Preordine

Six tracks of black metal bookended by two ambient tracks. The inner tracks are often performed by a quite energetic lo-fi and atmospheric mixture, able to deliver more than enough aggression while keeping enough softness and harmonies. A good start from a project that has more to offer and grow, but already presenting some memorable output.

THE OMEGA SWARM,
an atmospheric death metal group from Germany, started in 2022, very humble, very secluded.
T., renowned from crafting four fabulous albums to date with Sulphur Aeon, did not have a fully fledged live act in mind when composing early demos and shaping the skeleton of his – at that time – nameless new creature. A true creator at heart, T. embraces the meticulous work on riffs, tones, sounds, the adventurous spirit of building and realizing ideas, experimenting with his much beloved set of guitars and synths to produce astonishing vibes and songs that are meaningful yet extreme, melodic yet harsh and mount in THE OMEGA SWARM’s debut album, a record, a testimony dedicated to the essence of art itself.

As down-to-earth T. is, he is not the type of person to stick with one sonic formula, he looks out for ‘something more’, ‘something different’. Having finalized what Sulphur Aeon wanted to express for the time being on 2023’s monumental “Seven Crowns and Seven Seals”, THE OMEGA SWARM are his main focus right now, and the band’s line-up completed by vocalist Christian Schettler (known from his work in label mates Wound) and drummer Max Scheefeldt (ex Misanthrope Monarch), gels perfectly.
Musically, THE OMEGA SWARM were spawned from T.’s experiments with rhythmic patterns, layers of synths, elaborate leads and slightly more technical riffing structures. Probably, the only obvious parallels to Sulphur Aeon are an emphasis on a dense, captivating atmosphere, epic elements, and an overarching darkness as well as realizing after completing their first recordings that also THE OMEGA SWARM bear the quality to be more than just a ‘bedroom project’.

THE OMEGA SWARM,
an atmospheric death metal group from Germany, started in 2022, very humble, very secluded.
T., renowned from crafting four fabulous albums to date with Sulphur Aeon, did not have a fully fledged live act in mind when composing early demos and shaping the skeleton of his – at that time – nameless new creature. A true creator at heart, T. embraces the meticulous work on riffs, tones, sounds, the adventurous spirit of building and realizing ideas, experimenting with his much beloved set of guitars and synths to produce astonishing vibes and songs that are meaningful yet extreme, melodic yet harsh and mount in THE OMEGA SWARM’s debut album, a record, a testimony dedicated to the essence of art itself.

As down-to-earth T. is, he is not the type of person to stick with one sonic formula, he looks out for ‘something more’, ‘something different’. Having finalized what Sulphur Aeon wanted to express for the time being on 2023’s monumental “Seven Crowns and Seven Seals”, THE OMEGA SWARM are his main focus right now, and the band’s line-up completed by vocalist Christian Schettler (known from his work in label mates Wound) and drummer Max Scheefeldt (ex Misanthrope Monarch), gels perfectly.
Musically, THE OMEGA SWARM were spawned from T.’s experiments with rhythmic patterns, layers of synths, elaborate leads and slightly more technical riffing structures. Probably, the only obvious parallels to Sulphur Aeon are an emphasis on a dense, captivating atmosphere, epic elements, and an overarching darkness as well as realizing after completing their first recordings that also THE OMEGA SWARM bear the quality to be more than just a ‘bedroom project’.

Blood is thicker than water!

The Kråbøl family might be unknown to many, but if you dig a little you’ll find they have played a significant role in the Norwegian music scene over the years. You’ll find links to Thorns’ Trøndertun demo, as well as Tulus, Sarke, Minas Tirith, Khold, Misotheist, Enevelde and Katechon, to mention just a handful of bands they have participated in.

Together they joined forces and recorded this beast of an album; NEVER, an explosive album filled to the brim of Norwegian Black Metal, presenting elements from all decades of the genre. A fantastic feat by generations of Kråbøl, who even added a grandfather on trumpet!

Sit back, light a fire and dive into the family values of Kråbøl.

Sear Bliss delivers their opus magnum after a 30 year long journey of epic darkness!

Welcome to a journey into space itself in which its divinity is formed by progressive components and blackened chaos: Sear Bliss’s “Heavenly Down”. Externally mighty and internally filling, Hungary’s metallic frontrunners once again apply their signature formula of conjoining elegance and evil; two separate worlds that flawlessly connect into one special entity of supreme distinction. A galactic quest in which Sear Bliss rewrites the rules of experimental metal is found within “Heavenly Down” and the trip is very exciting, believe us.

Though containing common Black Metal qualities, “Heavenly Down” shows a neat shape of Sear Bliss’s own originality mixed in with several usual endowments. As expected,
Sear Bliss preserves their blackened roots intact with epic tremolo picking sections, firing blastbeats, and András Nagy’s graceful shrieks, yet the use of beautiful clean guitars and majestic keyboards add to the already-mighty picture. But don’t fear for too much soft stuff, because there are some massive head-banging riffs that just shred your eyeballs out of their sockets. The harmony between two separate musical extremes is reached in precise unison, and such a joyous tension is never broken from its state of wonder; this is how Black Metal and empyrean moods are supposed to wed. During the voyage, Sear Bliss keeps the ride interesting with the band’s hidden weapon that seems a bit odd at first, but ends out working excellently: the trombone. Zoltán Pál‘s strange position in Sear Bliss is not that of a clueless musician hitting symphonic notes, but rather an individual that can intelligently wrap the trombone around the harsh guitars and ethereal surroundings superbly. The thing is, however, that the trombone takes absolute control of Sear Bliss’s music whenever the master permits its freedom: you’ll be enjoying a cool riffing section, and then a blast of brass just explodes like no other instrument. It’s truly a unique experience that needs to be heard to be believed.

Overall, we dare to say “Heavenly Down” is a fantastic album with countless incidents of atypical independence and atmospheric delight. Everything is solid as a rock, and the
consistent display of cosmic instrumentation definitely make this record a highlight in Sear Bliss’ discography. Those looking for something outside the musical norm will most
certainly appreciate “Heavenly Down” and its metaphysical significance as a Black Metal recording unlike most of the genre itself.

Sear Bliss delivers their opus magnum after a 30 year long journey of epic darkness!

Welcome to a journey into space itself in which its divinity is formed by progressive components and blackened chaos: Sear Bliss’s “Heavenly Down”. Externally mighty and internally filling, Hungary’s metallic frontrunners once again apply their signature formula of conjoining elegance and evil; two separate worlds that flawlessly connect into one special entity of supreme distinction. A galactic quest in which Sear Bliss rewrites the rules of experimental metal is found within “Heavenly Down” and the trip is very exciting, believe us.

Though containing common Black Metal qualities, “Heavenly Down” shows a neat shape of Sear Bliss’s own originality mixed in with several usual endowments. As expected,
Sear Bliss preserves their blackened roots intact with epic tremolo picking sections, firing blastbeats, and András Nagy’s graceful shrieks, yet the use of beautiful clean guitars and majestic keyboards add to the already-mighty picture. But don’t fear for too much soft stuff, because there are some massive head-banging riffs that just shred your eyeballs out of their sockets. The harmony between two separate musical extremes is reached in precise unison, and such a joyous tension is never broken from its state of wonder; this is how Black Metal and empyrean moods are supposed to wed. During the voyage, Sear Bliss keeps the ride interesting with the band’s hidden weapon that seems a bit odd at first, but ends out working excellently: the trombone. Zoltán Pál‘s strange position in Sear Bliss is not that of a clueless musician hitting symphonic notes, but rather an individual that can intelligently wrap the trombone around the harsh guitars and ethereal surroundings superbly. The thing is, however, that the trombone takes absolute control of Sear Bliss’s music whenever the master permits its freedom: you’ll be enjoying a cool riffing section, and then a blast of brass just explodes like no other instrument. It’s truly a unique experience that needs to be heard to be believed.

Overall, we dare to say “Heavenly Down” is a fantastic album with countless incidents of atypical independence and atmospheric delight. Everything is solid as a rock, and the
consistent display of cosmic instrumentation definitely make this record a highlight in Sear Bliss’ discography. Those looking for something outside the musical norm will most
certainly appreciate “Heavenly Down” and its metaphysical significance as a Black Metal recording unlike most of the genre itself.

Comes with double sided insert on 150gsm art paper housed in a 300 gsm carton outer sleeve.

Nadsvest is a black metal entity based in Serbia, comprised of Serbian native S and NewZealander A.
S (Gorgoroth) and A (Barshesketh) crossed paths in 2015, and after a clear musical symbiosis had become evident, formed Nadsvest.
After an EP and a split with Portugal’s Necrobode, Nadsvest crafted their definitive debut album.
Musically, Nadsvest is a hellish combination of the first, second-wave and bestial black metal scenes, with unhealthy doses of heavy metal and nods to Serbian folk music.
Lyrical themes deal with the black arts through the lens of the darker aspects of Serbian folklore.
Conceptually, Slovo meseca i krvi is an epic poem exploring the stages in the process of awakening the primal werewolf force in the warrior, the triumph of the spirit and the ultimate sacrifice of the flesh.
Sound was forged in Sonorous Studio with the goal of evoking the noise of the tortured soul.

Comes with double sided insert on 150gsm art paper housed in a 300 gsm carton outer sleeve.

Nadsvest is a black metal entity based in Serbia, comprised of Serbian native S and NewZealander A.
S (Gorgoroth) and A (Barshesketh) crossed paths in 2015, and after a clear musical symbiosis had become evident, formed Nadsvest.
After an EP and a split with Portugal’s Necrobode, Nadsvest crafted their definitive debut album.
Musically, Nadsvest is a hellish combination of the first, second-wave and bestial black metal scenes, with unhealthy doses of heavy metal and nods to Serbian folk music.
Lyrical themes deal with the black arts through the lens of the darker aspects of Serbian folklore.
Conceptually, Slovo meseca i krvi is an epic poem exploring the stages in the process of awakening the primal werewolf force in the warrior, the triumph of the spirit and the ultimate sacrifice of the flesh.
Sound was forged in Sonorous Studio with the goal of evoking the noise of the tortured soul.