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Australia's biggest progressive rock act Karnivool make their three albums so far albums available on vinyl globally for the first time! "Themata" (2005), "Sound Awake" (2009) and "Asymmetry" (2013) are each available as Gatefold 2-LP on 180gr. black vinyl, incl. printed inner sleeves and download card as of November 15th, 2019 via InsideOutMusic in Europe. "Themata" & "Sound Awake" were produced by Forrester Savell (Dead Letter Circus, Skyharbor) and Karnivool. "Asymmetry" (2013) was produced by Nick DiDia (Pearl Jam, Powderfinger) and Drew Goddard.

Unrepentantly flying the flag for Classic British Metal since the release of their 1981 “Blitzkrieg/Buried Alive” demo, Blitzkrieg were a pivotal influence on countless heavy metal bands for decades to come: most notably, Metallica, who released a cover of the band’s eponymous track “Blitzkrieg”, both on “Garage Inc” compilation album, and as a B-side on their 1984 single “Creeping Death”. Formed in Leicester in late 1980 by lead vocalist Brian Ross (who remains at the helm of the band to this day), the band would take a four-year hiatus when Ross left to join NWOBHM legends Satan, recording their classic album “Court In The Act” (Roadrunner) and touring extensively, before reuniting with bassist Mick Moore to form Avenger.Returning from a hiatus in the wake of their critically acclaimed releases “Back From Hell” and “Judge Not”, Blitzkrieg are as vital, powerful and ferocious as the day they were founded over 40 years ago. Long time members Alan Ross (son of Brian Ross) and powerhouse drummer Matt Graham are joined by bassist Liam Ferguson and virtuoso guitarist and producer Nick Jennison. Their new album “Blitzkrieg” is set for release in summer 2024 via Mighty Music, and if early previews are to be believed, is their best work since 1985. 1. You Won’t Take Me Alive2. The Spider3. Dragon’s Eye4. If I Told You5. Vertigo6. Above The Law (Pull The Trigger Pt. 3)7. I Am His Voice8. The Night He Came Home (Halloween)9. On Olympus High (instrumental)10. Aphrodite’s Kiss

Unrepentantly flying the flag for Classic British Metal since the release of their 1981 “Blitzkrieg/Buried Alive” demo, Blitzkrieg were a pivotal influence on countless heavy metal bands for decades to come: most notably, Metallica, who released a cover of the band’s eponymous track “Blitzkrieg”, both on “Garage Inc” compilation album, and as a B-side on their 1984 single “Creeping Death”. Formed in Leicester in late 1980 by lead vocalist Brian Ross (who remains at the helm of the band to this day), the band would take a four-year hiatus when Ross left to join NWOBHM legends Satan, recording their classic album “Court In The Act” (Roadrunner) and touring extensively, before reuniting with bassist Mick Moore to form Avenger.Returning from a hiatus in the wake of their critically acclaimed releases “Back From Hell” and “Judge Not”, Blitzkrieg are as vital, powerful and ferocious as the day they were founded over 40 years ago. Long time members Alan Ross (son of Brian Ross) and powerhouse drummer Matt Graham are joined by bassist Liam Ferguson and virtuoso guitarist and producer Nick Jennison. Their new album “Blitzkrieg” is set for release in summer 2024 via Mighty Music, and if early previews are to be believed, is their best work since 1985. 1. You Won’t Take Me Alive2. The Spider3. Dragon’s Eye4. If I Told You5. Vertigo6. Above The Law (Pull The Trigger Pt. 3)7. I Am His Voice8. The Night He Came Home (Halloween)9. On Olympus High (instrumental)10. Aphrodite’s Kiss

Unrepentantly flying the flag for Classic British Metal since the release of their 1981 “Blitzkrieg/Buried Alive” demo, Blitzkrieg were a pivotal influence on countless heavy metal bands for decades to come: most notably, Metallica, who released a cover of the band’s eponymous track “Blitzkrieg”, both on “Garage Inc” compilation album, and as a B-side on their 1984 single “Creeping Death”. Formed in Leicester in late 1980 by lead vocalist Brian Ross (who remains at the helm of the band to this day), the band would take a four-year hiatus when Ross left to join NWOBHM legends Satan, recording their classic album “Court In The Act” (Roadrunner) and touring extensively, before reuniting with bassist Mick Moore to form Avenger.Returning from a hiatus in the wake of their critically acclaimed releases “Back From Hell” and “Judge Not”, Blitzkrieg are as vital, powerful and ferocious as the day they were founded over 40 years ago. Long time members Alan Ross (son of Brian Ross) and powerhouse drummer Matt Graham are joined by bassist Liam Ferguson and virtuoso guitarist and producer Nick Jennison. Their new album “Blitzkrieg” is set for release in summer 2024 via Mighty Music, and if early previews are to be believed, is their best work since 1985. 1. You Won’t Take Me Alive2. The Spider3. Dragon’s Eye4. If I Told You5. Vertigo6. Above The Law (Pull The Trigger Pt. 3)7. I Am His Voice8. The Night He Came Home (Halloween)9. On Olympus High (instrumental)10. Aphrodite’s Kiss

On The Healer, the new full length from the Northwest-based trio of guitarist and vocalist Aaron Turner (ISIS, Old Man Gloom) bassist Brian Cook (Russian Circles, Botch) and drummer Nick Yacyshyn (Baptists) the group deepens its multi-faceted exploration into the parallel experiences of creation and destruction. Over the course of 4 tracks in 76 minutes, SUMAC present a sequence of shifting movements which undergo a constant process of expansion, contraction, corruption and regrowth.This musical methodology reflects the thematic nature of the record - narratives of experiential wounding as gateways to empowerment and evolution, both individual and collective. The group"s interpolation of melody, drone, improvisation, and complex riffing becomes a transmogrifying act embodying the depth of human experience. In its highest aspiration it mirrors our ability to endure mortal and spiritual challenges, through which we may emerge with an increased capacity for understanding, empathy, love of self and others. Dismal though the subterranean pits of The Healer may at first appear, from them can be felt the unwavering determination to embrace life, acknowledge interdependence, and honor the gift of existence.

On The Healer, the new full length from the Northwest-based trio of guitarist and vocalist Aaron Turner (ISIS, Old Man Gloom) bassist Brian Cook (Russian Circles, Botch) and drummer Nick Yacyshyn (Baptists) the group deepens its multi-faceted exploration into the parallel experiences of creation and destruction. Over the course of 4 tracks in 76 minutes, SUMAC present a sequence of shifting movements which undergo a constant process of expansion, contraction, corruption and regrowth.This musical methodology reflects the thematic nature of the record - narratives of experiential wounding as gateways to empowerment and evolution, both individual and collective. The group"s interpolation of melody, drone, improvisation, and complex riffing becomes a transmogrifying act embodying the depth of human experience. In its highest aspiration it mirrors our ability to endure mortal and spiritual challenges, through which we may emerge with an increased capacity for understanding, empathy, love of self and others. Dismal though the subterranean pits of The Healer may at first appear, from them can be felt the unwavering determination to embrace life, acknowledge interdependence, and honor the gift of existence.

Deafheaven’s new album, Ordinary Corrupt Human Love, finds them working with old friends again. The Jack Shirley-produced and Nick Steinhardt-art directed (of Touché Amoré) collection gets its title from Graham Greene’s novel The End of the Affair, referencing a moment when someone is looking for love, in all of its
imperfection and simple beauty. This sentiment is carried throughout the hazy, yearning romanticism of the record with song titles and words as sumptuous as the sounds around them. Clarke describes the composition of Ordinary Corrupt Human Love beginning with “small seeds of healing, repair, and rebirth,” and like each subsequent Deafheaven album, this record is, in fact, a revelation.
Defeat has inspired some of our best art. If you survive something terrible, you surface on the other side, walk toward the light, and come back to life. If you’re an artist, this kind of new self-knowledge can lead to creating something universal and remembered, something that can live longer than you do. While Deafheaven have managed to cross over this road in the past, they’ve nailed the feeling wholly with Ordinary Corrupt Human Love, a feeling that comes with experience and wisdom.
Yes, everybody deals with hurt, everybody’s been the cause of their own implosions, and everybody has the capacity to overcome and love again. Deafheaven have found a way to externalize all of this, and in making their most complete record to date, they turn it into a balm and a cathartic exorcism.

Mondo Generator, formed by Nick Oliveri (Queens of the Stone Age, Dwarves, Bl’ast, Kyuss, etc.), released their first album, Cocaine Rodeo, in 2000 and never looked back through a whirlwind of intense punk, speed metal and heavy rock.

Across four studio full-lengths and more tours than one could count,Mondo Generator has never been anything less than completely in your face, so that even Oliveri‘s acoustic work arrives dripping with attitude.

Mondo Generator compile tracks from their albums and numerous EPs into an aptly-titled Best Of. The collection will span the career of the band, with guest appearances throughout from Josh Homme, Dave Catching, Dave Grohl, Alain Johannes, John Garcia,Brant Bjork, Alfredo Hernandez, Mark Lanegan, Chris Goss and many more.

This obscure 80's Texan band managed one album on the French Axe Killer label in 1986. One of several American bands finding homes on French record labels at that time. They mixed a traditional 80's metal base with some accessible hard rock tendencies and the occasional interesting guitar flourish

Messa’s rising trajectory hits the stratosphere on their immense new album “Close”. Soaring up out of the Italian Doom Rock underground in 2014, Messa have been rapidly garnering a frenzied throng of devotees, in thrall to their monumental and broad-ranging sound craft. Releasing two widely celebrated cult records, the latest of which “Feast For Water” in 2018 was a critical breakthrough success, with Rolling Stone calling the whole album “captivating, wringing maximum drama out of its savvy stylistic clash,” Messa have had everyone on tenterhooks, waiting for what was next.

New album “Close” draws us further into Messa’s spellbinding textures and immersive dynamics. Described as “Stevie Nicks fronting Black Sabbath,” singer Sara’s colossal voice omnipotently carries the listener on an emotional rollercoaster ride where the sonic cauldron of Iommi guitars gives way to Arabian oudh and progressive solos in a masterful style-clash that well befits Messa’s incendiary reputation.

The hushed Fender Rhodes piano intro on opener “Suspended,” picks up where Messa left off on their previous album “Feast For Water” but then collapses gloriously into Jazz guitar and widescreen impassioned crushing riffs, lighting our way for the odyssey ahead. The scene is set magnificently for the journey that “Close” expertly takes the listener on, with Messa’s obvious care and passion for the album as a pilgrimage of sonic experience. Heavyweight tracks like “If You Want Her To Be Taken” or “0=2” are modern Doom Rock classics that expertly upgrade and leave the genre reeling in their wake. “Pilgrim” and “Orphalese” are woven with tapestries of Mediterranean sounds where oudh and eastern chord phrasings expand Messa’s cinematic palette with a panache that is all their own. Atmospheric and grandiose belters like “Rubedo” and “Dark Horse” build into an almost limitless climax of discord and harmony where blast beats and saxophones descend into a thrilling cacophony that’s a masterclass in artful cutting edge Doom.

Referencing bands like Dead Can Dance, Swans and Om, Messa have created an album where song, experience and atmosphere are focused into a crystalline modus where high art flawlessly embraces good old fashioned riff-worship. Transcending the occult and noir-tinted atmospheres of their past works, “Close” confidently weaves Messa’s multifarious influences into a singular breath-taking sound that leaves the listener enthralled. Perfection or something extremely close, Messa’s “Close” is not just a Metal record, but it’s definitely one of the best things to break out of the confines of Metal in a long time.

Messa’s rising trajectory hits the stratosphere on their immense new album “Close”. Soaring up out of the Italian Doom Rock underground in 2014, Messa have been rapidly garnering a frenzied throng of devotees, in thrall to their monumental and broad-ranging sound craft. Releasing two widely celebrated cult records, the latest of which “Feast For Water” in 2018 was a critical breakthrough success, with Rolling Stone calling the whole album “captivating, wringing maximum drama out of its savvy stylistic clash,” Messa have had everyone on tenterhooks, waiting for what was next.

New album “Close” draws us further into Messa’s spellbinding textures and immersive dynamics. Described as “Stevie Nicks fronting Black Sabbath,” singer Sara’s colossal voice omnipotently carries the listener on an emotional rollercoaster ride where the sonic cauldron of Iommi guitars gives way to Arabian oudh and progressive solos in a masterful style-clash that well befits Messa’s incendiary reputation.

The hushed Fender Rhodes piano intro on opener “Suspended,” picks up where Messa left off on their previous album “Feast For Water” but then collapses gloriously into Jazz guitar and widescreen impassioned crushing riffs, lighting our way for the odyssey ahead. The scene is set magnificently for the journey that “Close” expertly takes the listener on, with Messa’s obvious care and passion for the album as a pilgrimage of sonic experience. Heavyweight tracks like “If You Want Her To Be Taken” or “0=2” are modern Doom Rock classics that expertly upgrade and leave the genre reeling in their wake. “Pilgrim” and “Orphalese” are woven with tapestries of Mediterranean sounds where oudh and eastern chord phrasings expand Messa’s cinematic palette with a panache that is all their own. Atmospheric and grandiose belters like “Rubedo” and “Dark Horse” build into an almost limitless climax of discord and harmony where blast beats and saxophones descend into a thrilling cacophony that’s a masterclass in artful cutting edge Doom.

Referencing bands like Dead Can Dance, Swans and Om, Messa have created an album where song, experience and atmosphere are focused into a crystalline modus where high art flawlessly embraces good old fashioned riff-worship. Transcending the occult and noir-tinted atmospheres of their past works, “Close” confidently weaves Messa’s multifarious influences into a singular breath-taking sound that leaves the listener enthralled. Perfection or something extremely close, Messa’s “Close” is not just a Metal record, but it’s definitely one of the best things to break out of the confines of Metal in a long time.

Svart Records offers up Messa’s extraordinary live show from Roadburn Festival 2022.



Italian Doom trailblazers, Messa captured live at the Roadburn Festival 2022 with a special extended lineup, immortalised on LP, CD and digital via Svart Records. Relive Messa’s main-stage Roadburn Festival triumph, featuring songs from album Close, and joined by a unique constellation of musicians and instruments that give their massive new album its distinctive sound.



This stunning new live album presents select cuts from the band's critically acclaimed album Close, which the critics have called "the sound of a band fleshing out their place in doom metal's past, present and future"(Metal Injection) and "If you’ve ever longed for an album that could reconcile Stevie Nicks at her witchiest with the sublime gloom of How the Gods Kill–era Danzig, this is the LP of your dreams" (Spin).



Messa’s packed out Roadburn set was one of the most talked about of the 2022 edition and left the audience gob-smacked in their wake. Invisible Oranges said it best when they described Messa live as “Captivating from the start, the band meld doom and Mediterranean influences to create a sound that inspires devotion, not least through vocalist Sara’s powerful voice and commanding presence.”



Of their Roadburn set Messa said: “Our appearance at Roadburn 2022 saw us performing a specially dedicated and one of a kind set. We played songs from our new record Close with a unique line-up that included other fellow musicians within our project. We involved Giorgio Trombino (Oud, Duduk, Saxophone), Alex Fernet (Mandolin, Acoustic Guitar) and Blak Saagan (Synthesizers) to recreate the sounds of Close in their true form. Our aim with Messa’s performance was to embrace a musical wandering that could allow all of us – on and off stage – to drift away into another place. We couldn't wait to be on Roadburn’s stage again and we were very excited to be part of the 2022 edition.”



Seeming to both embrace and defy everything it means to be a metal band, Messa mesh Mediterranean sounds with crushing doom riffs, with an emphasis on atmosphere and unusual use of instrumentation. Messa are one of the leading lights in the heavy underground, and this performance at Roadburn saw the band shine forth with a brilliant and dominating presence. Get closer than Close and witness for yourself what the bottled magic of Messa’s live alchemy can bring.

Clear W/ Black Swirl Vinyl. Limited To 500 Copies.Debut Release From Kataan, The Post Death/Black Metal Outfit Featuring Nick Thornbury(Vattnet Viskar) And Brett Boland (Astronoid).

Brazilian US-based doomed death metal duo Negative Vortex rise from the depths of torment with their long awaited debut album Tomb Absolute, a fifty four-minute, nine-song double LP of absolute, towering atmospheric death metal oblivion. Years in the making, meticulously produced, and assembled from sheer pain and perfectionism, Tomb Absolute is a colossal slab of grim and hopeless death metal evoking bleak and pessimistic visions of a doomed future to come, and stirring with bitter reflections about mental illnesses, society's role in human failure, dysfunctions of the mind and spiritual hopelessness. Musically the album takes its life force and inspiration from the glory and timelessness of ‘80s and ‘90s death and doom metal (Cathedral, Nihilist, Autopsy, C.eltic Frost), wielding a death-bearing payload of intense, monolithic, gut wrenching death metal riffs alternated by ultra-depressing slow-paced doom sections to conjure an ultimate monolith erected to complete death, pain and suffering. The album's imposing and pessimistic aura is further enhanced by a dense and a multi-layered production, lengthly and trance-like compositions that drag the listener into a labyrinthine realm of utter darkness and despair, and synth-laden ambient dirges and spoken word passages that exalt the album's lightless depths and monstrous atmospheres. Completing and further adorning the massive hellscape are also illustrious guest appearances from veterans of the scene like Nick Holmes (paradise Lost / Bloodbath), KAM LEE (massacre), Moyses Koslene (krisiun), Leon DEL Muerte (impaled / Terrorizer L.A.), VIK (whipstriker), and Caleb Bingham (athanasia), providing additional guitars leads and vocal contributions.

Hirax is back in print as it was meant to be. Hirax returned in 1986 to deliver us their second album Hate, Fear and Power. A faster, more intense, more relentless speed metal release than their debut. Raging Violence. Hirax, rejuvenated with the addition of the formidable Eric Brecht on drums, the speed and intensity was kicked up a notch across the board. Hirax's second full length drops 8 tracks of great thrash in under 20 minutes. Hate, Fear And Power starts of with furious short blast that touches on DRI or Repulsion territory, and it doesn't let up until the end of the final track. No time is wasted, this album is exactly what thrash should be: straight to the point and played to maximum intensity. Returning with tighter songwriting, relentless riffing. barbaric drumming, and KATON's vocal delivery standing strong, Only a minute or so longer than Slayer's Reign In Blood, this a Hirax condensed and dialed in to it's rawest, fastest form. True raging speed/thrash from beneath the streets of L.A. Original front cover art photographed and restored by Hillarie Jason. Audio has been freshly mastered and cut for vinyl by Nick Townsend. Pressed on colored vinyl and housed in heavy board jackets with printed inner sleeve

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.

Sons Of Alpha Centauri Are The Uk's Original Instrumental Stalwarts. Formed In 2001 They Released Their Atmospheric And Progressive Debut To Acclaim In 2007 And Since Then Proceeded To Develop Their Instrumental Approach Having Been Accepted And Adopted By Instrumental Luminaries Karma To Burn And Yawning Man. Soac Have Released Multiple Split Records, Undertaken Several Collaborations And Toured Extensively With Karma To Burn Since 2009 And Have Also Formed Yawning Sons With Members Of Yawning Man. The Collaboration Heralded Involvement From Scott Reeder (Kyuss), Wendy Rae Fowler (Queens Of The Stone Age) Releasing Several Albums To Critical Acclaim In 2009 And 2021 Both Widely Referred To As Cult Classics.Soac Returned In 2017 With Their Sophomore Continuum Produced And Engineered B...

Record Store Day 2021 Release.

On their sophomore album "Banner of Defeat" Neorite offer their heaviest and bleakest side so far and just hereby find their very own and distinctive style of metal. Equipped with the punch of classic Sepultura and a sense for sinister melodies of the deadly kind as with Dissection and Death, the clean vocals are towering above it all, sometimes emotional as Nick Holmes (Paradise Lost), sometimes vigorous as Tom G. Warrior (Celtic Frost). Though being marginalized here in favor of a crushing heaviness, the alt rock influences of the debut album merge in partly complex song structures and provide them with a catchiness hard to elude.On "Banner of Defeat", Neorite create their own epic and dark version of doom-infested thrash metal, never daunted by genre barriers.

The new, 7th studio of the cult Thrash Metal band! Flames is a Thrash Metal band, formed by Chris Kirk in 1984. Since then they have released many albums and they have participated in many live shows as headliners or guests often next to great bands. The band resides between Athens, Greece and Munich, Germany and since 1984, the band’s lineup has changed several times but always with the Kirk brothers as the core. The current line-up is: Tom Trampouras (guitars, vocals), Chris "R.B. Lee" Kirk (guitars), Andy Kirk (bass guitar) and Nick "Yngve" Samios (drums).

Gatefold sleeve, Limited clear vinyl

“In the Flesh” is the brainchild of Egyptian-born, New York-based conceptual artist Nader Sadek. Known for his impressively twisted sculptures, masks, and installations used for example by bands such as Mayhem and Sunn O))), Sadek is now venturing into the realm of recorded music- including songwriting credits on this album!

The band Nader Sadek emerges out of a collaboration between Sadek and some of extreme music’s most talented artists with its core made up out of songwriter/vocalist Steve Tucker (ex-MORBID Angel), Cryptopsy drummer Flo Mounier and Norwegian composer/guitarist Rune Eriksen (ava Inferi, ex-Mayhem). A host of guest-appearances lends additional weight to the musical impact of “In the Flesh” by leading artists such as Attila Csihar (Mayhem), Travis Ryan (cattle Decapitation), Tony Norman (monstrosity), Descructhor (morbid Angel), and Nick McMaster (krallice). “In the Flesh” is firmly based on a technically masterfully executed unique style of Death Metal with a pitch black twist that creates a multi-cultural symphonic abyss where melody and corrosion meet.

As a work conceptual art “In the Flesh” is best explained like this:

Nader Sadek invite you on a journey to the depths of the earth, where substances of a repulsive nature dwell. Beneath the earth’s crust, over millions of years creatures have disintegrated and decayed until taking on ghastly new life as petroleum. Like a return of the undead, petroleum and its derivates have wrought cross-cultural conflict, environmental pollution, and economic distress. With a visual and aural assault, Sadek’s new work “In The Flesh” re-interprets petroleum’s sinister insinuation into our everyday lives. Nine songs and a series of original drawings video works explore several aspects of the commodified resource we find ourselves fatally dependent on.

“In the Flesh” exploits the sonic links between death metal and gasoline-dependent heavy machinery such as automobile and airplane engines. These links shaped the process of musical composition itself: The album opener, “Petrophilia”, kicks in with a sound evoking an engine starting up. Another song, “Of This Flesh (novus deus)”, follows the sonic structure of a car shifting gears. While continuing to link musical composition to mechanical transformations, other songs depart from engine-based references. The outro to the album, “Nigredo in Necromance” which is already accompanied by a video, dwells on an individual’s recognition that he must die in order to reunite with his deceased lover. The song riffs on the life-in-death of an oil-drenched society, as the lovers’ reunite in their decomposition and rebirth as petroleum. This theme also drives the track “Mechanic Idolatry”, which channels the uncanny thrust of Sadek’s recent artistic output, as live human beings provide the fuel for machines transforming themselves into flesh.

Isolert is a black metal band from Greece (Volos), formed in 2015 as a duet by Panagiotis T. and Nick S. The band's style combines intense melodies with aggressive elements and merciless vocals, creating an epic atmosphere amidst a landscape of agony. Lyrical themes of a falling world, of despair and desolation preached through endless, enraged screams, in the rhythm of infuriated drums. Isolert's new album "Wounds of Desolation" will be released in 2024, through Non Serviam Records. With the addition of George S. (Kosmovorous, Herald) on the band's ranks since 2021 and with a faster, more ferocious approach interwoven in epic melodies, Isolert's 3rd full-length album presents ..... (διάκεια δίσκου) of unforgiving black metal. 1.The Downfall's Monologue (Intro)2.The End of Beauty3.Flesh. Torn. Asunder!4.Where Dreams Die5.Children of the Void6.Spewing Venomous Gloom7.Herald of Demise8.Reflections of Nothingness