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The reclusive NONE return in 2023 with their fourth chapter, their longest and darkest work. “Inevitable” is the culmination of their musical legacy, evoking the signature depressive atmosphere that has struck listeners across the globe. Like the last stage of grief, “Inevitable” is a black, nihilistic acceptance… Surrendering to existential loss and failure, only to whisper a sigh of contempt before an apathetic march toward the inevitable end.

Written and recorded throughout the latter half of 2017, NONE's new album Life Has Gone On Long Enough takes its haunting shape through eight organic tracks of foggy mountainous atmosphere and bleak music. On this new chapter, NONE delves deeper into the blackest woods to find abandonment, and developing its tortured personality further. Moving in and out like the long shadows of an ancient forest, the harsh musical passages of Life Has Gone On Long Enough entertwine and die through forlorn atmospheres, devouring and nourishing a hopeless life.

Like clockwork, NONE returns this spring to destroy your seasonal optimism with their oppressively bleak atmosphere. Following 2018’s epic “Life Has Gone On Long Enough”, “Damp Chill Of Life” is NONE's third full-length chapter in their arrestingly reclusive legacy.

Weaving visionary soundscapes with depressive black metal, “Damp Chill Of Life” will gnaw at your bones like dying alone in an ice-bound wilderness. Haunting piano keys and retching voices flicker through harsh walls of instruments, ebbing and flowing through the lengthy tracks as NONE take their time to pick apart your psyche.

Shiki, the 2022 studio album from Sigh is an opus of dark and eclectic blackened Heavy Metal, shrouded in traditional Eastern influences. 

CD edition.

THIRTIETH ANNIVERSARY EDITION OF SIGH’S SECOND STUDIO ALBUM OF MASTERFULLY CRAFTED EASTERN ATMOSPHERIC BLACK METAL, NOW ON PEACEVILLE, WITH NEW AUDIO MASTER. PRESENTED ON DOUBLE CD.

Japanese black metal legends Sigh formed in 1989/1990. The genre-classic debut ‘Scorn Defeat’ followed on Euronymous’ Deathlike Silence Productions in 1993 & with each subsequent release, Sigh grew to become one of the country’s greatest & most revered metal exports. With a journey through the strange & the psychedelic, incorporating a whole eclectic mix of genre styles & experimentation throughout their career, Sigh has remained a vital creative force in the avantgarde field whilst maintaining their old school roots, as witnessed with the stellar 2022 album, ‘Shiki’. 2025 also saw Sigh reimagining their ‘Hangman’s Hymn’ album for a release on Peaceville as part of the band’s 35th anniversary celebrations, in the shape of ‘I Saw The World’s End: Hangman’s Hymn MMXXV’.

Marking thirty years since its original release & kickstarting a string of reissues of Sigh’s revered yet hard to find classic early catalogue, this edition of ‘Infidel Art’ contains a new master created by Patrick Engel at Temple of Disharmony, featuring a new transfer from the original DAT source. The release also includes a new interview with main-man Mirai Kawashima conducted by Dayal Patterson of Cult Never Dies, delving into the history & legacy of the album.

This edition of ‘Infidel Art’ is presented on double CD format, including a rare first mix of the entire album, as well as additional tracks ‘The Zombie Terror’ from the ‘Far East Gate In Inferno’ compilation, plus songs originally included for a split release with Kawir, having also received a new transfer from the original DAT source.

Japanese black metal legends Sigh formed in 1989/1990. The genre-classic debut ‘Scorn Defeat’ followed on Euronymous’ Deathlike Silence Productions in 1993 & with each subsequent release, Sigh grew to become one of the country’s greatest & most revered metal exports. With a journey through the strange & the psychedelic, incorporating a whole eclectic mix of genre styles & experimentation throughout their career, Sigh has remained a vital creative force in the avantgarde field whilst maintaining their old school roots, as witnessed with the stellar 2022 album, ‘Shiki’. 2025 also saw Sigh reimagining their ‘Hangman’s Hymn’ album for a release on Peaceville as part of the band’s 35th anniversary celebrations, in the shape of ‘I Saw The World’s End: Hangman’s Hymn MMXXV’.

Maintaining the core trio of Mirai Kawashima, Shinichi Ishikawa & Satoshi Fujinami & on the back of the epic & darkly symphonic opus ‘Infidel Art’ (1995), Sigh adopted a more boundary-defying approach to their writing, whilst still keeping the dark foundations & traits of the band’s fundamental sound. The result was ‘Ghastly Funeral Theatre’ which surfaced in 1997 & draped in Eastern & horror-based atmospherics, the band also embraced elements outside of metal with what was their most experimental offering to date; utilising instruments such as the saxophone as well as acoustic passages & notoriously drawing comparisons to the moods of bands such as The Beatles at times, featuring catchy hooks & structures in line with the rock music genre, but masterfully woven into Sigh’s unique blackened metal tapestry.

Continuing with Peaceville’s re-issues of Sigh’s classic early ( & until now, hard to find) works, this edition of ‘Ghastly Funeral Theatre’ contains a new master created by Patrick Engel at Temple of Disharmony, featuring a new transfer from the original DAT source.

In addition to the original studio tracks, this special double-disc release contains an expansive selection of material from the time, from unreleased mixes of album tracks & rare cover songs, to the inclusion of the very rare ‘Funeral Theatre’ Promo tape created by Mirai Kawashima in 1995.

The release also includes a new interview with main-man Mirai Kawashima conducted by Dayal Patterson of Cult Never Dies, delving into the history & inspirations behind ‘Ghastly Funeral Theatre’.

Wayhome is Kauan's most ambitious production to date. It is essentially one 50-minute song divided into eight tracks for the modern listener’s convenience. The album is dedicated to journeys in both literal and mental senses. Both “way” and “home” can be interpreted differently, as one can return home after a long absence or just try to solve an inner problem, overcome an obstacle, be reborn, or even die.

Wayhome’s visual concept themed around the journey told through fabric and cloth. It begins with pure, untouched white. As the album unfolds, the fabric begins to wear: stained, burned, stretched, and torn. By the final track, the cloth is unrecognizable—transformed by everything it’s endured.

Besides all the ordinary formats from LPs, CDs and streaming, Wayhome will be available on Apple Music in Dolby Atmos, a spatial audio format for optimal listening that creates a three-dimensional experience.

Evoken’s Funeral Doom/Death Metal debut EP remastered and reissued! Raw, bleak and essential!

Doom Metal, perhaps the most varied of all the metal genres, has been crossing over with plenty of other genres, and surprisingly often, the crossbreeding has been fertile. While the “funeral” brand of Doom Metal sounds like something that lacks the genetics to successfully breed with other metal genres, its nihilism works surpringly well when blended with slowed down Death Metal. Among the masters of that gruesome fusion are Evoken from the United States.

Evoken’s Funeral Doom/Death Metal debut EP remastered and reissued! Raw, bleak and essential!

Doom Metal, perhaps the most varied of all the metal genres, has been crossing over with plenty of other genres, and surprisingly often, the crossbreeding has been fertile. While the “funeral” brand of Doom Metal sounds like something that lacks the genetics to successfully breed with other metal genres, its nihilism works surpringly well when blended with slowed down Death Metal. Among the masters of that gruesome fusion are Evoken from the United States.