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Bosco Sacro is an Italian quartet founded in 2020. Its members have been constantly releasing and performing music within the Italian and European underground scene during the last decade: Paolo Monti (The Star Pillow, DAIMON), Giulia Parin Zecchin (Julinko), Luca Scotti (Tristan da Cunha) and Francesco Vara (Tristan da Cunha, Altaj).

Inspired by visions of sublime, reconciling vastness coming from the contact with nature and landscapes, united by a genuine devoutness to the practice of music as an healing, liberating movement, their style features dreamy atmospheres, slowed-down rhythms and an intense sonic and spiritual depth. Their musical roots come basically from ambient, doom and trip-hop.

The creation of their debut album Gem came as an impressively spontaneous and clean, natural process, leading to the creation of a sound which unites all past experiences of each individual musician into a new expressive language. With the skillfull contribution of producer Lorenzo Stecconi (who worked with Amenra, Zu, Ufomammut and Lento among the many), Gem was recorded in an unique session during the first days of October 2021 at AMM Monteggiori Studio, a peaceful place in the Tuscan hills surrounded by silence and woods

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Limited 200 copies - transparent purple vinyl / now sold out ... last copy

The Belarusian quintet delivers a fast-paced, cold and pure black metal which is looking at both the classic European sound and its more contemporary interpretations. You will find loads of riffs, as well as the odd solo and melodic hook, which will relentlessly drag you toward the Darkness.

German ILLUM ADORA return once again from the gutter of the underground to celebrate their filthy 2nd Wave Black Metal

Mysterious sounds from the island to the center of the Mediterranean sea

The name Ilienses comes from the tribes who lived in the heart of Sardinia, in Barbagia, in the Nuragic Era. The music is a combination of contemporary and archaic instruments of Barbagia, used in the ancient rituals and the esoteric traditions, as the Sardinian Carnival.

Acephalix wakes from five years in morbid repose with a new offering upon the glistening altar of flesh, a devastatingly tormented study on Theothanatology, the idea or belief that God is dead. Within this cerebrum shattering inquiry lies, as always, a primal spewing forth of vicious death metal malignity and bomb-raid hardcore dispersions.

Across a decade and a half lifespan, the evolution of Acephalix into the bludgeoning instrument of discord and dead faith displayed on Theothanatology has never felt so urgent. The crumbling siege-like mentality of modern life leaves no doubt God has left the building and Acephalix adeptly soundtrack the contradictions, atrocity and inner turmoil of such massive loss and decay.

From the opening title track to closer “Atheonomist,” Acephalix is razor-focused on its greatest strengths, commanding the unambiguous sonic pulverizing of a bulldozer over the decimated skull pile of a once thriving civilization. Simultaneously more musically complex and savagely barbaric, Theothanatology heralds a collapse already in motion.