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Back in stock - Extreme Metal and Dark music
With an inception heading back to the year 2020, UK’s Final Dose have built a reputation from its feral blend of black metal’s icy malevolence and the raw, uncompromising power of punk through the release of a demo, an EP and a full-length album in 2023.
With the experience of touring across the US and Europe granted by the excellent reception of aforementioned “Void Inside”, Final Dose return with a vengeance, a bone-crushing slab of savagery and frostbitten fury entitled “Under the Eternal Shadow”.
Merging Black Metal and Punk is not in any way a novelty, however few acts have managed to imply the solid edge of both approaches in a such a vehemently organic fashion as the UK horde. From the very first seconds of opener “Eternal Winter”, a clear, powerful, in-your-face production compels the razor-sharp virulent riffs to gleam and cut through the ether like an electrical storm, whereas pounding fast beats function as a taser for the body, a remarkably pulsing mania which serves as a marching order for the wild raging vocals, a performance which renders gist to each word yelled in anguish.
But, beware. “Under the Eternal Shadow”’s ornamentation is yet provided by various elements such as Dungeon Synth and Folk, details that supply the record with more than a Black Metal/Punk substance. The brilliant slower moments offer an extra dose of bleakness and despair to the filthy fury, together with the lugubrious clean chords, filled with disheartening melody. These traits blazingly give shape to the lyrical concept of the album, the pain and gloom of mental decline, the misery of the societal ravishingly decay. This layer of mournfulness genuinely confers momentum to Final Dose’s art, a sense of impending doom which sticks to the brain and captures the heart, making “Under the Eternal Shadow” much more than a musical record, but a tome of inspiration through the ashes of the world’s turmoil and dismay.
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Debut album, Melodic Black Metal with Postrock parts, for fans of Amesoeurs, Grey Waters and Austere
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Releases on January 29, 2021
Hardbook Digipak 2-CD with 24 pages booklet
Mӕre - a malicious folkloristic entity creeping on sleeping people's chest during the night and causing breathlessness and anxiety. It's exactly this state of diffuse terror and paralysis that has been enshrined in HARAKIRI FOR THE SKY's music ever since their debut album. And now, more tales from feverish dreams are being released on January 29th in the form of the band's 5th longplayer "Mӕre", out via AOP Records.
As pioneers of the post movement, mixing haunting black metal with post rock moments, the Austrians have, ever since their conception in 2011, drawn fans and critics deeper and deeper into their maelstrom of melancholy, self hate and anger, and even reached #29 of the German charts with their previous release "Arson". And once again, several friends of the band entered the intoxicated world of HARAKIRI FOR THE SKY to guest on "Mӕre": While Alcest's front man Neige brings a haunting flair to 'Sing For The Damage We’ve Done', before the anonymous voice of Gaerea joins in on 'Silver Needle // Golden Dawn'. As session drummer, the band one again commited none less than Kerim „Krimh“ Lechner (Septicflesh, live Behemoth) in the studio and the atmospheric artwork was designed by Art of Maquenda.
Hardbook Digipak CD with golden UV Spot laque and 16 pages glued-in booklet
Mystical, icily and emotional: In the focus of the music of HARAKIRI FOR THE SKY stands the dreamy, the picturesque aspect, the melancholy joy of Black Metal and the tension of Post-Rock.
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New EP from the mysterious USBM entity named Uthullun. Crossing through "The Barbed Thread of Madness", the listener is taken through the anguished and solivagant embodiment of dissonance and a psychoactive cathartic journey beyond gehennah and oblivion.
THE GREAT SEA was founded in 2022 by JR (Long Distance Calling) and SH (Ordeal & Plight) with the ambition to create an atmosphere that can keep up with the majesty of the mountains and the horrible depths of the seas, with a glimpse into the never ending darkness that is behind and before us.
“We always wanted to create a feeling, where you can experience nature and find yourself within it.”, states guitarist SH. “There is a strange and unbelievable beautiful sensation when you combine these tunes, with the reality of natures infinite powers.”
To give the sound what it deserves, they invited Phil Jonas (Crone, ex-Secrets Of The Moon) and Azathoth (Gràb, ex-Dark Fortress) to leave their mark on this record, creating a connection between this world and spheres that can never be spoken of. Both songs are integrated to the rest of the record with maximum black glue, giving the listener the experience of deep current.
The most prominent and significant American death/funeral doom emissaries EVOKEN succeed their 2018 landmark Hypnagogia album with their seventh full-length opus Mendacium set for release on Oct 17. A work that will reveal itself as one of the darkest and most oppressive EVOKEN albums among their unparalleled repertoire.
Where 2018’s Hypnagogia would see the band capture and focus on a more melancholic, tangible, and even more of an accessible sonic design, Mendacium takes that acute shift back to the monumental dirge-like dread and woeful catacombic and disharmonious heaviness reminiscent of the band’s Quietus and Antitheses of Light masterworks. All while still encapsulating the tectonic-shifting nature of their Caress of the Void and Atra Mors releases while venturing more through classic gothic audial textures and even treading a little down experimental mire as well, reminiscing an aura seeping from such luminary artists as Dead Can Dance, Monumentum, and Disembowelment.
To signal this shift in sound harking back to this previous era, the band would recall the services of producer Ron “Bumblefoot” Thal who worked with EVOKEN on their Antithesis of Light and Quietus albums respectively. The result being Mendacium capturing a sepulchral heaviness saturated in ambience with even more of an emphasis on deathlike dread and anguish; an ambience reflecting the depths and catacombs of an ancient cathedral or monastery, ultimately defining Mendacium as EVOKEN’s most powerful sounding album to date.
In the music of Forndom, the past breathes with a vitality that transcends time. “Moþir” is as complex as the deities it portrays, weaving together themes of fertility and loyalty, love and betrayal, light and shadow. It is an exploration of divine ambiguity, where the nurturing embrace of a mother can just as easily turn into the cold hand of inevitability.
Here, Ludvig Swärd strips away the modern trappings of synthesisers, embracing a purely acoustic sound. The music feels as though it has been carved from the very earth, born from instruments fashioned by hand and played with reverence for the ancient.
Recorded and mixed by Swärd himself, “Moþir” features the talents of Thomas von Wachenfeldt (Bards of Skaði), whose violin conjures both light and darkness; Janne Posti (Häxkapell, Sons of Crom), whose choral tones add a numinous depth; and Draugurinn, whose haunting presence lingers like a spirit from a forgotten age.
Forndom’s latest offering is a meditation on the eternal cycle of life, death, and rebirth, seen through the lens of ancient Scandinavian spirituality. Ludvig Swärd continues to stand at the crossroads of the past and present, offering a glimpse into the heart of ancient wisdom through the eyes of a modern seeker.
