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Absolute raw Black Metal terror, a sonic nightmare shaped by powerful guitar riffs, a frantic rhythm section plus a spectral vocal performance filled with inhuman wails.
Sulphuric Night is definitely one of the most compelling names to originate from the endlessly creative Bosnian Underground scene. Through a series of releases showcasing a outstandingly austere and crude approach, it is utterly mesmerizing the way this horde casts absolute and intense darkness with its disturbing arrangements. Compiling material that was originally released in very limited quantities, "Arcane Monoliths of Triumphant Death" is a more than welcoming and comprehensive collection of a vault that goes back to 2013. Mastered directly from the original master tapes and perfectly prepared for the most captivating sonic experience, this assembly chronologically presents a distressing vault marked by eerily cruel riffs and ferocious rhythmic outbursts, insanely possessed vocals and a general suffocating atmosphere of vicious dread.
Proudly released by Black Gangrene Productions, Arcane Monoliths of Triumphant Death is an imperative acquisition for worshipers of the most hateful and perverse Raw Black Metal of today.
Burial Hex is a composition cycle of Post-Industrial music, dubbed “Horror Electronics”, by Clay Ruby. With a progressive mix of influences as far-reaching as vintage Industrial and Power Electronics, Kosmische Music, Black Metal, Techno and Electro, Early Music and Contemporary Classical, these dynamic compositions are simply unclassifiable.
This compilation continues the stunning trajectory of the previous Cold Spring reissue collection, “Book of Delusions”, falling even further into the spiraling abyss of ritual music made in preparation for the Final Mysteries in the twilight of this Kali Yuga. Collecting tracks from various out-of-print vinyl releases, including In Psychic Defense, The Tower, Fantasie und Fuge, Hunger, and the highly sought-after “A Kiss To Birth The Rotted Sun” from the WVNDRKMMER 5xCS compilation, this volume is a welcome addition to every Burial Hex collection, as well as an ideal introduction for the Horror Electronics neophyte.
Finally a third volume of the essential reissue series featuring rare and out-of-print vinyl releases from Horror Electronics maestro Burial Hex.
This collection takes us further back in time to a more raw and singular vision, whilst still infused with passionate vocals and eeire religious allusions that would eventually lead to a development of increasingly more compositional elements in the Burial Hex cycle. Collecting his sides from the split 7" with Sylvester Anfang on Aurora Borealis, the split 12" with Iron First of the Sun on Cold Spring, and taking a side each from "Bagirwa Hymn" on VON Archives and "From The Rites Of Lazarus" on Urashima, we experience the death industrial roots of this expansive project.
King Ov Hell (GORGOROTH, SAHG, GOD SEED) and Kvitrafn (aka Einar Selvik of WARDRUNA, SKUGGSJÁ, GORGOROTH) teamed up and formed Jotunspor ("tracks/traces of giants").
Musically, "Gleipnirs Smeder" binds grim and primitive black metal together with elements of noisy dark-ambient, while the concept of Jotunspor is strongly founded in the old Norse cults and beliefs. "Glepnirs Smeder", or The Forgers of Gleipnir, explores some of the incidents surrounding the creation of the world and Ragnarok - the ultimate doom / transformation. The chain Gleipnir, its forgers from the depths of Svartalvheim and Fenris - the chained jotun-wolf are some of the most important themes on the album, on which the lyrics are sung in Norwegian and Old Norse tongue.
Jewel case edition. CD with 4 pages boklet. Cold Spring Records.
"Despair portrayal of the souls that are lost in the winter woods. Hypnotic sound, like a thousand blades in a dance of winter blizzard leaving thousands of cuts digging into the body... Heart-rending screams of freezing flesh, summon the death, dissolving within echoes on the mountains... This album delivers cold, misanthropic and desolate mid-tempo Nordic-influenced Black Metal, along with melancholy Dark Ambient tracks. Crunchy distorted guitar minimalism, primal thrashing beats, and an overall raw necro-ish execution are well-supported by howling tortured grim vocals that recall the old Burzum era
CD in 6-panel digipak
Trepaneringsritualen return to Cold Spring with an album-long ritual working entitled ᛉᛦ — Algir; eller Algir i Merkstave. On this record — constructed from a series of rituals designated to guide the last ceasing of ᛏᛇᚱᚫ ᚾ ∴ ᚾ ∴ ᚾ — T × R × P is manifest in its most obscure form. Sonically minimal yet devastating in emotional impact, this working lets the listener grasp the last vestiges of Nifl and Múspell, and with them as weapon and beacon traverse the Night. ᛉᛦ reveals a barren landscape where crooked paths lead onward, through soot black veils to a point of radiant light where all that is is Union & Dissolution
Ltd x 412 copies on Blood Red Vinyl - via Cold Spring only
Swedish behemoths MZ. 412 return with their first full-length album in 13 years, once again asserting their dominion as the true Kings of Black Industrial. "Svartmyrkr" is a massive tour de force that reinvents the classic sound of MZ. 412 whilst retaining their trademark malevolent harshness.
This album is dedicated to the true hell of the north - Helheim - and the giant goddess that rules it, Hel. From blackened ritual incantations, to bleak yet beautiful dark ambient arrangements, to harsh bombastic orchestrations, this album exceeds all expectations.
MZ. 412 blur the lines between music, magick and reality. The earth trembles... the mountains quake... all light is vanquished. The Swedish overlords darken the hearts and extinguish the souls of all who bear witness to "Svartmyrkr".
Originally released by Side Effects in 1986, “Zamia Lehmanni” was the third (and final) core SPK album and was Graeme Revell’s first truly solo project. He was in a period of transition, somewhere between the industrial noise of the early years and his later award-winning soundtrack work. On the day before this was first released, this style of music, now ubiquitous (especially in soundtracks), did not exist.