Comes with a 2-page insert and a download card. Pressed on grey/black marble effect heavy vinyl. Colors on final record may vary to a degree from the mockup.

PURE WRATH were formed 2014 in West Java, Indonesia as the anguished, atmospheric and affecting Black Metal project of multi-instrumentalist Januaryo Hardy.

Fourth full-length "Bleak Days Ahead" builds wonderfully upon the panoramic and poignant melodies of 2022's wounded "Hymn to the Woeful Hearts". Utilising a more 'live' and separated production, the band and guests have dialled back the cinematics and upped the dynamics - allowing a varied sound palette including organ, mellotron, throat singing, piano and saxophone to express the sadness in high-functioning depression and the suffocating routines of modern life.

Comes in a 6-panel digipack. First batch comes in black polycarbonate CD.

PURE WRATH were formed 2014 in West Java, Indonesia as the anguished, atmospheric and affecting Black Metal project of multi-instrumentalist Januaryo Hardy.

Fourth full-length "Bleak Days Ahead" builds wonderfully upon the panoramic and poignant melodies of 2022's wounded "Hymn to the Woeful Hearts". Utilising a more 'live' and separated production, the band and guests have dialled back the cinematics and upped the dynamics - allowing a varied sound palette including organ, mellotron, throat singing, piano and saxophone to express the sadness in high-functioning depression and the suffocating routines of modern life.

NORTHTRIP AMONG THE STORMS…

Active since 1995 and with 5 previous full-lengths under their belts, Russian OLD WAINDS are back on the frozen field.

Picking up where they left off with their previous album, the predominantly fast-paced “Stormheart” reveals itself as ice-cold, yet melancholic and introspective at the same time. Driven by stunning guitar work, completely devoid of unnecessary gimmicks and vocals slightly distorted, OLD WAINDS delivered one of the best Black Metal albums of the last couple of years.

Mastered by Jack Control and Maor Appelbaum.

Dark Nordic Metal from the icy wastes of Murmansk.

Grim, cold and majestic as it should be…

Black vinyl
Gatefold-sleeve with UV varnish, 12-page 12“ booklet, double-sided A2 poster.
Incl. download-code.

250 x galaxy milky clear black vinyl

Grim, barbaric, ice-cold blackness from beyond the Arctic Circle.

Murmansk is a Russian city situated north of the Arctic Circle near the Norwegian and Finnish borders. It’s not only notorious for its extremely harsh and long winters but also for being home to one of Russia’s oldest and most significant Black Metal bands – OLD WAINDS.
Arisen from the icy plains in 1995, founder Morok aided by a variety of members throughout the horde’s 30 years of existence managed to produce a remarkable discography. Unaffected by fleeting fashion and with disregard for public exposure three demos, one split album with NAV and five full length albums filled to the brim with barbaric hymns of no-nonsense Black Metal were up to this point spawned under the banner of OLD WAINDS.

Hot on the heels of OLD WAINDS’ latest album Stormheart on Darkness Shall Rise we are extremely thrilled to hereby present long overdue reissues of some glorious titles of their early catalogue.

Often mistakenly considered a second demo tape, Where the Snows are Never Gone…, conceived and released in 1997, is OLD WAINDS’ first full-length album. The eight songs whose titles and lyrics apart from the opener are all written in Cyrillic show the band at their most barbaric and unhinged. Musically following in the footsteps of early Norwegian classics, the material sees these mad savages annihilating everything in their way. Those inhuman vocals must also rank among the most insane and hate-filled ever.

3-panel digipak incl. 12-page booklet and embossed logo on cover.

Grim, barbaric, ice-cold blackness from beyond the Arctic Circle.

Murmansk is a Russian city situated north of the Arctic Circle near the Norwegian and Finnish borders. It’s not only notorious for its extremely harsh and long winters but also for being home to one of Russia’s oldest and most significant Black Metal bands – OLD WAINDS.
Arisen from the icy plains in 1995, founder Morok aided by a variety of members throughout the horde’s 30 years of existence managed to produce a remarkable discography. Unaffected by fleeting fashion and with disregard for public exposure three demos, one split album with NAV and five full length albums filled to the brim with barbaric hymns of no-nonsense Black Metal were up to this point spawned under the banner of OLD WAINDS.

Hot on the heels of OLD WAINDS’ latest album Stormheart on Darkness Shall Rise we are extremely thrilled to hereby present long overdue reissues of some glorious titles of their early catalogue.

Often mistakenly considered a second demo tape, Where the Snows are Never Gone…, conceived and released in 1997, is OLD WAINDS’ first full-length album. The eight songs whose titles and lyrics apart from the opener are all written in Cyrillic show the band at their most barbaric and unhinged. Musically following in the footsteps of early Norwegian classics, the material sees these mad savages annihilating everything in their way. Those inhuman vocals must also rank among the most insane and hate-filled ever.

250 x galaxy red black vinyl

Grim, barbaric, ice-cold blackness from beyond the Arctic Circle.

Murmansk is a Russian city situated north of the Arctic Circle near the Norwegian and Finnish borders. It’s not only notorious for its extremely harsh and long winters but also for being home to one of Russia’s oldest and most significant Black Metal bands – OLD WAINDS.
Arisen from the icy plains in 1995, founder Morok aided by a variety of members throughout the horde’s 30 years of existence managed to produce a remarkable discography. Unaffected by fleeting fashion and with disregard for public exposure three demos, one split album with NAV and five full length albums filled to the brim with barbaric hymns of no-nonsense Black Metal were up to this point spawned under the banner of OLD WAINDS.

Hot on the heels of OLD WAINDS’ latest album Stormheart on Darkness Shall Rise we are extremely thrilled to hereby present long overdue reissues of some glorious titles of their early catalogue.

Where the Snows are Never Gone… was followed by a 2nd demo before Religion of Spiritual Violence would be unleashed upon the unworthy masses in 2002. Comprising of titles and lyrics entirely in Cyrillic their second album is undoubtedly several steps up in terms of song-writing and production. By and large continuing the trajectory of their previous efforts, OLD WAINDS on Where the Snows are Never Gone… present material more refined and versatile while still retaining the barbaric edge of its predecessors.

3-panel digipak incl. 12-page booklet and embossed logo on cover.

Grim, barbaric, ice-cold blackness from beyond the Arctic Circle.

Murmansk is a Russian city situated north of the Arctic Circle near the Norwegian and Finnish borders. It’s not only notorious for its extremely harsh and long winters but also for being home to one of Russia’s oldest and most significant Black Metal bands – OLD WAINDS.
Arisen from the icy plains in 1995, founder Morok aided by a variety of members throughout the horde’s 30 years of existence managed to produce a remarkable discography. Unaffected by fleeting fashion and with disregard for public exposure three demos, one split album with NAV and five full length albums filled to the brim with barbaric hymns of no-nonsense Black Metal were up to this point spawned under the banner of OLD WAINDS.

Hot on the heels of OLD WAINDS’ latest album Stormheart on Darkness Shall Rise we are extremely thrilled to hereby present long overdue reissues of some glorious titles of their early catalogue.

Where the Snows are Never Gone… was followed by a 2nd demo before Religion of Spiritual Violence would be unleashed upon the unworthy masses in 2002. Comprising of titles and lyrics entirely in Cyrillic their second album is undoubtedly several steps up in terms of song-writing and production. By and large continuing the trajectory of their previous efforts, OLD WAINDS on Where the Snows are Never Gone… present material more refined and versatile while still retaining the barbaric edge of its predecessors.

250 x galaxy transparent royal black vinyl

3-panel digipak incl. 12-page booklet and embossed logo on cover.

Grim, barbaric, ice-cold blackness from beyond the Arctic Circle.

Murmansk is a Russian city situated north of the Arctic Circle near the Norwegian and Finnish borders. It’s not only notorious for its extremely harsh and long winters but also for being home to one of Russia’s oldest and most significant Black Metal bands – OLD WAINDS.
Arisen from the icy plains in 1995, founder Morok aided by a variety of members throughout the horde’s 30 years of existence managed to produce a remarkable discography. Unaffected by fleeting fashion and with disregard for public exposure three demos, one split album with NAV and five full length albums filled to the brim with barbaric hymns of no-nonsense Black Metal were up to this point spawned under the banner of OLD WAINDS.

Hot on the heels of OLD WAINDS’ latest album Stormheart on Darkness Shall Rise we are extremely thrilled to hereby present long overdue reissues of some glorious titles of their early catalogue.

Some old fanatics who revered OLD WAINDS’ first two albums for their unadulterated savagery were initially taken aback by Scalding Coldness.
It’s on Scalding Coldness that their compositions are presented with a proper studio production for the first time. Although considerably cleaner and therefore less bestial than previous efforts, Scalding Coldness is basically a logical continuation of Religion of Spiritual Violence. Clocking in at over 40 minutes their third full length consists of eight proficiently composed tracks of hateful coldness. Despite the material being boosted by a pro production and the introduction of more melody, Scalding Coldness bears the distinct OLD WAINDS mark and is a mandatory acquisition

3-panel digipak incl. 12-page booklet and embossed logo on cover.

Grim, barbaric, ice-cold blackness from beyond the Arctic Circle.

Murmansk is a Russian city situated north of the Arctic Circle near the Norwegian and Finnish borders. It’s not only notorious for its extremely harsh and long winters but also for being home to one of Russia’s oldest and most significant Black Metal bands – OLD WAINDS.
Arisen from the icy plains in 1995, founder Morok aided by a variety of members throughout the horde’s 30 years of existence managed to produce a remarkable discography. Unaffected by fleeting fashion and with disregard for public exposure three demos, one split album with NAV and five full length albums filled to the brim with barbaric hymns of no-nonsense Black Metal were up to this point spawned under the banner of OLD WAINDS.

Hot on the heels of OLD WAINDS’ latest album Stormheart on Darkness Shall Rise we are extremely thrilled to hereby present long overdue reissues of some glorious titles of their early catalogue.

Some old fanatics who revered OLD WAINDS’ first two albums for their unadulterated savagery were initially taken aback by Scalding Coldness.
It’s on Scalding Coldness that their compositions are presented with a proper studio production for the first time. Although considerably cleaner and therefore less bestial than previous efforts, Scalding Coldness is basically a logical continuation of Religion of Spiritual Violence. Clocking in at over 40 minutes their third full length consists of eight proficiently composed tracks of hateful coldness. Despite the material being boosted by a pro production and the introduction of more melody, Scalding Coldness bears the distinct OLD WAINDS mark and is a mandatory acquisition

Gray black galaxy LP inclusing 60 * 60 cm poster. Limited to 250 copies.

This is the new solo project from Micke Broberg (UNANIMATED).
Dark and epic black metal for fans of Root, Bathory or Ancient Wisdom.

As the opening notes crawl out of the speakers, slowly but steadily spreading like black lava, the atmosphere thickens with an unsettling sense of dread and bleakness. The eight tracks that constitute the eponymous album Daemonium Regni feel like a liturgy charged with foul energy, dedicated to darkness and perdition.

Proficient arrangements with different layers added on top of repetitive riffs, with all instruments performed very competently by the band’s sole member, make Daemonium Regni an intriguing listen. The vocals and the intonation of the exclusively Latin lyrics play a major role in the album. Mixed to the foreground, the vocals are performed in equal measure as demonic growls and sombre chanting, making all the difference to this album.

Daemonium Regni not only marks Daemonium Regni’s debut, but also the band’s first sign of existence. However, Mickael Broberg, the band's sole member, is anything but a newcomer. Best known as the singer of Unanimated, he has been involved in various bands and projects throughout the decades. Darkness Shall Rise is very proud to introduce you to his latest and possibly darkest band, Daemonium Regni.

Black LP inclusing 60 * 60 cm poster. Limited to 250 copies.

This is the new solo project from Micke Broberg (UNANIMATED).
Dark and epic black metal for fans of Root, Bathory or Ancient Wisdom.

As the opening notes crawl out of the speakers, slowly but steadily spreading like black lava, the atmosphere thickens with an unsettling sense of dread and bleakness. The eight tracks that constitute the eponymous album Daemonium Regni feel like a liturgy charged with foul energy, dedicated to darkness and perdition.

Proficient arrangements with different layers added on top of repetitive riffs, with all instruments performed very competently by the band’s sole member, make Daemonium Regni an intriguing listen. The vocals and the intonation of the exclusively Latin lyrics play a major role in the album. Mixed to the foreground, the vocals are performed in equal measure as demonic growls and sombre chanting, making all the difference to this album.

Daemonium Regni not only marks Daemonium Regni’s debut, but also the band’s first sign of existence. However, Mickael Broberg, the band's sole member, is anything but a newcomer. Best known as the singer of Unanimated, he has been involved in various bands and projects throughout the decades. Darkness Shall Rise is very proud to introduce you to his latest and possibly darkest band, Daemonium Regni.

The new solo-project from Micke Broberg (UNANIMATED).
Dark and epic Black Metal for fans of ROOT, BATHORY or ANCIENT WISDOM.

As the notes of the album’s opener crawl out of the speakers; slowly but steadily spreading and paving its way like black lava, the atmosphere thickens with unsettling dread and bleakness. The 8 tracks which together constitute DAEMONIUM REGNI’s eponymous album feel like a liturgy charged with foul energy held in the service of darkness and perdition.

Proficient arrangements with different layers added on top of repetitive riffs and all instruments very competently performed by the band’s sole member turn Daemonium Regni into an intriguing listen. The vocals and the way the exclusively Latin lyrics are intonated play a major role in the album. Mixed to the foreground and in equal measure performed as demonic growls as well as in the form of sombre chanting, the vocals make all the difference in this album.

Daemonium Regni not only marks DAEMONIUM REGNI’s first full length, as a matter of fact, it is the band’s very first sign of existence. Mickael Broberg, its sole member is anything but a newcomer, though. Mostly known as the singer of UNANIMATED he has been involved in various bands and projects throughout the decades. Darkness Shall Rise are very proud to introduce you to his latest and possibly darkest band DAEMONIUM REGNI.

Collaborative Ep by Tårfödd and Mörkvind.

The warrior suffers the loss of his beloved; a deep pain pierces him, and the wind of fate sweeps away all traces of happiness, carrying away even his clarity of mind.

Soon he descends into madness: the trolls of the forest whisper to him, and lost in his frenzy, he succumbs to a murderous rage.

The gods remain silent. Alone, in the frozen North and battered by a snowstorm, he finally hears the voice of Odin — tragic and relentless.

He bends to the snow, closes his eyes forever, finding in that silence both the god and death itself.

An album where i got the honor to work (on track 1, 2, 3, 5 & 6) with Revenant Noctis (Ger) from Sarkrista, Order of Nosferat, Velmorth and Siechknecht

In late 2024, AINZAMKAIT delivered their bolt-from-the-blue debut album, Was des Lebens nicht wert. The work of one Grymnir der Zornige, AINZAMKAIT's moniker is a linguistic twist on the German "Einsamkeit," which is loneliness in English - and fittingly, that's exactly what he delivered, offering a righteous new twist on Teutonic black metal.

Proving that was no fluke, AINZAMKAIT return under the banner of PURITY THROUGH FIRE with Fluch des Nachzehrers. Sonically, on first blush, this second album is built upon the same foundation as the debut: riffs that are hypnotically melancholic yet also strangely triumphant, a slow-burning approach to pacing, and Grymnir der Zornige's full-throated rasp elevating everything safely beyond DSBM dross. However, where that first album conveyed a certain hooliganism latent to the best German black metal, here do AINZAMKAIT soar on cosmic wings high into the night, raised up on synths that are even more ethereal than that no-less-considerable debut; indeed, one need only translate this album's title as well as ponder the cover art to perceive their nocturnal trajectory. Strangely enough, the eight tracks comprising Fluch des Nachzehrers are more compact this time around but somehow sound even more expansive: the destination might be the same, but the route to get there has been altered slightly - and compellingly, vampirically so. With new drummer Geyst des Wüterichs likewise providing livelier color, AINZAMKAIT continue their noble march...the curse awakens!

A project of Ungod (SAD / NECROHELL/ BLOODMOON ECLIPSE) and Throne (HOR)
in the vein of BERGRIZEN, AASKEREIA

Formed in 2011 in Bergen, A.H.P. are something of a "dark horse" within Norwegian black metal: their sound isn't Norwegian Black Metal Exclusively, and band founder / songwriter Gulnar originally hails from Poland. However, being something an outlier has made A.H.P. all the more unique. From palatably varied songwriting to a more mechanistic soundwall, from tastefully unexpected cover-song choices to even-more-varied lineups, A.H.P. follow their own path, forged in fire, ice, and iron will.

Now, a full decade since their Against Human Plague debut album, A.H.P. return to reassert those unique virtues with Alltid Imot Deg. Comprising five songs in 41 minutes, A.H.P.'s second album is indeed more epic-minded than the first, each song creating a shapeshifting vortex where four separate vocalists narrate foul deeds and filthy states of the soul; among those guests are Darkened Nocturn Slaughtercult's Onielar. Gulnar rises to the occasion with songwriting that's by turns stealthy, hypnotic, schizophrenic, and thuggish - but always, ALWAYS, is there an ever-building fountain of cold & crunching violence. That A.H.P.'s soundwall retains their elder Moonfoggy-mechanistic feel whilst emitting a sort of delirious humanity only makes Alltid Imot Deg all the more compelling - and, always again, all the more unique. Still, the best is saved for last with the 15-minute title track, which is an awe-inspiring maw of impossibly alluring darkness; you will DROWN in this. 

Available in Medium / Large / XL / XXL: please kindly indicate your size in the order's notes!

After a whole decade of silence, Downfall Of Nur is back with a new album. The studio project born from Italian-born Antonio Sanna is finally ready to give a proper follow up to the acclaimed debut Umbras de Barbagia (2015). And the Firmament will Burn to Quench the Pain of this Earth unfolds as a profound reflection on the ancestral memory and deeply rooted symbols of Sardinia.
At its core lies the dual figure of the feminine: the Mother Goddess, an ancient archetype associated with fertility, the earth, and permanence, represented in the prehistoric iconography of Sardinia, and human mothers, silent protagonists who carry the restrained sorrow of mourning their children lost to ancestral conflicts, such as the disamistade, a ritualized enmity deeply embedded in Sardinian cultural memory.
The album’s central narrative revolves around the transition of an individual caught in these ancient cycles of hostility. Upon shedding his physical form, his spirit merges with the archetype of the Mother Goddess, an ancestral presence embodying the exhaustion provoked by the endless repetition of violence and death. This union marks a threshold: an essential act of purification that confronts oblivion and halts the ceaseless recurrence of suffering.
Though not explicitly named, the mothers form the ethical and emotional foundation of the work. Their grief transcends the individual and extends into the collective, shaping the social memory and the ontological relationship between human beings and the land they inhabit. The Mother Goddess and the mothers symbolically intertwine, revealing the rupture between humanity and the earth that sustains it. The album posits a breaking point: the weariness of the Mother Goddess in the face of perpetual cycles of vengeance, death, and forgetting. This rupture is not presented as punitive, but as an inevitable act of purification, fire consuming what has been denied by collective memory.
And the Firmament Will Burn to Quench the Pain of This Earth calls for attentive and contemplative listening. It is not a linear or conclusive narrative, but a fragmented ritual space that opens the way to multiple layers of interpretation, where history, mythology, and human mourning converge. Ultimately, the album stands as an act of living memory—a tribute to Sardinia as a sacred, wounded land, bearer of silenced histories—and an invitation to recognize, through listening, the profound sorrow that resides in the broken bond between man, woman, earth, and the divine. 

Avantgarde/Sound Cave exclusive edition  LTD 100

After a whole decade of silence, Downfall Of Nur is back with a new album. The studio project born from Italian-born Antonio Sanna is finally ready to give a proper follow up to the acclaimed debut Umbras de Barbagia (2015). And the Firmament will Burn to Quench the Pain of this Earth unfolds as a profound reflection on the ancestral memory and deeply rooted symbols of Sardinia.
At its core lies the dual figure of the feminine: the Mother Goddess, an ancient archetype associated with fertility, the earth, and permanence, represented in the prehistoric iconography of Sardinia, and human mothers, silent protagonists who carry the restrained sorrow of mourning their children lost to ancestral conflicts, such as the disamistade, a ritualized enmity deeply embedded in Sardinian cultural memory.
The album’s central narrative revolves around the transition of an individual caught in these ancient cycles of hostility. Upon shedding his physical form, his spirit merges with the archetype of the Mother Goddess, an ancestral presence embodying the exhaustion provoked by the endless repetition of violence and death. This union marks a threshold: an essential act of purification that confronts oblivion and halts the ceaseless recurrence of suffering.
Though not explicitly named, the mothers form the ethical and emotional foundation of the work. Their grief transcends the individual and extends into the collective, shaping the social memory and the ontological relationship between human beings and the land they inhabit. The Mother Goddess and the mothers symbolically intertwine, revealing the rupture between humanity and the earth that sustains it. The album posits a breaking point: the weariness of the Mother Goddess in the face of perpetual cycles of vengeance, death, and forgetting. This rupture is not presented as punitive, but as an inevitable act of purification, fire consuming what has been denied by collective memory.
And the Firmament Will Burn to Quench the Pain of This Earth calls for attentive and contemplative listening. It is not a linear or conclusive narrative, but a fragmented ritual space that opens the way to multiple layers of interpretation, where history, mythology, and human mourning converge. Ultimately, the album stands as an act of living memory—a tribute to Sardinia as a sacred, wounded land, bearer of silenced histories—and an invitation to recognize, through listening, the profound sorrow that resides in the broken bond between man, woman, earth, and the divine. 

​​​​​​​

After a whole decade of silence, Downfall Of Nur is back with a new album. The studio project born from Italian-born Antonio Sanna is finally ready to give a proper follow up to the acclaimed debut Umbras de Barbagia (2015). And the Firmament will Burn to Quench the Pain of this Earth unfolds as a profound reflection on the ancestral memory and deeply rooted symbols of Sardinia.
At its core lies the dual figure of the feminine: the Mother Goddess, an ancient archetype associated with fertility, the earth, and permanence, represented in the prehistoric iconography of Sardinia, and human mothers, silent protagonists who carry the restrained sorrow of mourning their children lost to ancestral conflicts, such as the disamistade, a ritualized enmity deeply embedded in Sardinian cultural memory.
The album’s central narrative revolves around the transition of an individual caught in these ancient cycles of hostility. Upon shedding his physical form, his spirit merges with the archetype of the Mother Goddess, an ancestral presence embodying the exhaustion provoked by the endless repetition of violence and death. This union marks a threshold: an essential act of purification that confronts oblivion and halts the ceaseless recurrence of suffering.
Though not explicitly named, the mothers form the ethical and emotional foundation of the work. Their grief transcends the individual and extends into the collective, shaping the social memory and the ontological relationship between human beings and the land they inhabit. The Mother Goddess and the mothers symbolically intertwine, revealing the rupture between humanity and the earth that sustains it. The album posits a breaking point: the weariness of the Mother Goddess in the face of perpetual cycles of vengeance, death, and forgetting. This rupture is not presented as punitive, but as an inevitable act of purification, fire consuming what has been denied by collective memory.
And the Firmament Will Burn to Quench the Pain of This Earth calls for attentive and contemplative listening. It is not a linear or conclusive narrative, but a fragmented ritual space that opens the way to multiple layers of interpretation, where history, mythology, and human mourning converge. Ultimately, the album stands as an act of living memory—a tribute to Sardinia as a sacred, wounded land, bearer of silenced histories—and an invitation to recognize, through listening, the profound sorrow that resides in the broken bond between man, woman, earth, and the divine. 

​​​​​​​

After a whole decade of silence, Downfall Of Nur is back with a new album. The studio project born from Italian-born Antonio Sanna is finally ready to give a proper follow up to the acclaimed debut Umbras de Barbagia (2015). And the Firmament will Burn to Quench the Pain of this Earth unfolds as a profound reflection on the ancestral memory and deeply rooted symbols of Sardinia.
At its core lies the dual figure of the feminine: the Mother Goddess, an ancient archetype associated with fertility, the earth, and permanence, represented in the prehistoric iconography of Sardinia, and human mothers, silent protagonists who carry the restrained sorrow of mourning their children lost to ancestral conflicts, such as the disamistade, a ritualized enmity deeply embedded in Sardinian cultural memory.
The album’s central narrative revolves around the transition of an individual caught in these ancient cycles of hostility. Upon shedding his physical form, his spirit merges with the archetype of the Mother Goddess, an ancestral presence embodying the exhaustion provoked by the endless repetition of violence and death. This union marks a threshold: an essential act of purification that confronts oblivion and halts the ceaseless recurrence of suffering.
Though not explicitly named, the mothers form the ethical and emotional foundation of the work. Their grief transcends the individual and extends into the collective, shaping the social memory and the ontological relationship between human beings and the land they inhabit. The Mother Goddess and the mothers symbolically intertwine, revealing the rupture between humanity and the earth that sustains it. The album posits a breaking point: the weariness of the Mother Goddess in the face of perpetual cycles of vengeance, death, and forgetting. This rupture is not presented as punitive, but as an inevitable act of purification, fire consuming what has been denied by collective memory.
And the Firmament Will Burn to Quench the Pain of This Earth calls for attentive and contemplative listening. It is not a linear or conclusive narrative, but a fragmented ritual space that opens the way to multiple layers of interpretation, where history, mythology, and human mourning converge. Ultimately, the album stands as an act of living memory—a tribute to Sardinia as a sacred, wounded land, bearer of silenced histories—and an invitation to recognize, through listening, the profound sorrow that resides in the broken bond between man, woman, earth, and the divine. 

​​​​​​​

After a whole decade of silence, Downfall Of Nur is back with a new album. The studio project born from Italian-born Antonio Sanna is finally ready to give a proper follow up to the acclaimed debut Umbras de Barbagia (2015). And the Firmament will Burn to Quench the Pain of this Earth unfolds as a profound reflection on the ancestral memory and deeply rooted symbols of Sardinia.
At its core lies the dual figure of the feminine: the Mother Goddess, an ancient archetype associated with fertility, the earth, and permanence, represented in the prehistoric iconography of Sardinia, and human mothers, silent protagonists who carry the restrained sorrow of mourning their children lost to ancestral conflicts, such as the disamistade, a ritualized enmity deeply embedded in Sardinian cultural memory.
The album’s central narrative revolves around the transition of an individual caught in these ancient cycles of hostility. Upon shedding his physical form, his spirit merges with the archetype of the Mother Goddess, an ancestral presence embodying the exhaustion provoked by the endless repetition of violence and death. This union marks a threshold: an essential act of purification that confronts oblivion and halts the ceaseless recurrence of suffering.
Though not explicitly named, the mothers form the ethical and emotional foundation of the work. Their grief transcends the individual and extends into the collective, shaping the social memory and the ontological relationship between human beings and the land they inhabit. The Mother Goddess and the mothers symbolically intertwine, revealing the rupture between humanity and the earth that sustains it. The album posits a breaking point: the weariness of the Mother Goddess in the face of perpetual cycles of vengeance, death, and forgetting. This rupture is not presented as punitive, but as an inevitable act of purification, fire consuming what has been denied by collective memory.
And the Firmament Will Burn to Quench the Pain of This Earth calls for attentive and contemplative listening. It is not a linear or conclusive narrative, but a fragmented ritual space that opens the way to multiple layers of interpretation, where history, mythology, and human mourning converge. Ultimately, the album stands as an act of living memory—a tribute to Sardinia as a sacred, wounded land, bearer of silenced histories—and an invitation to recognize, through listening, the profound sorrow that resides in the broken bond between man, woman, earth, and the divine. 

​​​​​​​

Barren Canyon, the reclusive Canadian act formed by the mysterious duo of multi-instrumentalists Maikan and Absent, re-emerge with A Virulent Steam, their second release for Avantgarde Music after eight years of silence. Whereas 2018’s World of Wounds contrasted bursts of metal with cold ambient passages, Barren Canyon now return transformed, melding their influences into a tempered miasmic haze. Warmer synth tones drift and swell like a toxic fog, diffusing into harsher textures.

Taking the idea of “atmospheric metal” seriously and literally, A Virulent Stream draws both musically and lyrically upon themes of noxious air, suffocation, and the airborne contaminants of industrial society. The very cover picture is a statement in itself, as the band chose “Smoke from the continuously operating steel plants gives Birmingham its
spectacular nighttime red-orange glow” by Leroy Woodson to visually introduce their opus.

Media Condition: Near Mint 
Sleeve Condition: Mint 

more info

Metallica ‎– ...And Justice For All
Label: Vertigo ‎– 836062-1
Format: 2 × Vinyl, LP, Album, Stereo, PRS Pressing
Country: Europe
Released: 1988
 

Vinyls NM   Sleeve VG+

Numbered, unplayed 

Bootleg version released on tape.
Xerox cover / white  tape.
B1 - Recorded in Grieghallen Lystudio September 1992, Previously unreleased.
B2 - First Version from the original DSP version 1992. Recorded Mid-Winter 1992 during Fullmoon of Grieghallen.

A few light scratches on disc surface

(PLEASE NOTE_  The human skull is decoration and not part of the box!)

"The Northern Silence Years" Box-Set compiles the three albums the band released under Northern Silence Productions (which were also licensed to Nuclear Blast USA).

It is limited to 100 copies and includes:

- "Moonlover" DigiCD
- "Starmourner" DigiCD
- "Self Loather" DigiCD
- flag (100cm x 55cm with the "Reaper" artwork)
- woven logo patch
- logo metal pin
- sticker with the "Reaper" artwork
- handnumbered certificate

Vinyl :NM

Sleeve VG++  

Sealed

more info

Gatefold embossed cover, double black vinyl

This special edition comes with an exclusive silkscreened hand-printed and numbered slipcase, printed innersleeve, 12-page 12"x12" booklet and a download card. Pressed on exclusive gold nugget heavy vinyl. Limited to 102 copies.

#076/102

Triple LP in trifold cover! Neon orange vinyls, 200 copies limited 

Please note: mock-ups are purely indicative computer graphics: the final product sometimes varies considerably

The Burning Circle and Then Dust is Lycia’s fourth studio recording, originally released on double CD via Projekt Records in 1995. Save for a small CD re-release in 2006 by Silber Records, the album has never been reissued since. It is hence with great pride that here at Avantgarde Music we officially announce a new edition of one of Lycia’s masterworks from the ‘90s, due out on 2CD as well as triple LP, making this the first Burning Circle vinyl release ever.
Mike VanPortfleet himself commented: “After several years of doing more synth oriented material I wanted a return to my guitar roots (in particular English post punk and 4AD). Lycia started as a guitar based band and I wanted to reaffirm that with disc one, which was originally going to be the release. I was also listening to a lot of shoegaze then, which inspired a return of making the guitars, as opposed to the synths, the focal point of the atmospherics.”.
Many things have been said about the album along the last twentyeight years, and the band chose the following to describe the record.
Per Projekt.com. - The Burning Circle And Then Dust was a groundbreaking point in Lycia’s career. It marked a shift from more atmospheric music towards song-oriented music with tracks like “Pray” & “Slip Away.” It marked the first collaborations between Mike VanPortfleet & Lycia members David Galas & Tara Vanflower. It marked the transformation of Lycia into a honed out live touring machine.
Per Pandamonium Magazine via Projekt.com. - Moving back into more formal song structures, Burning Circle returns to true song-writing, and places equal emphasis on guitar as the electronics. However, the music is as intense and powerful as ever, conjuring up vast vistas of soundscapes which are captured in delicate webs of song and structure. Songs like “Pray” are positively dance friendly, while others find Lycia moving towards the fertile ground of darkpop. breathtaking in scope and beauty, exultant in vision, exhilarating in sensory delight. Lycia have arrived.
Per Ned Raggett of AllMusic - a high point of American dark rock and the band's greatest and most ambitious work.

Small cut on the sleeve, 5 mm long, on the bottom part, as they used to do back then to mark nice-price / overstock or store promo copies

the heirs of Nortt?

Second album by Yorkshire’s White Medal. “Lyke Wake” features 9 new tracks recorded in 2015. The new songs follow on from “Guthmers Hahl” (2013) in terms of song writing and over all feeling but with a more refined sound. All lyrics in Yorkshire dialect with very personal themes of graft, death, grief, loss and paganism.

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The Clearing Path is a very young and talented solo-artist recording project. 'Watershed...' was initially released only as digital, and benefits of a promotional campaign conducted by Earsplit PR, receiving a lot of web-media consensus.
It's bleak, noisy, extremely emotional, but listening to it is so easy that you won't realize you are giving it a 3rd spin in two hours without getting bored. It appeals to a wide range of extreme music fans, from black metal to Neurosis and Pelican

Comes in a radical chic essential-design digipack

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Raging,repetitve yet diverse black/death metal
with a discreet yet ever present droning vibe.
Hypnotic and hysterical,channeled through the virtues
of a sharp,
strict but eventually warm sound production,
Υπνωσίνοσις provides a sonic guidance to the subsconscious and beyond!

8 panels digipack

Exactly 8 years after June 2010's 'The Grave of Civilization' Void of Silence are back with a brand new album.
Although still based on the classic Conforti/Zara line-up core, the new album features again a new lead vocalist (Luca Soi, of Arcana Coelestia and Visthia past).

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4 panels digipack with booklet!
you can preorder it now but this is not a limited edition or anything.
will be in stock on the 2nd week of February

"This what I call imagination and talent employed to produce true art. I have chills from that song and it is followed up “Curse”, a hymn filled with almost nothing but black voices, gasps, growls, hissing, vomit-like emanations, ghost-like screams of anguish – this album is a journey I assure you. I am mentally exhausted. A brilliant release that takes many elements you have heard, many you have not and combines them in a unique way that makes this record an absolute must own."

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New Mini-CD 7 tracks of blasphemy

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It's unbelievable how a band like Outrage from Germany hadn't been given the credit they truly deserve. Formed in 1983, together with SLAUGHTER they have been among the very first bands showing such a strong HELLHAMMER/CELTIC FROST influence combined with a raw thrash/black attack in the vein of early SODOM. This CD features their two 1985 demos in their entirety. They have broken up in 1987 after two more demos and have remained buried by time and dust till their reformation in 2004. Along with POISON this is a teutonic gem that must be present in your collection.

“Show My Mercy” is an EP about the remorse that humans will feel, when they are stuck in the swirl
of karma made by themselves. Blinded by fury, greed, sorrow, heading for their destruction step by step.

The digipak comes as four-sided panel with booklet-sleeve and eight-sided booklet.

“Our goal – call to blight the life existance. Our weapon – weaknesses and vices of human scum.”
Virvel Av Morkerhatet, Ukraine: a hard atom that represents the defect of the human thought, that is multiplied by self-destruction of transcendental consciousness. Anticosmos through Black Magic.
We know you dreamt about a violent and ruthless edge of Ved Buens Ende, if we can figure this out in our minds.
This is a record that will not leave you indifferent and will nail your soul, a marvellous mix of avantgarde metal and evil fury where every second minute is unpredictable although not pushing too much over the reasonable boundaries of experimentation that every black metal band should safely keep….

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this a new copy but NOT sealed

• Deluxe CD in gatefold packaging with gold print
• 16-page booklet

Ten years ago, Panopticon released Autumn Eternal – a record that captured the fleeting fire of the season and fixed it in sound. Amber-hued and windswept, it was both a lament for change and a hymn of hope for the road ahead.

The album marked the closing chapter of the trilogy begun with Kentucky (2012) and carried forward with Roads to the North (2014). Here, Austin Lunn wove black metal with threads of Americana, folk, and postrock into an immersive journey steeped in sadness, beauty, and transcendence. From the sweeping melancholy of 'A Superior Lament' to the rustic violin of Johan Becker and the somber cello of Nostarion, Autumn Eternal is a meditation on loss, memory, and the passage of time.

A decade later, Autumn Eternal still glows with the same autumnal fire – a testament to its place as one of the most honest and affecting metal albums of its time.

Mega Classic funeral doom metal album.

2026 reissue !!! 

CORONER came up with an even more daring, unconventional album in 1993's ‘Grin', which abandoned much of the thrash-based aggression of their early days and focused on challenging dynamics and eerie atmospherics. This move proved too radical even for longtime fans, ironically, and they remain split over the album's merits, some seeing it as a total sellout, while many others consider it the band's greatest triumph.

With their fourth studio album "Hulders Ritual" ('Ritual of the Huldra'), SLAGMAUR break the chains of repetition and nostalgia by rewriting the rules of black metal. This does not mean abandoning the foundations of the genre, which is already indicated by working with the 'inventor' of the 'Norwegian black metal sound', THORNS mastermind Snorre W. Ruch, as an additional producer. The band's founder, General Gribbsphiiser, rather unafraid and with reckless abandon mutates and warps the traditional formula through a host of subtle innovations and tweaks of the classic sound. Although "Hulders Ritual" continues, refines, and widens the daring stylistic balance of SLAGMAUR's previous works, it adds an extra dimension of sardonic mania to its collection of sharp and vicious sonic instruments. Choice guest-contributions that include TAAKE vocalist Hoest, DIMMU BORGIR guitarist Silenoz, and MISÞYRMING frontman D.G., who cover three decades of Nordic black metal make a case in point.

CORONER came up with an even more daring, unconventional album in 1993's ‘Grin', which abandoned much of the thrash-based aggression of their early days and focused on challenging dynamics and eerie atmospherics. This move proved too radical even for longtime fans, ironically, and they remain split over the album's merits, some seeing it as a total sellout, while many others consider it the band's greatest triumph.

Shiki, the 2022 studio album from Sigh is an opus of dark and eclectic blackened Heavy Metal, shrouded in traditional Eastern influences. 

CD edition.

Atmospheric black metal union GRIMA return with a dark ritual of ancient forest magic!

With 10 years of scene-stealing experience behind them, looming stars of Siberian atmospheric black metal, GRIMA, will release their sixth album and Napalm Records debut, Nightside, on February 28, 2025. After several shows accross Europe (one with highly-uprising german death metal force Kanonenfieber), the band is set to honor the spirit of the Siberian Forest, Taiga, with their impending next chapter.
While fans of their deep, melancholic sound can look forward to tales like in “Flight Of The Silver Storm” and “The Nightside”, GRIMA also showcases focused effort and skill on the album’s more brief, accessible offerings. “Beyond The Dark Horizon“ and “Curse Of The Void” are as dreamy and complex as their big brothers, but also satisfy as more direct black metal anthems. The band shows a wide range of variety: First single “Skull Gatherers” is infused with the mesmerizing cold of the Siberian evening wilderness, constructed with folk instruments like the Russian accordion bayan but GRIMA also use death metal-like growls into their delivery on “Impending Death Premonition”.
Mixing, mastering, and helming the album’s clear, powerful sound is black metal-experienced producer Vladimir Lehtinen. The two driving forces behind the band’s unique sound, Vilhelm and Morbius, both deliver different aspects of the band’s impactful, massive guitar riffs, leads and melodies, while Vilhelm also soars as vocalist. Guest musicians Vlad (drums) and Serpentum (guitars) also join the fold both in studio and on stage. In addition to their unforgettable sound, the band’s eerie, piercing look – towering like living trees with intimidating carved wooden masks and branched fingers – adds another haunting element to their brutal yet beautiful output. With their mysterious visual aura and intriguing sound, on Nightside, GRIMA continues to prove themselves as an unmissable band to watch within the genre.

Ukrainian blackened death/doom metal formation 1914 return with unrelenting force on their fourth studio album, Viribus Unitis, Latin for "With United Forces." Far more than a historical reference to the personal motto of Franz Joseph I of the Austro-Hungarian Empire, the title reflects the band’s resilience through war, loss, and upheaval – a powerful symbol of survival and solidarity. Releasing on November 14, 2025 via Napalm Records, Viribus Unitis builds on the band’s acclaimed conceptual approach, pushing even deeper into emotional and musical intensity.

Continuing their chronicle of World War I, 1914 shift their focus slightly, from the raw portrayal of death and destruction to themes of camaraderie, endurance, and the emotional landscapes of those who endured the horrors. While previous releases like The Blind Leading the Blind (2018) and Where Fear and Weapons Meet (2021) centered on the futility and finality of war, Viribus Unitis explores the human bonds forged under fire and the strength of those who returned: broken, changed, yet still alive.

Musically, 1914 remain true to their identity – brutal mixture of blackened death metal, slow-burning doom, and ambient war soundscapes. This time, however, their sound gains a broader dynamic range, with soaring melodic leads, orchestral textures, and haunting clean vocals that provide dramatic contrast to the crushing heaviness. One of the album’s highlights is a collaboration with Aaron Stainthorpe of My Dying Bride and High Parasite on “1918 Pt. 3: ADE (A Duty to Escape),” whose mournful voice adds a solemn, almost liturgical quality to this elegy of grief and brotherhood on the front lines.

Viribus Unitis deepens 1914’s commitment to historical authenticity, both lyrically and conceptually. Told through real events and personal accounts of a Ukrainian soldier in the K.u.K. army, the album traces a timeline from 1914 to 1919, painting a grim journey through the war’s rise, climax, and hollow aftermath.

From the brooding opener “War In” to the bleak closer “War Out (The End?)”, each track captures a moment in time: the brutal “1914 (The Siege of Przemysl)”, the frostbitten “1915 (Zwinin Ridge)”, the crushing Alpine combat of “1916 (Südtirol Offensive)”, and the madness of “1918 Pt. 2: POW (Prisoner of War)” featuring Christopher Scott of Precious Death.

The album ends with “1919 (The Home Where I Died),” featuring Rome’s Jerome Reuter, a haunting portrait of a soldier who survived the war, but not its shadow. This emotional song deals with the soldier's will to live and his family values, seeing him escape from captivity to finally return home to embrace his wife and daughter. 1914 fuse blackened death metal, doom, and atmospheric textures with dramatic flourishes and guest vocals, creating their most dynamic and emotionally resonant record to date.