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Often regarded as the first BEHERIT album, The Oath of Black Blood is a compilation of Beherit’s Demonomancy demo and the Dawn of Satan’s Millennium EP, both of which were originally released in 1990. Beherit never intended for these recordings to be released as a compilation LP; a dispute with their label, Turbo Music, resulted in the label’s unilateral decision to compile the earlier recordings rather than wait for a proper album of new material, as Beherit intended. Nevertheless, for many people, The Oath of Black Blood was their introduction to Beherit, causing many to assume it was recorded as a proper album. Both Demonomancy and Dawn of Satan’s Millennium represent inflection points in Beherit’s evolution. Picture LP with clear rim and a photo of Nuclear Holocausto on side B. Housed in 3mm jackets printed on thick cardstock. Includes 12" insert and 24"x24" poster of the cover art.
Abigail has been a staple in the roster of Nuclear War Now! since its earliest days nearly twenty years ago. In addition to multiple albums and EPs, the label released a collection of early EPs and the band’s contribution to a split, entitled “The Lord of Satan.” Now NWN! and Abigail conspire once again to further proliferate the spread of the band’s earliest material with the release of “Blasphemy Night.” This collection, presented on vinyl LP format, includes both “Demo 1” from 1992 and the “Blasphemy Night” demo from 1993. These tracks document the band’s original sound, which is best characterized as an unpolished, abrasive variety of black metal, in contrast to the sharper, more thrash-oriented sort that has resulted from the band’s evolution. As such, it is an essential addition to any Abigail fan’s collection and, more generally, to anyone who celebrates the true spirit of black metal.
Tracks 1-6 "Worship of Darkness" Demo 2010
Tracks 7-9 "Abominations of Darkness" cass. split 2011
Tracks 10-11 Promotape 2010
Tracks 12-13 Advanced Tape 2010
Track 14 Advanced Tape 2011
Emerald Smoke Vinyl.
Considering its emergence approximately eighteen years ago, The Funeral Orchestra’s body of recorded work is relatively sparse. However, rather than surrender to the temptation to equate quantity with quality, this enigmatic entity has instead opted to publish only the work that it deems fully deserving of its creative endeavor. Cloaked in black robes and golden masks since 2002, The Funeral Orchestra released three demos prior to its 2003 debut album, “Feeding the Abyss,” which introduced its apocalyptic minimalist doom to a wider audience. That same year, the band made its first live performance in its native Gothenburg, Sweden, but not many in the local scene at the time understood its music or obscure doom atmosphere. Since that time, it has released only a handful of splits, singles, and an EP, the latter of which contained two songs from a recording session that was intended to result in its second full-length. This album never came to be, however, due to a general dissatisfaction with the songs and sound captured at the time. Other attempts were subsequently made to meet or surpass the quality of “Feeding the Abyss,” but that goal was never met… until now. In 2019, the orchestra felt the correct timing and inspiration had coincided to reemerge for the purpose of producing a worthy successor to the original full-length and initiating a series of live performances. This new album, “Negative Evocation Rites,” was recorded in early 2020 in Studio Trauma and Abysmal Noise Studio in Sweden, with additional recording at an undisclosed location in Colorado, and it is slated for release on Nuclear War Now! Productions later this year. Those already acquainted with “Feeding the Abyss” will be certain to find that the band’s approach has not varied significantly from its original formula. That said, “Negative Evocation Rites” has somehow managed to present an even darker atmosphere than its predecessor, and one that appropriately reflects the bleak outlook for humanity in these uncertain times. Indeed, the band’s name is quite telling in this regard, as each of the four solemn hymns within serves as the perfect accompaniment to the funerary procession that one can easily envision chaperoning our species to its impending mass extinction. In January 2020, the band returned to the stage for the first time in seventeen years at the Orgivm Satanicvm festival in Oslo, Norway, and additional performances were booked during the year for Never Surrender III (Germany), In Flammen (Germany), and UK Deathfest, with more to be announced. Thus, like the virulent disease that it emulates, The Funeral Orchestra has arisen from its dormancy to portend the end times as it spreads its contagion worldwide.
An omnibus of DARKIFIED's complete studio recordings, eight tracks of Swedish black death metal recorded between 1991 and 1992. The Dark demo and the Sleep Forever 7-inch on a 12-inch LP. Darkified was only around for a short time but they released some of the best Swedish death metal songs ever recorded! Members went on to play in bands like MARDUK and EDGE OF SANITY. Released in cooperation with Dawnbreed Records.
for more than 20 years, French multi-instrumentalist Fog (aka Fog the Necropope) has dedicated himself to an all-consuming pursuit, a creative drive that permeates his existence. Over that time, he has contributed to nearly two-dozen different bands and projects—most commonly as a drummer, but also sometimes vocals, bass, guitar, recording, mixing, mastering, and even artwork—and has released a number of these projects on his own label, Ossuaire Records. Recently, Fog’s work in Cénotaphe, for which he writes and performs all of the music (vocalist Khaosgott supplies the lyrics), has showcased his expansive talent and garnered well-deserved accolades, but Norman Shores remains perhaps his most personal endeavor. The project began in 2011 when, exhausted by the endless creative compromises intrinsic to band settings, Fog desired a creative outlet over which he exercised complete dominion. Born in the Normandy region of France, Fog drew inspiration from the land and the traditional ancient cultures that once flourished there. According to Fog, through Norman Shores he attempts to “sublimate my native Normandy around legends and historical facts” and “describe the dying nature and the decadence of humanity.” Released in 2019, “De l’ombre surgit la lumière,” is the fourth album released under the Norman Shores banner. It is also the most intricate and fully realized album in the catalog, though all of the Norman Shores recordings are spellbinding in their own right. Musically, Fog draws influence from classic second wave Scandinavian black metal bands, weaving together sounds reminiscent of Ulver, Darkthrone, Dissection, Borknagar, and In the Woods, and commingling them with the French influence of Blut Aus Nord and Seigneur Voland. But there is something profoundly unique in Norman Shores, perhaps owing to the wide breadth of Fog’s non-metal influences, including inspiration drawn from literature and film, and the cinematic quality with which he imbues the music.
Compilation of 1989 and 1990 demo releases plus never before released rehearsal tracks.
Tracks A1-A2: Slaughtered In The Arms Of God
Tracks A3-A6: Achieve The Mutilation - Demo '89
Tracks B1-B6: rehearsal 1989
Comes in a gatefold jacket.
Compilation of 1989 and 1990 demo releases plus never before released rehearsal tracks. Cassette has reversible front cover art.
Tracks 1-2: “Slaughtered In The Arms Of God” demo 1990
Tracks 3-6: “Achieve The Mutilation” demo 1989
Tracks 7-12: Rehearsal 1989
Tracks 1-2: “Slaughtered In The Arms Of God” demo 1990
Tracks 3-6: “Achieve The Mutilation” demo 1989
Tracks 7-12: Rehearsal 1989
There are few styles in metal so uniquely tethered to a particular place and time as that produced by a handful of Greek Black Metal bands in the early 1990s. Without question, the unholy trinity of this scene was composed of Rotting Christ, Necromantia, and Varathron. These three bands produced the most significant recordings in the canon of Greek Black Metal, and, to many fans and followers of the scene, Varathron’s 1993 debut LP, “His Majesty at the Swamp” represents the apex of the sound and spirit of Hellas’ contribution to the Black Metal genre. All of the representative traits of the style find their expression on this album – sonorous and melancholic guitars, the rich, occult atmosphere, ecstatic vocals, imbued with sinister intent, funereal keyboard flourishes, the bleak dampness of the production, the conjuration of a sense of abject solitude, and the somber pace of the tracks – aligned in perfect resonance with the pulse of Greek Black Metal. Having gone in and out of print several times through the years on various formats and in varying degrees of quality, band leader and original member, Necroabyssious, decided to issue a definitive version of “His Majesty at the Swamp” on his own label, Order of the Blood Dog. This version retains the mix and mastering that appeared on the original pressing of the album, but which was altered on some subsequent pressings, features all of the original artwork, and includes the lyrics as well as the original thanks list and credits.
