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Selling CD - Extreme Metal and Dark music
Promotional copy – not for sale.
Issued in a cardboard sleeve.
Sleeve: VG+
Media: VG – some surface dirt/marks.
nr. 6 promo samplers, originally included with LEGACY magazine
nr. 5 promo samplers of ABLAZE magazine 1999/2001
nr. 5 promo samplers of Napalm Records, Nuclear Blast, Perverted Taste record labels
2003 Mercenry Music
This is the last Aborym album to feature Attila Csihar as the primary lead vocalist
Third album for the italian industrial black metal act.
Promotional copy – not for sale.
Issued in a cardboard sleeve.
Sleeve: VG+
Media: VG – some surface dirt/marks.
After the lucky "Usurp The Throne", well-reviewed and extensively played on tour, UBUREN are back with a new harsh, unrelenting strain of black metal full of the usual viking metal edge. Once again, in the new batch of songs their sound sits cold and atmospheric, raw and haunting, built on tremolo-driven riffing in the best tradition of the second-wave black metal. Nonetheless, the underlying melody is never completely lost, highlighting melancholic passages that give the songs a Majestic weight.
Formed in 2010 in Sandnes, Rogaland, Uburen took shape around a shared obsession with Norse mythology and old Norwegian culture — a mutual ideology of resurfacing viking folklore through music built to be felt as much as heard. Following a lineup change in late 2019, Uburen entered the studio with new drummer Wrage Steinarson for what would become 2023's "Usurp the Throne" — an eight-track opus marking a new highpoint for the band. Cold, atmospheric and uncompromising, the album stood as Uburen's most fully realized record up to that point. The new opus, "Dødsdans I Aske", promises to raise the bar even higher.
Your patience will be rewarded.
Chile’s Ripper returns with their first full-length since 2016’s “Experiment of Existence”.
“Towards Rebirth” contains the band’s most violent work to date. Razor sharp guitar work, intense drumming and well-crafted songs are still there…only more concise, more vicious.
Recorded, mixed and mastered by Pablo Clares at DM6 Studio. Artwork by Paolo Girardi.
Infinitude’s Passage marks the third full length statement from Portland’s death metal seers Aenigmatum. Taking the intricate mastery of previous album Deconsecrate as a point of departure, the band’s union of technical precision, dark melody and unrelenting force draw us ever further into a world where revelation and annihilation become indistinguishable.
Sudden turns, fractured rhythms and spiraling harmonies color a landscape of seemingly elaborate complexity, yet Aenigmatum are serving a larger, deeper structure with an exacting sense of purpose and focus. Frenetic eruptions of speed give way to passages of melodious clarity and dissonant turbulence allowing the compositions to remain in constant motion and expand idiosyncratically upward and outward.
Cerebral without sacrificing physical impact, majestic without surrendering menace and progressive without loosening its vigorous command, Infinitude’s Passage rejects easy categorization within death metal’s exceedingly vast parameters. Its visceral impact, incandescent melody and aura of perpetual discovery places Aenigmatum at the threshold of the boundless.
In a world increasingly shaped by disposable content, Chat Pile answer with something defiantly real and organic, a mentality that permeates Who Loves The Sun, their third full-length record. Since the band’s formation just over six years ago, the Oklahoma City-based quartet Chat Pile has grown from a scrappy passion project into one of the defining heavy acts to emerge from the 2020s underground. Ray B. (vocals), L. Manhole (guitar), Stin (bass), and Cap’n Ron (drums) create a crushing, crass, and cathartic take on noise rock that captures a raw, undeniably human essence in an age marked by technological overreach and the cold state of society. Nothing about Who Loves The Sun feels synthetic.
Whereas their debut album God’s Country depicted a particularly American flavor of dread, and the follow up Cool World showed a cruel planet defined by global systemic violence, Who Loves The Sun peels the skin back on how collective indifference defines this new century. Spanning imagery of coastlines devouring cities, dead-end jobs, and submission to data-driven inauthenticity, the album dissects the apathy-bloated state of 21st-century existence as a slow-motion apocalypse.
