a momentary respite. Picture a blend of Alice Cooper's "Goes to Hell" and Sopor Aeternus, the first Gauze album played at half speed, infused with Magazine minus the problematic lyrics, and delivered by Bobb Trimble in a dumpster fire—devoid of vaudeville nonsense.

Henrik Palm, a street level sorcerer, seamlessly travels through record collections and musical realms, from eerie gothic rock, via heavy metal "heroticism" to anarchic punk tempests. His avant-garde explorations defy convention, employing unique song crafting methods and dissonant harmonies, guiding listeners through hallucinatory dimensions.

In an enigmatic twist, Henrik channels H.P. Lovecraft's prose, crafting arcane soundscapes where cosmic horrors and existential enigmas collide—an eldritch portal into the depths of the human psyche, a mysterious tapestry of melodies.

Every moment is a riveting one; if you've got headphones, steel yourself for an abyss that swallows you whole.

Prepare to be chained and shackled to the train tracks as you plunge into "Nerd Icon".”

— Ted Cadwalleder

"Nerd Icon" is Henrik Palm’s third album. He has played in many bands. Some you might have heard of and some you probably never heard of. He doesn’t give a fuck really. The present is much more important than dwelling in past victories and/or missteps.

“In a music realm that often feels as exciting as watching paint dry, Henrik Palm revitalizes the mundane, injecting life with the grim and unsettling.

While "Poverty Metal" blazed a trail, "Nerd Icon" takes a deeper plunge into shadowy themes, exploring the space between the sinister and the sublime, echoing a life less touched by joy. Guitars command attention, sound captivates focus, and the vision remains transparent, driven by an unbridled spirit.

In these times, where artistic offerings often lack substance, Henrik's third album under his name bursts forth with brilliance, offering a raw, soul-baring experience. It's music that transcends and explodes within the recesses of your mind, shattering boundaries and obliterating limitations.

"Subway Morgue" feels like Van Halen reimagined by a tribe of rat people—a mutated take on classic rock for those who've lost their way. [...] You might even find your mental gears grinding in sync with the relentless crescendo of "Lunch Hour (Of the Wolf)".

Within the darkness, a glimmer of positivity emerges in "Swim to the Light," a momentary respite. Picture a blend of Alice Cooper's "Goes to Hell" and Sopor Aeternus, the first Gauze album played at half speed, infused with Magazine minus the problematic lyrics, and delivered by Bobb Trimble in a dumpster fire—devoid of vaudeville nonsense.

Henrik Palm, a street level sorcerer, seamlessly travels through record collections and musical realms, from eerie gothic rock, via heavy metal "heroticism" to anarchic punk tempests. His avant-garde explorations defy convention, employing unique song crafting methods and dissonant harmonies, guiding listeners through hallucinatory dimensions.

In an enigmatic twist, Henrik channels H.P. Lovecraft's prose, crafting arcane soundscapes where cosmic horrors and existential enigmas collide—an eldritch portal into the depths of the human psyche, a mysterious tapestry of melodies.

Every moment is a riveting one; if you've got headphones, steel yourself for an abyss that swallows you whole.

Prepare to be chained and shackled to the train tracks as you plunge into "Nerd Icon".”

— Ted Cadwalleder

"Nerd Icon" is Henrik Palm’s third album. He has played in many bands. Some you might have heard of and some you probably never heard of. He doesn’t give a fuck really. The present is much more important than dwelling in past victories and/or missteps.

On vinyl for th efirst time. Reissue of “Being and Nothingness,” the acclaimed 2012 sophomore album from California neo-thrashers Hexen “Being and Nothingness” saw the band continue evolving the combination of old-school ferocity, with a more progressive new-school technicality and dark and socially conscious lyrics that helped them stand out in the fiercely competitive Southern California thrash revival that birthed acts such as Warbringer, Fueled By Fire, Merciless Death, Bonded By Blood and Exmortus. “Being and Nothingness” - originally released by Pulverised Records – saw original Hexen co-guitarist Artak Tavaratsyan return to the band after a hiatus of several years, bolstering the foundation laid on the previous record by the shredding guitar assault of Ronny Dorian, the precise drumming of Cruz and the dextrous bass and searing vocals of Andre Hartoonian. The band's second album – which featured cover art from renowned metal artist Kristian Wåhlin aka “Necrolord” (At The Gates, Dissection, Emperor) - was hailed by Metal Underground as “a roaring spectacle of glossy solos and intricate song writing” and was praised as “one of the more impressive thrash albums” of 2012 by Sputnik Music. Hexen disbanded soon after the release of “Being and Nothingness,” with band members turning their focus to academic and collegiate endeavours and Cruz joining Warbringer.

"Out of the ashes of the disbanded Dawn of Disease, a furious death metal steamroller is about to embark! German-based formation Hiraes - featuring Lukas Kerk, Oliver Kirchner, Christian Wösten, Mathias Blässe and the powerful Britta Görtz (Critical Mess, ex-Cripper) on vocal duties - will release their stunning debut full-length, Solitary, on June 25, 2021 via Napalm Records! With their very first offering, Hiraes create an exciting new melodic death emergence. The five-piece already established its own remarkable identity built upon a smashing femme vocal attack, intense melodies and charging guitars, led by guitarist Lukas Kerk as main songwriter. An atmospheric, instrumental intro introduces the album opener “Shadows Break”, whilst showcasing the impressive vocal onslaught of well-experienced frontwoman Britta Görtz shortly after. “Under Fire” alternates between raging, relentless drums and a chorus that causes goosebumps due to its heavy and meaningful lyricism. “Grain Of Sand” sets the next exclamation mark when delivering an unrelenting attack of smashing riffs along with an inexorable vocal performance, followed by standouts such as brutal “1000 Lights”, razor-sharp “Eyes Over Black'' and fast-twitching title-track “Solitary”, proving that Hiraes don’t decelerate for a second. This massive melodic death metal assault leaves no scope for weakness and serves an exciting take on the genre with hymnlike melodies, enthralling drums and guitar riffing as well as breathtaking hooklines. Topped with the distinctive and versatile performance of Britta Görtz, this powerful new formation and its debut is a must have for fans of bands like Insomnium, At The Gates, Arch Enemy and Amon Amarth. Solitary will also be available as strictly limited 1 LP Gatefold Silver. "

Voice of Storms is a triumph of soaring, obliterating sludge-prog mini-epics, full of blistering tempos, fearless hooks and burly crush. New album from a band whose last record sold through multiple vinyl pressings!Horseburner blasted onto the scene amid comparisons to Mastodon and Baroness, with an iteration of high-energy sludge metal that sprung from their Appalachian industrial background and elevated conceptual themes. Gear-shifting from hard-charging to restrained to urgent and angular, they distinguish themselves from their stoner-psych contemporaries with staggering musicianship, deploying endless musical flexes that a lot of bands just don't have in their bags. Voice of Storms is a sludge-prog triumph of soaring, ob...

Voice of Storms is a triumph of soaring, obliterating sludge-prog mini-epics, full of blistering tempos, fearless hooks and burly crush. New album from a band whose last record sold through multiple vinyl pressings!Horseburner blasted onto the scene amid comparisons to Mastodon and Baroness, with an iteration of high-energy sludge metal that sprung from their Appalachian industrial background and elevated conceptual themes. Gear-shifting from hard-charging to restrained to urgent and angular, they distinguish themselves from their stoner-psych contemporaries with staggering musicianship, deploying endless musical flexes that a lot of bands just don't have in their bags. Voice of Storms is a sludge-prog triumph of soaring, obliterating mini-epics that goes places a lot of h...

The band was formed in 2019 from an idea of musicians who at the time were part of acts such as Black Rage, In-sight, Atlas Pain and Sojourner. After a debut show supporting Asphyx and some line-up changes, the band entered the studio to record their debut album "Front: Toward Enemy" in 2020. After its release in 2021, HUSQWARNAH kept themselves busy on the live front, sharing the stage with acts such as Mortuary Drape, Baest, Discharge, High On Fire and Voivod. The latter show was recorded and then independently released under the title "Live At Bloom" in 2023.HUSQWARNAH's death metal is as genuine and convincing as it can possibly get, paying homage to certain traditional formulas dating back to the early nineties, with songs that are particularly compact in structure and dynamics, ideal for being performed live and thus reminiscent of bands such as Asphyx, Bolt Thrower and Benediction."Purification Through Sacrifice" is a title that reflects the intent of the band to evolve musically, the themes range, as in the previous chapter, from films to crime news stories through visionary and bloody episodes. This time the sound is further enriched with technique and violence while remaining faithful to old school death metal.

Rising from the deep valleys of Kymi in southernmost Finland, I Am The Night is Black Metal rooted in the classic early 90’s tradition, where walls of guitars and synthesizers raise the forces of darkness in a battle against the heavens and burning angels light up the night sky.

The band’s debut full length album, with cover art by scene legend Necrolord, bears the title “While The Gods Are Sleeping” and shall be released on May 6th, 2022. The record was birthed during the heaviest blizzard Finland had seen in years in the winter of 2021, with the band holed up at the Soundspiral Audio studio during the height of the pandemic. “This album, in a way, is both the thing that should not be and something we should have made flesh many moons ago already”, comments Markus Vanhala, and continues: “It is a passage back in time that dark forest of our minds through which we spent our youth traversing.”

Together with the album announcement the band are set to release a second single from the album, titled “Ode To The Nightsky”. The music video for the song was created by Coldstore Productions, and it is online now at https://youtu.be/YhNpG4u8Xgw

Brought forth by underground titans of Finnish Metal, Markus Vanhala (Insomnium, Omnium Gatherum), Janne Markkanen (ex-Omnium Gatherum), Okko Solanterä (Horizon Ignited) and Waltteri Väyrynen (Paradise Lost, Bodom After Midnight), the band’s origins date back to the dimly lit subterranean rehearsal rooms of the mid-nineties where the fires of Vanhala and Markkanen’s Black Metal zeal were ignited.

“Black metal art has been a continuous and serious pursuit in my personal life since my early teenage years”, explains guitarist Vanhala, and he continues; “In The Nightside Eclipse, Storm Of The Light’s Bane and De Mysteriis Dom Sathanas opened the gate to the dark side for me years ago, as can be heard from the music we make with I Am The Night.”

In recent years I Am The Night rapidly began to gather flesh on its old bones, and in 2020 the spark burst into a full blaze when elder statesmen Vanhala and Markkanen hired younger cohorts Väyrynen and Solanterä to help bring their morbid visions into reality. Vanhala states that: “Our debut record, the result of a yearning for ancient darkness, turned out to be just the time capsule we wanted it to be, far removed from modern metal. I’ve seldom found anything interesting in post nineties Black Metal. We wanted to realise this in the underground way that felt fitting to the music, and chose to work with Svart Records.”

“Our songs are stories about the worship of night and the triumph of the powers of darkness. At night, sun to his slumber and shadows all over, the forces of the night rise to the heavens, cast angels out and usher in a new era of individual freedom”, vocalist Solaterä explains

“I Am The Night is a real band not a project. It is unrestrained creation. A ray of darkness for us in the vacuum created by the pandemic. The future remains unseen, and all the better for it.”

Rising from the deep valleys of Kymi in southernmost Finland, I Am The Night is Black Metal rooted in the classic early 90’s tradition, where walls of guitars and synthesizers raise the forces of darkness in a battle against the heavens and burning angels light up the night sky.

The band’s debut full length album, with cover art by scene legend Necrolord, bears the title “While The Gods Are Sleeping” and shall be released on May 6th, 2022. The record was birthed during the heaviest blizzard Finland had seen in years in the winter of 2021, with the band holed up at the Soundspiral Audio studio during the height of the pandemic. “This album, in a way, is both the thing that should not be and something we should have made flesh many moons ago already”, comments Markus Vanhala, and continues: “It is a passage back in time that dark forest of our minds through which we spent our youth traversing.”

Together with the album announcement the band are set to release a second single from the album, titled “Ode To The Nightsky”. The music video for the song was created by Coldstore Productions, and it is online now at https://youtu.be/YhNpG4u8Xgw

Brought forth by underground titans of Finnish Metal, Markus Vanhala (Insomnium, Omnium Gatherum), Janne Markkanen (ex-Omnium Gatherum), Okko Solanterä (Horizon Ignited) and Waltteri Väyrynen (Paradise Lost, Bodom After Midnight), the band’s origins date back to the dimly lit subterranean rehearsal rooms of the mid-nineties where the fires of Vanhala and Markkanen’s Black Metal zeal were ignited.

“Black metal art has been a continuous and serious pursuit in my personal life since my early teenage years”, explains guitarist Vanhala, and he continues; “In The Nightside Eclipse, Storm Of The Light’s Bane and De Mysteriis Dom Sathanas opened the gate to the dark side for me years ago, as can be heard from the music we make with I Am The Night.”

In recent years I Am The Night rapidly began to gather flesh on its old bones, and in 2020 the spark burst into a full blaze when elder statesmen Vanhala and Markkanen hired younger cohorts Väyrynen and Solanterä to help bring their morbid visions into reality. Vanhala states that: “Our debut record, the result of a yearning for ancient darkness, turned out to be just the time capsule we wanted it to be, far removed from modern metal. I’ve seldom found anything interesting in post nineties Black Metal. We wanted to realise this in the underground way that felt fitting to the music, and chose to work with Svart Records.”

“Our songs are stories about the worship of night and the triumph of the powers of darkness. At night, sun to his slumber and shadows all over, the forces of the night rise to the heavens, cast angels out and usher in a new era of individual freedom”, vocalist Solaterä explains

“I Am The Night is a real band not a project. It is unrestrained creation. A ray of darkness for us in the vacuum created by the pandemic. The future remains unseen, and all the better for it.”