NWN

OFC’s 1992 debut LP of black death metal savagery and dystopian nihilism delivered with militaristic precision. A perfect clash of Sodom/Bathory with Sacrilege/Bolt Thrower. Singular and 100% unique to this day. Members went on to form Ares Kingdom, Angelcorpse, Vulpecula, etc.

New, sealed

BOX 5 CD
Regular version, which includes 5 CDs and is housed in a foil printed case wrapped box.
 

PAIMON GATE’s debut album – BUTCHER TO THE DEVIL’S COURT expands upon the groundwork laid out in the SEVEN LEGIONS demo released last year from this new American Black Metal cult. For fans of brutal Black Metal from a time long lost, the tapestry of influences that make up this work may be noticed via the likes of DEMONCY, VON, old IMPALED NAZARENE, old MARDUK, old SAMAEL and MORBID ANGEL. From a time when the lines between Death Metal and Black Metal were blurred and the potency of dark Satanic music was the focus – PAIMON GATE’s debut album delivers 30 minutes of scathing Satanic work – Executed with an honest and sincere dedication to the evil art of black metal music.

Color Vinyl: Orange Splatter

Color 7": Red

One of the most vile and tormented sounds to ever exist is the “Mental Metal Musik” belonging to none other than the now infamous Sadistik Exekution of Sydney, Australia.
Although these lunatiks gained much of their notoriety from their full-length albums, the full scope of Sad-exe’s unforgiving violence cannot be entirely appreciated without proper exposure to the atrocities committed on their demos and EPs. Nuclear War Now! has conspired with none other than Dave Slave himself to dig up several of these wretched slabs of audial torment and once again offer them posthumously to any who dare expose themselves to such vileness.

Contains tracks from:
-Agonizing the Dead Demo 1992
-Suspiral Demo 1991
-Demon with Wings EP 1996
-Sadistik Elektrokution EP 1997
-Demo 1987

Approximately three years after it first arose to haunt the domain of the living with "Those of the Catacombs," Scolopendra again emerges from its Italian tomb to deliver its second full-length album, "VM18." Much like its predecessor, "VM18" draws notably on an inherited tradition first established by the band's compatriots in Death SS, by evoking a grotesque atmosphere that would befit an old RG horror comic of the 1970s set to motion picture. In fact, the cover art on both "VM18" and the debut are more than a subtle nod to this literary genre. Musically speaking, Scolopendra deviates from the style of Death SS to some degree by heavily incorporating the sound of ancient U.S. death metal, as perhaps most reflected in the work of Autopsy and Necrophagia. The tempo is primarily in the higher range, with occasional dives into doomier interludes. Driving bass lines are dominantly featured in the mix, as the guitars chug along with them and occasionally rise above with a well-timed lead. Of course, it is almost impossible to imagine a horror-based musical form without keyboards, and Scolopendra makes very effective and judicious use of them without going overboard. Finally, aside from their omission in the two instrumental tracks (not including the short intro), it is perhaps most likely the vocals that will leave the greatest impression on the listener. It is this element that contributes most to the overall grisliness of the sound, as the lyrics are seemingly disgorged from the decomposed vocal tract of an undead being. All told, "VM18" serves not only as a laudable follow-up to its predecessor, but also as a worthy descendant in a long and esteemed lineage of Italian horror metal.

With a history of metal steeped in horror and the occult - as previously established by bands like Death SS, Black Hole, and Mortuary Drape - Italy has proven itself a fertile breeding ground for extreme music that explores these themes. Formed in 2018, Scolopendra is the latest to continue in this tradition, as evidenced on its debut album, “Those of the Catacombs.” Unlike its Italian ancestors, however, who have more typically opted for the sounds of doom or black metal, the vehicle that Scolopendra has chosen to deliver its horror-tinged themes is that of death metal. This aspect adds an element to the band’s output that distinguishes itself from its predecessors, thus making it a unique addition to its genre. Consisting of two members with a history of many years of collaboration in several bands, including Abhor, Scolopendra boasts both the pedigree and chemistry to give “Those of the Catacombs” the deathly authenticity that is obvious upon first listen.

Venusberg Cardinal’s Atlas of Dungeons was recorded winter 2010—the same sessions as Departure Chandelier’s Antichrist Rise to Power and was intended as a brother project exploring medieval and ancient tortures depicted across such paintings as The Garden of Earthly Delights and the doom of pre-Raphaelite Greek mythology in what the band describes as “antique black metal.” Originally set for release as a cassette album, this has been pulled from the archives of Occult Antiquities and presented to judged souls now under the banner of NWN! Productions. Musically in line with French black metal influences, Atlas of Dungeons pays special tribute and honors the perverse satanic cruelty, in particular of Cantus Bestiae. Despite using the same 4-track, drums, and guitars as Departure Chandelier in the now fabled Prisoner’s Chant studio, listeners will find a pure minimalist black metal atmosphere devoid of synth with long, hypnotic instrumental passages—until the alarming and eerie outro that features the previously unknown electronic/ambient peripheral of Departure Chandelier…Coronation Prédateur. Welcome, sinners, to the world of Occult Antiquities and antique black metal!

This one edition comes specifically as follows: 

- Double heavy "oxblood/purple with black + white splatters" vinyls
- Case wrapped gatefold jacket printed on textured paper
- 12″ x 12″ booklet (same design as CD)
- Woven patch

Official Reissue on Nuclear War Now productions

Official Reissue on Nuclear War Now productions

Comes in foil stamped outer sleeve with two alternate artworks. Includes a 12x12" booklet and a poster depicting the cover art.
B6 is an LP exclusive bonus track.
Ascolta su YouTube

After releasing a series of demos between 1989 and 1992, DAI received an offer to record a full-length album for the Czech label, Monitor Records. Started a few years earlier, Monitor was extremely prolific, mostly focusing on Czech rock and punk bands, but it ventured into metal with releases such as the “Ultrametal” compilation in 1990, “Ritual” by Master’s Hammer in 1991, and various thrash bands such as Debusterol, V.A.R., and Krabathor. By 1993, Monitor was the preeminent label for extreme music in the newly formed Czech Republic, working with other significant bands like Torr and Root. DAI entered the studio in the summer of 1992 to record what would be the band’s only full-length release, the monumental album “The Advent.” Released in 1993 on CD and tape, “The Advent” is wildly eccentric. As if viewing the death and black metal produced in northern and western Europe through some kaleidoscopic distortion, DAI produced a uniquely unconventional work, the oblique sensibilities of which rivaled the contemporaneous works of Master’s Hammer. Indeed, had DAI continued releasing music, the two bands would likely occupy similar stations in the history of black metal. Instead, following the release of “The Advent,” DAI disappeared, leaving behind a concise but distinctive catalog. And given the extreme rarity of the demos, few people outside of the former Czechoslovakia likely ever heard the demos preceding the album. Consequently, DAI mostly remained an obscure curiosity known primarily to collectors. This new edition marks the first reissue of “The Advent” since its initial release almost 30 years ago, as well as the first ever vinyl edition. This new version also features five previously unreleased studio tracks, which are among the band’s most experimental.

-2nd press of 500 copies on dark green (A/B) and yellow vinyl (C/D), with gatefold jacket.

Devout Records presents two essential Leviathan compilations, “The First Sublevel of Suicide” and “Unfailing Fall into Naught,” both on double-LP format and both containing several additional rare and previously-unreleased tracks. These editions are products of the band’s own label and are thus superior to the notoriously substandard versions from Ascension Monuments Media. “The First Sublevel of Suicide” includes demo versions of songs from the band’s debut album which were not made available to AMM and features new artwork from Brian VDP, who also executed the layout for both releases. “Unfailing Fall into Naught” compiles the recordings from Leviathan’s split releases with Sapthuran and Xasthur and is presented with new artwork from Wrest himself, in addition to the aforementioned bonus tracks. Both compilations were mastered by the renowned James Plotkin and are officially distributed by Nuclear War Now! Productions.

Black and Brown Marble Vinyl.

Behind the bloodshed and chaos wrought by the might of the aggressors, a single man brings forth an unprecedented plan to defend native land not just for one nation, but for all. Tecumseh’s War presents the events leading to his death–the influence of Tenskwatawa, the British alliance and, most importantly, the formation of the largest native Confederacy in modern memory. Eight tracks of woodlands warfare in the name of sovereignty! IN SOLIDARITY, IN WAR! LONG LIVE TECUMSEH!

Blue Vinyls.

On the strength of their 1992 demo and 1993 7” EP, Dutch death doom pioneers Mystic Charm entered Harrow Studios to record their first full length album. Released on the Belgian label Shiver Records (which was still in its infancy at the time but would put out dozens of releases over the next decade or so), “Shadows of the Unknown” is a doom-laden masterpiece of atmospheric death metal. Mystic Charm’s reputation and legacy have always been tied to the vocals of Rini Lipman. The gray, charcoal rasp of her voice adds a sinister quality, darkening the abysmal landscape conjured by the instrumentation while leaving intelligible the sullen and evocative lyrics, most of which were written by Lipman herself. The songs are composed from seamlessly stitched riffs that traverse the chasm between relentless death metal and haunting, melodic doom. Interspersed among the dense, swelling walls of guitars are subtly placed keyboards, whispered vocals, and acoustic guitars, adding a melancholic dimension to the tracks, all of which is braced by the mechanized precision of the drums. Compared with the band’s earlier recordings, the album is more tightly performed and produced. Mystic Charm went dormant following the 1996 release of “Shadows of the Unknown,” but reemerged in 2001 with the very limited “Hell Did Freeze Over” CDR, which featured a mixture of new and re-recorded material. This new double LP, featuring both “Shadows of the Unknown” and “Hell Did Freeze Over,” is the first official vinyl reissue of either recording.

After releasing a series of demos between 1989 and 1992, DAI received an offer to record a full-length album for the Czech label, Monitor Records. Started a few years earlier, Monitor was extremely prolific, mostly focusing on Czech rock and punk bands, but it ventured into metal with releases such as the “Ultrametal” compilation in 1990, “Ritual” by Master’s Hammer in 1991, and various thrash bands such as Debusterol, V.A.R., and Krabathor. By 1993, Monitor was the preeminent label for extreme music in the newly formed Czech Republic, working with other significant bands like Torr and Root. DAI entered the studio in the summer of 1992 to record what would be the band’s only full-length release, the monumental album “The Advent.” Released in 1993 on CD and tape, “The Advent” is wildly eccentric. As if viewing the death and black metal produced in northern and western Europe through some kaleidoscopic distortion, DAI produced a uniquely unconventional work, the oblique sensibilities of which rivaled the contemporaneous works of Master’s Hammer. Indeed, had DAI continued releasing music, the two bands would likely occupy similar stations in the history of black metal. Instead, following the release of “The Advent,” DAI disappeared, leaving behind a concise but distinctive catalog. And given the extreme rarity of the demos, few people outside of the former Czechoslovakia likely ever heard the demos preceding the album. Consequently, DAI mostly remained an obscure curiosity known primarily to collectors. This new edition marks the first reissue of “The Advent” since its initial release almost 30 years ago, as well as the first ever vinyl edition. This new version also features five previously unreleased studio tracks, which are among the band’s most experimental.

In the late 1980s, the former Czechoslovakia was an incubation chamber for some of the most unique and expressive extreme metal ever produced. Coinciding with the rise of death and black metal, the demise of Communism produced a fertile scene of disaffected youth eager to embrace these new radical modes of expression. By the end of the Communist era, the Iron Curtain had become culturally porous, permitting the influx of art and music from the West that catalyzed underground movements in Eastern Bloc countries. Filtered through a youth movement still shaking off the hangover of authoritarian policies, cultural isolation, and the promotion of Soviet values, the sights and sounds of the early Czech scene were unlike those emanating elsewhere in European. While bands such as Master’s Hammer and Root are widely heralded now as progenitors of Czech black metal, a lesser known contemporary act called DAI fully embodied the same approach. The four demos collected on this double LP were recorded between 1989 and 1992, a transitional period for Czech society. Like the aforementioned bands, DAI’s early recordings were primitive in some respects but displayed an idiosyncratic approach to black metal that sets them apart. And these demos by one of the most obscure Czech acts to emerge during black metal’s second wave should be every bit as revered as the early recordings of Master’s Hammer, Root and others.

For more than two decades, Loits has been producing some of the most meticulously crafted and unique black metal. Hailing from the tiny nation of Estonia in northeastern Europe, Loits draw upon the history of their proud people for inspiration, particularly the Estonian underground guerilla resistance movement—often referred to as “the Forest Brothers”—that struggled against Soviet occupation during and after WWII. With its 2001 debut full-length, “Ei kahetse midagi,” Loits carved out a distinct, idiosyncratic niche. Though originally self-released as a cassette, “Ei kahetse midagi” has gained greater attention through the years as the band’s stature has risen, resulting in more than 10 additional reissues on various formats. And for good reason. From the first track, this album is captivating, rich in texture and atmosphere, and operating with an intellectual depth and emotional valence far beyond many of the band’s peers. The eight tracks on this album are compositionally dynamic and epic in scope. Loits demonstrate a penchant for seamless shifts in mood—furious blast-beat driven riffs suffused with lilting melodies deftly adjoined with folkish passages and atmospheric segues. On this debut album, Loits draw influence from Norwegian pioneers like Satyricon, Ulver, and In The Woods, but add to that concoction eccentric elements of Masters Hammer and Ved Buens End. But Loits’ sound cannot be captured or described simply by comparison to other bands; there is something very singular about Loits, something deviant and peculiarly Estonian in their sound. Complementing the musical complexity on “Ei kahetse midagi” are the lyrics, laden with poetic expressions of the pride and sorrow of life and war. The band characterized the conceptual intent of the album as “reviving the bonds between modern day man’s courage and the ancient events that defined Estonian identity as an ethnos.” Indeed, though delivered in the band’s native Estonian language, the English translations provided in the liner notes demonstrate a remarkably literate and evocative approach to lyrical content that adds further depth to the profound impact of this album.

One of the earliest death metal bands to emerge from the American underground, Necrophagia paved the way for pretty much all extreme metal bands with their chaotic and necro sounds. Hailed by the likes of early Mayhem, Nunslaughter, Sigh and many others from the past and present. Unfortunately Killjoy left us prematurely but he left us with a back catalog/legacy that any musician can be proud of. This compilation double LP will contain every demo and rehearsal from the 80′s that lead up to their debut album Season of the Dead. The layout includes unseen photos and an A2 poster of the release poster for Season of the Dead.

As it did with its first album, “Man, God, Giant,” in 2013, Katechon of Trondheim, Norway hereby releases its second full-length, “Coronation,” under the banner of Nuclear War Now! Musically speaking, “Coronation” picks up much where the previous album left off, having also been recorded at Nordstern and mixed, mastered, and produced by the band itself. Katechon’s music is characterized by precise, tremolo-attacking riffs, reminiscent of their Norwegian ancestors, Mayhem and Thorns. There are also hints of Autopsy’s brand of punk-infused death metal, both in the rhythmic patterns employed and the vocals, which oftentimes remind of the death grunts made famous by Chris Reifert, albeit here with more of a black metal influence. As with “Man, God, Giant,” Katechon has once again chosen the talents of artist Mari Oseland to portray its visual aesthetic. Nonetheless, there are noticeable differences between the two albums that enable them both to stand apart on their own individual merits. Whereas the songs on the first album were generally somewhat more straightforward and easily-digested, as well as a bit shorter, “Coronation” places a greater demand on the listener by invoking more dissonance, atonality, and a higher degree of intricacy in its compositions. Thematically speaking, “Man, God, Giant” was more metaphysical and philosophical in nature, complete with Lovecraftian creatures and images. In contrast, “Coronation” explores the autonomy of self – on the one hand alone, but on the other thriving in its complete freedom from society’s imposed norms, rules and doctrines. This album embraces the sickness and delirium that are prone to infect the imperfect being’s mind, and it prefers to proclaim Nietzsche a coward by instead staring directly into the abyss and diving right in.

Golden Vinyls.

To understand the defining traits of Greek Black Metal, one need only to listen to “The Tressrising of Nyarthotep” by the mighty Varathron. This track, first appearing on the “genesis of Apocryphal Desire” demo, possesses all of the victorious grandeur and tragic melancholia that are the essence of the early 1990’s Greek Black Metal sound. Along with contemporary releases by Rotting Christ and Necromantia, Varathron’s demo material firmly established a style that is thoroughly Grecian in character. Thick with a damp and heavy Hellenistic darkness, Varathron explored a sound that was infused with the epic and the ancient. As with so much of the most evocative and potent Black Metal, the ancient currents are revealed through the expression of the modern. Varathron’s music is as mystical as it is visceral. The recordings on this compilation comprise the earliest seeds of what would become one of the greatest bands in the history of the genre. This collection contains all of Varathron’s work leading the band toward the creation of their monumental debut LP, “His Majesty at the Swamp.” The two demos, “Procreation of the Unaltered Evil” and “Genesis of Apocryphal Desire” reveal the steps that Varathron took that would later come to fruition on their first album. This collection also contains the more refined tracks that were utilized on their first vinyl releases – the “One Step Beyond Dreams“ EP and “The Everlasting Sins” tracks from the split LP with Necromantia – and three additional bonus tracks recorded during the early years. As with the forthcoming Rotting Christ demo collection that NWN! will soon release, the songs on this compilation of Varathron’s early recordings reveal the painstaking emergence of a band’s identity. Absorbed in the context of early works by Varathron’s Greek contemporaries, one also witnesses the development of a sound uniquely specific to a geographic region, so specific, in fact, that it is impossible to imagine such a multidimensional approach to Black Metal originating anywhere else. Both the Regular and Die Hard editions of this release will feature gatefold jackets with artwork by Manuel Tinnemans and layout by Tilmann Benninghaus as well as a 48 page zine booklet. The Die Hard edition will also come with a separate LP (with jacket) featuring the “Live at the Swamp” demo material. Originally released on tape in 2004, “Live at the Swamp” features a live recording and rehearsal recording from 1991. These recordings have been remastered and cleaned up by James Plotkin and the sound quality on this LP, although still quite raw, is markedly better than the original tape version.

Italian heavy doom horror!
Originally released on tape by Minotauro Records in 1989, this LP collects the earliest studio recordings of Requiem. Eight raw yet powerful tracks of occult-based doom metal for fans of early Death SS, Paul Chain, and Black Hole.