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With a past that stretches back to the late '90s and a patient path that began in 2013 with a moniker change, Brazil's THE KRYPTIK burst forth into brilliance when they aligned with PURITY THROUGH FIRE. In the autumn of 2019 came their acclaimed second album, When the Shadows Rise, a startlingly immersive gem of symphonic black metal, and many finally took notice. A year late came the 40-minute Behold Fortress Inferno, which poignantly expanded on their vast canvas despite "only" being a mini-album. Between these two records especially, THE KRYPTIK proved that "symphonic black metal" need not be a dirty word; with no outside influence from the nowadays "black metal" scene, the duo dependably practiced their mystical arts and erected a grand citadel of sound - an atavistic awakening of when all was simply BLACK METAL, heedless of appellations. 

And so it goes with THE KRYPTIK's massive third album, A Journey to the Darkest Kingdom. Truly titled, the seven-track/70-minute A Journey to the Darkest Kingdom reveals the duo's grandest vision yet: neo-ancient symphonic black metal drenched in the dark waters of the cosmos, a castle of crystalline ice whose spires reach into boundless space. The band's ebon flow continually crests and cascades, synths swirling all about and with utterly magickal effect. The production here in this Darkest Kingdom is clear and sharp - all murk excised for maximum immersion, gorgeous swell, and pulsing violence - altogether sounding incredibly vintage and era-authentic yet somehow fresher than most nowadays black metal recordings. But, that magick largely resides in THE KRYPTIK's songwriting, as each song is an epic in its own right and then are all threaded together as one fever dream: melodicism, majesty, and malice in perfect balance. Thus, A Journey to the Darkest Kingdom follows logically in THE KRYPTIK's continuum whilst pushing their creativity to even-more-breathtaking heights. Have they delivered a classic on par with Witchcraft, The Sad Realm of the Stars, or even Stormblåst? Only time shall be the judge...

Collector's Edition in 4-panel digipack, limited to 500 copies.

Hån's third album "Conquering Magnificent Halls" marks a significant evolution in the band's song structures while maintaining their trademark infectious melodies and steadfast aggression. Mixed and mastered once again at Liquid Aether Audio Studio, this album promises to showcase Hån's relentless dedication to pushing the boundaries of Black Metal.

Collector's Edition in 4-panel digipack with 12-page booklet, limited to 500 copies.

Boréalys is a black metal project formed in northern Québec (in Abitibi). It was around 2015 that Abstrus (ex-Brumes) gave birth to the first guitar riffs, which will eventually serve the EP "Là où les eaux se séparent" (label: Winter Sky/Les Fleurs du Mal/ Non Posse Mori, recorded in the ''Black Amp Studio'' and ''Dans l'Antre'') and the first album "L'héritage" (label: Northern Silence Productions, recorded in the ''Black Amp Studio'' and ''Dans l'Antre''). Somewhere in 2018, Julius (from Black Empire) joined the project for the drums, and later K. (from Wendess) for bass and mix/mastering. In 2020 K. left the band and it is Abstrus who took over the bass for the album "L' héritage", now making Boréalys, a duo.

Only in French, Boréalys is rooted in its history, these tales, and these legends of its terroir. In a defined atmosphere that tells you the memories and customs of their past, the wounds and efforts of their ancestors who colonized this land, but also, a feeling of freedom coming from the infinite forests and the many rivers that make it their fortress. In order to pay tribute to its native language, faithful to its Francophone origins, Boréalys is, and will remain, a project only in French. 

In a heavy and melancholic atmosphere, Boréalys draws its influences from the Scandinavia of the '90s and bands such as Drudkh and Abyssic Hate.

Winter Suicide (2007) Demo
Verzweiflung (2008) - Full Lenght
Ambient Stuff

While work continues towards materializing Aethyrick's fifth full-length album, the two-headed serpent strikes from the womb of spring with a new EP entitled Kolme veljestä. As the name of the EP already suggests, on this special release the band pays homage to their Finnish roots with lyrics entirely in their native language (physical releases come with English translations). Released on April 9th, the Day of the Finnish Language, Kolme veljestä EP contains three monoliths of atmospheric black metal witchcraft with a total playing time of 27 minutes

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.

In the remote forests of north-eastern Finland, a primal force has been unleashed. Noitila, translated roughly as ‘Witches’ Bay’, resonates with the ancient echoes of a sacred land where worlds and energies intersect.

Conceived and recorded in a family cabin, employing minimalist equipment and instruments, “Langennut” captures an authenticity that is as powerful as it is pure. The band used an old leather chair as a bass drum, recorded acoustic guitars in the open forest, and wrote lyrics through psychography. No metronome, three microphones, and a passion for the ancient sounds of Ildjarn, Ulver, Isengard, Bathory, Satyricon, Tulus, and Beherit – this is black metal distilled to its essence. Primitive, soulful, and unfiltered.

Special promo price to launch new album, due out May 2025!!

Four panels digipak with booklet

The long work is coming to an end: Italian/Polish black metal band Amalekim, with a new line-up, is ready to reveal their latest work, Avodah Zarah. 

Once again, the ultimate aim is to question all that is sacred and all that is profane in this age of ours. Avodah Zarah contains many influences and many different experiences, both on a musical and a personal level, seeking to present itself as something new in the purest tradition of the genre. With this work, Amalekim decisively turn over a new leaf compared to their previous work, HVHI, with conceptual and musical maturity, seeking to maintain the melodic aspects that distinguish them, implemented by dissonances and greater compositional complexity.

Avodah Zarah revolves around the concept of the inversion of values, taking much from the Old Testament tradition, occultism and alchemy, always in an attempt to bring to the ears and eyes (starting from the cover) of the listeners an ever-present revolt, but without the obviousness and generality that too often mark today's world.