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Selling second hand CD, DVD and vinyl - Extreme Metal and Dark music
"The World We Left Behind" is Nachtmystium's swansong, the final chapter in a tumultuous, controversial and always provoking history. A black metal memorial, oozing of desperation, gloom and depravity.
Thematically and sonically, BardSpec is about minimising, subtracting and meditating upon the simplest essence of “things”; the single points: exemplified through the song titles, like “Bone”, “Salt” and so on, the basic elements and foundations that make up the whole. There is an element of "space" in the music, and the artwork, as a representation of the inner workings of the mind and the subconscious.
Inspired by the German masters Tangerine Dream, Klaus Schultze, Conrad Schnitzler as well as contemporary ambient music like Norwegian one-man-band Biosphere and abstract modern electronic music like When (Norwegian also), as well as the electronic/industrial-driven metal like Godflesh.
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THE DOOMSDAY KINGDOM is the name of CANDLEMASS mastermind Leif Edling's new band. Formed two years ago in the limbo of a chronic fatigue disease, he has taken the time to write, record and cleverly shape this new beast called THE DOOMSDAY KINGDOM
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Alien World is based on the science fiction novel Solaris by Stanislaw Lem; a 1961 tale that explores the nature of human memory in the context of complex communications between human and non-human life forms. The non-human life form that is at the centre of the story in Alien World is an oceanic planet which is capable of bringing human memories into a physical form. The pelagic themes explored within the music on the album continues into the artwork, which depicts an alternative view of the ocean.
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This devilish creation is the reoccurring Besatt nightmare that has murdered stereos throughout time. It is a suicidal ritual of hatred, anger and wrath.
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NEAR MINT - LIKE NEW
PATCH IS MISSING
With 'Behold.Total.Rejection', REVENGE have reached a new peak in black violence and raving misanthropy. The Canadians’ fifth album' is arguably the most fervent release and a manifesto of rejection – rejection of the groundswell of mediocrity within the scene, rejection of compromise as a means of embracing of a wider audience, rejection of the dogma and strictures of religion and the trappings of the feeble social slave. 'Behold.Total.Rejection' is a torrential barrage of relentless animosity. No scene. No brotherhood. No remorse.
