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Featuring guest appearances from Dimmu Borgir’s Silenoz and 1349’s Seidemann.

Primarily inspired by the works of Darkthrone & Burzum, Mork’s third album Eremittens Dal stands as a tribute to the spirit of old-school Norwegian Black Metal. Raw production and ice-cold riffs combine with the band's dynamic and atmospheric twists and the album effortlessly alternates between the ferocious and the melancholy. Covering themes of hate, death, seclusion and misanthropy, both lyrically and in the way that a one-man-band makes music in solitude, the music is perfectly fitting of the title (translated as Valley Of The Hermit).

The suitably grim pencil cover art comes courtesy of Jannicke Wiese-Hansen, who famously made artwork for early Burzum and Satyricon releases. Having featured guest vocals from Darkthrone’s Nocturno Culto on its previous album, Eremittens Dal includes special guest appearances from Dimmu Borgir's Silenoz who contributes vocals on two tracks, plus additional bass parts from 1349's Seidemann.

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Norwegian titan, Mork, was created by Thomas Eriksen in 2004, with the debut album ‘Isebakke’ eventually surfacing in 2013. Since then, Mork has been ceaselessly rising through the echelons of Black Metal, and on the heels of 2024’s intense and groundbreaking ‘Syv’ opus - which has resulted in the band branching out with tours in the Far East & Australia - Eriksen continues on this evolutionary path with the new album, and what is undoubtedly set to be a new benchmark, ‘Monolitt’.

“A stark monument to the unrelenting brutality of reality, the monolith looms above us, immovable, indifferent, eternal. Its crushing presence bears down on the spirit, suffocating hope and testing the limits of endurance. It is an experience carved in stone, unyielding”.

‘Monolitt’ is an album that further expands the sonic and atmospheric depth of existing Mork releases; unafraid to challenge the listener, while steadfastly rooted in the cold traditions of the genre. With this uncompromising vision and direction for ‘Monolitt’, Mork delivers a sound which is brutal yet expansive, whilst also heavy and epic, for a relentless journey through the shadows of Norwegian Black Metal, while forging new paths within that ancient and revered framework.

Across these songs, themes of collapse, transformation, isolation, and destruction form the central pillars. From the crushing burden of existence to spectral wanderings through forgotten landscapes, ‘Monolitt’ explores the human condition through bleak introspection and grand imagery. Nature rages, giants awaken, faith crumbles, all in pursuit of experience beyond the limits of flesh and mind.

MORK’S FIFTH STUDIO ALBUM OF BLACK METAL SUPREMACY, INCLUDING GUEST APPEARANCES FROM MEMBERS OF DARKTHRONE, KAMPFAR & SKEPTICISM.
 

This new edition of ‘Gothic’, marking the album’s 35th anniversary, is presented on double CD, with remastered audio courtesy of Jaime Gomez Arellano at Orgone Studios. The bonus disc features the band Live in Ludwigsburg, 1991, performing tracks from Gothic and their debut album. The release also includes a four page booklet containing recollections from the band on the period and the shaping of the album,  as originally featured in 2021’s ‘The Lost and the Painless’.

Sweden's October Tide was the project formed by Katatonia members Jonas Renkse and Fredrik Norrman in 1995, with much of the material being written during a period of inactivity for their main band.
Grey Dawn was October Tide's second album, originally released in 1999.

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A 2023 official release of the cult classic primitive Norwegian black metal recorded in 1992, featuring Dimmu Borgir’s Shagrath. 

The sole release by Fimbulwinter, this edition includes additional tracks and presented on CD format including 16 page booklet.

Fimbulwinter, though short-lived, created a sole cult release in the form of 1994’s ‘Servants of Sorcery’, which emerged as the “second wave” of Norwegian black metal was truly taking hold. The band was formed in Oslo 1992, led by the notable figure of Shagrath, becoming most known afterwards as mainman for the phenomenon that was Dimmu Borgir. A more raw affair than the symphonic majesty of Dimmu Borgir, Fimbulwinter demonstrated a primal and fierce black metal attack, and concocted a perfect example of the early-90s style, with an extra injection of praise to bands of the 80s.

Even though ‘Servants of Sorcery’ as a release didn’t see the light of day until 1994, the tracks themselves were recorded back in the winter of 1992, and so stand as an essential and influential early example of what was to form a whole new chapter in metal history. Joining Shagrath was Skoll (Ved Buens Ende, Ulver, Arcturus) on bass, with the line-up completed by Necronos & Orbweaver.

This edition of ‘Servants of Sorcery’ - a title consistently requested by fans for a proper reissue for many years - notably includes material plus additional songs sourced and transferred from the band’s own tape collection (with work overseen by Shagrath himself), to present this most complete and comprehensive edition of Fimbulwinter’s work and legacy. Alongside Fimbulwinter’s own original material of spellbinding lo-fi grim chaos are storming cover versions of ‘Morbid Tales’ by Celtic Frost (which featured on the original ‘Servants of Sorcery’ release), plus ‘The Watchtower’ by Darkthrone, which is now included for the first time.

FORSMÁN are a black metal band from Kópavogur, Iceland. After their debut EP "Dönsum í logans ljóma", the members — all only in their early twenties — have been working intensively on new material. Concrete news will follow soon, but the band’s direction is already clear: FORSMÁN (pronounced "fors-mown") stand in the line of modern Icelandic black metal associated with SVARTIDAUÐI, SINMARA, and MISÞYRMING, combining dense atmosphere with focused, forward-driving songwriting. Expect urgent riffing, decisive rhythms, and vocals that cut through a cold, enveloping haze. FORSMÁN are part of a new generation coming out of Iceland with a strong sense of identity, and anyone drawn to the country’s contemporary black metal sound should keep a close eye on what comes next.

"This time we entered the studio with the clear intention of creating a landmark album for the band." It's a noble and challenging mission statement from Hellenic black metal troop Yoth Iria, and one that has amply succeeded in the form of Gone With The Devil, the Attica quartet's stellar third album. Their trajectory has been on a steep ascent since crafty 2021 debut As The Flame Withers and 2024's hypnotic Blazing Inferno, but there has audibly been a concerted determination to develop and expand in sinister new directions.
The daemonic avatar Yoth Iria was first explicitly summoned on Rotting Christ's legendary debut Thy Mighty Contract in 1993. Bassist/lyricist Jim Mutilator formed that band as Black Church in 1984, before also becoming a founder member of cult Athenian BM heroes Varathron for their first five years. Renewing the otherworldly atmospheres and occult ravishment for a new era, Yoth Iria functions almost as the third panel in an apocalyptic triptych of Hellenic black metal excellence.
There's a thrilling balance of ancient and modern, good and evil, harmony and dissonance, advancing Yoth Iria as a hungry contender for extreme metal's big leagues - an ever-improving unit with a glorious future. Appropriately, however, Gone With The Devil is best summed up with a line already coined by the band to describe their ongoing body of work: "Every note tells a story of rebirth, tradition, and the relentless pursuit of musical transcendence."