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Written by Luke Tromiczak and performed by a rotating group of musicians from across the United States, Blood and Sun are known for dark and haunting songs drawing heavily from Americana and neo-folk – likely to appeal to fans of everything from Of the Wand and the Moon and Steve Von Til to Wovenhand and Echo & The Bunnymen.

If you want your old school metal to be something more than just blastbeat after blastbeat and vocals something more than muddy growling, TRAMALIZER is the right poison.

From their first two demos in 2018 and then their breakout self-titled debut album the following year, NACHTIG have stormed the gates of sadness with some of the most soul-penetrating black metal melancholy of recent times. Mainman V. V. is no stranger to the scene, of course, numbering as he does labelmates VALOSTA VARJOON and COSMIC BURIAL, but NACHTIG is arguably his most personal project, on myriad levels. The successive Der stille Wald full-length in 2021 proved this with a passion and poignancy that was spellbinding - and spellbindingly SAD - to behold. 

That album maintained a monolithic aspect at a towering 55 minutes, and thus does NACHTIG return with a comparatively more compact record in Eisig' Romantik. It's still epic, to be sure - four songs in 45 minutes, each one hovering around the 11-minute mark - but it's the sensations within that truly render the album an EPIC of breathtaking, daresay-beautiful sadness. Its predecessor spiritually nodded to early '90s doom-death, with the Spartan piano of yore largely replaced by a haunting fog of synths; Eisig' Romantik maintains a purer black metal core, but the synths hover ever more dramatically here, often directing the crescendo of emotion to cathartic heights - or, rather, depths. But it's V. V.'s characteristically heartaching riffing that really pushes the record into the halls of greatness, as layers of majestically melancholic riff seamlessly twine into said synths and utterly damning catharsis continues as each minute builds and blends and builds some more, all without dipping down the tempo. There's actual energy to this sadness, and it MOVES.

Snorlax was born in unexpected circumstances during an experimental recording session in mid-2017 at Black Blood Audio in Brisbane, Australia. Recording engineer Brendan Auld stumbled upon the sound and found the voice of Snorlax while trialing new recording techniques. Following the stream of ideas and sounds that ensued, the result was what later became the unmastered release of The Splintering Demo. Having only played drums for a few short years at that point, Brendan's expectations were low, yet the release grabbed the attention of many black metal enthusiasts including Caligari Records, Jef Whitehead of Leviathan and even made #2 on a 2017 Decibel Magazine list of "Must Listen Underground Demos" compiled by the late Trevor Strnard of The Black Dahlia Murder.

Honing in on the Snorlax sound even further in 2020 with the release of II via Brilliant Emperor Records, more death metal-inspired elements began creeping into the foreground and soon the label "blackened death" was attached to project.

Jumping forward to 2023, Snorlax is set to release its third composition, mysteriously titled The Necrotrophic Abyss. Much like II, this full-length release clocks in at just under 30 minutes, delivering a concise, ruthless display of sonic violence and despair. This album is presented as a concept, with an overarching story that flows throughout, each song a chapter depicting a world so vile its own death is forced by the hands of nature. In the second half of the record Brendan introduces some new voices and layers of collaboration as the planet is laid to waste for eons resulting in a desolate baron abyss only creatures of the undead have a chance of surviving. The album closes with a slight glimpse of hope as the story eludes to an unlikely rebirth of evolution and a potentially inhabitable future after all.

This dark narrative is painted only by the lyrics, the music never loosening its grip, staying trve to the perpetual paralysis proclaimed on track 1 of the Snorlax first release. 

Claustrum is an old school death metal trio born someplace between Trieste and Gorizia, in north-eastern Italy, featuring members from Grime, Affliction Vector, Fierce and Dromme, all brought together by a feral passion for the death metal of old. Drawing their inspiration from sci-fi, horror, authors like Poe and Lovecraft and the misery of human existence, in their debut, self-titled album Claustrum delivers some crypt-reeking, disturbing death metal, heralding the impending Apocalypse.

The Latin word Claustrum stands for a thin sheet of gray matter that connects to cortical and subcortical regions. It is considered the most interconnected structure within the telencephalon, that allows for the integration of multiple cortical stimuli, such as visual, acoustic and tactile. It is commonly considered the area of ​​the human brain where the soul resides.

But Claustrum is also an enclosed space, a fence, a prison. As the band explained: “Claustrum to us also means separation from the rest of the world. The record was born during a period of confinement due to the pandemic and for this reason it is above all an outlet, something authentic and spontaneous with which to release negative energies that have been compressed for too long. That's why during this separation for us it was paramount to rely on certainties. And those certainties are liturgies written by Autopsy, Asphyx, Death and Incantation”. 

• Four panels digipack Limited to 200 copies
  
  Includes unlimited streaming of Salt via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

Four panels digipack Limited to 200 copies

Includes unlimited streaming of Echoes On A Windswept Plain via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

This is a preorder: release date is set to June, 9

2012's 'Random Friday' is one of the most popular Solar Fields albums ...and here it comes back to life again, as usual with a state of the Art remastering by Robert Elster @Elster Mastering and revamped in a 6 panels digipak CD in case you missed the original compact disc edition  (as well as treated for the first time for a vinyl release).

Vio-Lence is an American thrash metal band formed in 1985 in the San Francisco Bay Area. Throughout its existence, they released demo tapes, one EP and three studio albums. Vio-Lence is often credited as one of the leading lights of the second wave of the genre. This compilation covers their entire demo discography: Rehearsal demo 1986, Demo 1986, Demo 1988, LIVE Miami, 17 August 1988 and the ‘Torgue’ demo 1993. Restored and mastered by Patrick W. Engel at TEMPLE OF DISHARMONY (Sodom, Darkthrone, Sacred Reich). Partially remastered and restored by Achilleas Kalantzis (Varathron, Possessed). Extensive liner notes by Laurent Ramadier (Snake Pit Mag) with Phil Demmel with many old and rare pictures. Cover art Thomas Pinheiro (Malevolent Creation, Possessed, Paradox). Core members on this compilation are Sean Killian - vocals, Phil Demmel - guitars (also Lamb of God, ex Slayer, ex Overkill & ex Machine Head live), Deen Dell bass, Perry Strickland drums (also ex-Exodus & Testament live) Troy Fua (guitar first demo) and on demo 1988: Robb Flynn guitars (Forbidden Evil, Machine Head)

Horror of the Zombies is the second album by American death metal / grindcore band Impetigo. It was released in June 1992 and was a major influence in the grindcore and goregrind scene. ‘Horror of the Zombies’ has a much more structured and varied approach then debut album ‘Ultimo Mondo Cannibale’.  The songs are longer and the production on this album is thick and full. The music is still very much old school death metal. Impetigo are influenced by such bands as, Massacre, Autopsy, Repulsion, Master, and Autopsy on this album. This re-release has expanded liner notes by Stevo, 2 extra live songs, different artworks and many rare pictures in a 24 page booklet. A truly gore masterpiece, everything about it reeks of a B grade zombie movie

What would be the combination / hybride  of Infernal Majesty and Blasphemy, two leading and intense extreme metal bands from Canada. And both are responsible for mile-stone albums in their genres. Well, when ex Infernal Majesty vocalist Brian Langley (also ex-Aggression, Canada) and guitar player Marco Banco (known as ‘The Traditional Sodomizer of the Goddess of Perversity’ from the cult Blasphemy album Fallen Angel of Doom....) joined to form band called Tyrants Blood, you will get close. This blasting death / black / trash metal band featuring Blasphemy / Infernal Majesty ex members released three full length albums and a handful of splits and ep’s. Vicrecords now re-issued the initially limited edition self-released third album ‘Into the Kingdom of Graves’ originally from 2013. Cover-art by Paolo Girardi (Firespawn, Aeon, Inquisition and Manilla Road) and liner notes by Brian Langley. Guest bass and mixed and produced by Martin Meyer (ex-Aggression, ex-Disciples of Power). Drums recorded by Terry "Sho" Murray (Infernal Majesty, 3 Inches of Blood).

For their new album, bassist/vocalist Dylan Desmond and drummer/vocalist Jesse Shreibman exploded Bell Witch's bounds. Like 2017's lauded “Mirror Reaper”, “The Clandestine Gate” is a single 83-minute track -- a composition that pulses and breathes on a filmic timeframe. It constitutes the first chapter in a planned triptych of longform albums, collectively called “Future's Shadow.”

While traces of organ and synthesizer hovered over “Mirror Reaper” and Bell Witch's 2020 collaboration with Aerial Ruin, “Stygian Bough Volume 1”, “The Clandestine Gate” drew those instruments closer to the center of its compositions. The band reunited with their longtime producer Billy Anderson as they began negotiating these new compositional weights. On “The Clandestine Gate”, Bell Witch's twinned voices build off of the chantlike textures of previous records while steering toward more developed melodic lines, structured harmonies, and rhythmic death metal growls.

The immense gravity of a work like “The Clandestine Gate”, which features exclusive stunning cover art by Jordi Diaz Alama, allows ideas to simmer in a way that feels profoundly and somatically intuitive -- not just a philosophical exercise, but an embodied truth. By slowing down both their creative process and the tempo of the music itself, Bell Witch digs even deeper into their long-standing focus: the way life spills on inside its minuscule container, both eternal and fleeting, a chord that echoes without resolution.