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Back in stock - Extreme Metal and Dark music
On their sophomore full-length "La Masquerade Infernale" (1997), ARCTURUS took their musical experimenting three ambitious steps further. The Norwegians succeeded in wedding a devilish concept loosely based on the characters of Faust and Mephistopheles with an eclectic range of surreal sound elements into an album that is rightfully considered a prime example of what later came to be known as avant-garde metal. From quoting Edgar Allan Poe in operatic paraphrases by frontman Garm (ULVER) or the additional high notes from the unmistakable I.C.S. Vortex (BORKNAGAR) via the spaced-out electronic samples, classical instrumentation, and an even increased use of psychedelic guitar riffage alongside more "traditional" black and death metal elements. Brilliant guitarist Knut Magne Valle replaced Carl August Tideman, which brought stability to this position of the band's line-up. ARCTURUS aimed dangerously high with "La Masquerade Infernale" – but remarkably pulled off the extremely difficult feat of forging such widely differing elements into a wildly fascinating, over the top listening experience that has stood the test of time and surely deserves to be labelled a "masterpiece".
Having grown out of the Norwegian Death Metal band MORTEM, ARCTURUS emerged under the irresistible influence of Oslo's creatively bursting and fast rising underground black metal scene officially with the two-track 7" "My Angel" (1991). With then-guitarist and formidable keyboard player Sverd and MAYHEM drum-beast Hellhammer at its core, vocals were first contributed by Marius Vold, who also sang on the legendary THORNS demo "The Thule Tape". While still very much influenced by death metal, the addition of doom-laden slowness and eerie keyboards already pointed into a far blacker cosmos. On the four tracks of the original 1994 "Constellation" EP, ULVER's Garm had taken over the vocal duties and Samoth from EMPEROR had joined the band on guitar. Yet, ARCTURUS already went off the (in reality quite wide-ranged) black metal norms mainly due to Sverd's keyboard arrangements that were pre-shadowing the trademark theatrical or circus-like style the Norwegians adopted on their following albums.
Following their early EPs "My Angel" (1991) and "Constellation" (1994), ARCTURUS finally released their debut album "Aspera Hiems Symfonia" in 1996. The Norwegians derived their name from the brightest star of the Northern hemisphere and were obviously influenced by the massively expanding black metal scene of their homeland. Already featuring such well-known protagonists as ULVER's Garm and MAYHEM's Hellhammer, the line-up on "Aspera Hiems Symfonia" saw Samoth replaced by excellent guitarist Carl August Tidemann and outstanding ULVER bass player Hugh "Skoll" Mingay also joining the band. Despite their audible black roots, ARCTURUS clearly begged to differ by daring to experiment and adding an avant-garde twist with strange sonorous vocals complementing those piercing shrieks, Sverd's cinematic keyboards, the technical guitar solos, and more elements that to this day mark the band from Oslo as progressive innovators.
Forndom was born as a reflection of bygone days – of the forests and open landscapes of central Sweden, as well as its historical heritage. Similarly, coinciding with the project’s nine-year anniversary, Ludvig Swärd muses over his own musical past.
Following the enthusiastic reception of “Och med vinden ack de gunga” – Ludvig’s re-envisioning of his droning masterpiece “Jag vet ett tempel stå" - comes “Alster”, a piano work of contemporary classical with a distinct Scandinavian atmosphere. Six Forndom compositions in brand new interpretations alongside "Aska", a fresh take on an old unreleased song.
House of Mythology proudly presents the official release of Ulver’s monumental Grieghallen concert from the 2018 Bergen International Festival.
Grieghallen 20180528 documents the pinnacle of Ulver’s 2017–2018 touring cycle, following the release of their landmark album The Assassination of Julius Caesar. A massive explosion of sound and light went off in Bergen that night, leaving the baffled audience floating somewhere between pleasure and fear.
Professionally multitracked by the Bright AS stage tech team, Kristoffer Rygg and Anders Møller were asked to mix the tracks for the 2020 “streaming edition” of the same festival. After having circulated as a YouTube bootleg, it is now being made official partly due to popular demand, and partly because we think of it as a magnificent companion piece to the studio version of Caesar – showing Ulver at the height of their live game.
With their seventh studio album "Otra", Norwegian avant-garde metal stalwards IN THE WOODS... might surprise their listeners – and particularly those, who have not followed the remarkable evolution that the band from the southern Norwegian city of Kristiansand has undergone since the early nineties. The tracks of "Otra" are surprisingly captivating with melodic tunes dominating the present sound of IN THE WOODS... – although progressive elements and the occasional rough reminder of the Norwegians' harsh past are also regularly shimmering through the fabric of these songs. What sets "Otra" apart from the average heavy work of music is the excellence of composition that shows expert level experience and comes with a seeming ease that makes the achievement even greater. Lyrically, "Otra" revolves around stories connected to the eponymous river that winds for 245 kilometres through the South of Norway and spills into the Skagerrak, the strait that separates the country from Denmark and Sweden, at the band's home in Kristiansand. There is hardly a need to introduce the name IN THE WOODS... to any adherent of avant-garde and black metal. Their coordinates within the scene are also well known: The Norwegians were among the bands that have participated in the burgeoning evolution of black metal in the early nineties and have had a large part in the shaping of the sound of a strong subgenre. Their first full-length "Heart of the Ages" (1995) has a lasting impact on black metal and is rightfully regarded as one of the genre's early classics. Refusing to rest on their laurels, IN THE WOODS... progressed further into different musical dimensions with "Omnio" (1997) and "Strange in Stereo" (1999). Following a long hiatus between the years 2000 to 2014, the Norwegians returned with vocalist James Fogarty, who continued to front the band until December 2021. With a new line-up and singer Bernt Fjellestad completing IN THE WOODS... a fresh direction was taken with the album "Diversum" (2021). With "Otra", IN THE WOODS... demonstrate the full strength and artistic maturity of the Norwegians' third incarnation. Enticing and highly pleasurable to listen to, this exciting record is nonetheless crammed with glorious details and surprising twists that reveal themselves only after many spins.
GRÀB offer both, continuity and change, on their sophomore full-length "Kremess". The Bavarian black metal project founded by vocalist Grànt continues to revolve lyrically around tales and traditions narrated in the local dialect of Germany's southernmost Alpine state: Bavaria. "Kremess" means 'funeral feast' in that language and death plays a leading role on this album. Musically, GRÀB still feature a prominent traditional instrument of their region, the hammered dulcimer. This gets combined with particularly Norwegian strands of black metal such as early GEHENNA, ULVER, and DARKTHRONE as well as taking inspiration from German pioneers of the genre namely NAGELFAR and LUNAR AURORA. Adding to the local sonic colours are many fresh ideas and sounds that came with English guitarist Gnàst, who has replaced previous main songwriter Grain in the meantime. A host of guest musicians including members of EMPYRIUM, TRIPTYKON, and DARK FORTRESS among others has further enhanced the musical spectrum. GRÀB, meaning "old and grey" in the local dialect, were conceived by former DARK FORTRESS frontman Grànt who wanted to bring a particularly Bavarian expression to black metal. The earlier collaboration between Grànt and guitarist Grain resulted in the release of the debut full-length "Zeitlang" in 2021, which channelled the black metal spirit of the early 90s much to the delight of both critics and fans. With "Kremess", GRÀB are infusing Bavarian black metal with new power that is bound to expand their growing empire far beyond the borders of their homeland.
Prior to their legendary Death/Thrash masterpiece, MERCILESS cut their teeth recording two demos, Behind the Black Door and Realm of the Dark. Released in 1987 und 1988 respectively, both are naturally rather raw affairs but what they may lack in proficiency and sound quality, is made up for by unbridled ferocity and MERCILESS’ youthful enthusiasm.
These two demos are important historical relics and a peephole into times long past by one of Sweden’s pioneering bands that alongside e.g. OBSCURITY or MORBID paved the way for the Swedish (and beyond) Black- and Death Metal scene.
Jewel-case CD with 24-page booklet including an in-depth interview with Erik Wallin and many never seen before pictures.
