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High Roller Records, reissue 2023, black vinyl, ltd 400, 425gsm heavy cardboard cover with 5mm spine, 8 page booklet, poster, A5 photo card, Transfer, mastering and audio restoration by Patrick W. Engel at TEMPLE OF DISHARMONY in April 2022. Cutting by SST Germany on Neumann machines for optimal quality on all levels

ide A: 1. Queen Of Desire 2. Ecstasy And Danger 3. A Bitch Again 4. Stormbringer Side B: 5. Scream Out 6. Lords Of Thunder (Instrumental) 7. The New Generation 8. Do It Right

Re-issue of Belgium’s cult black speed death metal act BLACK SHEPHERD. Originally released in 1988. Luckily the band found the old reels from 1988, unluckily just four tracks on it. These are remixed, restored and remastered, other tracks restored and remastered/ Extensive liner notes with vocalist Yvan and rare and old pictures. Cover art the back then rejected original art work! REEL tracks digitalised/ restored / remixed / remastered: SIDE A:1. Immortal Aggression2. Another Day to Die 3. Make Love War 4. Corpses 5. Evil Revenge6. AnimalRestored / remastered from the LP:SIDE B:7. State of Decay 8. Preacher of Death9. Trash 10. Kill the Priest 11. Lord of Darkness Plus BONUS: Demo 1989 – ‘Welcome’ restored / remastered12. Little Bitch

Re-issue of Belgium’s cult black speed death metal act BLACK SHEPHERD. Originally released in 1988. Luckily the band found the old reels from 1988, unluckily just four tracks on it. These are remixed, restored and remastered, other tracks restored and remastered/ Extensive liner notes with vocalist Yvan and rare and old pictures. Cover art the back then rejected original art work! REEL tracks digitalised/ restored / remixed / remastered: SIDE A:1. Immortal Aggression2. Another Day to Die 3. Make Love War 4. Corpses 5. Evil Revenge6. AnimalRestored / remastered from the LP:SIDE B:7. State of Decay 8. Preacher of Death9. Trash 10. Kill the Priest 11. Lord of Darkness Plus BONUS: Demo 1989 – ‘Welcome’ restored / remastered12. Little Bitch

Killer live album from one of the most legendry hard-core bands - Volume 1!

Blistering live set featuring 18 tracks and including “We Gotta Know, World Peace, Show No Mercy, Apocalypse Now, Signs Of The Times, Age Of Quarrel, Hard Times and Death Camps”.

Unavailable for ages, now re-mastered with new art!

At long last, a timeless classic returns: BESTIAL WARLUST's pivotal debut album, Vengeance War 'Til Death, now seeing an LP reissue through HELLS HEADBANGERS!Widely considered one of the first "war metal" albums - if not THE first, actually - BESTIAL WARLUST's debut was a shockingly violent and utterly barbaric slab of black metal that literally had no peer upon its release in 1994. It spawned countless imitators in the two decades since that original release and even furthered the "bestial metal" subgenre so prolific today, but there's simply no substitute for the original - and HELLS HEADBANGERS couldn't be prouder to reissue it alongside the second album, Blood & Valour. SATANIC WAR METAL...BESTIAL fucking WARLUST!!! 1. Bestial Warlust 03:412. Dweller of the Bottomless Pit 04:183. Satanic 04:474. Heathens 03:545. Hammering Down the Law of the New Gods / Holocaust Wolves of the Apocalypse 05:296. Storming Vengeance 03:217. At the Graveyard of God 06:02

At long last, a timeless classic returns: BESTIAL WARLUST's pivotal second album, Blood & Valour, now on Black Vinyl w/ Poster & Insert! Originally released in 1995, Blood & Valour was the crucial follow-up to the Aussie barbarians' legendary debut album, Vengeance War 'Til Death. That debut almost singlehandedly started war metal, but it was with Blood & Valour where BESTIAL WARLUST confirmed that their "Satanic war metal" was truly a viable, lawless outback all its own and that their over-the-top violent savagery was no mere fluke. The lineup may have shifted, but the iron fist remained bloody: Blood & Valour more than lived up to its title, then and especially now. Added as a bonus track on this long-overdue reissue is the studio cover of BATHORY's "Massacre" previously only heard by close contacts of the band. SATANIC WAR METAL...BESTIAL fucking WARLUST!!! 1.Blood & Valour 02:522.Death Rides Out 02:293.Prelude: Descention Hells Blood 05:284.Barbaric Horde 04:475....'till the End 03:446.Within the Storm 05:327.Legion of Wrath 03:008.Orgy of Souls (Hallowed Night) 03:479.I, the Warrior 03:11

Coloured vinyl reissue of 'Downfall', the classic fourth album from legendary US doom metal gods Solitude Aeturnus.Solitude Aeturnus was founded in 1987 in Dallas, Texas, by guitarist John Perez. Being influenced by power metal bands (Metallica, Jag Panzer, Metal Church, Fates Warning), as well as the early crop of doom metal bands (Candlemass, St. Vitus, Trouble, Pentagram), Solitude Aeturnus allowed further inspirations from genres such as psychedelic and 70’s hard rock. All this melted into a style that would soon make the band a metal phenomenon.Their history has been pretty much infallible, and 'Downfall' is no exception, consisting of a wide range of some of their fastest material, and some of their most emotional. 'Downfall' is one of the bands most riff centric albums. With the approach focussing on their more melodic, catchy side 'Downfall' is still a Solitude Aeturnus album, and everything that makes this band is still here in droves, just presented slightly differently. Lowes vocal approach is as godly as ever, just with less huge wailing and more aggression. For fans of: Candlemass, Sanctuary, Crimson Glory, Black Sabbath, Witchcraft SIDE A:1. Phantoms 5:572. Only This (And Nothing More) 5:253. Midnight Dreams 6:064. Together And Wither 5:36Total side length – 23:04SIDE B:5. Elysium 3:086. Deathwish 2:157. These Are The Nameless 5:248. Chapel Of Burning 4:249. Concern 6:16Total side length – 21:27

"Green" is distinguished by its fusion of thrash metal with progressive and technical elements. The band expands its musical horizons by incorporating more complex rhythms and innovative song structures. Sharp and precise guitars are intertwined with intricate solos that demonstrate the musicians' technical skill. Now reissued by Black Sleeves on a limited edition LP Gatefold Picture Disc.The album is a milestone in their discography and a gift for fans looking for a deeper and more nuanced thrash metal experience. With “Green”, Forbidden not only defied expectations but also expanded the boundaries of the genre. LP-Side A1- What Is The Last Time? 2:342- Green 3:163- pHat 3:324- Turns To Rage 5:475- Face Down Heroes 3:446- Over The Middle 3:18LP-Side B1- Kanaworms 3:232- Noncent$ 3:533- Blank 5:544- Focus 5:285-(Silence) 5:556- (Hidden Track) 1:11

During a European tour by HADES, it became apparent that the band would soon disband. Guitarist Dan Lorenzo formed NON-FICTION with Dan Nastasi (MUCKY PUP, DOG EAT DOG), who subsequently recorded an EP. However, the line-up carousel was to turn again and HADES and WATCHTOWER singer Alan Tecchio and bassist Kevin Bolembach (later SEVEN WITCHES, JACK FROST and others) came on board.In 1991, the debut 'Preface' was released on Grand Slamm Records, in Europe on Steamhammer/SPV. At the time, the band's doom metal leanings must have puzzled many fans of HADES and WATCHTOWER, while fans of this style remained ignorant at a time without the Internet. It is astonishing that certain trademarks of HADES can still be found in the music of NON-FICTION (see also the 1995 reunion album by HADES). In 1992, the second album 'In The Know' was released, which is considered a fan favourite and was only released on CD at the time. Once again, the cover artwork is reminiscent of the art of Hipgnosis (Pink Floyd, UFO etc.), which also applies to 'It's A Wonderful Lie', released in 1996. The band's third and final album is a little more experimental, but otherwise continues the familiar style.As HADES were active again at this time, the subject of NON-FICTION was regrettably shelved. Both HADES and WATCHTOWER (with Alan Tecchio) are - sporadically - active again today and quite a few fans hope that NON-FICTION will also make another appearance. The musical continuation, albeit a little more modern, is currently Dan Lorenzo‘s band PATRIARCHS IN BLACK, which is successful in the USA. 1. INTROFUCTION2. PICTURE IMPERFECT3. LOVE, LIKIN, NOTHING4. BIG BLUE FLU5. BLACKENED BLUES6. FURIOUS MAN-GO7. SOMEHOW8. A VERSION9. SOCIAL LIES10. CHIPMUNK FUNK11. DECEPTION VS. REALITY12. SAD & DONE13. INTO THE GROUND14. WAXING PATHETIC15. REASONS16. TRUE / FALSE17. SPENT

Dying Victims Productions is proud to reissue NOCTURNAL's legendary debut album, "Arrival of the Carnivore". Originally released in 2005, the album cemented the band’s position as one of the leading black thrash acts of the post-2000 thrash scene and have ever since been reissued several times in various formats. However, records like these should be kept in print permanently and made available to new generations of underground maniacs. Nocturnal’s thrash metal is inspired by the Teutonic legends of old as well as the early days of black metal. Fittingly, Arrival of the Carnivore contains not only the original Violent Force cover of “Sign of Evil”, but also Bathory’s “Enter the Eternal Fire” which was recorded in the same session.

AVAILABLE AGAIN!!! INTER ARMA's 2010's Sundown now available again courtesy of our friends at Robotic Empire! Inter Arma is a Richmond metal band we've watched grow over the past few years into a truly formidable force. Tastefully spanning most metal genres (blackened chaos through downtrodden sludge), Sundown fetures six lengthy songs. The vinyl includes a download code with a killer bonus song and intricately trippy cover art by RVA native ELIZA CHILDRESS. Printed in black ink on brown chipboard covers.

Red Fang's self-titled debut full-length will be reissued on Sargent House in December 2021.This debut is being repressed for the first time since 2015). Red Fang is the formation of long time friends and collaborators Bryan Giles (Last of the Juanitas, Party Time), Aaron Beam (Dark Forces, Lachrymator), David Sullivan (Party Time, facedowninshit, Shiny Beast) and John Sherman (Party Time, Bad Wizard, Trumans Water, All Night). Unleashed on New Year's Eve of 2006 in Portland, Oregon, Red Fang stormed out of the gates, introducing a sweaty, seething basement to a new kind of unforgettable fist-pumping, beer-chugging rock music. Since that night, the band has continued with the same intensity, energy, and intimacy to quickly become a touring juggernaut, playing shows all over the US with bands like The Melvins, Big Business, and The Sword, to name just a few. Residing somewhere between Black Flag and Black Sabbath, Red Fang recall a time when rock was more urgent and horrifying. Synthesizing a variety of heavy music influences into their own distinct musical identity, the band easily shifts from barn-burning punk to mid-tempo, hyper-distorted bass destruction all while maintaining a cohesive sound. Red Fang create gigantic rock songs that are easy to listen to (not easy listening, mind you) and qualify the simultaneous usage of both the thinking and the banging head, which are usually mutually exclusive. Their instrumentation is fluid and effortless, and the vocals are delivered melodically and forcefully, with enough rasp and effect saturation to fit nicely within the music. Paired with elemental imagery, the lyrics are immense and satisfying without any pretense. Classic black vinyl, for Fans of Fu Manchu, Melvins, Clutch, Stoner, Doom & Sludge!

High Roller Records, reissue 2023, black vinyl, ltd 250, insert, A1 poster

We’re pleased to present the second of three classic Century Media vinyl reissues from Warbringer. The next generation’s thrash metal force Warbringer have built a commendable reputation for themselves with heralded albums and consistent touring supporting some of the biggest names in metal. We’re pleased to present a limited 500 copy run of this blue vinyl version with loads of extras in an expanded package, plus two bonus tracks – covers of Swedish black metal band Bathory’s “Sacrifice” and the Motorhead classic “(We Are the) Road Crew,” which Warbringer often includes in their set lists to this day. 2011’s Worlds Torn Asunder took things up a notch and Warbringer really came into their own with a confident and bold new effort, and first featuring drummer Carlos Cruz. Produced by Steve Evetts, Worlds Torn Asunder features classics like “Living Weapon” and “Shattered Like Glass.” Two years of touring continued launched by the band’s first national headlining tour and US support slots to Destruction, Symphony X, Iced Earth and Death Angel, in addition to a European tour with Arch Enemy and virtually every metal festival.

High Roller Records, reissue 2023, black vinyl, ltd 250, gatefold, A1 poster

We’re pleased to present the third of three classic Century Media vinyl reissues from Warbringer. The next generation’s thrash metal force Warbringer have built a commendable reputation for themselves with heralded albums and consistent touring supporting some of the biggest names in metal. We’re pleased to present a limited 500 copy run of this blue/green vinyl version with loads of extras in an expanded package 2013’s Warbringer IV: Empires Collapse showcased the band aiming to diversify their sound and taking chances by expanding boundaries by continuing to bring in more influences from black metal to punk to industrial in a overall more experimental and free effort that was initially met with mixed reactions but has become a favorite amongst many in the band’s fanbase. Continuing to work with producer Steve Evetts (Sepultura, Hatebreed, Symphony X) the band opted for a different mix and enlisted Brett Eliason (Pearl Jam, Avenged Sevenfold) who brought a cleaner and different approach to the traditional thrash band. Staples include “The Turning of the Gears,” “Hunter-Seeker,” “Black Sun, Black Moon” and the epic “Towers of the Serpent.” The reissue adds the band’s take on the Led Zeppelin classic “Communication Breakdown.” Touring continued with notable supports to Overkill and Kreator in the US and Iced Earth in Europe.

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.

Limited 200 copies silver vinyl. Die-cut cover sleeve. Black metal remains a musical chimera. From its fiery beginnings this extreme style proved to be as diverse as productive. German sons of this northern spawned darkness often display a penchant for bold aggression and directness as embodied by ENDSTILLE and NEGATOR. These virtues are also embraced by DER WEG EINER FREIHEIT. Yet the band does not simply follow heavily trodden paths. Adding fragile moments of psychedelic meandering, these Germans have also been compared with WOLVES IN THE THRONE ROOM or DEAFHEAVEN. An extra dose of melancholy points towards their named influence IMPERIUM DEKADENZ and there are far more details to be discovered within the many layers of their harsh but strongly melodic new masterpiece 'Stellar'. Recorded at Ghost City studios, the Germans third full-length is now ready to hit the world with irresistible force. Get ready and brace for a massive black impact! Recommended if you like: Wolves In The Throne Room, Endstille, Deafheaven, Imperium Dekadenz.

From Horten, Norway emerges the black metal band Nidingr – a band that’s been in the scene all the way since 1992. Since then, Nidingr has released 1 demo and 3 albums and played on the biggest metal festivals all over the world. Nidingr is a band that let themselves grow naturally over time and when they release an album it’s in good belief that it’ll be a great contribution to the top tier world of metal music.
They are now releasing their fourth album on Feb 10th 2017, titled “The High Heat Licks Against Heaven”. An album drenched in Norse mythology, and names from the younger and older Edda appears throughout in the lyrics. The album drifts in the middle of black and death metal, but with the Norse theme it creates a unique and fresh breath of sound. To put it mildly, this is a brutal and honest metal record. The album was being worked on intensely for two years, where they took a deep dive into the old English translations of the older and younger Edda from the 18th century. They are continuously striving towards authenticity and shapes the music partly around the theme and the text material, which in broad terms talks about the great and classical themes like death, afterlife, war and the many majestic personalities from the mythology.
The songs are characterized by heavy riffs in a glassy but dirty sound, with at times some melodies with melancholic atmospheres, steady tempo with an almost marching undertone. The vocals hang on in the top of the sound wall with a drive, power and quality one rarely hears. With Cpt.Estrella Grasa on vocals, Teloch (Mayhem, Gorgoroth, God Seed) on guitar, Destructhor (Myrkskog, Morbid Angel) on backing vocals (guitar), Myrvoll on drums and SIR (Gaahls Wyrd, Trelldom, God Seed) on bass, the music is shaped to a monolith of an album in an unmitigated an authentic style.

Powerflo is a rap metal band formed in 2017, consisting of Cypress Hill rapper Sen Dog, guitarists Billy Graziadei (Biohazard) and Roy Lozano (ex-downset.), bassist Christian Olde Wolbers (ex-Fear Factory) and Worst drummer Fernando Schaefer.

The band's history can be traced back to the 1990's, where the band members would often collaborate - such as Cypress Hill and Biohazard performing on the famous Judgment Night soundtrack, or Wolbers and Lozano appearing in Cypress Hill albums Skull & Bones and Stoned Raiders. In 2015, Lozano played some demos to Sen Dog on a ride to the airport, setting the foundations for Powerflo.

The name of the band comes from a comment Roy Lozano made about Sen Dog's vocal tracking for the upcoming album. Describing their sound as a "cross between Iron Maiden, Black Sabbath and Cypress Hill", they first unveiled the group on March 1, 2017 while recording their self-titled debut album. On May 2 2017, they released the first single "Resistance" via Metal Injection. In launching the first single, Sen Dog indicated that this is a long term project and that future Powerflo albums will be released after their self-titled is released.

Alastor hearken to the days when heavy rock was the music of the rebel, the occult adherent and lurker in the shadows, not hipster bros. Theirs is the doom sound for those who discovered it on the edge of town, in the cold rain, perhaps, as an escape from the squares who’ll never understand. Drenched in heavy, distorted darkness and steeped in occult horror that will make your skin crawl and ears cry sweet tears of blood, Slave To The Grave pulls no punches in the Swedish band’s unabashedly bleak themes.

The band formed under a bad moon in 2016, consisting of Dharma Gheddon (vocals, bass, acoustic guitar and organ), Lucy Ferian on lead & acoustic guitar and organ, Terry Fying on guitar and Levi Athan on drums.

The quartet released its epic three-song debut album Black Magic in early 2017 via Twin Earth Records, followed by the two-track Blood On Satan’s Claw EP on Halloween the same year. Joining forces with Riding Easy Records in 2018, they hunkered down to summon this seven-track hateful gospel with engineer Magnus Sörensen.

Limited edition for Schwarzer Freitag Record Store Day 2018! Only 1 per customer!

Another friday dedicated to the black gold!

Demilich’s demo compilation is back in print! This deluxe 2LP compilation comes with a gatefold sleeve and a 12-page booklet.

Sentient Ruin is proud to release RUIN LUST's incinerating sophomore LP Sacrifice for the first time ever on vinyl, after a self-released tape surfaced in early 2019 bringing back under the spotlight one of America's most elusive and feral extreme metal entities. Featuring current and past members of ANICON, TRENCHGRINDER, VORDE, VILKACIS, FELL VOICES, VANUM, and YELLOW EYES, the NYC black/death/war metal horde return six years after their debut album was released on Psychic Violence Records, with their darkest and most baneful compositions to date, blending the most pestilent strains of black and death metal with the blunt force trauma of grindcore to elevate the notion of sonic warfare at unseen new extremes. While remaining true to the genre's voluntarily involved and feral approach to aural barbarism, a careful ear will not fail to notice the modern and transformative approach taken by the band to assemble their sonic war zone, utilizing a dense and suffocating sense of atmosphere and an immanent sense of dynamics and unpredictability to mercilessly blindside and destroy the listener. By all means a pinnacle in this year's war metal output, Sacrifice is a modern and defiant spasm of extreme metal terror that will find loyal proselytes amongst fans of Diocletian, Knelt Rote, Heresiarch and other contemporary black/death bands who show to be more inclined to breaking new ground and paving the genre's future than living in the past.

Demos & Live assault from legends of UK punk/metal Sacrilege! Contains the first two ’84 and ’85 Sacrilege demos alongside a remarkable set from the eminent Ambulance Station Squat on Old Kent Road in London, 1985

When A Shadow Is Forced Into The Light, originally released in January 2019, is an album weighty with layers of sorrow. Dealing with the passing of Juha Raivio’s partner Aleah Stanbridge and a personal journey from darkness to the light, it is also essentially tied together with the albums by Hallatar and Trees of Eternity, on which Svart and Raivio worked together.

Thus we saw it fitting to license and release a limited vinyl edition of this very special Swallow the Sun album. It comes with gold foil printing on the cover as originally envisioned by the artist, and is limited to 500 copies on black wax and 500 on special “black smoke” vinyl.

BLACK SHEPHERD was formed in 1983 as BEELZEBUB, in 1984 they changed the bandname to BLACK SHEPHERD. During their demos era BLACK SHEPHERD played with bands as Onslaught, Kreator and Angeldust. In February of 1986 the demo ‘United Evil Forces’ was recorded and released. In 1988 the band signed a deal with the Punk Etc. and recorded their debut LP ‘Immortal Aggression’. All tracks on this compilation album are restored and remastered at Suncord Audiolab, March 2019. SIDE A 1. Kill the Priest (United Evil Forces demo 1986)2. Make Love War (United Evil Forces demo 1986)3. Preacher of Death (United Evil Forces demo 1986)4. Lord of Darkness (United Evil Forces demo 1986)5. Animal (Demo 2) 6. Black Shepherd (demo 2) SIDE B: 7. Kill The Priest (Live in Gemmenich 1987)8. Black Shepherd (Live in Gemmenich 1987)9. Total Supereme (Live in Gemmenich 1987)10. Lord of (Live in Gemmenich 1987)11. Animal Live in Gemmenich 1987)12. Another Day to Die (Live in Gemmenich 1987)13. I am your Fate (Live in Gemmenich 1987)

BLACK SHEPHERD was formed in 1983 as BEELZEBUB, in 1984 they changed the bandname to BLACK SHEPHERD. During their demos era BLACK SHEPHERD played with bands as Onslaught, Kreator and Angeldust. In February of 1986 the demo ‘United Evil Forces’ was recorded and released. In 1988 the band signed a deal with the Punk Etc. and recorded their debut LP ‘Immortal Aggression’. All tracks on this compilation album are restored and remastered at Suncord Audiolab, March 2019. SIDE A 1. Kill the Priest (United Evil Forces demo 1986)2. Make Love War (United Evil Forces demo 1986)3. Preacher of Death (United Evil Forces demo 1986)4. Lord of Darkness (United Evil Forces demo 1986)5. Animal (Demo 2) 6. Black Shepherd (demo 2) SIDE B: 7. Kill The Priest (Live in Gemmenich 1987)8. Black Shepherd (Live in Gemmenich 1987)9. Total Supereme (Live in Gemmenich 1987)10. Lord of (Live in Gemmenich 1987)11. Animal Live in Gemmenich 1987)12. Another Day to Die (Live in Gemmenich 1987)13. I am your Fate (Live in Gemmenich 1987)

Black Rainbows are back with a brand new album! This time they are delivering 12 new and fresh tunes. Recorded and produced by Fabio Sforza, who was also behind the previous album Pandaemonium. “Cosmic Ritual Supertrip” has a monolithic force; guitars, drums and bass are all glued together to give the listener a punch in the face! This album gets its magic power from mixing together a 70’s attitude with a doom-occult and stoner rock sound in a masterful way. We can count a bunch of singles, such as “Isolation” and “Master Rocket Power Blast”, as well as a couple of doomy songs like “Universal Phase” and “Saacred Graal” and also more catchy tunes like “Radio 666” and “At Midnight You Cry”. This is the 8th album of the band and we believe the best one so far. Recorded at Forward Studios in Rome on a huge Neve desk, this new gem will be out May 1st, on Heavy Psych Sounds Records.
The amazing artwork, made by the one and only Robin Gnista, is matching in its entirety the album music concept.

Black Rainbows are back with a brand new album! This time they are delivering 12 new and fresh tunes. Recorded and produced by Fabio Sforza, who was also behind the previous album Pandaemonium. “Cosmic Ritual Supertrip” has a monolithic force; guitars, drums and bass are all glued together to give the listener a punch in the face! This album gets its magic power from mixing together a 70’s attitude with a doom-occult and stoner rock sound in a masterful way. We can count a bunch of singles, such as “Isolation” and “Master Rocket Power Blast”, as well as a couple of doomy songs like “Universal Phase” and “Saacred Graal” and also more catchy tunes like “Radio 666” and “At Midnight You Cry”. This is the 8th album of the band and we believe the best one so far. Recorded at Forward Studios in Rome on a huge Neve desk, this new gem will be out May 1st, on Heavy Psych Sounds Records.
The amazing artwork, made by the one and only Robin Gnista, is matching in its entirety the album music concept.

Mamaleek seeks to weaponize the tropes of blues, jazz and black metal through an understanding of their respective formal structures. Known for flouting genre conventions, the band’s newest album Come & See, marks yet another degree of separation from their black metal roots. Here Mamaleek draws inspiration from post-war public housing—specifically Chicago’s notorious Cabrini Green housing project—seeking to analyze the emotional impact of the spaces one occupies, the surreal forces behind the appearance of physical reality, and the residues they leave behind. This is the band’s third full-length album for The Flenser, and their first release written and recorded with a full band.

Founded in 2008 in the Bay Area by two anonymous brothers, Mamaleek has explored a vast sonic territory on the edge of a genre often renown for its aversion to change. Their expert utilization of left-field samples and unconventional instrumentation, and their insistent drive to experiment continues to set the band apart from their peers.

Isengard was the solo-project initially started in 1989 by Fenriz – one the key driving forces behind Norwegian legends Darkthrone – because he had many musical ideas to explore that didn’t strictly fit in with the style and music of his main band. Under the Isengard moniker, Fenriz released 2 albums encapsulating doom, death, black & Folk/Viking metal in the shape of ‘Vinterskugge‘ & ‘Høstmørke‘, & finally we welcome the third addition to this cult project. After a period of 25 long years since Isengard’s last studio output, and having recently unearthed a set of tracks from his own archive of material recorded back in those early glory days, this new series of tracks – which were thought to be lost – follow on from some of the metal last heard on 1994’s ‘Vinterskugge’. ‘Vårjevndøgn’ is a monumental journey of epic heavy metal mixed with a often more sombre doomy rock/metal atmosphere bringing to mind bands like US heavy metal veterans Pentagram, & also includes 2 tracks previously only heard on the limited ‘Traditional Doom Cult’ 7” Peaceville release from 2017. Everything on ‘Vårjevndøgn’ was performed and engineered by Fenriz himself. The tracks were all recorded between 1989 & 1993 using the infamous Necrohell Studios, notable for recording Darkthrone’s classic ‘Transilvanian Hunger’ & ‘Panzerfaust’ albums. ‘Vårjevndøgn’ was mastered by Jack control at Enormous Door.

Classic black vinyl!The contemporary Belgian music scene keeps spawning awesome bands, and B R I Q U E V I L L E - the spaces in between the letters are part of their moniker are among the most intriguing and compelling of them. The meditative heaviness of their sound and the carefulengineering of the visual aspects of their mesmerizing live-performance rituals are awe-inspiring and challenging in equal measure.After 2017's dazzling instrumental opus ,II", the Flemish 5-piece finally return with their 3rd studio album, one of the first real pandemic-albums to be released on Pelagic. The band members had to finish the album in separation, which worked outbetter than they had initially expected: the forced distance allowed them to take distance not only to each other, but alsotowards their own song material. Some pieces grew larger than originally intended, others were stripped down to the essentials and reinvented.The end result is a staggering album that is sophisticated and smothering at the same time, made up of altogether shorter songs as compared to the previous release, and there is a more prominent focus on those tasty electronics, which have always been an integral part of B R I Q U E V I L L E 's sound. The album is also the first one with an album title: Quelle means ,source" in German, and ,which" in French. ,We strongly feel that this record keeps all the ingredients of previous recordsand explores them further than we ever did before. The theme of a 'source', and the 'which' linking it reflexively to our previous album artwork gave us the feeling that we stayed true to our original concept, music, artwork and clips. Water and sand as a source of life and death. How an isolated soul deals with these elements", says a nameless band member... What? Yes, B R I Q U E V I L L E is a band shrouded in mystery. The black Nazgûl-robes and golden masks that all members wear on stage give their presence the air of an occult ritual... butthe band is not chasing (a) Ghost; in fact t...

German Black/Death Metal Legion Voreus Debut With "The Proclamation" Mini Album, A Twentythree-Minute Light-Devouring Hellscape Of Complete Chaos And Inhumanity That Establishes The Band As An Implacable Rising Force In The Elite Of German Extreme Metal. With A Massive Cavernous Sound, A Delivery Of Pure And Unbridled Ferocity And Atmospheres Of Complete Lightlessness And Abandon "The Proclamation" Evokes Complete Hell On Earth, Conjuring The Same Otherworldly And Hellish Realms Of Aural Obliteration We've Seen In Highly Elitarian And Evocative Blackened Death Metal Entities Like Teitanblood, Temple Nightside, Vassafor, Impetuous Ritual, Pseudogod, And Proclamation.

Swiss black metal void sculptors Dsknt are back with their immense sophomore LP "Vacuum γ-Noise Transition," a devouring nightmare of omnipotent sonic annihilation conceived at the most liminal edges of sanity. The reality-destroying album takes shape as a dark and multidimensional hallucination deep into reality's most cryptic and terrifying truths, a place where entropy and chaos assume near-corporeal and hyper-realist forms, becoming empirical laws and axioms of all manifestations therein, with the music serving as the abhorrent mathematical key that allows the listener to unlock this realm beyond and "see" the horrors that populate reality beyond the reach of the five senses and of the terrestrial dimension. Harrowingly evocative and devastating beyond comprehension, "Vacuum γ-Noise Transition" assumes its hideous form through a ravaging maze of managed guitar fractals, eviscerating compositional deconstructionism and an inhuman event horizon of decaying soundscapes and oppressive atmospheres that dismantle the listener piece by piece, forcing mind and soul apart to disintegrate in each other's reflection. Somewhat claiming the torch of absolute avant-garde violence and abhorrence from bands like Deathspell Omega and Portal, the devastating album is an all-encompassing and sensorially annihilating masterpiece that transitions this heritage of aural abominations into its most unavoidable future and inevitable conclusions, reshaping the DNA of surrealistic extreme metal as we know it and pulverizing all its known thresholds through a hideous out of body experience ritualized through total aural abandon.

Golgotha is the sixth studio album by Bleeding Eyes. After Gammy (©2014 Go Down Records) the band embarked on a different stylistic and compositional path. Starting from long and substantial jams, the five-piece band extrapolated and deepened 7 tracks lasting almost 50 minutes. The influences are getting darker. Black on black. The esoteric doom mixed with the tipically sludgy attitude, give to their personal existential ordeal a picture in which Simone Tesser’s lyrics fit perfectly. Golgotha’s topics tell about saints and unbelievers, the latter ones in constant conflict with life and death. This new interpretation, that also takes inspiration from the heretic gospels of the apocalypse (first 2 tracks), represents the steady and never ending spiritual detachment, that our capitalist society has lived in for several decades. With mocking irony and lots of sarcasm a post-dogmatic dark way is proposed by the band to deal with the ordeal of everyday life. The studio recording process lasted several months and was handled by Jason Nealy and Marco Dussin (guitarist and bassist respectively). Drums and rhythm guitars were recorded at the music club Benicio Live Gigs, located in the suggestive woods of the Montello hill in Italy. While the final steps, mixing and mastering took place at BadRum studio in Asolo, Italy. Golgotha has a really deep and dense meaning for the band and the graphic part plays an important role too; that’s why the Bleeding Eyes has chosen the Lorenzo Ferraro’s photography. The album artwork consists in pictures taken right after the passage of the devastating storm Vaia, that heavily damaged the band’s hometown surroundings. The desolation post Vaia matches perfectly with Golgotha’s magmatic darkness. The event proved our disarming weakness in front of an untamed force of nature, that can unleash destroying powers yet unknown. The album title itself is therefore -calvario- the combination of a natural imagery that reveals the misery of the precarious human condition.

Golgotha is the sixth studio album by Bleeding Eyes. After Gammy (©2014 Go Down Records) the band embarked on a different stylistic and compositional path. Starting from long and substantial jams, the five-piece band extrapolated and deepened 7 tracks lasting almost 50 minutes. The influences are getting darker. Black on black. The esoteric doom mixed with the tipically sludgy attitude, give to their personal existential ordeal a picture in which Simone Tesser’s lyrics fit perfectly. Golgotha’s topics tell about saints and unbelievers, the latter ones in constant conflict with life and death. This new interpretation, that also takes inspiration from the heretic gospels of the apocalypse (first 2 tracks), represents the steady and never ending spiritual detachment, that our capitalist society has lived in for several decades. With mocking irony and lots of sarcasm a post-dogmatic dark way is proposed by the band to deal with the ordeal of everyday life. The studio recording process lasted several months and was handled by Jason Nealy and Marco Dussin (guitarist and bassist respectively). Drums and rhythm guitars were recorded at the music club Benicio Live Gigs, located in the suggestive woods of the Montello hill in Italy. While the final steps, mixing and mastering took place at BadRum studio in Asolo, Italy. Golgotha has a really deep and dense meaning for the band and the graphic part plays an important role too; that’s why the Bleeding Eyes has chosen the Lorenzo Ferraro’s photography. The album artwork consists in pictures taken right after the passage of the devastating storm Vaia, that heavily damaged the band’s hometown surroundings. The desolation post Vaia matches perfectly with Golgotha’s magmatic darkness. The event proved our disarming weakness in front of an untamed force of nature, that can unleash destroying powers yet unknown. The album title itself is therefore -calvario- the combination of a natural imagery that reveals the misery of the precarious human condition.

With a name like Warish, the San Diego noisy punk-metal trio assured listeners they were in for a maniacal bludgeoning from the get-go. But the band has never been as dark and bitingly vicious as the wholly ominous Next To Pay. The band’s mix of early AmRep skronk, dark horror rock and budget doom antipathy is taken to a whole new level on this thirteen song invective. “Next To Pay is about a sense of imminent doom, everyone is going to die,” vocalist / guitarist Riley Hawk says. “It’s not the happiest record, I guess.” To say the least. On the title track opener, Hawk screams through shredded vocal chords with the tuneful rage of Kill ‘Em All-era James Hetfield and the seething desperation of Kurt Cobain. “This album is more of an evolution, it’s a little more punk-heavy,” Hawk says of the group quickly founded in 2018. “We figured out what our sound was.” And with that evolution comes a change in the lineup. Original drummer Nick (Broose) McDonnell plays on about half of the songs, while new drummer Justin de la Vega brings an even tighter urgency to the remaining, more recent tracks. Bassist Alex Bassaj joined after the debut album was recorded and here showcases muscular and melodic low end previously missing. Riley Hawk is also the pro-skater son of Tony Hawk. Inspired by early-Nirvana, The Misfits, The Spits and Master Of Reality-era Black Sabbath, Next To Pay keeps things heavy and pummeling at all times. The guitars are heavy and powerful, though decidedly not straightforward cookie cutter punk; more like Greg Ginn’s and Buzz Osbourne’s wiry contortions, and occasionally drenched in chorus effects. The rhythms bash right through it all with aggressive force ensuring that nothing gets overly complicated. Warish’s cover of ’80s Dischord Records punks Gray Matter turns the emotive flail of “Burn No Bridges” into a Motörhead-style basher.

Multinational industrial black metal rising force Decoherence join Sentient Ruin again to bring you "System I", a 12" vinyl, digital and cassette tape full-length album/compilation of all the band's recent digital only singles and EPs, remastered to their final and ultimate form along with a glorious and previously unreleased cover rendition of Killing Joke's classic cut "The Wait". While these tracks were previously already digitally (self)released, don't be fooled or misled to think you're hearing any "b-sides" or otherwise "left over" material, rather, consider "System I" not only the righteous third official full-length album from the band, but also by far Decoherence's most visionary, cohesive, and imposing songs to date. Awe-inducing and ghastly in its enveloping immensity, the tracks on "System I" see the enigmatic multinational black metal band morph into their most defiant and commanding form yet, as they construct an impenetrable mechanized swarm of liquefying industrial hallucinations and swirling dissonance that eradicates the listener from their corporeal and terrestrial self to cast them at the edge of a light-devouring void. Stylistically "System I" sees Decoherence's sound still thrive and evolve within the familiar synthetic black metal deconstructionist framework of progenitors like Blut Aus Nord and Darkspace, but as the Killing Joke cover included unmistakably hints at, these tracks also reveal a marked shift for the band toward a more unintelligible, unpredictable, and ominous immateriality, as elements incorporated from post-punk and experimental industrial assume stronger delineations adding ulterior dimensions and identities to the band's already alien and otherworldly sound.

The Body and Big|brave are bands possessed of an unequaled ability to convey overwhelming weight with simplicity, repetition, and detailed sonic atmospheres; artists who continue to alter the definition of what it means to be a heavy band. The Body are consistently prolific while increasingly ambitious as untethered producers and collaborators. Big|brave shape sound with dense waves of guitar and feedback, minimalist and hypnotic crashes, and emotionally exacting vocal melodies. In collaboration, The Body and Big|brave shift the gravity of their compositions to woven layers of percussion and unspooling guitars that sprawl through stark frameworks of earthy folk. Their debut collaborative album Leaving None But Small Birds distills the two ensembles’ pioneering approach to heavy music into psalms for the forgotten, threnodies of lost love, and odes to vengeance.

Typical to The Body’s creative process, Leaving None But Small Birds was composed almost entirely in the studio at Machine With Magnets with engineer/producer Seth Manchester. The Body and Big|brave aimed to challenge themselves to craft a fully realized and cohesive work that strayed outside the boundaries of the music they make individually. The Body’s Lee Buford set up the initial challenge: collaborating to make an album that evoked the country and folk roots of The Band. Big|brave’s Robin Wattie compiled lyrics and melodic lines from across Appalachian, Canadian, and English hymns and folk songs. Select phrases were then reworked and precisely arranged to center the experiences of marginalized characters, victims of hardship, and those yearning for love within each story. The despair and empowerment of these traditional tunes draw remarkable parallels with each group’s focus on championing people often cast aside in history. Leaving None But Small Birds takes its name from the “Polly Gosford” lyric “He covered her grave / and hastened home / Leaving none but small birds / her fate to bemoan,” an image in traditional songs evoking the alienation and isolation of the persecuted. The Body and Big|brave, following a folk tradition, make each song their own through shifts in perspective and a synthesis of passages from kindred tales.

Leaving None But Small Birds transfigures The Body and Big|brave’s heft into a daring diversity of sounds unbridled and austere. The loping opener “Blackest Crow” implements gusts of violin and harmony against the bedrock of a droning riff and shruti box that subtly shifts timbre. “Hard Times” threads stories of indentured and child factory laborers through cascading trellises of rubato guitar as Wattie’s petitions are swallowed by the swell. The Body and Big|brave’s maximalist rumble looms at the fringes of each song as guitarist Chip King’s (The Body) staggering drones seep into their fabric with resolute percussion from Buford and Big|brave drummer Tasy Hudson punctuating with their steady current. Wattie and fellow Big|brave guitarist Mathieu Ball twirl repeating phrases around one another into restrained meditations that bend and shift incrementally. Hudson joins Wattie in harmonized duets and hockets across the album, enhancing the loneliness of “Once I Had A Sweetheart” and laying bare the raw brilliance of “Black is the Colour.” “Polly Gosford” froths with persistently rising walls of violin, guitar, piano and trudging toms that only capitulate after Wattie spins the tragic song of femicide into ghostly revenge with “She broke him, she tore him / she ripped him in three / because he murdered / her baby and she.”

Big|brave’s roots as a minimalist folk band and The Body’s love of old-time, country blues, and folk music enable the quintet to strike a formidable balance between sorrowful lamentation and uplifting resolve to weighty effect. Leaving None But Small Birds thatches together two monumental innovative forces that render the emotionally profound with lucid, devastating vitality.

Antichrist Siege Machine was formed in 2016 as an alliance between RZ and SB. Through extensive touring along the east coast and multiple releases, Antichrist Siege Machine has solidified their place as a violent force to be reckoned with. Each effort has further developed the duo’s sound, enhancing the barbarity of previous releases. The storm now approaches. Antichrist Siege Machine are prepared to release their new full length LP “Purifying Blade.” Sustaining the unhinged violence on display on 2020’s “Filth of the World” EP Antichrist Siege Machine rise victorious in the temple assaulted. Each track on “Purifying Blade” a weapon wielded by wickedness and hatred directed at the heart of Christendom. Faces of black evil, shields hardened with the cracked ribs of the dead.

"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. "

Norway’s Halcyon Days are back, in-your-face, bringing forth an incredibly fresh metalcore sound! With aggressive metalcore riffs, punchy breakdowns and an overall melodic hardcore vibe, Halcyon Days remind of the very best days that bands like Architects and While She Sleeps had in their early years, while delivering a stellar production Based out of Oslo, Norway, Halcyon Days are a hard-hitting melodic metal band. Since their beginning in 2012, they have released two EP’s, and two albums. Their debut album 'elevate' was frequently playlisted and recommended on Norway’s national radio, NRK P3. Two years after their debut album, they released their self-titled EP in 2016, scoring more than 350k total streams on digital platforms. The EP was met with an amazing response worldwide, putting the band on the map outside of Norway. The band signed with Indie Recordings and released their second full-length album, titled "Rain Soaked Pavements & Fresh Cut Grass" in 2018. Metal Trenches (us) stated that the album is “one of the better metalcore releases of the year”, while PureGrainAudio (can) defined it as “a superb example of melodic metal/hardcore.” The release hit 1 million streams on Spotify and landed the band their first big shows outside of Norway at festivals like Summer Breeze Open Air, Reeperbahn Festival and High Five Summerfest. The band have been working with legendary names in Metal, such as Daniel Bergstrand, Fredrik Thordendal and Henrik Udd, for their new and third full-length album Keep Myself from Sinking!

Deathbell is a five-piece band from Toulouse/France, that create eerie and heavy fuzz-laden Doom. Having released their debut album With the Beyond in 2018 that garnered underground attention, Deathbell have been lying in wait, taking their time to craft and hone their new juggernaut “A Nocturnal Crossing”. Incanting her melancholic and haunting vocals, Lauren Gaynor calls through cavernous walls of funeral organ and distorted slabs of riff-witchery to shepherd “A Nocturnal Crossing” into a hypnotic otherworld. With morbid clanging trips of psychedelic rhythms and shadowy atmospheres, Deathbell’s brand of mystical Doom is both transcendent and sombre.

Written and recorded between 2018 and 2021 in the French Pyrenees, “A Nocturnal Crossing”’s lyrics reflect on the metaphysical forces of life and spiritual introspection. Recorded live in April 2021, Deathbell have summoned a demon of Occult Rock to rival the classic greats of Coven and Pentagram and modern legends such as Jex Thoth and The Devil’s Blood. For inner journeys alone, or live group ritual worship, Deathbell’s “A Nocturnal Crossing” works as a gateway or ticket into a wider initiation of Doom Rock’s inherent ancient power of black magic. Songs like “Silent She Comes” and “The Ladder” are anthemic, and wistful, beautiful gravestones of heavy incantation that deliver the listener into a blissful sonic salvation, with the guitar duo of Bolzan and Commelongue riffing as though oblivion depended on it. A band to watch out for, surely on the tongues and minds of those who seek out Doom Rock’s ever evolving devilish secrets, on “A Nocturnal Crossing”, Deathbell have concocted a very strong brew.

The first single, “The Stronghold and The Archer”, from Deathbell’s new album will be released digitally 26th of November 2021. “A Nocturnal Crossing” vinyl and CD available worldwide in February 2022.

Deathbell is a five-piece band from Toulouse/France, that create eerie and heavy fuzz-laden Doom. Having released their debut album With the Beyond in 2018 that garnered underground attention, Deathbell have been lying in wait, taking their time to craft and hone their new juggernaut “A Nocturnal Crossing”. Incanting her melancholic and haunting vocals, Lauren Gaynor calls through cavernous walls of funeral organ and distorted slabs of riff-witchery to shepherd “A Nocturnal Crossing” into a hypnotic otherworld. With morbid clanging trips of psychedelic rhythms and shadowy atmospheres, Deathbell’s brand of mystical Doom is both transcendent and sombre.

Written and recorded between 2018 and 2021 in the French Pyrenees, “A Nocturnal Crossing”’s lyrics reflect on the metaphysical forces of life and spiritual introspection. Recorded live in April 2021, Deathbell have summoned a demon of Occult Rock to rival the classic greats of Coven and Pentagram and modern legends such as Jex Thoth and The Devil’s Blood. For inner journeys alone, or live group ritual worship, Deathbell’s “A Nocturnal Crossing” works as a gateway or ticket into a wider initiation of Doom Rock’s inherent ancient power of black magic. Songs like “Silent She Comes” and “The Ladder” are anthemic, and wistful, beautiful gravestones of heavy incantation that deliver the listener into a blissful sonic salvation, with the guitar duo of Bolzan and Commelongue riffing as though oblivion depended on it. A band to watch out for, surely on the tongues and minds of those who seek out Doom Rock’s ever evolving devilish secrets, on “A Nocturnal Crossing”, Deathbell have concocted a very strong brew.

The first single, “The Stronghold and The Archer”, from Deathbell’s new album will be released digitally 26th of November 2021. “A Nocturnal Crossing” vinyl and CD available worldwide in February 2022.

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.”

Svart Records is proud to debut Mother Of Light, the epic first album by dark folk songstress Anne K. O’Neill, under her Serpentent banner. As Serpentent, multi-instrumentalist and visual artist Anne K. O’Neill weaves a deep cinematic spell of gothic folk, combining elements of European folk music and neoclassical influences. Transfigured by her extraordinary, evocative vocal style, Serpentent’s Mother of Light is a lush saga. Unfastening her industrial roots, Serpentent sees O’Neill conjure monumental sonic narratives that are magnificently visual but fiercely vulnerable, her voice commanding an unconquerable presence. Emotionally charged, Serpentent sets the stage with songs of love and grief, magically distilled through eloquent landscapes of sound. Gothic classical neofolk or 80s-tinged neoclassical dark pop, only the listener can experience for themselves. Serpentent are that unique paradox, almost beyond genre, leaving you speechless and struggling to find words that can describe sheer beauty.

With nods to Jung, Bataille, Camus, and Krishnamurti, Mother of Light’s themes serve as a rumination on the meanings of life and death making this debut Serpentent album an opus of philosophical observation. Featuring accompaniments by Joseph M. D’Auria on drums, Dylan Desmond on bass, and guest appearances from Lorraine Rath, Sasha taqʷšəblu LaPointe, Kakophonix, and Joy Von Spain, Mother of Light Together with artwork created by Anne K. O’Neill, Serpentent’s Mother of Light is an unflinching masterwork of artistry from cover to cover. O’Neill’s dark folk soundtracks, with her song-craft and voice bringing to mind Lisa Gerrard and Jocelyn Pook will appeal to fans of everything from Chelsea Wolfe, Darkher, Lindy-Fay Hella and Dead Can Dance to Emma Ruth Rundle, Enya, Mazzy Star and even Svart Records own Hexvessel. It’s hard not to believe that Serpentent is a prescient star whose moment has arrived. Mother of Light is a shining gem of darkness waiting to be discovered and explode into the mainstream. As explorer’s who have been there discovering many new artists as they emerge, take our word for it that Serpentent is one to seek out, to be there as the levee breaks. Allow Mother Of Light’s wave of life and death illuminate you.

Fans of Classic Heavy Metal and Doom Metal wait with abated breath for the anticipated debut full album, “Last Days of Babylon”, from Swedish metal saviours THE Sonic Overlords. Founded in 2017 by guitarist Morgan Zocek, who played in an Ozzy tribute band and opted to begin writing original music with the same classic darkness, melody, and power of classic late ‘70/early ‘80s heavy metal but with a more modern approach to the production and sonics. The full sound of THE Sonic Overlords began to solidify as members came in that shared the same vision and enthusiasm, including drummer Per Solang, vocalist Marcus Zachrisson Rubin and bassist Daniel Ramírez. The group's blend of melodic rock majesty and thunderous doom was first revealed with the release of their debut single, “In My Darkest Room,” in October 2020. That song gained rock radio airplay throughout Scandinavia and subsequently spread throughout mainland Europe, the U.S. and Australia as DJs and programmers were drawn to the group's combination of powerful dark riffs and the epic melodicism with influences from the likes of Dio/Martin-era Black Sabbath, Rainbow, Judas Priest, Uriah Heep, Deep Purple, Whitesnake, early Candlemass, Yngwie J. Malmsteen/Rising Force, Scorpions and MSG. The band's blend of power, darkness and musicality was recognized by former Sabbath vocalist Tony Martin via a shout-out on his social media channels that led to a friendship and Martin even offering to sing one of the band’s songs, which appears as a bonus track on the CD version.

With the release of Black Magnet’s debut album ‘Hallucination Scene’ in 2020 a new Industrial Metal power emerged from the unlikely landscape of Oklahoma City. After anxiously waiting out the pandemic Black Magnet returned to the road in late 2021 and now drop ‘Body Prophecy’ the second full length burst of machine driven mayhem and electronic deviance.

On ‘Body Prophecy’ mastermind James Hammontree welds the frenetic vitality of post-punk and metal energy with driving synthetic club beats, factory force physicality and alluringly stark melodic pulses. Tracks like ‘Floating in Nothing’ and ‘Violent Mechanix’ feature both intensely catchy hooks and hammering brutal noise. ‘Sold Me Sad’ is a quietly deranged lullaby that takes an atmospheric turn. The throbbing drug-addled lurch of the Manson / Reznor-esque ‘Incubate’ is, at the end of the album, treated to a completely re-imagined and extended club style remix by scene legend Justin K. Broadrick (Godflesh, Zonal, etc).

For all its harsher, scraping atmospheres and pummeling aggression ‘Body Prophecy’ always remains an eminently tight, memorable album molded for the stage and constructed to keep bodies in motion and listeners transfixed.

he final decade of the last millennium was a significant period for the birth of Finnish extreme metal. In the late 1980s, speed metal found its way into the country, and was immediately followed by thrash metal. Afterwards, death and black metal bands started to pop up in every nook and cranny. Some of those rose to an international fame, while others stayed in the shadows waiting for their turn. Through the years, Svart Records has already brought to light many lost treasures of the Finnish metal scene. This June it will be the turn of Thromdarr from Riihimäki and their old tapes excavated from the band’s archives.

The story of Thromdarr reaches back to 1989, when the band’s guitarist Mika Kyöstilä formed Nymphomaniac, a precursor to Thromdarr, together with Ari “Ave“ Auvinen. When the band went through a lineup change, they changed their name to Necrobiosis and eventually to Thromdarr in 1991. According to the band, they entered the scene with the punk attitude of learning by doing. They followed the steps of their idols and started to make fast and heavy metal in the vein of Sodom, Destruction, Kreator, Slayer, Possessed, Bathory, Celtic Frost, Sepultura, Obituary, Pestilence and Death.

When the demos and recordings started to pile up, the musical taste of the band members started to evolve into a more brutal direction.

-“We played the demo to our friends with great excitement and were often told we sound more like black metal than death metal. We didn’t mind this since we had already embarked on that direction and had face paint on the first band photos. We developed the name Thromdarr ourselves and it was supposed to sound phonetically like thunder”, the band’s frontman Kyöstilä recounts.

Early on in their career, Thromdarr had already played with many renowned metal acts, such as Barathrum, Sentenced, Archgoat and Demigod. The band took a couple of cassette pressings of their first studio demo As a Wind Cries and ended up selling 500 copies.

On their later demos, Thromdarr made more experimental material from the black metal canvas. On the other hand, going through a lineup change led to the band losing its driving force, the recording pace slowing down and the little live activity falling behind partying. In the end of the millennium, the band became active again and signed a contract with Solistitium Records, releasing their debut album NorthStorm Arrives in 1998

Svart Records has now compiled Thromdarr’s early demos into a single package. Kyöstilä and Svart’s producer Olli Hänninen have barely touched the original soundscape, instead remastering the demos the way they were originally made with all their faults and successes.

-“The tapes haven’t been remixed afterwards. Instead, they sound as primitive as when they were originally released. The material has also been copied from original recordings. Pick up a beer and listen to old school metal!”, Kyöstilä urges.

Svart Records will release Thromdarr’s Midwinter Frost – Complete demo tapes 1990-1997 double LP compilation and CD on the 17th of June 2022.

Dying Victims Productions is proud to present a new EP from Gallower, Eastern Witchcraft, on CD and 12” vinyl formats. As ever, Gallower have stayed true to their power-trio format – Nocturnitier rips the guitar, Speedfire bangs the drums, and Tzar gives his sepulchral voices and bulldozing bass – and they’ve reached something approaching ripping perfection with their latest Eastern Witchcraft EP. With a sound seeking the ultimate revenge and squarely located around 1985 (maybe even 1986), Gallower incite a riot of violence that skillfully melds the Teutonic legendry of Destruction, Sodom, Kreator, and Violent Force with the first-wave black magick of Bathory, Hellhammer, Venom, and Japan’s Sabbat. No more but definitely no less, Eastern Witchcraft is a five-song/17-minute spell of destruction sure to entrance diehards and genre borderlanders alike.

Australian dark death metal horde Golgothan Remains return with their cataclysmic sophomore LP Adorned in Ruin, a thirty-minute weapon of absolute oblivion forged by the force of pure darkness and chaos. This new full length offering sees the Sydney extreme metal cult heighten and elevate their own vision of a dark future-shaping death metal to its most devastating form yet, pushing the genre beyond a state of weaponized majesty and assembling an imposing and magnificent sonic beast shrouded in destruction and otherworldly atmospheres. The band's staple onslaught of enveloping dissonance and unyielding intensity indeed reaches the pinnacle of its expression on Adorned in Ruin, as various currents of black and death metal, old and new, are brought together by the band to create a transformative hellscape where futuristic and visionary atmospherics, sprawling songwriting and primeval violence are masterfully interwoven into omnipotent bedlam.

In the winter of 2013, IDVex (a.k.a Ifigeneia Derizioti) formed the one-man band 1/2 Southern North (read: Half Southern North) in Kalamata, Greece. The musical compositions are characterized by heavy melodic lines, a languid and sluggish tempo and the use of prolonged sonic scenes. In addition, the lyrics deal with Mythology, Left Hand Path Philosophy, Occultism and personal experiences. In a nutshell, the band is inspired by several genres such as black metal, doom metal, experimental and avant-garde music.

The aesthetic of the first full length album, “Narrations of a Fallen Soul”, is based on ancient Greek tragedy while the compositions’ structure is similar to the forms of classical music.

The main theme of the album is the essence of Death and the Soul, as the Spirit is freed by Lucifer (the sacred snake Ophis). Death here represents the minor god Thanatos of ancient Greek mythology, who is the last lover of the maiden Soul, a "marriage" of eternity, the bitter inevitability of death and decay. The Soul accepts her destiny and frees herself from the bounds of matter to join the Moon, the ancient Mother of all.

Portland, OR-based bestial esoteric black/death metal sorcerers Diabolic Oath are back with another annihilating chapter in their unrelenting conquest of the outer limits of total sonic bedlam. This time the experimental extreme metal trio return with the Aischrolatreia MLP, a prelude to their forthcoming sophomore full-length album which offers another glimpse into the band's unique and hallucinatory formula of barbaric occult war metal and unconventional fretless instrumentation and composition. The twenty-four minute, five-song esoteric weapon of mass annihilation delivers a churning and abysmal onslaught of warped, tectonic hallucinations, with the band designing seemingly impossible and highly cerebral trajectories with their respective instruments while the load of death emanating from these plague-ridden conjurations crushes the listener down with merciless abandon into complete aural carnage. With Aischrolatreia Diabolic Oath have proven once again of being one of the most transformative and unconventional forces in extreme metal, with their undisputed talents as virtuosic musicians being lent with staggering vision and imagination to one of the most animalistic and inhuman manifestations of extreme metal being forged today.