Search "overall" 25 Items

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.

Rippikoulu's Musta seremonia is both an international cult item and an integral part of the history of Svart Records as well - a reissue of the original 1993 tape was one of the earliest Svart releases back in 2010. Back then, this album was considered as one of the best kept secrets in the Finnish underground metal scene. Several quickly sold out reissues later, Rippikoulu's greatness is no longer a secret, and we are happy to bring Musta seremonia back on the market.

Rippikoulu began their musical endeavours back in the late eighties, and like so many of their contemporaries, evolved from primitive punk noise to death metal. However, while many bands played death metal with groovy riffing and overall headbanging attitude, Rippikoulu's choice of style was darker. Their downtuned metal is bleak and nearly unbearably heavy in its execution, dark and soul-searching in its themes, intertwining faster bursts of chaos with slow, doomy passages.

Rippikoulu released the Musta seremonia demo album on tape in 1993 and then disappeared. They never gained much popularity in their time, but their legacy has steadily grown in time. The album has been carefully remastered from the original DAT master tape, cleaned up and amplified.

Germany-based metal band Obscura launch trilogy concept on stunning new album “A Valediction”. The group’s first (sixth overall) album for Nuclear Blast pivots on many fronts. Advanced, elegant, and yet refreshing, “A Valediction” sums up past endeavors effortlessly as it gazes with purpose and conviction into the future. Obscura are fan-renowned and critically acclaimed for challenging and then expanding upon norms. From “Cosmogenesis”(2009) through “Diluvium”(2018), the band flourished and made significant progress in a musical genre unprepared for a creative shot of German invention. “A Valediction” spearheads Obscura into a new era of extreme metal. Welcome to the next level!

The perturbance between two macabre Death/Doom masters is now unified as one on this gloriously funereal “The Sempiternal Wound” split release. From the unsettling but grandoise track opener of JADE to the rotten mid-paced deathbeat of SANCTUARIUM on the split EP closer, “The Sempiternal Wound” speaks of the impeccable cycle of Life and Death; while inevitable and serves as a stark reminder of the pain throughout the lifespan of mankind. Total nihilism is evident here with both JADE and SANCTUARIUM also clearly sharpening their crafts even further; displaying an almost cinematic vibe on their pummeling sections transitioning to slow, crawling passages. With JADE side recorded and mixed by Javi Félez at Moontower Studios and SANCTUARIUM side recorded and mixed by Marc ‘Nercohelm’ at Necrohelm Studios and overall mastering at Moontower Studios (Deströyer 666, Ataraxy, Teitanblood, etc), cover artwork by Macedonian artist Mors Ultima Ratio Art (Sarvekas, SkyThala, Code, etc). Tape edition to be released under Iron Fortress Records. JADE:1. Third Creation2. Cascade3. Essential Formulas For Life Transition SANCTUARIUM:4. Recomposition Of Carbonized Corpses5. Malodorous Osteophagy In Acrimony

Prepare to be captivated by the sheer brilliance of Believer's masterpiece, 'Sanity Obscure,' as Bombworks Records unveils a striking reissue on Blood Red Splatter vinyl. This exclusive edition, limited to just 300 copies, stands as a coveted treasure for dedicated aficionados of technical thrash metal. Immerse yourself in the epic sonic tapestry of Believer, officially licensed and presented with a meticulously crafted 12x12 full-color lyrics and picture insert, all enclosed within a deluxe package. Derived from the original 1990 release on R.E.X. Records and Roadrunner Records, this reissue mirrors the essence of the album but takes the experience to new heights with the allure of Blood Red Splatter vinyl. The album cover exudes sophistication, featuring exclusive information and images that add to it's overall allure. Believer, the unparalleled maestros of technical thrash, pioneered the realms of thrash orchestral and symphonic metal, leaving an indelible mark on the metal landscape. Their influence has resonated across stages in the USA and Europe alongside giants such as Bolt Thrower and Sacrifice. Teaming up with Cynic and Pestilence, Believer played a pivotal role in Roadrunner Records' progressive metal/thrash campaign, 'The Breed Beyond.' 'Sanity Obscure' transcends the boundaries of a mere album; it is a journey into the soul of metal itself. Witness Believer's artistic prowess as they intricately cover U2's 'Like A Song,' transforming it into a sonic masterpiece that defies genre limitations. The reissue further features an anti-pollution anthem titled 'Nonpoint,' a testament to Believer's socio-conscious artistry and the inspiration behind the name of another acclaimed band, Nonpoint. Believer's 'Sanity Obscure' isn't just an album; it is an unstoppable force, a cultural artifact, and a sonic testament to the limitless potential of metal. This Blood Red Splatter vinyl edition is a rare and illustrious gem, destined to be the centerpiece in the collections of devoted metal enthusiasts. Don't miss the chance to own this extraordinary piece of metal history - seize it now before this limited treasure becomes a relic of the past! The vinyl is remastered by Rob Colwell at Bombworks Sound.

Quantum´s upcoming album, "Down the Mountainside", contains eight very elaborate and intense compositions, spanning 45 minutes of music that shimmers in acoustic soundscapes one minute to explode into spastic grooves in the next. The lyrical themes deal with humans alter egos - or masks - that people in our society rely on in order to get by with their everyday lives, and how these affect them psychologically and eventually lead them towards a breaking point. There is also commentary on how this behavior affects the general attitude in the society we live in. Overall, with "Down the Mountainside", Quantum has created a timeless progressive rock album, which feels both fresh and innovative, which will appeal to old prog diggers as well as listeners of the more modern school.
The album features guitar solos from the brilliant Richard Henshall and Tom MacLean from the band Haken.

Quantum are a progressive rock band formed by Bass player and singer Anton Ericsson, drummer Olof Simander and Guitarist Fredrik Reinholdsen back in 2016 and has since been playing in various line-ups live around Stockholm and Uppsala - with Anton being the constant member and songwriter. Current members are Anton Ericsson, drummer Marcus Lundberg, and guitarists Samuel Walfridsson and Kalle Segerborg. The Music is characterized by a sound that blends music from genres across the spectrum - Prog rock, metal, late romantic era classical music and Jazz all collide - but somehow remains coherent and very captivating.

2020 saw the release of the EP The Next Breath of Air…, featuring some of their favorite tracks to play live, which did give them a small but loyal following across the globe.

Quantum´s upcoming album, "Down the Mountainside", contains eight very elaborate and intense compositions, spanning 45 minutes of music that shimmers in acoustic soundscapes one minute to explode into spastic grooves in the next. The lyrical themes deal with humans alter egos - or masks - that people in our society rely on in order to get by with their everyday lives, and how these affect them psychologically and eventually lead them towards a breaking point. There is also commentary on how this behavior affects the general attitude in the society we live in. Overall, with "Down the Mountainside", Quantum has created a timeless progressive rock album, which feels both fresh and innovative, which will appeal to old prog diggers as well as listeners of the more modern school.
The album features guitar solos from the brilliant Richard Henshall and Tom MacLean from the band Haken.

Quantum are a progressive rock band formed by Bass player and singer Anton Ericsson, drummer Olof Simander and Guitarist Fredrik Reinholdsen back in 2016 and has since been playing in various line-ups live around Stockholm and Uppsala - with Anton being the constant member and songwriter. Current members are Anton Ericsson, drummer Marcus Lundberg, and guitarists Samuel Walfridsson and Kalle Segerborg. The Music is characterized by a sound that blends music from genres across the spectrum - Prog rock, metal, late romantic era classical music and Jazz all collide - but somehow remains coherent and very captivating.

2020 saw the release of the EP The Next Breath of Air…, featuring some of their favorite tracks to play live, which did give them a small but loyal following across the globe.

The second DOMINATION CAMPAIGN picks up where their debut left off - in fact, the writing and recording for A Storm of steel was largely complete by the time 2021's Onward To Glory was released. The brainchild of Psycroptic vocalist, Jason Peppiatt, DOMINATION CAMPAIGN are back and flying the flag for Tasmanian death metal once again.Having enlisted Psycroptic bandmate Joe Haley for Onward To Glory, the winning formula was retained when work began on A Storm of Steel. Jason laid down vocals, bassand guitar tracks, whilst Joe took care of drums, recording, mixing and mastering. Whilst they've not strayed too far from the core death metal sensibilities of their first ride out, AStorm of steel is a more melodic affair featuring guitar harmonies (and even a guitar solo), whilst simultaneously being heavier overall.Lyrically the album is inspired by tales of war, but unlike other bombastic war-themed albums out there, DOMINATION CAMPAIGN don't seek to glorify battle. Instead they depict the atrocities experienced - both on a grand scale and the more personal, intimate terror of conflict. The artwork by Jason continues this theme, bringing a visual element to the dirty, gritty reality of life in the trenches.Uniting old school death metal values with modern production, DOMINATION CAMPAIGN have crafted an eight-track heavy metal odyssey that follows in the footsteps of the likes of Bolt Thrower, Sinister and Deicide. With more than two decades of experience under their belts, DOMINATION CAMPAIGN have refined the art of bringing fetid tales to life in the great tradition of death metal.

Titled Dawn of the Axe, Cruel Force's long-awaited new album is, in many ways, a new chapter for the band. As presaged by that short-length, Dawn of the Axe harkens to dustier, more archaic times - ones where subgenre delineations weren't so strict and all was mostly Heavy Metal. For sure, Cruel Force can still thrash with the best of them - regular thrash, "blackthrash," whatever - but their sound carries a strong old-style speed metal edge reminiscent of '80s Kreator, Iron Angel, and Germany's Deathrow, sharp as an axe and just as lethal. And while the blackened elements of the first two albums have been dialed back some here, the overall speed of Lp#3 is, in fact, faster. But as Dawn of the Axe slices onward, it soon becomes apparent that that the quartet are subtly integrating a more rarefied field of influences, with the mysticism of '70s Rainbow and especially Scorpions most prominent as well as the blue-collar thrust of early US metal - again, all before the development of speed metal or thrash. Thus, the nine songs comprising the 39-minute album exude a wider variety of moods and dynamics, and also sees Cruel Force exploring their more epic side, with three of those songs topping six minutes. No matter the mood or dynamic, though, energy bristles from every second of Dawn of the Axe - riff, rhythm, lead, vocal, Everything - and with the slightly-more-atmospheric recording style (or a more "mysterious" production, perhaps), it all gels together to create the band's strongest and most complete statement to date. No matter how you (axe)slice it, there's no wimping out whatsoever! It's rare for a band to be away a full decade and then come back with their best work, but such is the case with Cruel Force and Dawn of the Axe. There's some strange magick brewing in the Devil's Dungeon, and they've crossed the Styx to bring you that Power Surge!

Svart Records set to release the 10 year anniversary edition of Voivod's Target Earth. 2LP edition, including a booklet with photos and extra graphics. The limited Svart exclusive colorway comes with a slipmat.

Target Earth is the thirteenth studio album, and the sixteenth release overall, by the Canadian heavy metal band Voivod, which was originally released in 2013. This is the first Voivod studio album to feature Daniel "Chewy" Mongrain on guitar (replacing the late Denis "Piggy" D'Amour) and the only one since 1991's Angel Rat with Jean-Yves "Blacky" Thériault on bass.

The main songwriters on Target Earth were Jean-Yves "Blacky" Theriault, in his first songwriting credit with Voivod since 1991, and Daniel "Chewy" Mongrain, who replaced Piggy. As Michel "Away" Langevin explained, Mongrain's role was both challenging and natural: "He had to think from his point of view how Voivod should sound like nowadays...He learned to play guitar listening to Voivod, and he knows all the albums, he's a fan of all the eras, so it feels very natural for him to write Voivodian material."

"Target Earth is somehow, against all odds, the best Voivod album since probably The Outer Limits. It’s super-prog, plenty heavy, and pretty damn weird. And it has something to offer fans of any era of Voivod’s past, while also having its own identity and direction. Welcome back, guys." - The Angry Metal Guy

"For this, VOIVOD's thirteenth studio album, ever present drummer Michel "Away" Langevin and long reinstated vocalist Denis "Snake" Belanger managed the coup of dragging founding bassist, Jean-Yves "Blacky" Theriault out of retirement, making it three-out-of-four original VOIVOD-ers - the better to facilitate new guitarist Daniel "Chewy" Mongrain's unenviable task of filling Piggy's space boots. To his credit, Mongrain blends right in, and so too does "Target Earth" blend in with numerous portions of VOIVOD's itinerant musical past, arguably making it the band's first truly "regressive" - not "progressive" - album, and, as such, likely good news for the band's oldest fans." - Blabbermouth

Svart Records set to release the 10 year anniversary edition of Voivod's Target Earth. 2LP edition, including a booklet with photos and extra graphics. The limited Svart exclusive colorway comes with a slipmat.

Target Earth is the thirteenth studio album, and the sixteenth release overall, by the Canadian heavy metal band Voivod, which was originally released in 2013. This is the first Voivod studio album to feature Daniel "Chewy" Mongrain on guitar (replacing the late Denis "Piggy" D'Amour) and the only one since 1991's Angel Rat with Jean-Yves "Blacky" Thériault on bass.

The main songwriters on Target Earth were Jean-Yves "Blacky" Theriault, in his first songwriting credit with Voivod since 1991, and Daniel "Chewy" Mongrain, who replaced Piggy. As Michel "Away" Langevin explained, Mongrain's role was both challenging and natural: "He had to think from his point of view how Voivod should sound like nowadays...He learned to play guitar listening to Voivod, and he knows all the albums, he's a fan of all the eras, so it feels very natural for him to write Voivodian material."

"Target Earth is somehow, against all odds, the best Voivod album since probably The Outer Limits. It’s super-prog, plenty heavy, and pretty damn weird. And it has something to offer fans of any era of Voivod’s past, while also having its own identity and direction. Welcome back, guys." - The Angry Metal Guy

"For this, VOIVOD's thirteenth studio album, ever present drummer Michel "Away" Langevin and long reinstated vocalist Denis "Snake" Belanger managed the coup of dragging founding bassist, Jean-Yves "Blacky" Theriault out of retirement, making it three-out-of-four original VOIVOD-ers - the better to facilitate new guitarist Daniel "Chewy" Mongrain's unenviable task of filling Piggy's space boots. To his credit, Mongrain blends right in, and so too does "Target Earth" blend in with numerous portions of VOIVOD's itinerant musical past, arguably making it the band's first truly "regressive" - not "progressive" - album, and, as such, likely good news for the band's oldest fans." - Blabbermouth

Influential Los Angeles-based doom metal group Saint Vitus was formed in 1979, with Black Sabbath and Black Flag noteworthy references. Seventh album COD, from 1992, made former Count Raven frontman Christian Lindersson lead vocalist, the guitars now texturally layered, and the drums bathed in heavy reverb, hearkening older styles of metal. Overall, it’s a testament to underachieves and burnouts everywhere, directly addressing their fans as the ‘Children of Doom’ of the title. This is an underrated album for all discerning doom metal lovers, and unmissable for those who seek a fuller understanding of St Vitus’ progression.

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

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

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

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

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

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

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

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

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

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

In 2013 Finland’s Oranssi Pazuzu issued their ‘Valonielu’ LP, an album of timeless creative immensity that was met with ubiquitous praise throughout the world, and solidified the band’s position as one of the most forward-thinking and interesting metal bands. Now, in the early months of 2016, Oranssi Pazuzu returns with the follow-up album and fourth overall, the mind-bending masterwork ‘Värähtelijä’.

Oranssi Pazuzu, since birth, has never been satisfied to stick with a formula. Each album has seen the band expand upon its previous incarnation and then, like a supernova, blow it up and transform again into something recognizable but completely new. ‘Värähtelijä’ continues in this vein, giving the band much more room to diverge and explore the vast regions of hypnotic progressive psychedelia and the nebulous outer limits of Scandinavian black metal. Songs explode with radiant ultraviolet color and plunge into the deep black darkness of innermost consciousness. If ‘Valonielu’ was the creation of a universe, ‘Värähtelijä’ is the magnification and expansion of its infinite boundaries.

A 70+ minute sprawling voyage, ‘Värähtelijä’ more accurately represents the stunning live presence of the band where the songs often span new and previously unheard dimensions of form and structure. Not meant for genre purists, Oranssi Pazuzu are on a trip all their own; modern electric pioneers on an expedition to unlock the keys to the hidden spaces all around and inside us. 20 Buck Spin are pleased to once again present the innovative brilliance of Oranssi Pazuzu and ‘Värähtelijä’.

So if Sandrider marks a shift for Weisnewski and Damm, it's more in the inclusion of Roberts and the overall presentation of their sound than in the style of their play. That said, Sandrider does have a more grounded feel to its material than did Akimbo; a maturation and natural next step from what they last presented. Songs vary in memorability, but each proves worthy in one way or another, and for the flow Sandrider establish across the album as a whole, nothing is out of place or unjustifiable. Roberts is an excellent complement for Weisnewski vocally, the two blending so well together that it's hard to tell where tradeoffs are (other than backing spots), and Damm's percussion adds a punk-ish sense of danger to the whole affair, whether it's the rhythmic shifts of 'Crysknife' or the driving finale of closer 'Scatter.' Sandrider, because they're not really a new band, don't fall prey to what a lot of others might on their first record in terms of not fully realizing the vision of what they're trying to accomplish, but at the same time, there's a sense of potential in opener 'Children' that speaks to the development of Sandrider as its own band and a hopefully ongoing project. The song has some surfy swagger and sway, and Weisnewski's scream tops the cleaner singing excellently. His guitar is at the fore, but the balance of the mix is excellent, and Sandrider can strike into either accessibility or riffy abandon depending on the band's whim.

On vinyl for the first time. Containing a total of 11 tracks, "Ink Complete" delivers some of the most breathtaking instrumental music to come down the pike in quite some time. Ranging from the relentlessly pulsating "The Mad Data Race" and the soothing melodies of "Eighths Is Enough" , to the quirky narrative of "A Morning With Squeakie" and, finally, "Mosquito Brain Surgery", an 8 minute-plus tour de force, Spastic INK's colorful soundscapes are as intense as they are captivating. Much more than a trio of out-of-control Shredasauruses, SI display an overall musical maturity that's rarely encountered anymore, leaving no stone unturned in their quest to stir the listener's imagination and emotions. "Ink Complete" is indelible proof that, indeed, music can speak louder than words.

Tiamat have been one of Sweden's oddities for the last two decades, ranging from synth-rock to gothic metal to death metal, there's something for pretty much any fan of dark music to enjoy. However, 2003's Prey marks something of a return to form, sounding something like a cross between Wildhoney and Skeleton Skeletron. Specifically, the album is fairly diverse, with a smattering of influences and styles, but the majority of the songs are gothic rock or gothic metal, with the remaining songs falling under either ballads or interludes. Johan Edlund employs the deep, crooning, clean baritone delivery he's used since A Deeper Kind of Slumber, and it works remarkably well, creating a suffocatingly depressive atmosphere with his deep tone and the desperate, almost hopeless quality of his voice. Occasionally, in lighter songs such as "Clovenhoof", and to a lesser extent, "Wings of Heaven", his croon takes more of a sultry tone, seductive rather than hopeless, although there's still a hint of desperation present. His performance is also aided by vocalist Sonja Brandt on the songs "Divided" and "Carry Your Cross and I'll Carry Mine". Her tone is light and clear, presenting a very innocent, sweet, and slightly sultry delivery, providing an interesting contrast to Edlund, and overall making an excellent addition to the album. The duet on "Divided" is especially good, with a short dialogue passage that's deliciously evil and hopeless. This album comes out in deluxe gatefold edition, in two colors (Gold / Red) 500 limited edition each.

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!

Every Once In A While, A Band Emerges Ready To Take On The World_ Sweden's Own Knights Of The Realm Bring The Thunder And Deliver The Goods (Pun Intended). From The First Note Of The Intro, To The Last On The Outro, They Deliver Their Own Lovingly Crafted Blend Of Classic 80's Metal.Knights Of The Real Is Many Years Of Heavy Metal Experience Combined Into A Pure Vicious Heavy Metal Machine. Larry "The Hammer" Shield (Lars Sköld) Has Toured The Globe And Recorded With Legendary Band Tiamat For As Long As He Can Remember, And Is Without A Shadow Of A Doubt The Band's Backbone. Megalomagnus (Magnus Henriksson) Has Been Making History With His Band Eclipse Since The End Of The 90's And Is A Bonafide Guitar Hero, Who's Both Capable Of Some Heavy Duty Riffage As Well As Delivering Gorgeous Melodies. Mean Machine (Marcus Von Boisman) Has Been Working In The Shadows Of Metal For Many Years, And Played With Swedish Bands Windupdeads And Stormen. And As Far As The Mean Machine Goes, Well, The Name Says It All! He Delivers The Soaring Rock Vocals We All Love, With Attitude And Feeling.The Love For Classic Heavy Metal Is The Driving Force Behind This Band. The Aim From The Beginning Was To Write Heavy Metal Hits That Should, Or Could, Have Been On The Albums They Grew Up Listening To. When The Songwriting Process Began, It Was Like Opening Pandora's Box. The Overall Feeling Was That Those Songs Were Calling Out To Be Written And To Be Played, And The Band's Collective Ideas, Dreams And Experiences Merged Into Something New, Something That Can Hopefully Lure A New Generation Of Rockers Into That Metal Club We All Love.Knights Of The Realm Is A Swedish Heavy Metal Band, And Their Aim Is To Spread Their Music To As Many Metal Heads As Possible, All The While Having A Blast Doing It. They Are Getting Ready To Go On A Crusade, And To Take Their True Place On The Metal Throne As Knights Of The Realm.

When it comes to the musicality of HANGING GARDEN, words are only second choice. At least the words that try to describe the songs of this Finnish band and their overall artistic aesthetic. The group’s approach to their art is based on emotion. Everything revolves around authenticity, honesty and unreserved openness. All this characterizes “Skeleton Lake”, whose progression is often implicit and whose direction of effect is sometimes suggestive. There is no right or wrong here. The connection to the seventh album of the Finns presents itself inevitably. Although the playing of HANGING GARDEN tends to be gloomy and melancholic, from to time, the songs also seem optimistic or even euphoric. Since Riikka Hatakka joined the band as a permanent vocalist on “Into That Good Night” (2019), the musical picture has partially brightened and, additionally, the sound cosmos of the Finns has broadened noticeably. The resulting impressions seem manifold and even more emotional.

The beginnings of Grave Digger date back to 1980. After various appearances at small festivals, the band recorded a song for the compilation album “Rock From Hell” in 1983. A year later, Grave Digger released their debut album “Heavy Metal Breakdown”, second album “Witch Hunter” in 1985. Then some changes happened in the line-up. Further festival appearances, a tour as the supporting act for Helloween, and a triple headlining tour with Celtic Frost and Helloween, followed before the release of the third album “War Games” in January 1986, still on Noise Records, as the previous ones. Then Uwe Lulis on guitar joined the band in 1987 and the band's name was changed to Digger, the name under which they released the album “Stronger Than Ever”. This album hardly had anything in common with the earlier music of Grave Digger. It was more an attempt to reach the masses with mainstream rock like that of Bon Jovi or Van Halen. The album flopped, as it was not readily accepted by fans nor the mainstream. As a result, Chris Boltendahl declared the break-up of the band at the end of 1987. However, the band partially reformed in 1991. Chris Boltendahl and Uwe Lulis, along with two newcomers, Tomi Göttlich and Jörg Michael (Rage, later in Running Wild, Stratovarius), released a comeback record, “The Reaper”, returning to the true roots of Grave Digger. “Symphony Of Death” followed in 1994, with the same line-up of “The Reaper”. In the meantime, Grave Digger, now with new drummer, Frank Ullrich, toured Germany, playing as the supporting act for Manowar. In 1995, the album “Heart Of Darkness” was released, considered one of the best of the band. In 1996, Stefan Arnold became the new drummer. This year also marked the release of the concept album “Tunes Of War”, which dealt with the early history of Scotland. The second album, “Knights Of The Cross”, with Jens Becker (Running Wild) on bass, was completed in 1997 and was about the rise and fall of the Knights Templar. The third and final part of the middle-age trilogy, “Excalibur” (1999), explored the legend of King Arthur and the Knights of the Round Table. Shortly after the band embarked on a world tour and was joined by keyboardist Hans-Peter Katzenburg, who later became a permanent bandmember. In 2000, Grave Digger celebrated their 20th anniversary. To mark the occasion, they performed a sold-out concert at the Zeche in Bochum. This concert marked a defining chapter in the band's history, as Uwe Lulis left the band shortly before the show due to both personal and business-related differences. A replacement was found in ex-Rage guitarist Manni Schmidt, who first appears in “The Grave Digger” (2001) with lyrics of the album inspired by Edgar Allan Poe's books. Their first live album, “Tunes Of Wacken”, was released in 2002. About a year later new album followed, entitled “Rheingold” inspired on the opera “Der Ring Der Nibelungen” by Richard Wagner. After the successful Rheingold-Tour the band recorded a new album, “The Last Supper” (2005). All these last 4 albums were released under Nuclear Blast. 2007 saw the release of “Liberty Or Death” (on Locomotive Records) and later that year, Grave Digger performed at the legendary Wacken Open Air. In October, a new member joined the Grave Digger family, Thilo Hermann (Running Wild) became the second guitarist. Grave Digger split with Locomotive, dealing with Napalm Records. “Ballads Of A Hangman” was released in the summer of 2009 entering the charts in Austria and Switzerland, it reached number 31 in the German Media Control Charts. Fueled by the tremendous feedback, they embarked on an extensive tour, also playing selected shows at numerous European festivals. Due to personal and musical differences, both guitarists Thilo Hermann and Manni Schmidt left the band, prior to entering the studio. Axel Ritt took over all guitar duties on “The Clans Will Rise Again.” With lyrics returning to the Scottish Highlands. To mark their 30th anniversary, Grave Digger invited many guests on stage at the Wacken Open Air 2010 to join in the celebration. The amazing reaction of the fans and the outstanding chemistry of those involved led to the fantastic double package “Ballad Of Mary” and “The Clans Are Still Marching”. On their latest album “Clash of the Titans”, Grave Digger entered the legendary realm of Ancient Greek and its gods and creatures. After this release the band recorded, always for Napalm Records, 3 more albums "Return of the Reaper", "Healed by Metal", "The Living Dead" and "Exhumation, The Early Years" compilation.The new recording is planned for 2020. With this long discography in over 35 years of career, Grave Digger shows to be one of the most longeval and appreciated band devoted to classic and old school HM.

Since 2012, Nero Di Marte have been devoted towards creating experimental, yet heavy music contaminated by prog, death metal, psychedelia and contemporary classical music. Though not a "concept album", as each song goes into a very specific and unique direction both musically and lyrically, there is an overall underlying theme in 'Immoto': creating a motionless, transformative space within ourselves from which creativity, actions and relationships can manifest in a more meaningful way.

Treedeon 2017 is a thunderous riff-machine taking the next step and cultivating the ground that they’ve been breaking over the past years. 7 new tracks deeply-rooted in Sludge, Noise, and Doom, while incorporating unexpected melodies in the overall massive sound. No heavier band on the planet right now.