Shop

Soliloquium is a progressive death/doom metal band formed in 2011 by Stefan Nordström from Stockholm (Sweden).

The lyrics deal with modern life struggles, existential issues and other hard-hitting topics, personal and universal.  Loss and strife is a constant, but so is hope and determination.

Expect alternating soundscapes both heavy and mellow, tied together by the atmosphere and musical language.

'Upheaval' is a wide open story of being an outsider, living in a role and a world you never asked for.  It's about powerlessness, divergence and the existential question if it's really worth it all.  Is there enough laughter and connection left in 2026 for it to make sense to be alive?

Rigor Sardonicous is a two-piece Death/Doom Metal band formed in the early 1990’s in Long Island, New York. (USA)

The band is delivering a Death/Doom cult sound like nobody else.  They draw a style and sound among the likes of bands such as Symphony Of Grief, Winter, Autopsy, Obituary, and create a raw, crushing heaviness that is extreme within the genre, more akin to slow death metal than melodic doom. 

Described as “uplifting as a post-genocide funeral procession” and “what real funeral doom should sound like”, their tone becomes immediately identifiable once you hear it.
Driven by low vocal delivery and buzzing guitar riffs, it’s difficult not to be moved in some way.

'Diatriba Deorum' is the 8th album from the band.  It continues the bands legendary sonic style with refinement that comes with exposure. Dangerously slow and agonizingly heavy, it pummels forth a vile element of rage directed at mans concept and names of god.
With an outlook that will herald no hopes for human salvation it delivers a limbic listening experience that is dense and existential with dread.

The band merges crushing doom with relentless death metal, forging a vast wall of suffocating sonic darkness.

'Beneath The Earth, At One With Fear' sounds distinctively oppressive, dense and hard hitting while still including dynamic and exciting elements and twists.  Only Worms Left balances these contrasts with their own unique character and approach throughout every track.

The songs range from fast erratic guitars supported by blasting drums to slow, rhythmic riffs with compositions so heavy they feel like clawing your way out of a decaying grave.
Some tracks shift into hypnotic and ethereal-sounding passages before changing back to full-on sonic assault.  Piercing vocals, painful shrieks as well as bellowing gutturals support the intensity and meaning of the lyrics. 

The band includes members from Svart Vinter, Veil of Conspiracy and Handful of Hate.

The sound is deeply rooted in the early ’90s doom/death tradition, recalling the atmospheres of early Katatonia and Anathema, while developing a distinctly introspective and contemporary approach. Through melancholic melodies and expressive growls, In Vespro create rarefied soundscapes where pain never erupts but instead settles, layers and slowly dissolves.

Ilienses Tree is a Doom/Death metal band formed in 2013 in Cagliari (Sardinia)
Their sound is deeply rooted in the darkest and most oppressive sides of doom and death metal, blending slow and heavy riffs, melancholic atmospheres, and a strong emotional core.  The band crafts an essential and visceral musical language, where crushing heaviness supports deeply introspective lyrics.

Driven by authenticity and expressive coherence, Ilienses Tree deliver an intense, emotional, and deeply human form of doom/death metal, where silence, slowness, and sonic weight become integral parts of the narrative.

With 'Grave Monolith', the band delivers a debut album of remarkable scale, emotional depth, and sonic power. Drawing from funeral doom’s tormented atmosphere, traditional doom’s epic weight, heavy metal’s commanding riff structures, and black metal’s cold emotional intensity, they've created a work that feels both timeless and deeply personal.

The album succeeds not only through heaviness, but through atmosphere, pacing, and emotional conviction. Every composition is carefully constructed to consume the listener completely, allowing the music to unfold like a cacophonic ritual of grief, ruin, and existential reflection.

After more than a decade, Falling Leaves returns with their second full-length, The Silence That Binds Us, featuring guest appearances by Paul Kuhr (vocalist – Novembers Doom) and renowned session musicians like Fabio Alessandrini (drummer – Bonfire, Annihilator), Ariel Perchuk (keyboards – Kenziner, Roger Staffelbach). Mixed by Alessandro Comerio at Daemon Star Studio in Italy and mastered by the incomparable Dan Swano, the album stands as a mature and emotionally charged testament to the band’s growth and perseverance.

The songs unfold with emotive leads and dark, bending chords layered over rich keys and steady, precise drumming — mostly slow, but sometimes breaking out into fierce blast beats. Those rare moments of intensity, paired with pulsating riffs and restless melodies, prevent the sound from slipping fully into funeral doom’s bleakest corners, even though it borrows from that style.

Travis Smith’s haunting tableau of faceless figures tied by invisible threads fits perfectly with Murad Juneydi’s lyrics, which explore anonymity, isolation, and the quiet connections between presence and absence — where silence is both the scar and the solace.

Over a decade after their debut, Falling Leaves returns with “The Silence That Binds Us” a melancholic journey through sorrow, resilience, and the beauty of decay. Blending the heavy weight of doom metal with the emotive depth of melodic death metal, the album delves into themes of loss, memory, and silent battles within.

Doomcult is a Death-Doom Metal band from The Netherlands formed in 2014. 

Their sound is a chilling blend of harsh screams, deep death growls, eerie atmospheres, and haunting melodies, all crafted in the name of doom.
Doomcult draws inspiration from iconic 90s doom/death bands such as Anathema, Paradise Lost, and My Dying Bride, while also embracing the somber tones of funeral doom acts like Worship and Aphonic Threnody.
Elements of sludge and black metal further enrich their sound. At the heart of each composition are the rhythm guitars, with intricate leads weaving around them.

Lyrically, Doomcult delves into misanthropic themes, interspersed with blasphemous and anti-establishment undertones. These dark narratives are delivered through deep death growls, complemented by thrash-metal-style screams. Subtle mellotron accents are added where needed to enhance the eerie atmosphere.

ATONE is a Funeral Doom Metal band formed in 2024 in Lisbon (Portugal).

The project is built around a single obsession: humanity’s self-inflicted collapse. The band does not write songs. It constructs visions.

The band’s core proposition is uncompromising: despair is inherited, illusion is chosen, and transcendence is possible only through recognition. The music exists to force that recognition.

'Rebirth in Despair' unfolds as a premonitory dream where creation, illusion, decay, and rebirth repeat without mercy. Each track is a fractured scene rather than a linear chapter. Order is irrelevant. Meaning emerges only at the end, when the dreamer wakes.

The journey begins with 'Rebirth in Despair', exposing existence as a closed loop where suffering is not an accident but a structural feature. 'Living Ghosts in the Shattered Dome' shifts the vision into a synthetic metropolis, revealing freedom as a manufactured lie and identity as a fragile simulation. In 'Asylum for the Unmoored', refuge decays into madness, and borrowed dreams replace truth. 'Eidolon’s Remnant' confronts the residue of abandoned ideals, the ghosts of what humanity almost became.

Aeturna is a Death Doom band formed in 2023 in Tilburg (The Netherlands).

The band was originally formed with the idea of bringing back old school Death / Doom in the vein of the early 90’s. Plans were made to hit the stage and start recording the debut album until fate struck and vocalist William died in 2024.

Already being booked for the Little Devil Doom Day in Tilburg (The Netherlands), that show would go as planned as a tribute to William. Matt Small from Welsh Doom band The Drowning stepped in as (initially) a guest vocalist for the show.
This went so well that de decision was made to continue with this line up with, among others, shows at Little Devil and Haunting the Castle Festival.

'Aeturna' contains the very first 5 songs written. William has contributed to all the songs so his spirit is well alive on this album and it can be considered as a final bow to his craftsmanship and multiple decades of friendship.

Lyrics are written by Matt Small and can be best described as: Tales of sorrow mixed with ancient arcane lore. Guitars and drums were recorded during winter 2025 and the album mixed and mastered in the spring of 2026

Musically, A Dream of Poe blends the weight and melancholy of doom metal with rich orchestral arrangements and literary inspiration.  Live performances are rare, but when they occur they are conceived as true celebrations of Doom Metal.

Recently the project enters its most focused and mature creative phase, redefining its symphonic doom identity through loss, resilience, and monumental orchestration - where “descent itself becomes the act of creation.”

'Katabasis: A Marriage Among Ashes' is an album born from descent, both lived and imagined.  In very real terms, it emerged from a personal catastrophe. A devastating fire erased a home, a life and memories built within previously safe walls, and nearly all of the music written for this record.  From the ashes, only one song survived: The Lament of Phaethon. Everything else had to be rebuilt from nothing: instruments, ideas, songs, and identity.  This forced rebirth shaped not only the sound of the album, but the very reason for its existence.

This is a collection of all early recordings from Varathron, one of the pioneering bands of the Greek Black Metal scene, formed in 1988. The album contains: ‘Procreation of the Unaltered Evil’ (1989): Rawer, more primitive, with noticeable Death/Thrash Metal influences. ‘Genesis of Apocryphal Desire’ (1991): More developed Greek Black Metal, with darker melodies, atmospheric guitar work and a more distinctive sound,  an unreleased, track from 1989 and a studio bonus track 1993 (guitar by Sakis Tolis from Rotting Christ). Besides founding member and vocalist Stefan Necroabyssious the albums contains contributions of: Themis Tolis on drums (Rotting Christ), Jim Mutilator (ex Rotting Christ) on bass  and guest guitars by Sakis Tolis (Rotting Christ). Extensive interview with Stefan Necroabyssious by Steven Willems (Celtic Frost, Deicide, Destruction). Complete demos recordings 1989-1993, carefully restored and remastered from Stefan Necorabyssious’ old tapes.