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Mega Classic funeral doom metal album.

2026 reissue !!! 

CORONER came up with an even more daring, unconventional album in 1993's ‘Grin', which abandoned much of the thrash-based aggression of their early days and focused on challenging dynamics and eerie atmospherics. This move proved too radical even for longtime fans, ironically, and they remain split over the album's merits, some seeing it as a total sellout, while many others consider it the band's greatest triumph.

With their fourth studio album "Hulders Ritual" ('Ritual of the Huldra'), SLAGMAUR break the chains of repetition and nostalgia by rewriting the rules of black metal. This does not mean abandoning the foundations of the genre, which is already indicated by working with the 'inventor' of the 'Norwegian black metal sound', THORNS mastermind Snorre W. Ruch, as an additional producer. The band's founder, General Gribbsphiiser, rather unafraid and with reckless abandon mutates and warps the traditional formula through a host of subtle innovations and tweaks of the classic sound. Although "Hulders Ritual" continues, refines, and widens the daring stylistic balance of SLAGMAUR's previous works, it adds an extra dimension of sardonic mania to its collection of sharp and vicious sonic instruments. Choice guest-contributions that include TAAKE vocalist Hoest, DIMMU BORGIR guitarist Silenoz, and MISÞYRMING frontman D.G., who cover three decades of Nordic black metal make a case in point.

CORONER came up with an even more daring, unconventional album in 1993's ‘Grin', which abandoned much of the thrash-based aggression of their early days and focused on challenging dynamics and eerie atmospherics. This move proved too radical even for longtime fans, ironically, and they remain split over the album's merits, some seeing it as a total sellout, while many others consider it the band's greatest triumph.

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

CD edition.

Atmospheric black metal union GRIMA return with a dark ritual of ancient forest magic!

With 10 years of scene-stealing experience behind them, looming stars of Siberian atmospheric black metal, GRIMA, will release their sixth album and Napalm Records debut, Nightside, on February 28, 2025. After several shows accross Europe (one with highly-uprising german death metal force Kanonenfieber), the band is set to honor the spirit of the Siberian Forest, Taiga, with their impending next chapter.
While fans of their deep, melancholic sound can look forward to tales like in “Flight Of The Silver Storm” and “The Nightside”, GRIMA also showcases focused effort and skill on the album’s more brief, accessible offerings. “Beyond The Dark Horizon“ and “Curse Of The Void” are as dreamy and complex as their big brothers, but also satisfy as more direct black metal anthems. The band shows a wide range of variety: First single “Skull Gatherers” is infused with the mesmerizing cold of the Siberian evening wilderness, constructed with folk instruments like the Russian accordion bayan but GRIMA also use death metal-like growls into their delivery on “Impending Death Premonition”.
Mixing, mastering, and helming the album’s clear, powerful sound is black metal-experienced producer Vladimir Lehtinen. The two driving forces behind the band’s unique sound, Vilhelm and Morbius, both deliver different aspects of the band’s impactful, massive guitar riffs, leads and melodies, while Vilhelm also soars as vocalist. Guest musicians Vlad (drums) and Serpentum (guitars) also join the fold both in studio and on stage. In addition to their unforgettable sound, the band’s eerie, piercing look – towering like living trees with intimidating carved wooden masks and branched fingers – adds another haunting element to their brutal yet beautiful output. With their mysterious visual aura and intriguing sound, on Nightside, GRIMA continues to prove themselves as an unmissable band to watch within the genre.

Ukrainian blackened death/doom metal formation 1914 return with unrelenting force on their fourth studio album, Viribus Unitis, Latin for "With United Forces." Far more than a historical reference to the personal motto of Franz Joseph I of the Austro-Hungarian Empire, the title reflects the band’s resilience through war, loss, and upheaval – a powerful symbol of survival and solidarity. Releasing on November 14, 2025 via Napalm Records, Viribus Unitis builds on the band’s acclaimed conceptual approach, pushing even deeper into emotional and musical intensity.

Continuing their chronicle of World War I, 1914 shift their focus slightly, from the raw portrayal of death and destruction to themes of camaraderie, endurance, and the emotional landscapes of those who endured the horrors. While previous releases like The Blind Leading the Blind (2018) and Where Fear and Weapons Meet (2021) centered on the futility and finality of war, Viribus Unitis explores the human bonds forged under fire and the strength of those who returned: broken, changed, yet still alive.

Musically, 1914 remain true to their identity – brutal mixture of blackened death metal, slow-burning doom, and ambient war soundscapes. This time, however, their sound gains a broader dynamic range, with soaring melodic leads, orchestral textures, and haunting clean vocals that provide dramatic contrast to the crushing heaviness. One of the album’s highlights is a collaboration with Aaron Stainthorpe of My Dying Bride and High Parasite on “1918 Pt. 3: ADE (A Duty to Escape),” whose mournful voice adds a solemn, almost liturgical quality to this elegy of grief and brotherhood on the front lines.

Viribus Unitis deepens 1914’s commitment to historical authenticity, both lyrically and conceptually. Told through real events and personal accounts of a Ukrainian soldier in the K.u.K. army, the album traces a timeline from 1914 to 1919, painting a grim journey through the war’s rise, climax, and hollow aftermath.

From the brooding opener “War In” to the bleak closer “War Out (The End?)”, each track captures a moment in time: the brutal “1914 (The Siege of Przemysl)”, the frostbitten “1915 (Zwinin Ridge)”, the crushing Alpine combat of “1916 (Südtirol Offensive)”, and the madness of “1918 Pt. 2: POW (Prisoner of War)” featuring Christopher Scott of Precious Death.

The album ends with “1919 (The Home Where I Died),” featuring Rome’s Jerome Reuter, a haunting portrait of a soldier who survived the war, but not its shadow. This emotional song deals with the soldier's will to live and his family values, seeing him escape from captivity to finally return home to embrace his wife and daughter. 1914 fuse blackened death metal, doom, and atmospheric textures with dramatic flourishes and guest vocals, creating their most dynamic and emotionally resonant record to date.

Cult full-length from 2000 finally available again on DLP.

Very well made fan-club edition, gatefold, UV spot and poster.

“Imposing, righteously commanding, atmospheric and truly memorable,” said Ave Noctum in their 9/10 review of Heathen Deity’s 2021 debut album, an opus that also earned glowing reviews in the likes of Decibel magazine and This is Black Metal.

Due to be unleashed in late November 2024, Satan’s Kingdom picks up where that opus finished, offering an equally intense assault, but introducing an even greater level of musicianship and performance, as well as more sophisticated songwriting.

An hour in length, it is a dynamic work that contains moments of absolutely frenzied black metal bombardment ala early Gorgoroth, as well as more epic, earnest and atmospheric numbers. Clean guitars and vocal parts are used selectively and effectively, with surprisingly rousing choruses surfacing from the visceral songs.

‘Uncompromising’ can often mean generic, but Heathen Deity continue to fly the flag for aggressive and anti-religious black metal without ever being derivative. The songwriting shines, with an abundance of genuinely memorable riffs and stirring passages.

Artwork once again created by our long-time comrade, the talented David Thiérrée. The band have also made a music video for the delicately titled song ‘Fucking Worthless’ with the videographer Szum.