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More than half a century into its life, what exactly is heavy metal? Is it a kind of belief system? Is it something to be observed as a relic, or an exhibit in a museum? Or is it, to paraphrase Christopher Lee’s Due de Richeleau in The Devil Rides Out “A living force, which can strike at any moment of the night”?

Needless to say, SPELL, Vancouver’s next-level metal magicians, have plenty of thoughts on the matter. And as far as they’re concerned, heavy metal is something that needs to evolve to stay vibrant and exciting. This has been the fuel for their fifth album, the brashly confident Wretched Heart. What’s more, this relentless evolutionary momentum has led to them creating their strongest record to date - a thunderous celebration of individualism and eccentricity which stalks its nocturnal realm with savage finesse and beguiling charm.

“Heavy metal can often be a regressive genre, almost by definition. But it doesn’t have to be!” emphasises the band’s singer. bassist and co-pilot Cam Mesmer, “I think that getting set in your ways is death. You have to be open to learning from new influences, or you’re washed up and a caricature of yourself. I consider SPELL to be a heavy metal band, and therefore whatever music we make, will therefore be heavy metal, rather than the other way around, where you try to make your band fit into whatever narrow niche you think heavy metal is supposed to sound like”.

Therefore whilst Wretched Heart is possessed of no shortage of stirring harmony guitars, blazing solos and foot-on-monitor bravura, it also delves into fresh psychic terrain, building on the gothic flourishes that emboldened 2022’s Tragic Magic and embracing an emotional resonance that elevates its viciously catchy songs into the stratosphere. Central to this is the chemistry of the new SPELL line-up, which consolidates the duo of Cam and drummer/guitarist/co-vocalist Al Lester with keyboardist/guitarist Gabriel Tenebrae and lead guitarist Jeff Black. Having honed this incarnation through touring with the likes of Green Lung, Wytch Hazel and Angel Witch, they’ve forged a union which throws the band firmly from the realm of retro chic into a new, bolder direction which, in the words of Baudelaire, extracts the eternal from the ephemeral.

“I feel that the core of SPELL is more of a feeling or an atmosphere than a specific sound, and by the time a song goes through our filter it always sounds like us anyhow.” reasons Cam. “I’ve never really cared for happy songs. Excited, maybe. Desperation. adrenaline. melancholy, but in a wild and passionate way”.

All of these attributes and more are to be found herein. Aided and abetted by long-time collaborator Felix Fung on mixing desk and “fifth Beatle” duties, and resplendent in a sleeve by macabre visionary Adam Burke; Wretched Heart is a glorious testimony to a band ready to transcend its influences in search of fresh glory. “Lilac”, the album’s lead single (which also features a guest guitar solo from former Spirit Adrift, Carcass and Angel Witch man Tom Draper) is their most addictive and bittersweet moment to date, channelling both stadium-sized passion and wistful longing. “Take My Life” is an existential mid-paced stomper with a chorus that a Spandex-clad ‘80s warrior would kill for yet an emotional depth that they might be perplexed by.

“Oubliette” meanwhile tackles the feeling of being trapped under the wheels of capitalism with bleak fortitude, and the gloriously stirring finale title track maps out a curious hinterland where Maiden-esque gallantry can share space with Kraftwerk-style vocoder stylings.

Having previously dealt heavily with the mystical and fantastical, Wretched Heart also showcases a new kind of emotional directness, reflecting the band’s own personal lives, as Cam attests “I challenge all lyricists: don’t be a coward! Whatever you’re feeling, have the courage to write about it! Being afraid to be cringe is the worst disaster to befall art”

 “I’m always looking for that subconscious, under-the-skin feeling that we all got when listening to our first favourite bands in high school, where it’s just pure and exciting and takes hold of you” he reckons. “I’ll always worship Maiden, Sabbath and Priest, but I’d hate to be that guy who just goes back to putting on the same records every day. There is always new ground to be broken by those willing to risk it. I hope we succeeded in writing a catchy, exciting, personal record, which also pisses off a few of the more rigid traditionalists”.

Wretched Heart, in all its gory glory, thus embodies a very vital paradox - a record made by true believers who yearn for catharsis beyond. The oxymoron of anthems forged from steel, yet with a very human heart. Even the most cynical bystander will likely struggle not to be bewitched.

This album is for anyone going through it” summarises Cam, “Anyone who’s not afraid to lay it all out in the open and feel something real!

More than half a century into its life, what exactly is heavy metal? Is it a kind of belief system? Is it something to be observed as a relic, or an exhibit in a museum? Or is it, to paraphrase Christopher Lee’s Due de Richeleau in The Devil Rides Out “A living force, which can strike at any moment of the night”?

Needless to say, SPELL, Vancouver’s next-level metal magicians, have plenty of thoughts on the matter. And as far as they’re concerned, heavy metal is something that needs to evolve to stay vibrant and exciting. This has been the fuel for their fifth album, the brashly confident Wretched Heart. What’s more, this relentless evolutionary momentum has led to them creating their strongest record to date - a thunderous celebration of individualism and eccentricity which stalks its nocturnal realm with savage finesse and beguiling charm.

“Heavy metal can often be a regressive genre, almost by definition. But it doesn’t have to be!” emphasises the band’s singer. bassist and co-pilot Cam Mesmer, “I think that getting set in your ways is death. You have to be open to learning from new influences, or you’re washed up and a caricature of yourself. I consider SPELL to be a heavy metal band, and therefore whatever music we make, will therefore be heavy metal, rather than the other way around, where you try to make your band fit into whatever narrow niche you think heavy metal is supposed to sound like”.

Therefore whilst Wretched Heart is possessed of no shortage of stirring harmony guitars, blazing solos and foot-on-monitor bravura, it also delves into fresh psychic terrain, building on the gothic flourishes that emboldened 2022’s Tragic Magic and embracing an emotional resonance that elevates its viciously catchy songs into the stratosphere. Central to this is the chemistry of the new SPELL line-up, which consolidates the duo of Cam and drummer/guitarist/co-vocalist Al Lester with keyboardist/guitarist Gabriel Tenebrae and lead guitarist Jeff Black. Having honed this incarnation through touring with the likes of Green Lung, Wytch Hazel and Angel Witch, they’ve forged a union which throws the band firmly from the realm of retro chic into a new, bolder direction which, in the words of Baudelaire, extracts the eternal from the ephemeral.

“I feel that the core of SPELL is more of a feeling or an atmosphere than a specific sound, and by the time a song goes through our filter it always sounds like us anyhow.” reasons Cam. “I’ve never really cared for happy songs. Excited, maybe. Desperation. adrenaline. melancholy, but in a wild and passionate way”.

All of these attributes and more are to be found herein. Aided and abetted by long-time collaborator Felix Fung on mixing desk and “fifth Beatle” duties, and resplendent in a sleeve by macabre visionary Adam Burke; Wretched Heart is a glorious testimony to a band ready to transcend its influences in search of fresh glory. “Lilac”, the album’s lead single (which also features a guest guitar solo from former Spirit Adrift, Carcass and Angel Witch man Tom Draper) is their most addictive and bittersweet moment to date, channelling both stadium-sized passion and wistful longing. “Take My Life” is an existential mid-paced stomper with a chorus that a Spandex-clad ‘80s warrior would kill for yet an emotional depth that they might be perplexed by.

“Oubliette” meanwhile tackles the feeling of being trapped under the wheels of capitalism with bleak fortitude, and the gloriously stirring finale title track maps out a curious hinterland where Maiden-esque gallantry can share space with Kraftwerk-style vocoder stylings.

Having previously dealt heavily with the mystical and fantastical, Wretched Heart also showcases a new kind of emotional directness, reflecting the band’s own personal lives, as Cam attests “I challenge all lyricists: don’t be a coward! Whatever you’re feeling, have the courage to write about it! Being afraid to be cringe is the worst disaster to befall art”

 “I’m always looking for that subconscious, under-the-skin feeling that we all got when listening to our first favourite bands in high school, where it’s just pure and exciting and takes hold of you” he reckons. “I’ll always worship Maiden, Sabbath and Priest, but I’d hate to be that guy who just goes back to putting on the same records every day. There is always new ground to be broken by those willing to risk it. I hope we succeeded in writing a catchy, exciting, personal record, which also pisses off a few of the more rigid traditionalists”.

Wretched Heart, in all its gory glory, thus embodies a very vital paradox - a record made by true believers who yearn for catharsis beyond. The oxymoron of anthems forged from steel, yet with a very human heart. Even the most cynical bystander will likely struggle not to be bewitched.

This album is for anyone going through it” summarises Cam, “Anyone who’s not afraid to lay it all out in the open and feel something real!

Blindead 23, formerly known as Blindead, is the new Polish avant-metal juggernaut led by ex-Behemoth guitarist Mateusz "Havoc" Smierzchalski, with a stellar lineup also including Roger Öjersson (ex-Katatonia) and Pawel "Pavulon" Jaroszewicz (Vltimas, ex-Vader, ex-Decapitated). This new incarnation of the band blends an atmosphere of early Blindead recordings - sludge and post-metal, with heavy riffs and mesmerizing electronics - into an evolved and elevated new form, while continuing to honor past material during their captivating live performances.

Early compositions following the Blindead 23 “rebirth” resulted in the ‘Vanishing’ EP, followed by the 7” vinyl single, ‘Disposed’, which was the first ever recording for Peaceville Records, unveiled in 2025.

Blindead 23, formerly known as Blindead, is the new Polish avant-metal juggernaut led by ex-Behemoth guitarist Mateusz "Havoc" Smierzchalski, with a stellar lineup also including Roger Öjersson (ex-Katatonia) and Pawel "Pavulon" Jaroszewicz (Vltimas, ex-Vader, ex-Decapitated). This new incarnation of the band blends an atmosphere of early Blindead recordings - sludge and post-metal, with heavy riffs and mesmerizing electronics - into an evolved and elevated new form, while continuing to honor past material during their captivating live performances.

Early compositions following the Blindead 23 “rebirth” resulted in the ‘Vanishing’ EP, followed by the 7” vinyl single, ‘Disposed’, which was the first ever recording for Peaceville Records, unveiled in 2025.

Weary of earthly life, Deliverance sets out to explore the farthest reaches of the universe with a new album whose title sounds like an invitation to interstellar travel: The Voyager Golden Banquet.
Formed in 2013 by Etienne Sarthou (guitar, Karras, ex-AqME, Freitot) and Pierre Duneau (vocals & keyboards, ex-Memories of a Dead Man), the band released their first EP (Doomsday Please), followed by their debut album CHRST on the Deadlight label. But it was truly with their second and third albums that Deliverance established themselves as a cornerstone of the French avant-garde metal scene. Titled Holocaust 26:1-46 (2020) and Neon Chaos in a Junk-Sick Dawn (2022), these two landmark releases earned widespread acclaim from the specialist press (including Album of the Month and two full four-page features in Rock Hard, 8/10 in New Noise, plus interviews and glowing reviews in numerous French and international metal webzines and media). The albums also secured the band performing slots at prestigious festivals such as Hellfest 2022 (Temple Stage), Motocultor 2023 (Main Stage), Post in Paris 2022, Lions Metal Fest 2023, Rise & Fall 2023, and Tyrant Fest 2023.
Now signed to the esteemed label Les Acteurs de l’Ombre since their third album, this fourth opus (set for release on 22 May 2026) sees the band break free from all artistic and musical boundaries. While Deliverance’s black metal/sludge DNA remains intact, it is now confronted with elements of post-rock and progressive rock, Floydian psychedelia, and even contemporary indie rock/electro — all previously uncharted territory in this musical sphere.
The Voyager Golden Banquet invites the listener to leave Earth and its landmarks to lose themselves in the labyrinth of the vast unknown. A journey by turns tumultuous, unsettling, even terrifying, but also soothing and luminous. A space odyssey that paints a more cinematic sonic landscape than ever before.
If Neon Chaos was a cathartic and oppressive album, this new release reflects artists in search of an inner peace that can only be found by embarking on an all-or-nothing adventure. A quest for light with no possibility of return.

Black Vinyl

The band came into being at the end of 2013, thanks to the artistic collaboration of Sinai and Aharon.
Their first release, an EP, saw the light of day in 2014, marking their musical debut.
In 2016, the band released their debut album entitled "Har HaKarmel", exploring themes related to the decay of paganism.
In 2019, the band released a split in collaboration with Darkenhöld, under the aegis of Les Acteurs de l'Ombre.
Continuing their momentum, 2020 saw the release of their second album, dubbed "? ?e?? ? ßas??e??", distributed by Les Acteurs de l'Ombre. This album delves into the relationship between politics and divinity.
In 2023, the band reveals its third album, entitled "De Republica".

An ode to the Republic, defending the rule of law, egalitarianism and freedom.
Sacralizing the Revolution as a popular expression of the struggle against despotism and the attainment of freedom.
From 19th-century France to the present day, evokes the periods of political instability when the construction of a social republic was able to emerge through the blood of social struggles.

8-CD Artbook Edition (hardcover, 28 x 28 cm, 60 pages) featuring personal reflections, song lyrics, additional illustrations, photos, and exclusive bonus material. (600 copies available) 

With “Arcane Past: The Celestial Grimoire,” LIMBONIC ART delivers the ultimate testament to their early years. This jam-packed 8-CD artbook not only brings together all the classic works of the Norwegian black metal cult band—the demos and early albums—but also the previously unreleased “1994 Demo”! LIMBONIC ART was founded in 1993 and released their debut album “Moon in the Scorpio” (1996) three years later via Nocturnal Art Productions. The label was run by EMPEROR guitarist Samoth, aka Tomas Thormodsæter Haugen, who stepped in after the band’s demo cassettes had piqued his interest. The band’s combination of Nordic black metal with cinematic elements—inspired by romantic and classical orchestral music—proved to be highly influential in the years that followed. LIMBONIC ART were always an elusive phenomenon and were already considered a cult band back then, as the Norwegians performed live only very rarely—for example, with a legendary concert at the Black Whitsun subfestival of the millennium edition of the Wave Gothic Festival (2000) in Leipzig.

In the new century, Daemon joined ZYKLON for a while before LIMBONIC ART officially disbanded in February 2003. In 2006, however, Daemon reformed the band and continued on his own. After another extended hiatus, the Norwegian cult band made a remarkable comeback in 2024 with their ninth album, “Opus Daemoniacal.” “Arcane Past: The Celestial Grimoire” brings things full circle, offering all of LIMBONIC ART’s classics and rarities collected on CD for the first time.

Black 12" double vinyl (33rpm) in jacket with double-sided insert.
First pressing 300 copies worldwide

BORKNAGAR stay true to metal’s origins by letting their spirit guide them. Starting with their self-titled beginnings back in 1996, these Norwegians pushed past the boundaries set by traditional black metal. Over the course of the past 30 years, the band’s domain has come to include prog, neofolk and darkly enchanting hard rock, capped by major international tours and chart placements across the world. Eleven albums into their storied journey, they reached another creative peak on ’True North’ in 2019.
‘True North’ found BORKNAGAR at a crossroad. Half of the band’s lineup had turned over, but their longstanding members kept them on a dizzying upward trajectory. Whether picking or riffing, founder and guitarist Øystein Brun led the way, lighting a path for the versatile ICS Vortex (Arcturus, ex-Dimmu Borgir) to return to the mic. His thunderous cleans shine amidst the warm misty keys of hit single “Up North”, while his screams cut through the more hellish passages of “The Fire That Burns”. Even when hounded by “Voices”, keyboardist Lars Nedland’s resounding chorus resonated far and wide.
Loudwire named the album one of the best of 2019.

For fans of AMORPHIS, ENSLAVED, WINDIR.

Transparent 12" double vinyl (33rpm) with brand-new crusher effect in black and white in jacket with double-sided insert.
Limited to 200 copies worldwide!

BORKNAGAR stay true to metal’s origins by letting their spirit guide them. Starting with their self-titled beginnings back in 1996, these Norwegians pushed past the boundaries set by traditional black metal. Over the course of the past 30 years, the band’s domain has come to include prog, neofolk and darkly enchanting hard rock, capped by major international tours and chart placements across the world. Eleven albums into their storied journey, they reached another creative peak on ’True North’ in 2019.
‘True North’ found BORKNAGAR at a crossroad. Half of the band’s lineup had turned over, but their longstanding members kept them on a dizzying upward trajectory. Whether picking or riffing, founder and guitarist Øystein Brun led the way, lighting a path for the versatile ICS Vortex (Arcturus, ex-Dimmu Borgir) to return to the mic. His thunderous cleans shine amidst the warm misty keys of hit single “Up North”, while his screams cut through the more hellish passages of “The Fire That Burns”. Even when hounded by “Voices”, keyboardist Lars Nedland’s resounding chorus resonated far and wide.
Loudwire named the album one of the best of 2019.

For fans of AMORPHIS, ENSLAVED, WINDIR.

Digipack

THY CATAFALQUE is a metamorphic entity that’s constantly evolving, showcasing musical ingenuity that’s as limitless as it is daring.
Meaning “The Earth,” ‘Alföld’ is grounded in the Avant Garde project’s heavy beginnings.
While the record takes a cue from THY CATAFALQUE’s early days, mastermind Tamás Kátai’s modern progressive instincts shine through, elevating the record beyond the realm of metal as-you-know-it and once again creating a cutting-edge sound that’s far ahead of its time.